Sinner Wrote:
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> Absolutely agree with Gurs1kh veerjee, though the
> point they raised about the Shabad being sung in
> the exact Raag it was written in, I would have to
> say I disagree. Whilst it would be optimal to sing
> in the Raag that has been allocated, it should be
> worth noting that at the basis of Raag oriented
> Sangeet is the concept of improvisation.
> Improvisation and free-flowing music is what sets
> apart Hindustani classical Sangeet and Gurmat
> Sangeet from the Sangeet of the rest of the world.
> The fundamental principle of improvisation and
> flexibility in expression through music is what
> characterises the respective forms of Sangeet as
> mentioned above, and as such it is these
> principles that have allowed so much innovation
> within both musical forms. Dare I say it, Gurmat
> Sangeet finds inspiration in the ancient,
> innovative arts of both Northern Hindustani
> Classical Music and The much more rigid Carnatic
> Tradition of music. The mere fact that Guru sahib
> has fused both these styles into Dhur Kee Bani is
> evidence of the fact that Guru Sahib rejoiced at
> the prospect of Innovation, flexibility and
> improvisation. Thus, it is necessary to conclude
> that, whilst it is optimal to sing in the
> allocated Raag, it is not completely necessary and
> that using different Raags according to the
> conncection the musician has with the Gurbani and
> the feelings it ignites within the Gursikh should
> play a necessary part in helping the
> Singh/Singhnee choose a Raag that corresponds with
> the emotions they associate with the Shabad.
>
> Another point to be raised is that Raag Maru has
> been lost as the centuries have gone by, so does
> that mean since we do not know the Raag we
> shouldn't sing shabads written in Raag Maru? I
> realise that Jawaddi Taksal has made their own
> Maru Raag, yet it can be said with an almost
> unrelenting certainty that it does not resemble
> the original Maru Raag. There has only ever been
> one rendition of the original Maru Raag and that
> is by Pandit Udhay Bhawalkar. It is a 1 hour long
> rendition, it would be a good idea for you to
> check it out Jee
please point out why you meniton jwaaddi taksal has invented their own maru raag - what sources draw you to this conclusion please?
Other than you have written a great post and i agree whole heartedly-
>
>
> To further illustrate the importance of
> flexibility, improvisation and innovation in the
> Raag traditions, it is worthy to note that Raags
> first appeared in what has been called the "Vedic
> period". There are three periods after this. The
> Clasical Period, Medieval Period and our period.
> If within these respective periods we did not see
> innovation, we would not have a quarter of the
> Raags we have today. Flexibility in terms of music
> is essential for further development of the art.