Abstract

Gayaki in sitar was associated with Ustad Vilayat Khan and the Etawah gharana, but its influence has transcended their boundaries and is now prevalent across all sitar traditions. The present study aims to explore the manifestation of gayaki in sitar music from various gharanas beyond the ones traditionally known for playing gayaki ang. To achieve this, the research involved collecting audio samples from performances by artists across different sitar traditions.The methodology comprised manual listening and transcription of the audio samples, followed by a detailed analysis of structural patterns and stylistic nuances. The study found that complex phrasing and expressive techniques are essential to creating the vocal-like quality of gayaki ang in sitar performances. A comparative analysis across different gharanas revealed the widespread integration of gayaki ang while preserving each tradition’s distinctive attributes.The findings underscore the lasting impact of gayaki ang on sitar music, emphasizing its vital role in shaping the emotive and artistic richness of performances. Additionally, the research highlights the ongoing evolution and innovation within the sitar tradition as musicians skillfully combine technical proficiency with emotional depth. This progression contributes to expanding the sitar’s musical language and offers new insights into the changing landscape of Indian classical music.

Keywords: Gayaki Ang, Sitar Music, Ornamentation Techniques, Music Analysis

Introduction

“As I envision crafting a majestic musical opus for my sitar performance, a vibrant mystery of melodies unfolds within the depths of my mind. With the sitar delicately cradled in my hands, a raag resonates through my thoughts, and a structured narrative of song takes form within my soul. The intricacies of vocal expression occupy my consciousness, effortlessly emanating from within. It’s not a conscious effort but a natural outpouring. Onstage, I can visualize the entire framework of this melodic masterpiece. My passion for singing has become the driving force of my existence. My goal is to infuse my sitar playing with the emotive qualities of my voice. Although there’s a distinct contrast between instrumental techniques and the nuanced art of singing, when these elements blend harmoniously, they yield a heavenly symphony. The incorporation of the khayal style into my sitar playing isn’t a deliberate choice; rather, it’s a divine endowment that seamlessly integrates into my performance, owing to my profound connection with khayal singing and the revered vocalists who have shaped my musical journey”- Ustad Vilayat Khan (Khan 2006). 

Ustad Vilayat Khan envisioned and practiced a distinctive and enchanting method of playing the sitar known as singing on the sitar. This approach entails integrating the intricate melodies and emotive qualities of vocal singing into the sounds produced by the sitar’s strings. This fusion of two separate art forms yields a captivating and deeply moving musical experience called “gayaki baaj.” It seeks to replicate the nuances of the vocal singing through various sitar techniques. The objective is to express the fluidity, expressiveness, and improvisational nature inherent in vocal performances. Achieving this style demands a thorough grasp of both vocal and instrumental techniques, including precise manipulation of the strings, accurate finger placement, and a profound understanding of timing and expression. Ustad Vilayat Khan revolutionized the sitar and refined his playing techniques to embody the essence of gayaki (Devidayal 2018). His modifications to the instrument were extensive, beginning with reducing the traditional seven-string sitar to six strings, eliminating one jod string to achieve clearer bol patterns. Despite these acknowledged facts, it’s worth revisiting them that additionally, he replaced the kharaj pancham string with a steel one. Structural enhancements were pivotal to support his intricate playing style (Utter 2011). Ustadji replaced the thin soundboard with a thicker one capable of withstanding powerful strokes, while also upgrading the frets to thicker, more durable German silver versions to facilitate better meend execution. Adjustments were made to the bridge, strengthened and elevated to accommodate Ustad Vilayat Khan’s preferred round or heavy jawari[i], allowing for optimal distance between strings and frets to produce signature ornamentations like gamaks[ii] and meends[iii]. Metal screws were introduced to fortify the connection between the neck and the main gourd of the sitar, ensuring resilience during vigorous performances. Moreover, the tar gahan underwent modifications, becoming thicker to handle increased tension and improve sound production. These meticulous alterations, combined with Ustad Vilayat Khan’s distinctive interpretation of gayaki, not only transformed the sitar but also infused his performances with a captivating quality reminiscent of vocal music’s expressive nuances (Atarthi 2021).

