Morning Pro Musica; No. 8; Learning about Raga; Part 2

- Transcript
We are in an almost soundproof recording studio and in my dress, which is on the south east coast of India with t-h v9 gram. Yeah. You know, Gram plays that instrument. Unique of all Indian instruments. They got some got some unique because it is the only homogenous instrument. It is the only instrument which is made entirely out of one material clay. Except it's not just plain ordinary clay is it automatically and mixed some mix, some many things into things. The brass, brass and copper, copper, iron, iron filings and egg. Now do you use the weight of the egg or the yolk? Not very long. And no yellow.
No point that is yellow. I would have thought that it would be the white to use as a glue or binding agent in, say, yellow egg. And you find that this makes today. Also some secret powder secret that you don't tell anybody that doesn't know their family, the secret ingredients and nobody else can. Now there's one part of India that makes got'em better than others. Yes. Where is my new yet more modern moderate? Near a moderate Monohan with the name place. That means near a moderate. Near moderate place. It normally that's where that one came from. Now you have there it is possible to change the tonic or sore of that.
You not changing each tune. It's instrumentally. You could change it by putting beeswax on the inside blocks or something. Yes, maybe. But is not a what did you know? Naturally seonbae is not. Some eggs are put inside the deck like this. David, this is if you put the wax in, it gives it a slightly debtors' little. Yeah. So you prefer never to put not wax inside. No. You don't have the tonic you want. Yeah. You get another job and I'm saying Jug, it's kind of a toss up between a jug and a pot. In terms of the shape of the got'em, if you think of oh half of a very large watermelon. And from that a conical shape up to
a beaded rim, the opening at the top being on this one or about five inches, the diameter about 13 inches and the length from top to bottom, about 18, you know, 17 inches overall. That's what the pot or jug shape looks like. And from that, you get three basic. So. Yeah, right. Which are what? That's one one then. That's flaired part of the jug. And that's it in the opening at the top. Make as one sound from. And you can get combinations of say that's it in the flair
and the rounded portion. Two hands on the rounded portion. Two thumbs on the flaired portion. Two palms or heels of the hand and the flared portion. And you could get a combination with the top position and side position at the same time. So you have three basic zones and maybe about nine permutations with that in combination. And that's all you have to work with, except you can do other things with it. You can alter the sound, change the quality of the sound, for example. I don't know. What to call it? How about the when you when you use the punch, the stomach. What is there a name for that? Now, you know the one where you. Oh, yes. That is good, Mickey.
Good morning. That is seven namesake brothers names on the da dum dum. Knowing that someone would see each of the sounds in the permutation combination names. Oh, good. Let's let's try that. Let's start with da da da da is hitting the side with the finger on the three fingers. Little finger, ring, finger and middle finger of the left hand. Yes. That is the the is the same thing with the right hand. Yes. On the other side. Tom Bowman is hitting with the heel of the hand on the flared portion of the thumb. Then. Ah. That's different. I was always wanted with a different account on. Ta da! That is. That was the first. That's the heart that that's a t h ta ta da.
Yeah. Then dig it. Dean is it. We didn't. William, don't. Thomas the here and the left hand portion. Yes. Then I d i d d d d. Yay. Okay. T is what you're doing. Again this will get on you sort of snap the thing, snap the index, finger the right hand onto the certain portion of the drum. Yeah. D let's d yeah. About time. Yeah. Dumb D then. Top the. Hoo hoo hoo hoo. I'm in New York. Who is the right thumb on the forehead portion and numbers, the look works
the other way. Who's the left them on the floor? Abortion name is the right thumb on the flaired portion. The only one we haven't done is t don't. This is yet. This is crap. That's D. Huh. Just the opposite sex is snapping the right hand index finger and D is snapping the left hand index finger on the rounded portion or right at the point where the round flares. You haven't had any name for the beheading. The top or open. What he's doing is also something he he said. So ultimately something is going can be. He made it clear abortion or same with the open circular top part on the players playing them differently. No. If you were memorizing
a rhythmic cycle, you would do it first with the names, right? Like you might go. Tom? Tom. Who are they? Who? Pi. The da da is. To it. Then D. You don't do this. Someone says the apartment is in combination is now. But can it be? This one would look like this. This would come to foster. Oh, good god. I like this.
