Transcription and Analysis of Ravi Shankar

Louisiana State University
LSU Digital Commons

LSU Doctoral Dissertations Graduate School
2013
Transcription and analysis of Ravi Shankar's

Morning Love for Western flute, sitar, tabla and
tanpura
Bethany Padgett
Louisiana State University and Agricultural and Mechanical College, [email protected]
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Doctoral Dissertations. 511.
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TRANSCRIPTION AND ANALYSIS
OF RAVI SHANKAR’S MORNING LOVE
FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA
A Written Document
Submitted to the Graduate Faculty of the

Louisiana State University and
Agricultural and Mechanical College
in partial fulfillment of the
requirements for the degree of
Doctor of Musical Arts
in
The School of Music
by
Bethany Padgett
B.M., Western Michigan University, 2007
M.M., Illinois State University, 2010
August 2013
ACKNOWLEDGEMENTS
I am entirely indebted to many individuals who have encouraged my musical endeavors
and research and made this project and my degree possible. I would first and foremost like to
thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more
than I could have ever hoped for in an advisor and mentor for the past three years. She has
inspired and motivated me as a musician and has provided the support I needed to succeed. I
would also like to give a huge thanks to Andrew McLean, who kindly agreed to help me with
this project and play tabla for the lecture recital of Morning Love. He has been my Indian music
teacher for six months now and I could not have completed this project without his knowledge,
experience, connections, expertise and patience. It was at his recommendation that I contacted
Dr. Amie Maciszewski, who also agreed to share her incredible talent for my lecture recital.
Between Andrew on tabla and Amie on sitar, I could not have asked for a more enjoyable and
fruitful collaboration. I would also like to thank my committee members Dr.Inessa Bazayev, Dr.
Sarah Bartolome, Professor Johanna Cox and Dr. Jill Brody for their guidance and
encouragement through this process. Last but not least, I would like to thank my family for their
consistent love and encouragement, for teaching me the value of hard work and responsibility
and for their unconditional support for all that I may choose to do in life.
ii
TABLE OF CONTENTS
ACKNOWLEDGMENTS ...………………………………………………………….……….….ii
ABSTRACT ...……………………………………………….……………………………...…...iv
INTRODUCTION……………………………………………………………………..………….1
CHAPTER 1- HISTORICAL CONTEXT……………………………………...…………...……5
CHAPTER 2- THEORETICAL CONTEXT…………………………………………...…….….14
CHAPTER 3- TRANSCRIPTION……………...…………………………………………....….29
CHAPTER 4- ANALYSIS……………………………………………………………..………..37
CONCLUSION……………………………………………………………………….…..……...58
GLOSSARY…………………………………………………………………………….……….59
BIBLIOGRAPHY……………………………………………………………………….………63
APPENDIX 1- TRANSCRIPTION IN E………………………………………………...……...66
APPENDIX 2- TRANSCRIPTION IN D……………………………………………...……….112
APPENDIX 3- SITAR TRANSCRIPTION IN SARGAM……………………………..………..157
COPYRIGHT PERMISSION…………………………………………………………………..161
VITA…………………………………………………………………………………....………162
iii
ABSTRACT
The purpose of this study is to provide a transcription and musical analysis of Ravi
Shankar’s Morning Love for Western flute, sitar, tabla and tanpura. This document provides a
discussion of Ravi Shankar’s biography, a theoretical context for the piece including an
introduction to Hindustani musical characteristics, and prescriptive transcriptions of Morning
Love in Western and Indian notation. A detailed analysis of the piece applies the Hindustani
classical musical characteristics discussed. Morning Love is one of only two pieces for Western
flute composed by Ravi Shankar as a result of his collaboration with French flutist Jean-Pierre
Rampal. Prior to this research, there was no transcription of Morning Love: Shankar taught the
composition to Rampal by ear and all that existed was a professional audio recording,
Improvisations - West Meets East (1976). This study provides a transcription of Morning Love,
allowing for a comprehensive theoretical analysis of the piece and also making it more accessible
to Western musicians who are interested in performing it.
iv
INTRODUCTION
0.1 Overview
The purpose of this study is to provide a transcription and musical analysis of Ravi
Shankar’s Morning Love,1 for Western flute, sitar, tabla and tanupra. My target audience is
Western musicians interested in learning more about the relationship between North Indian
classical Hindustani music and Western music. I will also explore Ravi Shankar’s musical
endeavors as a cultural ambassador to the West, and the composition of Morning Love as a result
of those endeavors. The first section of this document provides a historical context for the piece.
In this section I discuss biographical information about Ravi Shankar: his life, influences and
musical accomplishments. I also discuss Morning Love as the result of the collaboration between
Ravi Shankar and Jean-Pierre Rampal, the nature of their collaboration and the placement of this
piece in the scope of Shankar’s other significant collaborations. In the second section, I provide
a theoretical context for the piece, exploring the traditional characteristics of Hindustani classical
music, including formal designs, the ragas (melodic characteristics) used and how those ragas
have been adapted in music for the Western flute. I also discuss the talas (rhythmic modes or
cycles), style and instrumentation, delineating and differentiating between musical traits that are
exclusively Indian, those that are exclusively Western, and those that are shared. The third
section provides the transcription of Morning Love. I discuss the different methods and reasons
one would have for transcribing and explain my own approach. The fourth and final section is an
analysis of the piece and a direct application of the Hindustani classical musical characteristics
discussed in the second section. I provide brief definitions in this document for Indian terms only
1
Morning Love has never been notated, so there is no score. Shankar collaborated with
flutist Jean Pierre-Rampal, teaching him the piece aurally. My analysis of Morning Love refers to
Shankar and Rampal’s recording of the piece.
1
the first time they are used, and also provide a glossary of Indian terms at the end of the
document for the reader’s convenience.
Ravi Shankar was a seminal figure in the introduction of Indian music to Western
audiences. In Musik in Geschichte und Gegenwart 2 (Music in History and the Present), Hans
Neuhoff referred to him as the best known contemporary Indian musician. Not only did Shankar
introduce Indian music to Western audiences, but he was instrumental in inspiring and
actualizing the assimilation of Indian music into Western music. He elevated the status of Indian
music abroad by advancing the sitar, creating ragas, popularizing Karnatak ragas, and bringing
extinct North Indian talas back to life.3 His relationships and collaborations with Western
musicians encompassed not only key Classical composers, but Rock and Jazz artists as well.
There was much prestige connected with his name; he won many awards and honors including
the Padma Bhushan in 1967, Padma Vibhushan in 1981, and Bharat Ratna in 1999 (the highest
three civil honors in India),4 three Grammy Awards, and honorary doctorates from universities in
India and the United States. He also started the Ravi Shankar Foundation, an institution
dedicated to the preservation and performance of Indian classical music.
2
Hans Neuhoff, “Ravi Shankar,” Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyklopädie der Musik (Kassel: Bärenreiter, 1994), 15.
3
Stephen Slawek, “Ravi Shankar,” The New Grove Dictionary of Music and Musicians,
ed. Stanley Sadie (London: Macmillan, 2001), 20: 202.
4
Padma Bhushan is the third highest civilian award in India recognizing distinguished
service to India. Padma Vibhushan is the second highest civilian award recognizing exceptional
and distinguished service to India in any field. These two awards are conferred by the president
of India. Bharat Ratna is the highest civilian award in India for performance of the highest order.
Bharat Ratna is not necessarily awarded every year and has only been awarded forty-one times
since 1954. Besides Ravi Shankar, individuals that have received this award include Mother
Teresa, Zakir Hussain and Nelson Mandela.
2
0.2 Literature Review
As a result of the broad impact Shankar has had on Western and Indian music, there is a
significant amount of literature available about his life, music and influences. Shankar wrote
several books. They include My Music, My Life5 an autobiography written in 1968, Learning
Indian Music: A Systematic Approach6 written in 1979; and Raga Mala7 a second, more
comprehensive autobiography written in 1997 which included an introduction by George
Harrison. There have been documentaries done on Shankar’s life, including In Portrait8 and
Pandit Ravi Shankar: A Man and His Music.9 Ethnomusicologist Gerry Farrell also published
Indian Music and the West10 which includes information on Ravi Shankar and his collaborations.
There has been little research done on Shankar’s two compositions for the Western flute,
especially Morning Love, since analysis of this composition was made difficult by the fact that it
had never been notated. Lori Ann Kesner did some analysis of Enchanted Dawn and Morning
Love in her 2006 dissertation “Indian-Western Fusion in Two Works for Flute and Harp by Ravi
Shankar and John Mayer.”11 However, there has been a significant amount of research done on
Hindustani music that can be applied to the analysis of Morning Love. Two of the most
5
Ravi Shankar, My Music, My Life (New York: Simon and Schuster, 1968).
6
Ravi Shankar, Learning Indian Music: A Systematic Approach (Fort Lauderdale:
Onomatopoeia, 1979).
7
Ravi Shankar, Raga Mala: The Autobiography of Ravi Shankar, Edited and introduced
by George Harrison (New York: Welcome Rain, 1999).
8
Ravi Shankar in Portrait, prod. and dir. Mark Kidel, 190 min., Opus Arte, 2002, DVD.
9
Pandit Ravi Shankar: A Man and His Music, prods. Anne Schelcher and Pascal
Bensoussan and dir. Nicolas Klotz, 60 min., Films for the Humanities and Sciences, 1994, DVD.
10
Gerry Farrell, Indian Music and the West (Oxford: Oxford University Press, 1997).
11
Lori Ann Kesner, “Indian-Western Fusion in Two Works for Flute and Harp by Ravi
Shankar and John Mayer,” D.M.A. diss., University of Cincinatti, 2006. In ProQuest
Dissertations and Theses, http://proquest.umi.com.libezp.lib.lsu.edu/
pqdweb?index=0&did=1203557661&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQ
D&RQT=309&VName=PQD&TS=1315556929&clientId=19327 (accessed September 7, 2011).
3
significant sources are by Vishnu Narayan Bhatkhande; they are his four-volume Sangit shastra,
published between 1910 and 1932 and Dramik pustak malika, a six-volume compilation of
classical Hindustani songs organized by raga. These two texts have since been very influential
resources for ethnomusicologists. Other resources in Indian languages include Vishnu Digambar
Paluskar’s Raga pravesh (1911-21), Omkarnath Thakur’s Sangitanjali (1938-62), Ramkrishna
Narahar Vaze’s Sangit kala prakash (1938), Vinayak Rao Patwardhan’s Raga vinjana (1961-74)
and Vimalkant Roy Chaudhury’s Raga vyakaran (1981). In English, Walter Kaufmann wrote