During the era when Ustad Vilayat Khan and Pandit Ravi Shankar were prominent figures in the world of Indian classical music, the concept of gayaki, particularly as embodied by Ustad Vilayat Khan, was a subject of significant discourse. While debates may have arisen regarding the origins of gayaki and whether it predated Ustad Vilayat Khan’s contributions, such discussions are not the focus here, nor do we wish to delve into them. Instead, it’s noteworthy that gayaki, as interpreted and practiced by Ustad Vilayat Khan, held a prominent place in the musical dialogue of the time. It represented a unique approach to sitar playing that drew upon the expressive qualities and melodic intricacies of vocal music (Rahn 1992). This emphasis on gayaki brought forth rich discussions regarding artistic innovation, tradition, and the evolving landscape of Indian classical music, especially sitar. Gayaki, often synonymous with the legendary Ustad Vilayat Khan, swiftly transcended the confines of the Vilayat Khani Baaj or the Etawah Gharana, extending its influence across various sitar traditions like a delicate vine weaving through a dense jungle. While acknowledging that singing laid the cornerstone of sitar playing across all gharanas, it became apparent that the distinctive executional elements and techniques that define the gayaki style gradually permeated through all sitar traditions. Remarkably, this integration maintained the traditional essence of each baaj, fostering a rich color of musical expression that honored the lineage of each gharana while embracing the emotive depth and melodic intricacies synonymous with gayaki. Hence the elements that defines the gayaki became crucial in each tradition of sitar playing. Few important elements are as follows.

Phrasing 

Phrasing refers to the way musical phrases are structured and shaped to convey a sense of expression, emotion, and musical coherence. A musical phrase is a unit of musical meaning that consists of a series of notes played or sung together as a single musical idea (Blombach 1987). Phrasing involves the organization and articulation of these musical phrases to arouse the sense of tension, release, and overall musical flow. Phrasing is influenced by various elements such as raga emotions, rhythm, dynamics and articulation (Palmer 1996). It encompasses aspects of length and shape of phrases, the placement of accents and pauses and the overall sense of musical continuity and expression. Good phrasing enhances the musicality and expressiveness of a performance, allowing musicians to convey the nuances, emotions, and narrative of the performance more effectively (Vial 2008). Phrasing is significant in gayaki execution, allowing sitarists to channel the nuances of the singing elements through their instrument, creating a captivating and immersive musical experience. Through well-crafted phrasing, sitar players conveys the emotional and spiritual depth of the music, establishing a profound connection with their audience. Effective phrasing allows sitarists to organize musical ideas into coherent and expressive sentences, enhancing the melodic storytelling that is central to gayaki. Skilled crafting of phrases evokes a range of emotions such as longing, joy, or melancholy, infusing their playing with depth and resonance. Phrasing also impacts the interpretation of ragas, as it guides the development and exploration of melodic themes. Additionally, careful attention to phrasing allows sitar players to seamlessly integrate ornamentations further enriching the musical texture and expressiveness.