Can you. Can you say it that first time? Not like this thing. Did that guy he calls me. You can only get that these words. There's some colonies named the name different sovereign debt. That is called daddy. Good day, daddy. Daddy! Daddy! I did it. Let me see it. Delegate. It likes hearing like suddenly steady. It is come. But the playing a dub. Yes. Beat it. Playing beat that. That that is. Yes. An index finger. But you snap it up. Like is joined if they do something good. You put the thumb you get. Then you play. Then like that same do. And then it's three fingers. These three in the little ring. In the middle finger.
Got a good. You get the sound you get, you get much more soon. What is it that you do to get so much more sound that I'm getting by? To date Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª ÀÌ Àª. ÀÌ. Didn't like this theme song.
Oh no. Oh no. Oh no. Oh no. I don't want to do one of two things like one other. But the song words is not what it. I see what it is. You're getting more so than I am because you know just exactly where to hit it. It makes a big difference. Just a half an inch or so. One way or the other. To get that optimum sound out of it. No. The sound that you make by using the luck like the punch the belly. Yeah. You get that by placing the opening of the thumb against
the belly itself and then hitting with the heel of the hand which is to dum dum dum dum dum dum t-h. Um, I haven't got that. You have to roll off the tongue from the back of the pilot forward and get yeah. You get you hit and you play boom with the heel of the hand and then rule the instrument away from the diaphragm to get that. So given give me a real good, real good. From the belly basically just a combination of two.
There were some and car just those two. Yeah. But different combinations of them. Let me try that. Because I have more ability than you do. A little more anyway. They have to put this foot out creating ideas come over and you get it pressed up against their bodies. Come oh say you're doing lifting Liston's. You're better with my right. No, no, it was to with. But somehow now I'm holding it with the left hand. You don't. So how do you keep from not hit hard at all, like, you
know? Do you want to get like that? Like all you're keeping the feet wet. I see, so you make a cradle for them, is that. Mm hmm. So unlike most. Yeah. Indian musicians, you do not sit in practically Lotus position. It's a little bit more comfortable. Have you have you eat well out in front of you? Then you sleep playing also. That is plenty. Not long. No, not knocking it totally away from you. Oh, that's fascinating.
What you can do is basically just to hit one end position with the left and one with a right and not altering very much. Now in actual performance, you would be playing many different combinations. You gave a concert. Was it yesterday that the governor live yesterday? They Bortnikov. Then my student, then student played 10 gallon players. And that was the color video. Kucherena follow. Think it's all good? What? What color is that? I'm not familiar with that. There's no money. Ruble. The ruble. Guiteau The dollar is being which he sounds. Three, two, three. One, two, three. That's one, two, three.
Vodka. Except you don't say collee you see. What is the word dum dum dum dum dum. Rhythm. Yeah. Yeah. There's one love to bring them. One to rhythm actually the next one to do them. 1 2 0 1 2 1 1 2 1 1 2 1 1 2 0. Run McGovern. That's a pretty mindblowing.
It's incredible. You visited the United States. Yes. Yes. In fact, you have toured many, many times a first time. Is it too, you know, United Nation program with Admissable Azumi program? United Nations can concept in your life. And you have your own school here in Madras. I meant as a school. How many students do you have? Some 150 student days. Not all studying. You got not only good, but then I'm good. I'm good. Djalal Procaccini instrument. All right. I'm glad I'm going know luck on instruments. But the principal instrument is MOGHADAM Yeah, the principal instrument in South Indian music, however, is not Dungan. He has some principles. Why did you elect choose that?