two books The Ragas of North India (1968) and The Ragas of South India (1976). Both books
were helpful for my research because Shankar used both North and South Indian ragas in
Morning Love, and these books are comprehensive sources of the ragas and their characteristics.
Other books that are good sources for theoretical context include Alain Danielou’s Northern
Indian Music (1969), B. Chaitanya Deva’s An Introduction to Indian Music (1981) and N. A.
Jairazbhoy’s The Rāgs of North Indian Music: Their Structure and Evolution (1971). A valuable
DVD detailing Hindustani music is Raga Unveiled: India’s Voice, The History and Essence of
North Indian Classical Music (2009). Resources that present issues of transcription and give
guidance for the process of transcription include Otto Abraham and Erich Moritz von
Hornbostel’s Vorschläge für die Transkription exotischer Melodien (Proposals for the
Transcription of Exotic Melodies) from 1909, Charles Seeger’s Prescriptive and Descriptive
Music-Writing (1958), George List’s Ethnomusicology: A Discipline Defined (1992) and Joep
Bor’s The Raga Guide: A Survey of 74 Hindustani Ragas (1999) containing four CDs of
Hindustani ragas with corresponding descriptions and transcriptions.
4
CHAPTER 1- HISTORICAL CONTEXT
1.1 Ravi Shankar: Biographical Overview
The first part of my research establishes who Ravi Shankar was and outlines key
formational events in his life. Shankar’s eventual interest in combining elements of Indian,
Western classical, rock and jazz musics started forming at an early age.12 He was born in
Varanasi (also known as Benares), India in 1920.
In 1929 Ravi Shankar’s eldest brother Uday (who was an aspiring dancer and
choreographer) assembled a troupe of Indian dancers, including Ravi, to tour the West. In 1930
the troupe went to Paris, and in 1932, they toured the United States. These trips were Ravi
Shankar’s first experiences with bridging cultural gaps by exposing the West to Indian artistic
traditions. He states, “Ever since I was a boy in my teens living in Paris and touring with my
brother Uday’s troupe of dancers and musicians, I have felt a strong desire, almost a
missionary’s zeal, to bring the beautiful, rich and ancient heritage of our classical music to the
West and to bring about a deeper comprehension and appreciation of it.”13 He participated in the
performances by singing, dancing and playing instruments such as the sitar, esraj, sarod, sarangi
and drums. While the troupe was rehearsing in Paris, Westerners would often go watch and talk
to Uday about the music. One such visitor was Georges Enesco, who was friends with Uday. At
that time, Enesco was teaching Yehudi Menuhin, and Uday and Ravi listened to one of
Menuhin’s lessons, which was one of Ravi’s earliest associations with Menuhin. Other
Westerners who viewed the troupe’s rehearsals or performances were less respectful of the
12
Stephen Slawek, “Ravi Shankar,” The New Grove Dictionary of Music and Musicians,
ed. Stanley Sadie (London: Macmillan, 2001), 20: 202.
13
Ravi Shankar, My Music My Life (New York: Simon and Schuster, 1968), 14.
5
Indian music; they commented that the pieces were too long, monotonous, grating, and did not
have harmony or counterpoint. This lack of understanding by Westerners is what first motivated
Shankar to, when concertizing in later years, inform his audiences of characteristics of the music
through pre-concert talks.14
Shankar had no formal training up until 1935 when “Baba” Allauddin Khan, a famous
Hindustani musician and sarod virtuoso, started touring with the troupe to Europe. Around that
time, Shankar was advancing very quickly in dance and envisioned himself having a career as a
dancer. As Shankar put it, “the sitar was only a kind of hobby, and I considered myself a dancer
before all else.”15 This frustrated Allauddin Khan, who wanted him to give up dancing and
concentrate on music. Shankar remained torn between dancing and music until 1939 when the
troupe returned to India due to the outbreak of World War II, and Shankar began training with
Allauddin Khan at Khan’s home in Maihar to learn the sitar.16 This was a pivotal point in
Shankar’s career; he completely immersed himself in the rigorous training and dedicated himself
to the mastery of the instrument. Shankar credits Allauddin Khan for much of his success,
claiming “what he gave me is all my life.”17 Khan usually taught Shankar alone, but sometimes
Khan’s son and daughter (Ali Akbar Khan and Annapurna Devi) would join in and the three of
them would learn together. Ali Akbar and was just two years younger than Shankar, and the two
of them became close friends. During this time, a marriage was also arranged between Shankar
and Annapurna.
14
Ravi Shankar, My Music My Life (New York: Simon and Schuster, 1968), 79.
15
Ravi Shankar, My music My Life (New York: Simon and Schuster, 1968), 79.
16
Shankar’s first sitar recital was in 1939.
17
Kesner, “Indian-Western Fusion in Two Works for Flute and Harp by Ravi Shankar
and John Mayer,” 13.
6
In 1944, Shankar moved to Bombay with Annapurna and their son Shubhendra where he
became involved with film scoring and became the director of music at All India Radio, the
national radio broadcast program. In Bombay, Shankar went through a low part in his life
financially and spiritually, and was feeling very depressed. It was then that he became acquainted
with the guru Tat Baba, who taught Shankar that the difficult period he was going through was
only temporary. Shankar said, “In the two and a half months after I first met Tat Baba, we saw
each other often, and I noticed the strangest things began to happen to me. Money started to flow
in, and suddenly I had invitations to play three concerts a week… Most important, I felt a new,
special strength within me, a surge of power.”18
Shankar desired to show audiences in the West that Indian music was not repetitive or
uninteresting, so while he was working for All-Indian Radio he founded the orchestra Vadya
Vrinda (or National Orchestra). Despite his brother Uday consciously omitting any Western
instruments in the performances by his troupe, Shankar discovered that the violin was fully
capable of producing the musical nuances in Indian music because it could easily slide between
pitches. He directed and composed for Vadya Vrinda, using ragas in nontraditional ways, and
started to include Western instruments of the violin family and Western musical characteristics.
After Annapurna left their marriage in 1956, Shankar resigned from All India Radio to do
another Western tour, this time to London, Germany, the United States, and back to Europe.
These trips were at first difficult for him because it was a struggle to draw an audience and they
were making very little money. Of all the countries they toured, he found that the American
audiences were the most receptive to Indian music. Through these concerts, Shankar aimed to
18
Ravi Shankar, My Music, My Life (New York: Simon and Schuster, 1968), 90.
7
make Indian classical music more approachable and enjoyable to Western audiences by making
it more comprehensible and teaching his audiences about the music before playing:
“I didn’t just perform and go away but I always tried to train the listeners in the sense that
I gave illustrations just before starting a piece, introducing the ragas, the talas, whatever
notes they used, their ascending-descending structures, or how the rhythmic cycle of
seven is divided, how we beat and divide within the tala framework, these were very
important things for the people to know… thus I have been able to create a large group of
audience who became ready not only to listen to the music but also appreciate [it].”19
However, despite Shankar’s efforts to educate his audiences, concert attendance remained
low compared to the success he had had as a Hindustani classical performer in his own country.
Then in 1966 Shankar met George Harrison of The Beatles, and their ensuing relationship gave
him much publicity.20 He continued forming professional relationships with Western musicians
and is well-known through these collaborations, which will be further discussed in section 1.2.
Shankar had taught at the City College of New York and the University of California-
Los Angeles and in 1970 became the chair of the department of Indian music of the California
Institute of the Arts. In addition to collaborations with individuals, he also worked with several
orchestras. In 1970 he composed and performed his first Concerto for Sitar and Orchestra with
the London Symphony Orchestra conducted by Andre Previn and he wrote a second concerto in
1981 called Raga Mala for the London Symphony Orchestra conducted by Zubin Mehta. His
third Concerto for Sitar and Orchestra was premiered by Shankar’s daughter Anoushka and the
Orpheus Chamber Orchestra in 2009. Shankar also wrote a Symphony which was performed on
19
Gerry Farrell, Indian Music and the West (Oxford: Oxford University Press, 1997), 170.
20
Shankar capitalized on the rapid stardom he acquired through that relationship until the
1970s when he began to withdraw from the Pop concert tour scene due to his disgust at the
association of drugs and violence with Indian music attributed by Westerners.
8
July 1, 2010 by his daughter Anoushka on sitar with the London Philharmonic Orchestra,
conducted by David Murphy who was a student of Shankar.
Meanwhile, Shankar and Annapurna separated. During the years of separation with
Annapurna, Shankar’s private life was complicated. There were long-term relationships with
dancer Kamala Chakravarty that ended in 1981 and with concert promoter Sue Jones, which
whom he had the child Norah Jones, who is now an American singer-songwriter. Shankar’s other
daughter, Anoushka, was born to Sukanya Rajan, a Carnatic vocalist, when Sukanya was still
married to another man. Shankar had been living with Sue Jones, but eventually moved out and
married Sukanya in 1989.
Shankar died on December 11, 2012, in San Diego, California, at the age of 92. He had
suffered from upper respiratory and heart ailments throughout 2012, and had undergone surgery
to replace a heart valve in the days leading up to his death. Shankar was survived by his wife
Sukanya and two daughters Anoushka Shankar and Norah Jones. His impact on World Music is
arguably unmatched. In 2011, the Los Angeles Times said, referring to Shankar, that “Music may
not have, precisely, saints. But no musician alive is a closer fit.”21
1.2 West Meets East Collaborations
In addition to the collaboration with Jean-Pierre Rampal, I will discuss other prominent
musicians including John Coltrane, Philip Glass, Yehudi Menuhin and George Harrison, all of
whose collaborations with Shankar were instrumental in realizing the transfer and fusion of
Indian music with Western music. Philip Glass, in the foreword to Shankar’s autobiography My
Music, My Life, says that Shankar
21
Oliver Craske, Obituary (Ravishankar.org), 2.
9
“was already established as a Master of Indian classical music when, as a young man, he
began a series of collaborations with musicians who were his peers in the world of
Western classical music… Those were the birth years of what is now known as World
Music… though I don’t remember anyone in the ‘60s calling it that. And I can state
without hesitation or exaggeration that he was the Godfather, the Mother and the Father
of that movement.”22
A brief look at these collaborations reveals how Indian classical music was reshaped in