Ornaments

Ornamentations play a pivotal role in showcasing gayaki in sitar playing, offering musicians the tools to capture the expressive nuances and fluidity of vocal music. Among the most important ornamentations are meend, gamak, gasit[iv], chut[v], taan[vi], and khatka[vii]. Meend involves gliding smoothly between notes, mimicking the vocal slides and inflections, and infusing the music with emotional depth and expressive phrasing (Purwins 2010). Gamak entails rapid, oscillating movements around a note, adding vibrancy and dynamism to the performance while enhancing the emotional impact (Mahajan 2010). Meend involves smoothly transitioning from one pitch to another, either ascending or descending, by subtly altering the tension or pressure applied to the strings while maintaining a continuous sound (Narayan 2015). Described by numerous texts on Indian Classical Music, meend transcends the definition of mere ornamentation in when talked about sitar; it embodies the very essence of instrumental expression, particularly within this instrument. Despite being fretted, the sitar is rarely played with the fret itself; rather, it is through the mastery of meend that the instrument truly comes alive. Ranging from the simplest melodic lines to intricate compositions, meend forms the cornerstone of sitar playing, infusing it with depth, emotion, and soulful resonance (Hamilton 1994). Meend holds significant importance in gayaki execution as it enables sitar players to replicate the nuanced vocal techniques inherent in Indian classical music. Meend conveys a wide range of emotions, seamlessly connecting individual notes and phrases to create fluid melodic lines that enhance the overall expressiveness and coherence of their performances. Meend serves as a foundation for the creation of melodic ornamentation, allowing sitar players to embellish melodies with intricate patterns and flourishes that add depth and virtuosity to their playing. Moreover, meend plays a crucial role in defining the unique stylistic characteristics and artistic identity of individual sitarists, reflecting their musical preferences, gharana affiliations, and interpretive approaches within the rich tradition of Indian classical music. Gasit emphasizes swift, sliding transitions between notes, bringing sharp, graceful ornamentation and a sense of elegance to melodic lines. Chut, a quick and subtle glide between notes, creates seamless connections and smooth flow within the music. Khatka, a rapid grace-note ornamentation, adds subtle texture and embellishment to individual notes or phrases, further enhancing the expressiveness of the music (Bagchee 1998). Together, these ornamentations contribute to the gayaki style by allowing sitarists to evoke the expressive qualities of the human voice. They enable musicians to interpret ragas with authenticity and depth, creating a richly nuanced and captivating musical experience for audiences. Mastery of these techniques is essential for sitarists seeking to achieve the soulful and immersive essence of gayaki in their performances.

Figure 1 Gayaki in Sitar

Expression 

The expression and presentation of gayaki in sitar playing can be explained aesthetically through its ability to evoke deep emotional responses and convey the soulfulness of the music. Aesthetically, gayaki in sitar performances is characterized by its seamless fusion of instrumental and vocal techniques, creating a sound that is both intricate and evocative. Gayaki emphasizes on the fluidity and continuity, a smooth transitions and seamless connections between notes and phrases, creating a flowing, continuous musical narrative. This fluidity mirrors the naturalness of the human voice, providing an immersive listening experience. It allows the performer to express a wide range of emotions, from longing and melancholy to joy and exuberance. The ability to evoke such depth and variety of emotions is central to the aesthetic appeal of gayaki. The incorporation of intricate ornamentations adds layers of complexity and texture to the music, enhancing its richness and aesthetic appeal. These embellishments showcase the performer’s technical mastery and artistic sensibility.

Gayaki enriches the nuanced interpretation of ragas, using phrasing to exhibit the unique characteristics and emotional landscape of each raga. Sitar performers using the gayaki style often weave cohesive musical narratives that captivate audiences, drawing them into the emotional journey of the performance. This narrative approach adds depth and meaning to the music, creating a powerful aesthetic experience.

Composition

In addition to the structured sequence of performance, and the aesthetical values gayaki ang sitar players often incorporate traditional vocal compositions, known as bandish, into their performances. These compositions are a vital part of the sitar repertoire and provide a melodic framework for the musician to explore and interpret the chosen raga. By blending bandish with the expressive techniques of sitar playing, performers create a rich and multifaceted musical experience (Raja 2005). The use of vocal compositions in gayaki ang sitar playing allows musicians to draw on the emotional depth and intricacies of vocal music, infusing the performance with a sense of authenticity and cultural heritage. These bandish, which often include lyrics and melodic themes, serve as a foundation for the sitarist’s improvisations and explorations within the raga. The flourishes of the sitar playing techniques, especially the right-hand bols (plucking patterns), add complexity and nuance to the bandish. By using complex techniques the performers can ornament and embellish the vocal compositions, bringing out the expressiveness and subtle shifts in mood and emotion.Bottom of Form Ustad Vilayat Khan’s mastery of the sitar in the gayaki ang style is exemplified by his unforgettable renditions of traditional vocal compositions in ragas such as Hamir, Bihag, and Bhairavi. His interpretations of these bandish are renowned for their emotional depth, intricacy, and artistic finesse. Ustad Vilayat Khan’s ability to seamlessly blend the expressive nuances of vocal music with the technical capabilities of the sitar allowed him to bring these compositions to life in a truly captivating manner. In his performances, Ustad Vilayat Khan used a variety of ornamentations such as meend, gamak, and taan to add richness and complexity to the bandish. His precise right-hand bols further emphasized the rhythmic patterns and textures within the compositions, creating a dynamic and immersive musical experience.