I am just stating that in my father. Your father was a Madang and my father is. But I think a Marti's. But this now is moseying and predating dayjet. Now his school principal. My father. Principal of the school. My school of your school? Yeah. Uh-Huh, yeah. He is dead to me. Mother, I'm fasting. In my my family is that by the time they get on blay, I've got a jealous few garam players that pay my employee. So my family running to board Romney is a big goddamn is more performance is he's come they take that guy. I don't know. There is a term liar anyway.
A liar, which means rhythm. How does it different from color? Tuller is just what is just. There are different powers that are the dollar rule of the dollar shop the dollar. Right. No difference lies? No. Are they all. Liar, liar, liar. Liar is the major carrot memory. But you can have liar or rhythm without having a toddler. Is that right? Layer on the intel. Also the 1, 2, 3, 4, 5, 6, 7, 8. That would be DePalma and Talaat. This you know, I have. Can you have lya with no power? No. Tyler Laham is that leg. They'd be duck, duck, duck. Maybe they'd be duck me. I didn't make it.
I got it. I got it. I got to get that back. I take it that I can take it. That I can take it back. I take it the target. I think another didn't get that. I didn't get that. The habit that I didn't get up there, get daddy, daddy. I didn't get nothing. I think legs this day. But you're doing all of that in detail. How did you know the same is also Rumberger dollar. All dollar is good. Come on then. Layer is a rhythmic pattern that is within Attallah. I'm trying to decide which is the overall category all in detail at our old Talas subdivisions of layer. Yeah. Yes, yes. Yes. Okay, so liar is the overall category. Then you could have a rhythm, not part of a talent. No. That this time. And that's still liar. Liar. That zolbert. There's no toilet giardella.
It is like, OK, so long as the overall network under which come all the various colors that exist within the tower, there are individual rhythmic patterns. Those are called what when you do if you have a beat beat within within the tower. You can do within that beat bump to them or you can do believe really done. Yeah. Yeah. Something. What is that called. That is gone. They like it. Now they know they beat them like that. Called name nabay today. My name is Mary Warren Beatty. Is it in. That's the one. A ball out on the ball. Sometimes three. Some things for you know things. Right. Right. That is d coming. Name is this set up like this atom nano. Right. For his coming Subbu so many. So Lucetta Na'vi then phase and they come down the line. Then sixty seven is coming.
Mr. Loving you are 36 misere. Seven no six increases Ceri plus three. Yes and seven is miss sentiment. Miss it and nine. It would be four plus four. So nine Sangeeta my money son. Get a lump sum. Getting them right now would have would nine the four plus five. Yeah. Four, five, seven in mind you. But you could do my own money. You didn't do nine as three plus three plus three four plus five, five plus four two plus seven seven plus too many different ways with each of those have a different name one day for you. Well those are those at all. All come under the category of no I've forgotten what mine was. Let's get some getting them that I know is the next one you must have is eleven.
Eleven is. No no no no. Only play Malaysia with me. You got it. Not really. Nine is enough to get within one ball here. Can you. Can you give me a sample this day in detail. Yeah. I mean one, two. Three, four, five, six. Seven. Yeah. Yeah. That basically said before is busy. One, two, three, four. One, two, three, four. One, two, one, two, three, four. Can you give me a sample of that. Yes. Of the different permutations within the ball. Two, three, four, five and so on. In detail. This is southern set up Southers in the late fall for it for his country is fought back.
David, John, look back at the back at John Locke that they beat John, but they beat back at John so that Goddamit is coming back that they meet back at me, but they beat me back. Then they made a mistake. This is basic from this basic to change. You do not right now, is it? Now I want to discriminate. Like three easy. It is coming. Take it back. Get that back. Back, back, back. Back it back. Get that. That is what? C6 6+.
3+3 three. That is plastic game for now. I'm going to fight you. That is fine. It is coming. Then I got to get back to them. But I think I better get to them, but I got to think about it. The display is only 10 strokes then within one beat.