various ways as it found its way into the different Western musical genres. There were musical
influences across social and cultural boundaries that may have affected the flow of
communication or musical influence across those boundaries. For example, the accessibility of
mass media and the emergence of mass culture in India facilitated the flow of musical influence
from the West to the East. In the West, lack of knowledge about India and its customs led to
social, economic and cultural misunderstandings which in turn led to a distorted translation of
Indian music into Western culture. Musical elements such as tuning, mode and instrumentation
also hindered the flow of musical influences.
Shankar had a very influential role in the course of Western pop which can be largely
attributed to his relationship with George Harrison of The Beatles. While at a friend’s house in
London in 1966, Shankar met George Harrison for the first time. Harrison expressed interest in
Indian music and in becoming more proficient on sitar, so Shankar agreed to teach him.
Teaching Harrison how to play sitar quickly elevated Shankar to celebrity status. According to
Farrell, there may be no better illustration in recent history of the incredible speed at which mass
media can absorb and redefine elements of another culture than Indian music in 1960s Western
22
Ravi Shankar, My Music, My Life, (New York: Simon and Schuster, 1968), 12.
10
pop.23 In 1967 Shankar performed at the Monterey Pop Festival alongside Joan Baez, Jimi
Hendrix and others. He acquired a hippie following through his newly-found popularity. He also
performed at Woodstock in 1969, but despite being received well, he began to disassociate
himself from popular music culture to protect the sanctity of his musical heritage. However, he
remained lifelong friends with Harrison and in the early 1970s they collaborated on two albums
(“Shankar Family and Friends” and “Ravi Shankar Music Festival from India”) and toured the
USA together. They also organized the Concert for Bangladesh in 1971, a charity concert which
highlighted the plight of Shankar’s fellow Bengalis during the liberation war. They collaborated
again on later projects, such as the 1997 album “Chants from India,” and Harrison co-produced
the box set “Ravi Shankar: In Celebration” (1996).
One of Shankar’s most notable encounters with Jazz was his meeting of John Coltrane in
New York in 1964. Coltrane was already fascinated with Indian culture and music, and included
characteristics of Indian music in his compositions as featured on the albums, A Love Supreme,
Om (1968) and Meditations (1966). In their meetings, Shankar would sing and play sitar for
Coltrane, teaching him the different Indian ragas and talas. They continued to correspond and
share recordings and musical ideas. Later that same year, Ravi Shankar recorded the LP album
Portrait of a Genius featuring Jazz flutist Paul Horn. In these pieces, where Indian and Jazz
elements are fused together, there is a trend for instrumentalists to gravitate toward improvisation
in the style of the culture their instrument belongs to. However, the flute, with its dynamic and
tonal compatibility with Indian instruments and roots in both cultures, lends itself to crossing the
cultural divide.24
23
24
11
Shankar also had significant relationships with members of the Western classical
tradition, including Yehudi Menuhin, Philip Glass, and Jean-Pierre Rampal among others.
Shankar and Menuhin were formally introduced in 1952 at the house of All Indian Radio
director-general, Narayana Menon. Menuhin, a classical violinist, was one of the first
individuals Shankar collaborated with. The two of them performed a sitar-violin duet at the Bath
Festival in 1966.25 His work with Yehudi Menuhin on the album West Meets East earned them a
Grammy award. Philip Glass studied Indian music theory with Ravi Shankar. Their collaboration
produced the album Passages in 1990 and the concert work “Orion” for the Athens 2004
Cultural Olympiad.
Shankar’s collaboration with Jean-Pierre Rampal produced two compositions for the
Western flute, Enchanted Dawn for flute and harp and Morning Love. Shankar had met Rampal
by 1976. Rampal had come to Los Angeles for a concert and Shankar invited him to dinner. In
Shankar’s autobiography Raga Mala, he says he had heard other exceptional flutists, but Rampal
was his favorite. When Rampal expressed interest in playing with him, Shankar wrote Enchanted
Dawn scored for flute and harp and then wrote Morning Love for flute, sitar, tabla and tanupra.
Shankar says of Morning Love, “Jean-Pierre played so beautifully, and I personally have a
weakness for that piece: it is one of my favourites among the collaborations I have done.”26
Enchanted Dawn and Morning Love were released in 1976 on the third record under the title
West Meets East. Shankar and Rampal have played Morning Love together in recitals in Paris
and London, and also in Cannes, France in 1992 for Shankar’s 70th birthday.
25
Ravi Shankar, Raga Mala: The Autobiography of Ravi Shankar (New York: Welcome
Rain, 1999), 183.
26
Ravi Shankar, Raga Mala: An Autobiography of Ravi Shankar (New York: Welcome Rain,
1999), 185.
12
The wide-spread fame and success Ravi Shankar enjoyed was largely a result of these
collaborations with Western musicians. Had he not reached out to Western audiences by touring,
collaborating with Western musicians on recordings and concerts, and explaining Indian music
to his Western audiences through books and by talking about pieces in concert, Westerners
would still have a very limited knowledge and appreciation for the Indian musical tradition. The
next section provides a basic basis of knowledge of Indian music to set up the analysis of
Morning Love.
13
CHAPTER 2- THEORETICAL CONTEXT
“Sangeet” or “sangeeta” is the word used for “music” in India. However, originally the
word sangeeta was used to refer to an inclusive performing art form which combined singing,
playing musical instruments and dancing. Although all art forms are recognized and valued in
India, singing is considered the original, purest form of art. This idea is conveyed through a
famous story which is recounted in the second chapter of the Vishnudharmottara Purana, an
encyclopedic Hindu text. It is told in the form of a conversation between the sage Markendeya
and King Vajra:
Once upon a time, a king, desirous of learning sculpture, went to a learned sage and
asked to be taught the art. But the teacher said, "How can you know the laws of sculpture,
if you do not know painting?" "Teach me the art of painting, Master", said the disciple.
"But how will you understand painting, without the knowledge of dance?" "Instruct me in
the techniques of dance, O Wise One", requested the royal student. The teacher
continued, "But you cannot dance without knowing instrumental music". "Let me learn
the laws of instruments", prayed the king. The guru replied, "Instrumental music can be
learnt only if you study deeply the art of singing". "If singing is the fountainhead of all
arts, I beg you, O Master, to reveal to me the secrets of vocal music". This prime place
given to the voice in ancient times still abides, and many of the qualities of Indian music
derive their characteristics from this fact.27
27
Chaitanya Deva, An Introduction to Indian Music (New Delhi: National Printing Works,
1981), 1.
14
Instrumental music is therefore modeled after vocal music in style and ornamentation.
Unlike Western classical music, Indian classical music is monophonic. The expression lies in the
rise and fall of a single musical line and the way in which time is divided.28
Two distinct branches of classical music are practiced in India: the Hindustani tradition
of the north and the Carnatic tradition of the south. Although these two musical traditions share
central notions of melodic and rhythmic cycles, they differ greatly in instrumentation, melodic
structure (raga), rhythmic structure (tala), ornamentation and types of compositions.
In medieval times, the melodic systems of Hindustani music were influenced by Persian
music and after the 16th century, singing styles diversified into separate gharanas, or lineages,
each of which were patronized by different Moghul courts. Meanwhile, Southern India remained
untouched by Persian influence and the music in the South developed independently, creating a
divergence between Northern and Southern styles. Ravi Shankar composed in the Hindustani
Classical tradition, so while I discuss aspects of both Hindustani and Carnatic, I focus mainly on
Hindustani music to provide a theoretical context for Morning Love.
2.1 Raga
Raga is the central melodic system of South Asian classical music. It is not exclusively a
modal scale but rather a drone-based melodic sequence with specific ascending (aroh/arohi) and
descending (avaroh/avarohi) governing phrases, a hierarchy of pitches and extra-musical
associations such as times of day, seasons and specific moods. Narada’s Sangita-Makaranda
(7th-11th centuries) warns against playing a raga at the incorrect time of day because disastrous
28
1981), 2.
15
consequences are to be expected. As Chaitanya Deva says in his book An Introduction to Indian
Music, “it is a nucleus based on certain traditionally accepted rules which in actual performance
are improvised upon, expanded and embellished, thus drawing out the possibilities inherent in
the melodic embryo.”29 Alternatively, an ancient definition states, “A raga, the sages say, is a
particular form of sound which is adorned with notes and melodic phrases and enchants the
hearts of men,” which is appropriate since raga is derived from the root ranj, meaning to please
or color with emotion.30 The total number of ragas in existence cannot be defined exactly. The
Hindustani Classical music theorist and musicologist Pandit Vishnu Narayan Bhatkhande (1860-
1936) gives 186 ragas. However, performing musicians only use about 40-50 ragas in practice,
and the repertory continues changing as musicians invent new ragas and other ragas become
antiquated.
Around 1900, Bhatkhande created a classification system which organized the Hindustani
ragas into “thaats” (scales), similar to melodic modes in Western music theory. Thaats usually
consist of five to seven swara, or pitches, which belong to the Hindustani Sargam. Sargam is the
equivalent to Western movable “do” solfege, both of which repeat at the octave. However, unlike
the Western solfege which has additional syllables for the chromatic pitches, Hindustani Sargam
just has the basic seven swara. The word “Sargam” is a combination of the first four syllables:
Sa, Re, Ga, and Ma. Most of the words from which the Sargam syllables are derived have
significant meanings. The first degree Shadja, for example, literally means “giving birth to six,”
meaning Shadja is considered the one note from which the other six emerge. The sound of a
Sargam syllable as well as its placement within the scale can evoke associations with sounds
29
1981), 4.
30
1981), 5.
16
made by particular animals. In addition, each svara is conceived to be placed in particular parts
of the body. Sa is placed at the base of the spine, which is considered the exact center of the body
and of the body’s movement. As the notes ascend, the placement of the note in the body is
increasingly higher. Refer to the solfege-Sargam table below for a comparison of these
associations.
Table 1- Solfege-Sargam Comparison31
Solfege Sargam Meaning Animal Association Chakra