      After Ustad Vilayat Khan’s pioneering contributions to the sitar, the expression of gayaki ang quickly became a defining trend in sitar music, transcending the traditional boundaries of  the gharana. This style, which emphasizes the vocal-like expressiveness of sitar playing, was embraced across different traditions, allowing musicians from each gharana to infuse their performances with emotional depth and nuanced ornamentations (Slawek 2000). Despite the widespread adoption of gayaki ang as a prominent aspect of contemporary sitar playing, it is important to acknowledge that vocal music was always the foundational basis for sitar performances. Even before Ustad Vilayat Khan’s time, the techniques and principles of vocalism were integral to the development of the sitar, shaping the way musicians approached melody, phrasing, and ornamentation (Shankar 1980). The legacy of vocalism in sitar music is evident in the way each gharana incorporates elements of gayaki ang while maintaining its unique characteristics and stylistic nuances. By weaving together the traditional strengths of each gharana with the emotive expressiveness of gayaki ang, contemporary sitarists continue to honor the deep connection between singing and the instrument in Indian classical traditions (Bhatnagar 2014). This synthesis results in performances that are both rooted in tradition and innovative in their artistic expression.

Analysis

To explore the influence and manifestation of gayaki ang in sitar playing across different sitar traditions or gharanas, the study conducted an audio analysis following established music analysis methods. By closely examining audio recordings from a diverse set of sitar traditions, the research highlights the nuanced ways in which gayaki ang is expressed and integrated into different styles.

Data Collection

The data collection for the study entailed gathering audio samples from a broad array of contemporary sitar artists representing five distinct gharanas not typically associated with the gayaki ang style. This approach ensured a diverse representation of sitar performances across various gharanas. The selection criteria prioritized renowned sitarists within these gharanas to ensure high-quality and representative recordings. The samples taken were of 20 minutes of duration of drut laya (Fast Composition) from each sample. Audio samples were chosen to include compositions and improvisations to analyze the full spectrum of gayaki ang within each tradition.

Data Analysis

The process of audio analysis in the sitar performances involved manual listening, which played a crucial role in the study’s overall approach. Manual analysis allowed for a nuanced and detailed examination of the audio samples (Panteli 2018), enabling the researchers to discern subtle variations and intricate techniques within each performance. Through attentive listening, key elements such as phrasing, meend , gamak , and rhythmic patterns were accurately identified and evaluated. The application of manual analysis lies in its ability to understand the expressive and emotive qualities of the performances that automated methods may overlook (Lerch 2021). By engaging with the music on a personal and subjective level, researchers could assess the artist’s interpretation, emotional depth, and stylistic nuances more effectively. Manual listening also allowed for the detection of idiosyncrasies and individual artistic choices that contribute to the uniqueness of each sitarist’s performance. Furthermore, the method facilitated a thorough understanding of the context and historical influences within each gharana. This process ultimately enriched the study’s findings and provided a more comprehensive view of gayaki’s manifestation in Indian classical music.

Findings

The findings of the study revealed that gayaki ang is expressed across different sitar traditions in distinct and nuanced ways, reflecting the diverse stylistic approaches. Each tradition demonstrated a unique way of incorporating elements of gayaki within their performances while remaining faithful to their respective stylistic legacies. Key elements such as ornamnets, expression  and aesthetic elements were observed in all gharanas, underscoring their central role in conveying the emotive and expressive qualities of gayaki ang. However, the findings highlighted significant differences in the application of the techniques, with each tradition emphasizing specific aspects according to its own artistic philosophy and historical influences. The findings noted the influence of the performers’ individual creativity and improvisational skills in shaping the performances within each gharana. These personal touches added a layer of complexity to the interpretations of gayaki ang (Elliott 2006).