Yeah. Yeah. Then they then stop less than $2 to bid is. Don't you stop like that. Going. That is what I'm doing. I'm telling you that they're going to think I'd better get a better get to the contrary. The better give it to get better get that. They're to get this then then Samedi then I don't know what time is it. Had better going to the cathartic. Good, good, good, good, good, good, good, good, good for the country as someone do that is same done then. That is that's breaking the ten down into three seven three less than like that four plus six that I've got to think about to get it because it's get to the guys all at 4 to 6 3 7 5. I like that. Busy. That is it for like a bucket.
That's like a bucket. But I got get that back that good before I get back it up. Is it fine for you to walk tucked up like that. But the fact that I got it, I got it, I got it, I got it, I got it, I got it, I got it. I got the one, two, three, one, two. I got pregnant. Target practice academic. We talked about them. That got them. We got them. I contacted the guy that got back two days. My God, he's for the way you get back with the back of the pack. It looks like a bucket back for you. Into 5:04 playbook. Good, good, good, good, good, good. I got the meat that I do with that goddamit that I do. Mm hmm. Let me see if I get this straight. Does that mean that when you're playing some kid in the middle of the nine beat rhythm, that that would be a combination of should do QRA
in a day and condom a day. No more water in the fire and voted 9 4 7 4 6, 4, 2, 2, 3. No, no, no. That's not what I mean. When you are playing some kid in the day, the 9 beat rhythm. Is that a combination of Chad do qra a day and Condon the day? So they're shooting at a basic basic understanding that it is a basic four beat reporter beat and condemn. The day is a basic five beat rhythm. But if you play first for one beat Chad Dushka the day. Yeah. And the second beat Condon the day. Yeah. Then you would have some Q&A. No. Egging come to southern Sudan for that.
Oh OK. So that's not the way you think. You're not. You don't you don't think of combining one today with another. No vote at all. You can also do that to play again. Come on. One, two, three, four. I got. Good, good, good, good, good, good, good, good, good, good, good, good, good, good. Yeah. Come get me. Take that. That's right. You can go back and forth from one to the other, but they do not necessarily make that. Whatever the sum of the two hours. No. Could you go next to it. We haven't done 7B yet. Mr. Mr. Miss Daisy. For. 3 7
2 3, 4, 5, 6, 7. I think I'm in the movie world. So you a lot of either.
I'm sure that over the course of many years with lots of training, it becomes a natural process to be able to take a beat and subdivided instantly into seven or nine beats with its nose. What is the word that you use for each time you hit the instrument within the ball? You have a ball. The ball is the period of time beat to beat. But within that you may hit it five times, seven times and nine times. Do you have a name for each time you hit it? No name only. Just the syllable 4 or the. What I was studying to say was I'm sure that over many, many years
it becomes a natural instinct to subdivide into five or seven or nine. But there must be during the training process patterns that you teach your students that you begin with something fairly simple and then and then become more complicated like exercises on the piano as well. What are some of the beginning exercises? Is it now? That's the one we did before. At the very beginning, you let's say thing doubled within the same rhythm.
In other groups without them doubling up on some of them varying increasingly complex with all staying within the same goal. There's no level. Like all like getting on rhythm.
You make it look so easy. But having tried it myself, I know that it is not even a simple pattern such as that. One becomes much more difficult when you're actually trying that yourself. How much time would a student need to get to the point where they could accompany a singer, for example? Some. So the difference is sometimes it's just an average student, he adds. But our school out the syllabus, they've got to fix it. Three years course got only three years. We can play a little bit. One of Danielle Solo. We can play solo when you go on tour to different countries. Would. Would students not countries is not not possible. That is England, the plane in flight.