Do Sa (Shadaj) “giving birth to six” Cry of the Peacock mūlādhāra (base of
spine)
Re Re or Ri “bull,” “hero,” “Great skylark; Lowing of the svādhiṣṭhāna (genital
(Rishab) One” bull s)
Mi Ga (Gandhar) a province and people Bleating of the goat
of Northwest India; maṇipūra (solar
sky, “Sweet plexus and navel)
Fragrance”
Fa Ma (Madhyam) “middle” Call of the dove/heron
anāhata (heart)
So Pa (Pancham) “fifth” Call of the

cuckoo/nightingale viśuddha (throat)
La Dha (Dhaivat) “earth,” “Divine” Neighing of the horse

ājñā (third eye)
Ti Ni (Nishad) a people of West Trumpeting of the

India; hunter; “secret elephant sahasrāra (crown of
doctrine,” the head)
Mysterious”
To notate a melody, only the first letter of the syllable is used. Ragas almost all contain
the pitches Sa and Pa (S and P), which together make a perfect fifth apart and are unalterable.
The other five pitches are alterable, and the alternate forms of these pitches are designated with
upper or lower case letters depending on whether they are the higher or lower form of the pitch.
31
Regula Qureshi, et al. "India." Grove Music Online. Oxford Music Online. Oxford
University Press.Web. 13 Jun. 2013.
17
The seven natural notes are called shuddha svaras, and the altered notes are flat komal or sharp
tivra.
Table 2- Shuddha, Komal and Tivra Svaras
Sargam S r R g G m M P d D n N
Shuddha C D E F G A B
Komal Db Eb F# Ab Bb
or Tivra
Mainly three registers are used in performance: mandra (low), madhya (middle) and tar
(high). Each octave can then be divided into a lower and higher tetrachord or pentachord. The
lower division is called purvang which would range from Sa to Ma or Pa and the upper division
is called uttering which would range from Ma or Pa to Sa.
Ragas are classified into Raga (male), Ragini (female) and Putra (children). There exists
a theory of rasas (emotions) associating ragas and raginis with different times of day and
different kinds of heroes (nayaka) and heroines (nayaka), personifying the ragas and relating
them to specific emotional characters. The imagery evoked could be very elaborate. For
example, the ragini Todi
“has a complexion of yellow; with saffron and camphor on her body, and is dressed in
white robe… Her patterned beauty lights up the four quarters; she plays on a veena,
reposing in a meadow. The strings of the veena shine like the rays of effulgence,
discoursing melodious music with the sweet panchama. She practices the form of the
melody in her improvisation; by hearing the melody, birds and animals are moved to
tears. Absorbed in the songs the fawns dance before her without fear.”32
32
1981), 25.
18
But the consolidation of the ragas into ten thaats eliminated these designations. The
thaats all have seven svaras which occur in sequence, they do not have separate ascending and
descending lines and do not have a specific emotional quality in the way ragas do. Some of the
thaats correspond to Western church modes, as indicated in parentheses. However, some of the
the thaats contain augmented seconds between Re and Ga, Ga and Ma, and/or Dha and Ni, and
thus do not correspond to Western church modes. The ten thaats are each named after a
prominent raga associated with it:
1. Bilawal (Ionian) SRGmPDNS
2. Khamaj (Mixolydian) SRGmPDnS
3. Kafi (Dorian) SRgmPDnS
4. Asavari (Aeolian) SRgmPdnS
5. Bhairavi (Phrygian) SrgmPdnS
6. Bhairav SrGmPdNS
7. Kalyan (Lydian) SRGMPDNS
8. Marva SrGMPDNS
9. Purvi SrGMPdNS
10. Todi SrgMPdNS
Morning Love primarily uses the raga Nata Bhairavi, which is not the same as the
Hindustani thaat Bhairavi. Rather than using a Phrygian scales, it uses an Aeolian scale
associated with the Hindustani thaat Asavari. Nata Bhairavi and the other ragas employed are
discussed further in the fourth chapter, “Analysis.”
19
2.2 Ornamentation
Unlike Western music, ornamentation is not a secondary feature of Hindustani music. It is a
primary feature because it is through the ornamentation that each raga is rendered and
systematically brought to life. There are many ways in which pitches can be inflected or
embellished in Hindustani music. In addition to having the twelve semitones in common with
Western music, Indian music includes Shrutis, or microtonal variations of pitches. Some ragas
require ati komal or “very flat” svaras. The Ma can become tivratar or “very sharp.” Ragas are
also defined by their ornamentation. The expression lies in between the notes. For example, kan
is a single grace note before or after an articulated note. A mind is a slow, continuous portamento
between two notes. Often in an alap (the slow, unpulsed improvisatory opening of a classical
Hindustani performance), usually virtually every svara is approached or left with a mind. An
andolan is an oscillation on a single note. A murki is a fast oscillation between two or more
notes, similar to a trill. A gamak is a shake on a single note. Sut is a drawing out of a slide with
slow dragging motion between two pitches. Krintan is the act of pulling off the string. Tip is the
opposite of krintan and is hammering on the string.
2.3 Tala
Rhythmic organization is at least as important as melody for creating the style and mood
in Indian classical music. Tala is the cyclic system of fixed time. There are about 350 talas in
Hindustani music. Each tala is a specific number of beats in duration, and different beats within
a tala have different emphasis. Musicians may indicate the place in the cycle with hand claps or
waves. The emphasized first and most important beat of the cycle is sam, which is notated with
the “+” and is indicated with a hand clap. Secondary accented beats are called tali and are also
20
indicated with hand claps. They are notated with the numeric placement of the beat among other
accented beats within the cycle. The khali is the unaccented empty beat of the tala. It is indicated
by a silent wave of the hand (palm faces up) and is notated with the symbol “0.” In addition to
the clapping, the interim beats may be counted by touching the thumb with individual fingers to
keep time. The number of talas used in practice is very small compared to the number of
rhythmic combinations possible. The most common tala is Tintal. It is comprised of sixteen
beats divided into four groups of four beats each called vibhags. “Tintal” literally means “three
claps” because the third group is a wave instead of a clap:
+ (clap) 2 (clap) 0 (wave) 3 (clap)

1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16
The mnemonic syllables used to indicate the strokes of the tabla are called the bol.
Syllables starting with “g-” such as Ga or ghe are produced by a resonant strike of the bass drum.
Syllables starting with “k-” such as ka are produced by a nonresonant strike of the bass drum.
Syllables starting with “dh-” such as Dha, dhin, dhi or dhe are produced by striking both treble
and bass drum. Syllables starting with “t-” or “n-” such as ti, tin, ta, te, tu or na are produced by
only striking the treble drum, producing a lighter sound. The pattern of the bol for any given tala
is called the theka. The theka for tintal is:
+ (clap) 2 (clap) 0 (wave) 3 (clap)

1 2 3 4 |5 6 7 8 | 9 10 11 12 | 13 14 15 16
Dha dhin dhin Dha | Dha dhin dhin Dha | Dha tin tin ta | ta dhin dhin Dha
Tala cycles often include vibhags with differing numbers of beats. Dhammar is one
example of this, dividing fourteen beats into 5 + 2 + 3 + 4. In its basic form, Dhammar contains
some beats without drum strokes, as indicated by the dashes:
+ | 2 |0 |3
kat dhe te dhe te | Dha - | ge te te | te te ta -
21
Rhythm in Hindustani classical music is highly sophisticated and an essential part of any
performance. Even in the unmetered Alap, Hindustani musicians retain an internal sense of pulse,
even if it is a flexible pulse. It is said that the first necessity in music is the control of rhythm, for
otherwise “the song (and dance) will go out of control, like a wild elephant without the check of
ankusa (the elephant driver’s hook) and the knowledge of Time is unlimited and even Siva has
not the capacity to cross over its Limitlessness.”33 In the next section, we turn to form.
2.4 Form
There are generally two stages of a piece of Hindustani classical music. The first is an
Alap. In instrumental music, the Alap can be divided into three sections. The first section is also
called an Alap and is a slow, unaccompanied, rhythmically free improvisation presenting the
raga and exploiting its characteristic melodic structure. This is followed by the Jod or Jor, which
is also unaccompanied but establishes a slow or medium-speed pulse. The Jod is followed by the
Jhala which is a fast, pulsed solo characterized by the alteration of melody and chikari (drone)
strings. The second large section is the Gat or Bandish. This is a fixed melodic composition set
in a specific raga and performed with a specific rhythmic cycle and accompanied by tabla. It
starts with a short “theme” which returns in between variations. This theme can be called a
sthaayi, pakad or gat. The second phrase is the Antara, literally meaning “between.” The
Sanchaari is the third body phrase, usually in dhrupad (a vocal form) bandishes, and the Aablog
is the fourth and concluding body phrase, also typically in dhrupad bandishes. Morning Love has
the form Alap-Jor-Gat, which will be further discussed in the fourth chapter, “Analysis.”
33
Chaitanya Deva, An Introduction to Indian Music (New Delhi: National Printing
Works, 1981), 35.
22
2.5 Instrumentation
In India, there is a saying that “Every ten miles you walk brings a new dialect.”34 The
same could be said about the diversity of musical styles and instruments. The history of musical
instruments in India is a reflection of the socio-political influences the country has been subject
to. The degree and diversity of outside influence in the North was made greater by its proximity
to surrounding countries while the South has remained relatively unaffected due to geographical
isolation. There exist at least five hundred instruments which are divided into four groups: tala
vadya, sushira vadya, avanaddha vadya, and ghana vadya, corresponding to the Western
chordophones, aerophones, membranophones and idiophones, respectively. Each instrument
provides one of three distinct functions: drone, melody and rhythm. In this section I will describe
only a few important Hindustani musical instruments, including the instruments used in Morning
Love.
Drone
The drone helps create the atmosphere and holds the tonal center by maintaining the Sa
and usually the Pa or Ma, helping the musicians stay in tune.
Tanpura-
The tanupra is a stringed drone instrument and is usually used in every ensemble. It has a
long unfretted neck and a gourd or wooden sound chamber. It began to be used regularly
at the beginning of the 17th century in the Mughul courts. 35
34
George Ruckert, Music in North India (Oxford: Oxford University Press, 2004), 65.
35
23
Figure 1- Tanpura36
Melody
All melodic instruments of India must be capable of sliding between notes, playing
microtones and being able to play quick ornaments. Stringed instruments have been the primary
melodic instruments of Indian classical music since the Mughal times (sixteenth-nineteenth
centuries). However, bamboo flutes such as the bansuri are also used.
Veena-
Traditionally, the word “veena” was used to refer to any stringed instrument. The South
Indian veena is the most popular instrument of Carnatic music. The North Indian veena,
also called been, is now rarely used. Veenas are usually fretted and vary in size. 37
Figure 2- Veena38
36
Free Access photo from commons.wikipedia.org
37
24
Sitar-
The word “sitar” is derived from seh-tar which means “three strings” in Persian. The
sitar developed from mixing the Persian tanpur with the rudra veena, producing a louder
and more versatile instrument. The sitar is sometimes thought of as the quintessential
instrument of Hindustani classical music and was made especially popular is the West
through Ravi Shankar. It is a long-necked, fretted string instrument with a gourd as the
resonating chamber. The frets are moveable, allowing the sitar to be set to any raga.
There are six or seven main playing strings above the frets and nineteen sympathetic
strings below the frets. The main strings are played with a plectrum, a piece of wire
twisted to fit the index finger of the right hand. 39
Figure 3- Sitar40
38
Free Access photo from commons.wikimedia.org
39
40
25
Sarod-
The sarod also developed from the veena. It is a stringed instrument smaller than the
sitar. Unlike the sitar, the sarod has no frets and creates slides in pitch by moving the
finger on the string up and down the neck. There are twenty-five strings total, which are
strung over the large wooden gourd-shaped resonating chamber. Of the twenty-five
strings, ten are physically played and the other fifteen are for sympathetic resonance.41
Figure 4- Ali Akbar Khan playing Sarod42
Bansuri-
The word “bansuri” originates from the Sanskrit words bans (bamboo) and sur (melody).
It is the instrument played by Krishna, who is the eighth avatar or manifestation of the
supreme God Vishnu in Hinduism. The bansuri is a transverse, keyless North Indian
41
42
Free Access photo from commons.wikipedia.org
26
bamboo flute. It is played by blowing across a tone hole and different notes are achieved
by fully or partially covering the six or seven finger holes.43
Figure 5- Pravin Godkhindi playing Bansuri flute44
Tabla-
The word “Tabla” is derived from the Arabic word “tabl” meaning “drum.” The tabla are
a pair of hand drums and are the most widely used drums in Hindustani classical music to
accompany vocal and instrumental music. Both drums have adjustable pitch to tune to the
raga. The larger bass drum, called the bayan, is played with the non-dominant hand and
is made of metal. The smaller, higher-pitched drum, called the tabla, is played with the
dominant hand and is made out of wood.45
43
44
45
27
Figure 6- Tabla: The smaller tabla drum is on the left and the larger bayan drum is on the right46
46
Free Access Photo from commons.wikimedia.org
28
CHAPTER 3- TRANSCRIPTION
There are several different possible approaches to transcribing music, each with different
objectives, advantages and disadvantages. The main division of types of transcriptions is
between those that are prescriptive and those that are descriptive. Prescriptive transcriptions
provide a musical blueprint based on a given piece to facilitate future performances of the piece.
Descriptive transcriptions, on the other hand, aim to create a score that replicates exactly how a
specific performance or recording sounded.47 Prescriptive transcriptions are subjective because
the transcriber is constantly making choices and decisions about what to include, what to omit,
and what the performer’s intention was, possibly correcting mistakes in the score. As
musicologist George List noted, in this kind of broad transcription, only the significant features
need to be notated, and the number of symbols used can then be restricted.48 As Western
musicologists, we tend to assimilate structures within our music that are similar to structures we
are familiar with our own Western classical tradition, ignoring aspects of the music that are
difficult for us to conceptualize and communicate if we have not formed language for it.
Descriptive transcriptions, on the other hand, are objective because the transcriber aims to be as
specific as possible in order to create a visual duplicate of the original aural performance for
analytical purposes; it is a more rigid representation of a selected recording and will include any
mistakes performed live as well as accurate notation for improvised passages.
There are also different methods of visually representing music. Charles Seeger talks
about “chain” (individual symbols) versus “stream” (lines that combine pitch and rhythm).
Western notation is traditionally exclusively chain notation because it uses symbols (notes, rests,
47
Charles Seeger, “Prescriptive and Descriptive Music-Writing" The Musical
Quarterly 44 (1958): 188.
48
George List, “Ethnomusicology: A Discipline Defined” (NY: Garland Publishing, Inc.,
1992), 3.
29
stems, flags, etc.) to represent pitches and rhythms. This means this notation is limiting because
it only easily represents half steps or quarter tones using modern notation. Using “stream” or
graphic notation allows for much more accuracy (up to 1/14th tone) of pitch and rhythm
(rhythmic margin of error 1/100).49 While Western notation gives a general idea of the pitches
and rhythms used, graphic notation gets much closer to the actual music and gives a much better
idea about what goes between the notes. However, no matter the method chosen for
transcription, it is important to keep in mind that the full auditory parameter of music cannot be
represented by a partial visual parameter.50 Music transcends written notation. As Bartok said,
“the only true notations are the sound-tracks on the record itself.”51 I am not making an attempt
to replace the recording with the transcription in any way, but to use the transcription as a tool
for analysis and communication and to provide a means for future performances of Morning
Love.
The transcription I have created was not intended to be a descriptive representation of
Morning Love detailing every specific nuance of the recording and creating a visual means to
duplicate the recording. Rather, its purpose is to provide a prescriptive guide in order to facilitate
further performances of the piece, and a physical representation of the music to refer to for
analytical purposes. My expectation is that this transcription will be read and understood by
people who do not carry the tradition of Indian music, but are familiar with Western notation.
Most of the analysis done in this document references the score in Western notation I have
provided. However, I have also included Indian notation for the tabla and sitar to make it more