From the meticulous analysis of the audio samples, the occurrence of key components of gayaki was systematically documented. The complexity of phrasing in each performance was assessed and ranked on a scale from 1 to 5, with 5 representing the highest level. The findings revealed that almost all the gharans of sitar exhibited a complexity level of 2 or higher (Figure 2). This demonstrates the importance of complex phrasing in sitar performances and its role in presenting gayaki ang with depth and nuance. The results suggest that intricate phrasing is a common feature across these traditions, reflecting the musicians’ dedication to mastering the subtle and expressive aspects of gayaki. This emphasis on complex phrasing is essential for conveying the emotional and artistic richness inherent in the sitar’s interpretation of vocal music.

For the analysis of the use of ornamentation in sitar performances, the occurrence of specific ornaments such as meend, gamak, and ghasit were meticulously documented. The findings revealed a significant utilization of these ornaments across the different sitar gharanas. Notably, the use of meend and gamak stood out as being more frequent compared to other ornaments such as ghasit and chut (Figure 3). Meend and gamak were found to be integral components of the performances, often employed to create smooth, expressive transitions and embellishments that mimic vocal techniques.

Figure 3 Occurrence of Ornamentation

These two ornaments contribute greatly to the melodic and emotional richness of the music, providing depth and nuance to the performances. However, the less frequent occurrence of ghasit and chut suggests that while these ornaments are also crucial, and are perhaps used more selectively to add specific flavours and stylistic touches to the music. Overall, the analysis highlights the essential role of meend and gamak in achieving the expressive and emotive qualities characteristic of gayaki ang in sitar playing, while other ornaments like ghasit and chut complement these primary techniques.

Conclusion:

The in-depth study of gayaki ang in sitar playing across various gharanas has revealed its profound influence and importance within Indian classical music. The application of core elements such as complex phrasing, intricate ornamentations, and expressive techniques highlights the depth and subtlety of this style. These features are crucial in achieving the emotive, vocal-like quality of gayaki ang, enriching the artistic expression of sitar performances. The widespread adoption of gayaki ang across different sitar traditions demonstrates the lasting impact of this style, transcending individual gharana boundaries while preserving each tradition’s unique characteristics. This evolution signifies ongoing growth and innovation in the sitar tradition as musicians seek to combine technical proficiency with emotional depth. Gayaki ang enhances the sitar’s musical language, providing fresh perspectives and fostering an appreciation for the varied and dynamic world of Indian classical music.

The present study offers an initial examination of select aspects of gayaki ang in sitar playing, and its influence across different gharanas. However, this exploration is just a starting point, as the intricate and multifaceted nature of gayaki ang warrants a more in-depth investigation of its various components. There could be research on each aspect separately to understand their individual contributions to sitar performance. Research in future could also explore the historical evolution of gayaki ang across different sitar traditions, the importance of specific techniques in conveying emotional depth, and the impact of regional variations of gayaki ang. By examining these elements more thoroughly, scholars and musicians can gain a deeper appreciation of the artistry and complexity within gayaki ang and its enduring significance in Indian classical music.

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Endnotes:

[i] Jawari is a distinctive bridge on the sitar, designed to produce a buzzing, resonant sound that enhances its unique tonal quality.

[ii] Gamak is a musical ornamentation in Indian classical music involving rapid, controlled oscillations or variations of pitch around a central note, adding vibrancy and expressiveness to the performance.

[iii] Meend is a musical technique used primarily in Indian classical music where the player smoothly slides between two notes, creating a continuous gliding sound that is expressive and conveys emotion.

[iv] Ghasit is a technique in Indian classical music where the player smoothly slides through a series of notes, often used to connect melodic phrases and create a flowing, expressive sound.

[v] Chut to a type of ornamentation that involves a quick, sharp, and subtle grace note leading into the main note, adding nuance and embellishment to a musical phrase

[vi] In Indian classical music, a taan is a fast, intricate melodic passage or run of notes that is often executed with precision and speed.

[vii] Khatka is a type of ornamentation used in Indian classical music that involves a quick, subtle, and intricate grace note or group of notes added to a main note, creating a slight variation in pitch and adding expressiveness to the melody.