But if you travel all around within within India, within about a bus is all, then they would go to to your concerts and in effect, be your attendant. Yes. Do you give solo recitals and do that? Yeah. Solid as many places. Even I play with my brother also to play with. What we have played for them. Do it yet. Do not do it. Do it like do yet. We will eat plates. Basic I raw like vegetable sound. He keeps the baby. Really? So I know I am boiling warlick like now. Would you both have the same orgasm with same EMSA? Same sound. It had the same tonic guy, right? This is age. Dad wants it when you come to tomorrow. Was it school? I wasn't like that on cars today. But that is not right. I think I bring that is he is not in time. So I am calm. No. Would you also have a ton more playing
in all performances? Work. That is play. Would you have a tombaugh player playing while you're giving a concert? Is maybe it is. Dombra is needed because doing you have to have tumblr some demis. I am bleeding. Is it wrong? Sweat is coming. Start doing this. Come down. No. I understand the pot get moist. It is just the sweat. I sometime is lifted. Junior's. Don't let continue this against Moyse. You the it gets flat. Yeah. Yeah, yeah. He's gonna change that. So then what do you do. Yeah. So we can also play that. You see what it is. Juniors jamming. Yes. Now you retune the toumbourou. You go off and you get another part. Yes. Yeah. You dont go get another goddamn they're gonna get up. Oh you do. Yes. And the Tumblr just keeps playing.
I see the tumblr plays the drone and keeps the thing going. You go get another got'em and the concert goes on. Isn't that all we can look at the performer each. Only one dualities sometime is called don't they do so we don't do something and get the just a play. That is not done is coming. Haha only this one really is doing it with the giant number. If you're not come loveand flat is coming from toumbourou is gone. You don't shot this one little thing like this. So when you're striking the flaired portion with the thumb, that's the equivalent of hitting the daya of the tumbler on the rim. Yeah, that's what gives the the basic tonic some sort of the instrument. But if you just sort of thump it with the heel of the hand then you know then it's a better sound.
So you don't hear that. So yeah. And also any any place around the curved portion you dont really hear this. How about well when you snap it with your finger. Usually when you do that you just hit it with the with the heel of your hand. Then on the on the proportion or the flat of the hand, then you don't hear it as much. Also on the way you hear it there. Yeah. Yeah, but that's got the octave or two octaves or whatever it is below. But you you still hear the pitch. That can be good to get to be a problem. How much is that affected by just humidity here in madrassah, for example? It's very humid and the air is moist. Yes. Does that also affect the sound of the instrument? No. No. Even if you were to go from, say, Madras, which is low, the seacoast went
from here. You went to the the high mountains in the west that day. My very dry. Yeah. Yeah. And higher is an innovation is sure of it. Then you're gonna change the picture alone. I dig that you cover 12 will cover a lot of plastic out, all corroded and safely is from the inside. Oh, and you keep keep the insurgent Spargo with all the moisture and warmth so that when you take it out to play. I'm a farmer. Long time you dig. I noticed when you brought it in, you had inside a leather case, leather case, insulated womb with wool inside the lid, I guess, now. So that would that would keep the wrong right moisture and temperature. There is a technique that in playing where you whelp is the only instrument, I think where
while while you're playing the instrument, you're not even touching it, but you have to catch it on the beat. You will you throw the instrument up in the. Funny. I don't sort of welcome them out for questions. It seems that say the word for me again. Preclusion. No, no, no, no. Not that one. I know. Percussion exchange. I'm very good with the funny of us remem and we all owe them money. I think we're seeing the same thing, but you're seeing it much faster. We all know when you do that. Is that just a kind of showy thing? Just just for display or or do you actually get a different kind of sound when you do that? The guys that it's always like netcode. We like to think about it, get it.
So kind of like I don't get to think it better get it. Kind of like I'm going to dig. I'm going to get this thing done. Dee Dee, now, so you work your rhythms specifically so that you can work that in Baghdad to study the rhythmic pattern between thought and desire. But the reason behind using the instrument in that fashion, it could be just that you're doing it so that the audience will go, oh, no. Or it could be that you're actually getting a different sound, that you hear a different sound when you catch it. And different sound is not come. So that's not it. It's just the display piece. Can you do a little bit of it? There's just just a kind of fun thing.