49
Quarterly 44 (1958): 188.

50
Quarterly 44 (1958): 184.
51
Quarterly 44 (1958): 187.
30
accessible for musicians trained in that tradition. Moreover, Indian notation for the tabla was
necessary since the bol is untranslatable into Western notation and the strokes used are at least as
important as the rhythm employed to capture the mood and style of the composition.
I took a methodical approach to creating the transcription. I listened to the piece many
times and played along with my flute, before starting the notation because I wanted to be sure I
was aware of the large-scale ideas in Morning Love. In this process I established what the tala
was and where it switched to a different tala. The next step for me was notating the instruments
one at a time, listening horizontally. First I notated the flute part. I chose to notate this first
because I have perfect pitch for flute, making it easy for me to tell what notes Rampal was
playing. I challenged myself to listen at full speed as much as I could, but in the fast passages I
slowed the recording down 50% so it was the same notes sounding an octave lower and twice as
slow. Listening to the music an octave lower allowed me still to use my perfect pitch in the
original key and not have to transpose. I then transcribed the sitar part, noticing any repetitions,
unisons and parallelisms with the flute part. For ornamentation, I listened for what the primary
note was and just notated that.
Rather than working entirely on my own, I chose to consult the musicians I would be
performing Morning Love with (Dr. Amie Maciszewski52 on sitar and Andrew McLean53 on
tabla) with any questions I had in the process. It was important for my research to work with
someone familiar with the gharana (school of teaching) that Ravi Shankar belonged to.
52
Dr. Amie Maciszewski has her Ph.D. in ethnomusicology from the University of Texas at
Austin and has served as visiting professor and teaching artist on the faculties of the Universities
of Colorado, Alberta, Pittsburgh, and Texas.
53
A New Orleans native, Andrew McLean is a multi-instrumentalist, ethnomusicologist and
north Indian classical music specialist who has received training from the legendary maestros
Ustad Ali Akbar Khan, Pandit Swapan Chaudhuri & Ustad Zakir Hussain while co-founding the
Indo-New Orleans group Shringar with world music pioneer Aashish Khan.
31
Fortunately, both Amie and Andrew belonged to the same gharana as Shankar. When I asked
Andrew about his affiliation with gharanas, he said,
“I am a representative of two gharanas: the Seni-"Maihar" Gharana for melody and the
Lucknow Gharana for tabla. Both are something to be proud of - The Maihar Gharana is
probably the most referenced gharana in that so many famous musicians have come
through it, and their music has set the standards for many of the instruments we hear in
concert these days. Ustad Allauddin Khan trained most of them, and his lineage goes
back to the origins of Hindustani music in the court of Akbar and the court musician
Mian Tansen. The list of luminaries he trained includes Ravi Shankar, Ali Akbar Khan,
Nikhil Banerjee, Panalal Ghosh, Annapurna Devi, Aashish Khan, etc.”
While both Amie and Andrew belonged to Shankar’s Maihar gharana, Andrew
represents a different gharana than Alla Rakha, who was the tabla player on the recording;
Andrew belongs to the Lucknow gharana while Alla Rakha belonged to the Punjab gharana.
However, the two gharanas share many characteristics and Andrew was a huge help
understanding the tabla part.
The tabla was the most difficult part of the transcription and I worked a long time with
Andrew McLean to get it right. Andrew taught me the bol of the tabla, how to distinguish
between different strokes, how to recognize tihais, what some traditional compositions for tabla
are and what some common forms of tabla solos are. I had to slow down the solos much more
than I did the flute and sitar part in order to hear the rhythm of the fast passages. Since this is a
prescriptive transcription, I decided not to notate every stroke of the dadra and keharwa tala; the
performance of this would be different every time. However, I did notate the first solo and the
form of the second solo.
32
Many of the decisions I made regarding the notation of Morning Love were in line with
Erich M. von Hornbostel’s propositions for the notation of exotic melodies.54 I chose to use a
five-line staff system for the transcription. While a greater number of lines might help denote
quarter tones, those systems are difficult to read because the Western musician is so conditioned
to read the five-line staff. Anything other than a five-line staff would be pointless in this case
anyway, since Morning Love does not use quarter tones other than those momentarily touched on
through the sitar ornamentation. I used the treble clef for the soprano flute because that is the
standard range and clef for that instrument. I also used treble clef for sitar (even though its range
extends lower than the flute and could therefore be in alto clef) because the melody fits better
within the treble clef and having both melodic instruments in the same clef provides a better
point of comparison between the two. I included key signatures throughout, realizing that by
doing so, I was taking the risk that Morning Love may be perceived to be in a key. It has
different scales but no “key,” which would imply that it contains traditional harmonic
progressions in the vein of Western classical music. Morning Love is largely monophonic and
does not contain harmonic progressions like Western classical music. However, I added a key
signature simply to indicate which notes would be consistently sharp or flat out of convenience
so that I would not have to enter accidentals for every altered note. It is also easier for the
performer to read fewer accidentals. I organized the music into measures based on the tala. The
main dadra tala (3+3) would best be described as 6/8 in Western notation, and this is the
grouping I have used for the notation of the tabla. However, I have mostly notated the melodic
voices in 3/4 because while the tabla is clearly in 6/8, the melodic instruments usually have a 3/4
54
Otto Abraham and Erich Moritz von Hornbostel, "Vorschläge für die Transkription
exotischer Melodien",Sammelbände der Internationalen Musikgesellschaft vol. 11, 1909, Reprint
in Musical transcription, Garland, New York, 1990, 7.
33
feel. The rhythmic cycle switches to keharwa tala (4+4) near the end, which would best be
described as 4/4 in Western notation, and I notated it as such. Since the alap and jor do not have
rhythmic cycles, I did not indicate a time signature there. Instead, to indicate note duration in the
alap I used stemless notation. Half notes represent longer notes, quarter notes are shorter, and
eighth notes are the shortest, which is all evident by the spacing between the notes created by the
music editing software.
While the original transcription and my analysis were in the tonal center of E, this is a
very unusual key for a sitar to play in. Sitars are usually tuned to C#, but Shankar preferred to
tune his up to D to better facilitate collaborations with Western musicians whose instruments lent
themselves to a tonal center on D better than on C#. In his autobiography, Shankar says for
Morning Love he used the second note on his Sa (D) string, E, as the new Sa.55 This would have
changed the technique he had to use to play the piece. However, most sitar players are unlikely
to be willing to adapt to this new position. Therefore, in addition to the transcription in E, I have
also transposed the composition to have the tonal center of D. There was one registral
complication with the flute part when transposing it down a major second. The flute plays the B
immediately below middle C several times, which is the lowest note on the flute. This made
simply transposing the whole piece down a major second impossible, while transposing it up a
minor seventh would place it in an unappealing high register, and in places put it completely out
of range. Fortunately, the low B’s happened to occur only in the alap. I therefore was able to
transpose the whole piece down a major second and rewrite the alap for alto flute to be able to
play the notes that would have otherwise been out of range for the C flute.
55
Ravi Shankar, Raga Mala: The Autobiography of Ravi Shankar (Welcome Rain: New
York, 1999), 41.
34
Refer to Appendix 1 for the transcription in the original key of E and Appendix 2 for the
transcription in the transposed key of D.
3.1 Sitar Transcription
This is an explanation of how to interpret the transcription of the sitar part using Sargam
provided for musicians who are familiar with Indian notation rather than Western notation. The
number of measures per line corresponds to the number of measures per line in the score to
facilitate cross-reference. The letters used are abbreviations using the first letter of each Sargam
syllable Sa, Re, Ga, Ma, Pa, Dha and Ni. Capital and lower case letters denote natural or altered
notes. Sa and Pa are always natural and are thus always capital. Re, Ga, Dha and Ni may be
natural or flat and Ma may be natural or sharp. It will be helpful to recall the Sargam chart
referenced in the raga section of this paper:
Table 3- Shuddha, Komal and Tivra Svaras in E
Sargam S r R g G m M P d D n N
Shuddha E F# G# A B C# D#
Komal F G A# C D
or Tivra
Note that the chart earlier in the paper gave the Sargam for scales for which Sa was C. Here,
under the rules of “movable Sa,” this chart gives the Sargam for scales for which Sa is E, as in
the case of Morning Love.
Time is divided into measures using vertical lines. For example, the vertical lines
surrounding |S - - - S - - - | indicate it is one measure. Rhythm is notated by the spacing of the
Sargam and the addition of horizontal lines. For example, two adjacent letters such as “SR”
denote a rhythm at the subdivided level, two letters separated by a space such as “S R” denote a
35
rhythm at the matra (metrical unit) level, and letters separated by dashes such as “S – R –”
denote a rhythm twice as slow as the matra. Since the Gat of Morning Love is in Dadra Taal and
the tabla is playing in 3+3 (or 6/8 in Western notation), the matra is the eighth note. See
Example 1 for a comparison of Indian and Western notations for the first few measures of the gat
of Morning Love.
P - m - g - | R g - RSn- |S - - - - - | n R S n d P | P d n S n- | d n S R S-
n S R g R - | g P m g R g | P – m – g - | R g - RSn - | S-----
Example 1- Indian and Western notations for first 11 measures of the Gat
Refer to Appendix 3 for the complete sitar transcription in Indian Sargam.
36
CHAPTER 4- ANALYSIS
The fourth part of my research is the musical analysis of Ravi Shankar’s Morning Love as
recorded in August, 1976 in the Boulogne Studios in Paris by Jean Pierre Rampal on Western
flute, Ravi Shankar on sitar, Allah Rakha on tabla and Kamala Chakravarti on tanupra. This
piece has undeniable influences from both Indian classical music and Western classical music.
Shankar considered himself primarily an Indian composer and musical ambassador to the West.
He says, “my roots are in India, so this work will naturally be more Indian than Western. There
will be elements of harmony and counterpoint, but the harmonic and contrapuntal structure will
not be . . . so dense and heavy as to blur or kill the beauty of the ragas.”56 However, in the liner
notes to Shankar’s third West Meets East album, Frederick Teague writes, “Fleeting Western
touches are heard in Ravi Shankar’s simple harmonic passages in Morning Love and in the slight
chromaticisms in the same composition.”57 I will analyze and separate those aspects of the piece
that are clearly Indian, Western, or those that have shared traits between the two traditions.
4.1 Alap
Morning Love is based on a Karnatak morning raga, Nata Bhairavi, but incorporates
other ragas as well.58 The scale used in the raga Nata Bhairavi is natural minor, and the tonic of
Morning Love is E.
The piece begins with an alap, a slow, free, unpulsed improvisation, on the sitar followed
by the flute. The alap in Hindustani music typically highlights the characteristic motion and
56
Shankar, quoted in Modi, “Ravi Shankar,” 17.
57
Frederick Teague, notes to Improvisations: West Meets East, album 3, Angel Records
SFO–37200, 1977, LP album.
58
Shankar, Ravi. Shankar Concerto for Sitar and Orchestra. [Liner Notes.] EMI Records
Limited, 1976.
37
mood of the raga through stylistic ascending and descending lines and by emphasizing the most
important notes of the mode: vadi and samvadi. The fact that Nata Bhairavi is a Karnatak raga
complicates this traditional practice in the case of Morning Love. Since Shankar was from the
Hindustani tradition, he seems to have adapted this South Indian raga to his own tradition. In the
context of Karnatic music, Nata Bhairavi stresses the notes Ri (Re in Hindustani notation), Ga,
Ma and Ni. Also in the Karnatic tradition, the use of Dha in ascending lines is forbidden in Nata
Bhairavi, and the raga may be performed at any time of day.59 However, in Morning Love,
Shankar does not seem to follow these rules, and said, “Morning Love was based on the Carnatic
scale of Nata Bhairavi, but it was my own version composed in a light classical style.”60 This is
further supported by him saying:
“The Carnatic system has provided me with a good share of my inspiration. I fell in love
with Carnatic music in Madras at the age of twelve or thirteen when I first heard the great
singer and veena-player Veen Dhanam… It has therefore been extremely satisfying to
have succeeded in popularizing among musicians in the North the ragas Kirwani,
Charukeshi, Vachaspati, Simhendra Madhyam, Malaya Marutham, Nata Bhairavi,
Hemavati, Arabhi and others which are all of Carnatic origin. I could not play them in the
true Carnatic style, so what I introduced were Hindustani versions with my own
interpretations and embellishments, including new gats and bandishes.”61
In fact, Shankar does not seem to emphasize Re, Ga, Ma or Ni and he often uses Dha in
ascending lines. Also, Nata Bhairavi is referred to as a morning raga, an attribution which in the
59
Walter Kaufmann, The Ragas of South India, Bloomington: Indiana University Press,
1976, 205.
60
by George Harrison, New York: Welcome Rain, 1999, 185.
61
by George Harrison, New York: Welcome Rain, 1999, 294.
38
process of adapting the South Indian raga to his North Indian tradition, seems to have been
arbitrarily assigned to the raga by Shankar.62 Approaching Morning Love, then, from Hinustani
theoretical tradition, the vadi may be said to be E and the samvadi may be said to be B.63 The
phrases of the opening sitar alap reflect this by often leading to and arriving on these pitches,
and most importantly ending on the vadi E. See Example 2 below.
Example 2- Morning Love: Alap section, Sitar improvisation. The places where the
melody arrives at the vadi (E) and samvadi (B) are labeled with “V” and “S,”
respectively. Shankar often ascends from samvadi to vadi stepwise, as is shown with the
upward arrows.
62
Shankar Concerto for Sitar & Orchestra, London Symphony Orchestra, 1987 Angel
Records, liner notes, 8.
63
This application of vadi and samvadi is my own interpretation of the alap based on my
research of the nature and use of North and South Indian ragas.
39
The flute enters after the sitar improvisation, continuing the alap. Like the alap in the
sitar, the character of the raga is achieved here through the ascending and descending contours
of the lines and the manner in which the flute leads to and arrives on the vadi and samvadi, and
ending on vadi. The first part of the flute alap is slow and very free and is written with stemless
noteheads like the sitar alap. The second part, though still unmetered, takes on a more rhythmic
quality so I used stems to reflect the pulse. See Example 3 below.
Example 3- Morning Love: Alap Section, Flute improvisation. The places where the
melody arrives at the vadi (E) and samvadi (B) are labeled with “V” and “S,”
respectively. Like the sitar alap, Shankar often ascends from samvadi to vadi, as is shown
with the upward arrows. However in this case it is never stepwise as it was in the sitar
alap.
4.2 Jod
The sitar then improvises in the style of Jod, adding the rhythmic element and increasing
the tempo, but still does not include the tala. Although it is not in a set tala, it has a feeling of
being in 4/4, which is a common characteristic of the Jod along with two or eight-beat patterns.
40
Other than adding the constraints of measured time, this section was most likely completely
improvised by Shankar. It transitions from the slow alap into a faster pulse by starting with half
notes on E (Sa), moving to quarter notes, an ornamental section, eighth notes, sixteenth notes,
and then including a rhythmic cadence of 3 + 2 + 3 + 2 + 3 + 3 at the end of the Jod which
repeats almost three full times before sliding back into eighth notes. See Example 4:
Example 4: Morning Love, mm. 13-20. Jor played by the sitar. Increase of rhythmic
intensity throughout the solo is labeled.
41
4.3 Gat: Tabla Introduction
The tabla solo enters after the Jod, and presents the tala for the composition. Tabla solos
are not traditionally a part of classical Hindustani performances, but Shankar was appealing to
Western audiences who were enthralled with the instrument and displays of virtuosity. He said,
“for giving these chances to the tabla players, which no-one else permitted back when I started
doing it, I was so badly criticized by some Indian critics and musicians and music-lovers! They
condemned me for spoiling the tabla-players, giving them too much of an uplift or creating a
cacophony. Having initiated the practice to great success in the West, it was only natural that I
repeated it in India also, and that’s when some people really seemed to become unhappy. But it
enhanced the prestige of some of our tabla-players and made them more famous. Even today a
tabla solo is included in most of my concerts.”64 Zakir Hussain (accomplished tabla player and
son of Allah Rakha) also noted that Ravi Shankar was probably the first Hindustani classical
instrumentalist to ever hand the spotlight over to the tabla player, who would traditionally fulfill
a strictly accompanimental role.65 The tabla solo in Morning Love would not be considered part
of the alap but rather an introduction to the main composition. It is based on the tala Dadra, a
six-beat cycle (3+3, or using a Western time signature, 6/8). The solo is forty measures long.
Example 3 shows the solo transcribed in Western notation with the corresponding Indian bol
denoting what strokes are to be used. The sequence “Dha - tere kite taka tere kite” first seen in
measure 26 is a common composition for tabla and is repeated often in the tabla solo. Similarly,
“Dhene gene taka” is also a common sequence and is found throughout this solo. The tabla solo
is from mm. 20-62 and arrives at accompanimental dadra tala at mm. 60 when the sitar and flute
64
York, 1999), 296.
65
York, 1999), 296.
42
come in with the melody. Strokes that are not articulated but implied as they fit into a standard
sequence are denoted in parenthesis. See Example 5:
43
Example 5- Morning Love: Tabla Solo, mm. 20-62
Although the tabla solo is forty measures long, the musical content can be reduced to six
and a half measures. It is expanded through structured, inlaying repetitions. The solo contains
tihais which are rhythmic cadences composed of three identical sections common in Hindustani
classical music. This tabla solo is a chakradar, a type of tihai in which each phrase is a tihai in
itself. The first tihai is the thirty-second notes in the second half of the sixth bar of the solo
44
reduction. These thirty-second notes are repeated three times in a row. Even each of the three
groups of thirty-second notes is a three-fold repetition of four thirty-second notes. The thirty-
second note tihai is contained within another tihai, the fifth and sixth measures of the solo
reduction. Yet another tihai repeats the six and a half measures of the solo reduction. See
Example 6 below.
Example 6- Morning Love, Opening Tabla Solo Reduction
It may seem counterintuitive that the awkward length of this six and a half measure
reduction represents a forty measure solo. However, it can be described through this
mathematical equation: 3(3(3 x .5 + 1.5) + 4.5) - .5 = 40, where the 3s represent the tihais, the
added numbers represent the increasing length of the section being repeated and the subtraction
accounts for the last half measure of the reduction not being played the third time.
A tihai typically marks the end of a section and the start of another. In the case of this
solo, the last three times the thirty-second note tihai is played, the sitar plays Sa on the following
beat, indicating the approach of the gat, the main theme of the composition. The third time the
Sa is played is the start of the gat. See Example 7 below.
45
Example 7: Morning Love, mm 51-61, tihai leading up to the Gat. The diagonal dividing
lines mark the three repetitions within the tihai and the arrows point to the timely
entrance of the sitar after each repetition, joined by the flute after the third repetition.
46
4.4 Gat: Main Composition
The gat of Morning Love is a ragamala and is in the form of a theme and variations.
“Ragamala” literally means “garland of ragas.” In musical compositions, it refers to a formal
design that contains multiple ragas and uses a common phrase or small cluster of notes to
modulate between them. Typically, the gat would begin with the main theme and alternate with
improvisations on the raga between returns to the theme. This gat, because it is a ragamala,
alternates between the theme and departures to folk tunes or other ragas. I will now analyze the
melodic and rhythmic characteristics of the multiple sections of the gat below.
Theme
The gat opens with a short eight-measure theme which is also called the gat or sthayi.
The term “sthayi” corresponds to “register” in Western music. It is considered the “heart” or
refrain of the composition and is in the mandra sthayi and madhya sthayi, or lower and middle
octave, respectively. The flute and sitar are in unison at this point. The first three measures are in
the madhya sthayi and the fourth measure descends into the mandra sthayi. The next four
measures are characterized by an ascending sequence beginning in the mandra sthayi and
ascending back into the madhya sthayi. The whole sthayi is played twice in a row. See Example
8:
Example 8- The gat in Morning Love is an eight-measure long melody. It begins in mm.
61 and repeats in mm. 69.
47
After the two statements of the sthayi is the antara, which is literally means “between.”
In this section the melody approaches and goes into the next higher octave, or tara sthayi. It
adheres to the literal meaning of its name because after the antara is one more statement of the
sthayi, and the antara is sandwiched in between, rising up out of the octave of the sthayi and
then descending back into it. The antara is the only pre-composed part of the gat that occurs just
once over the course of the piece, as opposed to the sthayi, which returns between each variation
or diversion. See Example 9:
Example 9: Morning Love, antara, mm. 77-88, placed in between the second and third
statements of the sthayi.
Throughout the theme and variations form, the sthayi may return in full or in part.
Regardless of the length of the returns to the sthayi, the excerpt must start from the beginning of
the original sthayi. As the gat nears the second tabla solo, there is an increase of tension created
by increasingly faster and closer improvisations. The improvisations become faster not by tempo
but by gradually increasing the rhythmic intensity by incorporating an increasing amount of
sixteenth notes. The improvisations become closer together by shortening the length of the
48
returning sthayi. Instead of repeating all eight measures, Shankar reduces it to four measures and
then two measures. See Example 10:
Example 10: Morning Love, mm. 300-322. The circled sections show how the length of
the sthayi decreases as the intensity increases, and that each segment of the sthayi starts
from the beginning.
49
Tilak Kamod
The first major point of departure from raga Nata Bhairavi is in measure 173 with the
arrival on Re (F#) in the sitar, which turns into the new Sa. The melody not only shifts the tonic,
it moves to a new raga, Tilak kamod. The scale used in this section is SRGmPN, skipping Dha
altogether (which in this case would have been a form of D). Sa and Pa are strong notes in Tilak
kamod, and it has a tendency toward oblique (as opposed to strictly linear) movement. See
Example 11:
Example 11: Morning Love, mm 172-183. The Sargam abbreviations, modulation to Re