Yeah, well, I think that covers just about everything. I wanted to ask about the thumb. I'm still learning how to say it. Got them. One nice thing is that the name really sounds like the instrument. Very well. The mother pig got them. I would be very happy if you would honor us with just a little solo. There's
a demonstration of above just everything because he doesn't look good, though. That's fantastic. So I want to thank you very, very much. You know, especially the way you Nathalie's split up the beats, the ball's within the whole thing into many, many different rhythmic patterns. But occasionally even syncopation where you're playing off the beat. Where I find it hard just just to have it with you. Thank you. Thank you very, very much. You know, he can't be mobilizing. Thank.
- Series
- Morning Pro Musica
- Episode Number
- No. 8
- Episode
- Learning about Raga
- Segment
- Part 2
- Producing Organization
- WGBH (Radio station : Boston, Mass.)
- Contributing Organization
- The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
- AAPB ID
- cpb-aacip-526-4q7qn6089q
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-526-4q7qn6089q).
- Description
- Episode Description
- "In the continuing series, 'Learning about Raga', presented during the latter part of Saturday programs once per month, Mr. Lurtsema attempts to demystify Indian music in general, and the raga form in particular. The series includes interviews and demonstrations, many taped during an extensive six week tour of India in the first three months of 1981, made by Mr. Lurtsema under the auspices of the Educational Resources Center, of the University of the State of New York in Albany. The programs normally include a mix of taped music and music from records as augmenting material. The disc material has been omitted from this sample. The guests on this program are Shiv Koumar Sharma, santoor; and Hari Prasad Chaurassia, bamboo flute; participating in interview, demonstration and performance."--1982 Peabody Awards entry form. Shiv and Hari begin by discussing why they also do film music as well as their personal music. Shiv Koumar Sharma explains what a santoor is and how the instrument is played. He demonstrates tuning on the chromatic scale. He mentions that in India, the santoor was originally known as Shata Tantri Veena. He then demonstrates meend, which is the continuity of a note while going on from one note to another note, on his santoor. Mr. Lurtsema introduces Hari Prasad Chaurassia and explains that he plays the bamboo flute, which is very different than a silver or gold flute. Hari Prasad explains the design of the bamboo flute, and he explains some of the fingerings for the notes. He demonstrates pitch-bending and over-blowing to reach more notes. He explains how to get a meend, and he also demonstrates gamak on his bamboo flute. Hari Prasad plays on a different, more high-pitched flute for a moment. Shiv and Hari demonstrate how their instruments complement one another by playing together. Shi Koumar Sharma discusses how he teaches other people to play santoor and he corrects their technique.
- Broadcast Date
- 1982-09-11
- Created Date
- 1982-09-11
- Asset type
- Episode
- Media type
- Sound
- Duration
- 00:54:25.200
- Credits
-
-
Guest: Chaurassia, Hari Prasad
Guest: Sharma, Shiv Koumar
Host: Lurtsema, Robert J.
Producing Organization: WGBH (Radio station : Boston, Mass.)
- AAPB Contributor Holdings
-
The Walter J. Brown Media Archives & Peabody Awards Collection at the
University of Georgia
Identifier: cpb-aacip-e930ff1c2be (Filename)
Format: 1/4 inch audio cassette
Duration: 05:00:00
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
- Citations
- Chicago: “Morning Pro Musica; No. 8; Learning about Raga; Part 2,” 1982-09-11, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 28, 2025, http://americanarchive.org/catalog/cpb-aacip-526-4q7qn6089q.
- MLA: “Morning Pro Musica; No. 8; Learning about Raga; Part 2.” 1982-09-11. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 28, 2025. <http://americanarchive.org/catalog/cpb-aacip-526-4q7qn6089q>.
- APA: Morning Pro Musica; No. 8; Learning about Raga; Part 2. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-526-4q7qn6089q