and the oblique motion are notated.
Bhupali
The second major point of departure is at measure 213 with the arrival on shuddha Ga
(G#). The scale is pentatonic, using E, F#, G#, B and C# labeled S, R, G, P and D in the example
respectively. This pentatonic scale is anhemitonic because it does not contain any semitones and
the largest interval is a minor third. (This would be in contrast to a hemitonic pentatonic scale
which would contain at least one semitone, and thus at least one major third, as in the raga
50
Bhupal-todi, which has the scale C, Db, Eb, G, and Ab.) Bhupali is used in several different
ragas. The raga used in this case is most likely Bhupali. Bhupali is one of the most widely
performed ragas. It is subordinated to the Kalyan thaat, which in this case would include the
notes E, F#, G#, A#, B, C# and D#. Its vadi is Ga (G#) and its samvadi is Dha (C#).66 Phrases
typically end on Ga or Sa. The Sanskrit syllable “bhu” means “land” and the Sanskrit syllable
“Pa” means “protector” or “father.” This association of the raga with kings gives it a regal
character. It is to be played in the early night from 9:00pm to 12:00am and should traditionally
be played in a slow, dignified laya (tempo).67 Shankar modulates away from it by introducing G-
natural in mm. 233. See Example 12:
Example 12: Morning Love, mm. 208-235. The bracketed section is entirely comprised of
the Bhupali raga.
66
Walter Kaufmann, The Ragas of North India, Bloomington: Indiana University Press,
1968, 66.
67
Joep Bor (ed), Suvarnalata Rao; Wim van der Meer, Jane Harvey, (co-authors), The
Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999, 108.
51
However, as a result of ambiguity of this passage, it could be argued that this section is in
a raga other than Bhupali. One possibility is that shuddha Ga becomes the new Sa and the raga
becomes Malkauns from Nata Bhairavi. Malkauns has a pentatonic scale and a majestic but
introverted quality. Some superstitious people believe that Malkauns can attract genies.68 It is
subordinated to the Bhairavi thaat, which in this case would include the notes G#, A, B, C#, D#,
E, and F#. Ma (C#) is the pivotal note of this raga while Re (A) and Pa (D#) are omitted. The
ascending pattern for the raga is SgmdnS and descending pattern is SndmgS. It is considered a
late-night raga and would be played between 12:00am and 3:00am. The following excerpt shows
how Nata Bhairavi could modulate to the Malkauns raga using the notes G#, B, C#, E and F#,
labeled S, g, m, d, and n, respectively. See Example 13:
Example 13: Morning Love, mm. 208-220
Although it is possible for this passage to be analyzed in either Bhupali or Malkauns, it is
more likely Bhupali because the rasa (mood) of the raga is more fitting for the style in which
this section is played.
68
Joep Bor (ed), Suvarnalata Rao; Wim van der Meer, Jane Harvey, (co-authors), The
Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999, 108.
52
Hansadhvani
The third major departure point from the main raga Nata Bhairavi is in measure 260
when the tonal center shifts to Ma (A) and the raga becomes Hansadhvani. Hansadhvani, which
literally means “the cry of the swan,” has been a popular South Indian raga and was rarely
performed in North India. However, it has now become very popular in the North as well. It may
have been composed by Ramaswamy Dikshitar (1735-1823). Hansadhvani is a bright and lively
raga and uses the pentatonic scale. The ascent-descent pattern is simply SRGPNS-SNPGRS. Re
is the most articulated note and is often approached by Ga in ascending lines. The following
excerpt shows the raga Hansadhvani using the notes A, B, C#, E and G# labeled with the
syllables S, R, G, P and N respectively. See Example 14:
Example 14: Morning Love mm. 254-276. The bracketed section is entirely comprised of
the raga Hansadhvani.
53
The second tabla solo then takes the composition from Dadra taal to Kaharwa, an eight-
beat cycle. Keharwa is a popular North Indian taal commonly used in light classical
compositions. It is divided into two equal sets (vibhags) of four beats (4+4). Sam is the first beat
of the first vibhag and khali is the first beat of the second vibhag. Sam is demonstrated with a
clap by audience members or musicians not playing at the time, and khali is demonstrated with a
wave. In the case of Morning Love, the sam in the beginning of the keharwa section starts with a
rest, and is played in unison by the sitar and flute. See Example 15:
Example 15: Morning Love, Keharwa
Tihais
One compositional technique that pervades North Indian music is the use of tihais. I
already analyzed the chakradar tihai played by the first tabla solo. The gat is also full of tihais,
which usually indicate the ending of a section. Tihais vary in their length and complexity. One
example of a simple tihai in Morning Love is in measure 274 when the flute repeats the same
two-beat motive over the course of two bars, creating a hemiola. The math involved can be
represented with the equation: 3 (beats per measure) X 2 (measures) = 2 (length of motive) X 3
(repetitions of the motive). This tihai leads to the return of the sthayi. See Example 16:
54
Example 16: Morning Love, mm. 272- 276. Tihai in measures 274- 276 leading to the
return of the sthayi
Another example of a tihai in Morning Love is in measures 352 to 355. In this case, the
time signature is 6/8 and the motive that is repeated is 8 beats long. The three repetitions of the
8-beat motive over four measures of 6/8 create another hemiola which sets up the arrival of sam
in measure 356. The math involved can be represented with the equation: 6 (beats per measure)
X 4 (measures) = 8 (length of motive) X 3 (repetitions of the motive). See Example 17:
Example 17: Morning Love, mm. 352-357 with the tihai over the course of four measures
from mm. 352-355.
Another tihai occurs in measures 478-483 at the end of the keharwa tala section. Other
than the very first note, the three two-measure phrases are identical in pitch and rhythm,
55
containing the rhythmic groupings 3+3+2+3+2+3. Every grouping of 3 is a quarter note followed
by an eighth note except the first grouping of 3 in each repetition of the tihai, which is a dotted
quarter note, the longest note of the sequence, grounding the tihai on sam. The tihai leads to the
return of the sthayi in the original dadra tala for the closing section of the composition. See
Example 18:
Example 18: Morning Love mm. 478-486 with the tihai over the course of six measures
from mm. 478-483, leading to the return of the sthayi in dadra tala.
Aspects of the piece which are exclusively Indian are the use of raga and tala, and the
stylistic use of form, ornamentation, improvisation and phrasing. Aspects that are Western
classical in origin include instrumentation, length and pacing and presentation. Another unique
aspect of Morning Love is the way in which Shankar utilizes the melodic instruments. In
traditional Hindustani classical music, because of the monophonic tradition, melodic instruments
would rarely play together. However in Morning Love, the flute and sitar often play in unison
56
and even harmonize. The harmony and relationship between the two lines is very basic in these
cases, adhering to parallel or contrary motion with rhythmic continuity. See Example 19:
Example 19: Morning Love mm. 368-374. This excerpt demonstrates the extent of the
kind of harmony used in Morning Love. Measures 368-371 sustain the interval of a
fourth while measures 372-374 employ contrary stepwise motion.
Although Shankar professed to have used contrapuntal techniques, the use of parallel
harmonies and note-on-note contrary motion is the extent of his polyphonic endeavors. The two
instruments are not given rhythmically independent lines adhering to traditional Western
harmonic progressions, as would be characteristic of “counterpoint” as it is understood by
Western classical musicians. Ravi Shankar may have collaborated with a Western musician
playing a Western instrument, but Morning Love remains grounded in the deep roots of the
Hindustani classical tradition.
57
CONCLUSION
The research I present in this paper is significant for several reasons. Little research has
been done on Ravi Shankar’s Morning Love. In this document, I look specifically at the
composition and how it acts as a conduit for the westward introduction of Indian culture. Also
significant is the importance of the musicians on whom I focus. Shankar was the first person to
mainstream a non-Western musical tradition, and was possibly one of the most influential
musicians of the twentieth century.69 Rampal was a world-renowned flutist, “credited with
returning to the flute the popularity as a solo classical instrument it had not held since the 18th
century.”70 Another reason for my research is to enable Western musicians to approach Indian
music and culture with greater understanding and appreciation. It is my hope that the publication
of this transcription will enable other Western flutists to be able to perform Morning Love. In
addition to these motivations, ultimately, we choose to do research to learn more about
ourselves, to transform ourselves in the process and to answer questions that might allow others
to do the same.71
69
Peter Lavezzoli, The Dawn of Indian Music in the West: Bhairavi (New York:
Continuum, 2006), 419.
70
The Washington Post Flutist Jean Pierre Rampas Dies at 78; Frenchman Had
Recorded More Than 300 Albums (pqarchiver.com: 2000)
71
Peter Lavezzoli, The Dawn of Indian Music in the West: Bhairavi (New York:
Continuum, 2006), 16.
58
GLOSSARY
alap – A slow, unmetered improvised elaboration on the raga used by vocalists and
instrumentalists
antara – Literally, “intermediary,” the second section of a composition, usually ascending to

upper register
arohana/ahora – The ascending structure of the raga
avarohana – Descending structure of raga
bansuri – A bamboo flute
Bengal – A state in northeastern India
Bhatkhande, Vishnu Narayan – (1860-1936) Indian musicologist who wrote a treatise on

Hindustani classical music, organizing ragas into thaats
bol – The mnemonic syllabi of tabla
Brahma – The supreme God
Carnatic sangeet – The various styles of South Indian music
chakradar – A tihai in which each phrase is a tihai in itself
chikari – The drone strings on the sides of sitar and sarod
dadra – A semi-classical style of singing
dadra tal – A common six-beat (3+3) tala used in semi-classical music
Dha – A fundamental bol of tabla
dhaivata – The sixth note of the scale (Dha)
dhin – A fundamental bol of tabla
gamak – A general term for any ornament; specifically referring to a heavy shake on a single
note
gandhara – The third note of the scale (Ga)
gat – The main theme of an instrumental performance
59
ge – A bol for the left hand
gharana – A particular house, family or school of playing
guru – A teacher
Hindustani sangeet – pertaining to North India
jati – The number of notes present in a raga
jhala/jala – The fastest section of an instrumental composition characterized by rapid strumming

of drone strings
jod/jor – Instrumental music that is metered but without a rhythmic
kaharwa/kaharva – An eight-beat tala (4+4)
kan – A single grace note or inflection before or after an articulated tone
khali – The waved, “empty”
komal – Flattened note
laggi – A fast lively style of playing, used in light styles of playing
lay/laya – Tempo
madhya saptak – The middle octave
madhyam – The fourth note of the scale (Ma)
mandra saptak – The lower octave
matra – Literally, “that which measures”; the beat
mind/meend– An ornamental slide or portamento between two notes
mizrab – A pick worn on the right index finger to play sitar
mukhda – Literally, “face”; the very beginning of a composition, sometime preceding and
leading up to the sam
na – A fundamental tabla bol
nishada – The seventh note of the scale (Ni)
60
pakad – The characteristic movement of a raga
palla – A section of the tihai that is repeated three times
pancham – The fifth note of the scale (Pa)
rabab – A stringed instrument similar to sarod
ragamala – Literally, “garland of ragas”; a style of performance where numerous different

ragas are joined together
rao – A rela-like structure that accompanies instrumental jhala
rasa – A particular, pervading emotional sentiment
rela – Very fast manipulation of small structures
rishabh – The second note of the scale (Re)
sam – The first beat of a cycle
samavadi – The second most important note of a raga
sangeet/sangit – A combined art form including music and dance
saptak – The register or set of seven notes in an octave
sarangi – The main bowed lute of Northern India
Sargam – The “solfege” of Indian music: Sa, Re, Ga, Ma, Pa, Dha and Ni, used for singing,
teaching and notating
sarod – A stringed instrument
shadj/shadaja – The first note of the Indian scale (Sa)
shruti – A microtonal division of the octave
shuddh – Literally, “pure”; a natural (as opposed to flat or sharp) note
sitar – A common long-necked fretted string instrument
sthayi – The first section and main theme that returns throughout the composition
sur – 1) A note 2) The pitch of the tabla
61
svara/swar – A musical note; one of the seven scale degrees in an octave
tabla – The pair of Indian hand drums
tal/tala – 1) The Indian system of rhythm 2) A particular rhythmic cycle
tali – Clapped
tanupra – A long-necked unfretted stringed instrument used to provide the drone
tar – Literally “high,” usually referring to the high register
thaat/that – A mode
theka – The basic pattern of strokes the tabla player uses
tihai – A rhythmic cadence composed of three identical sections that can be either sung or
played on an instrument, ending on sam or the mukhda
tintal – A common tal of 16 beats
vadi – The important note of a raga
vibhag – The measure or bar
62
BIBLIOGRAPHY
Abraham, Otto and Erich Moritz von Hornbostel. "Vorschläge für die Transkription exotischer
Melodien",Sammelbände der Internationalen Musikgesellschaft vol. 11, 1909. Reprint
in Musical transcription, Garland, New York, 1990, pp. 1-25.
Bakhle, Janaki. Two Men and Music: Nationalism in the Making of an Indian Classical
Tradition. New York: Oxford University Press, 2005.
Bandyopadhyaya, Shripada. Indian Music Through the Ages: 2400 BC to the Present Era. New
Delhi: B.R. Publishing Corporation, 1985.
Bhatkhande, V.N. Music Systems in India: A Comparative Study of Some of the Leading Music
Systems of the 15th, 16th, 17th and 18th Centuries. Delhi: S. Lal & Co., 1984.
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors). The Raga
Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
Charles, David Armstrong. “Fusion for Survival: Expanding International Audiences for
Indian Classical Music.” M.M. thesis, University of Texas at Austin, 2003.
Clayton, Martin. Time in Indian Music: Rhyth, Metre, and Form in North Indian Rag
Performance. New York: Oxford University Press, 2000.
Courtney, David. Fundamentals of Tabla: The Complete Reference for Tabla Vol. 1. Houston:
Sur Sangeet Services, 1998.
Daniélou, Alain. Northern Indian Music. New York: Frederick A. Praeger, 1969.
Danielou, Alain. The Ragas of Northern Indian Music. New Delhi: Gayatri Offset Press, 1980.
Desai, Gita. Raga Unveiled: India’s Voice; The History and Essence of North Indian Classical
Music. DVD, 2009.
Deva, B. Chaitanya. An Introduction to Indian Music. New Delhi: National Printing Works,
1973.
Farrell, Gerry. Indian Music and the West. Oxford: Oxford University Press, 1997.
________. “Reflecting Surfaces: The Use of Elements from Indian Music in Popular Music
and Jazz.” Popular Music 7 (1988): 189–205.
63
Ghosh, Nikhil. Fundamentals of Raga and Tala with A New System of Notation. Bombay:
Popular Prakashan, 1968.
Hay, Katherine. “East Asian Influence on the Composition and Performance of Contemporary
Flute Music.” Ph.D. diss., Columbia University Teacher’s College, 1980.
Jairazbhoy, N.A. The Rags of North Indian Music: Their Structure and Evolution. Middletown,
Connecticut: Wesleyan University Press, 1971.
Kaufmann, Walter. The Ragas of North India. Bloomington: Indiana University Press, 1968.
Kaufmann, Walter. The Ragas of South India. Bloomington: Indiana University Press, 1976.
Kesner, Lori Ann. “Indian-Western Fusion in Two Works for Flute and Harp by Ravi Shankar
and John Mayer.” D.M.A. diss., University of Cincinatti, 2006. In ProQuest Dissertations and
Theses, http://proquest.umi.com.libezp.lib.lsu.edu/
pqdweb?index=0&did=1203557661&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=
PQD&RQT=309&VName=PQD&TS=1315556929&clientId=19327 (accessed September 7,
2011).
Lavezzoli, Peter. The Dawn of Indian Music in the West: Bhairavi. New York: Continuum, 2006.
List, George. “Ethnomusicology: A Discipline Defined.” In Ethnomusicology: History,

Definitions and Scope. Edited by Kay Kaufman Shelemay. NY: Garland Publishing, Inc.,
1992.
Neuman, Daniel. The Life of Music in North India: The Organization of an Artistic Tradition.
Detroit: Wayne State University Press, 1980.
Ruckert, George. Music in North India: Experiencing Music, Expressing Culture. New York:
Oxford University Press, 2004.
Seeger, Charles. "Prescriptive and Descriptive Music-Writing." The Musical Quarterly 44

(1958): 184-95.
Shankar, Ravi. Learning Indian Music: A Systematic Approach. Fort Lauderdale: Onomatopoeia,
1979.
________. My Music, My Life. New York: Simon and Schuster, 1968.
________. Shankar Concerto for Sitar and Orchestra. [Liner Notes.] EMI Records Limited,
1976.
________. Pandit Ravi Shankar: The Man and His Music. Produced by Anne Schelcher and
Pascal Bensoussan and directed by Nicolas Klotz. 60 min. Films for the Humanities and
64
Sciences, 2002 DVD.
________. Raga Mala: The Autobiography of Ravi Shankar. Edited and introduced by George
Harrison. New York: Welcome Rain, 1999.
Slawek, Stephen. “Ravi Shankar.” The New Grove Dictionary of Music and Musicians. Edited
by Stanley Sadie. London: Macmillan, 2001. 20: 202.
65
APPENDIX 1- TRANSCRIPTION IN E
66
67
68
69
70
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72
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78
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84
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86
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APPENDIX 2- TRANSCRIPTION IN D
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APPENDIX 3- SITAR TRANSCRIPTION IN SARGAM
- Sitar Alap
S—n S R g RgR R S n—n S d P – P d n S n S—S R g m – g m P d P g m R – n R g m
P R mg d – ḍ n SgRmg S—d n S d S d n d P g d P—P d S n S—P d n S
S—n S R g R S n d P— P D P—P D n S g—P d n S R S—d P—P n D n m
d P R m g S g R n d – d n S g R m g S d n S d S d n d P g d P – P d n S d S— ||
- Flute Alap – tacit
- Sitar Jod
S - - - S - - - | S - - - S – S - | Snsn S – Snsn S - | Snsn S Snsn – S R g |
R g R S R S n S | n R S n dSnS |d P – P – P – P – D | n n S – n n S - |
R R S – n n S - | SRgmg gRg gRg ~ | R ~ S ~ n ~ n ~ | n ~ d ~ P –PPPPPPP |
P –PPPPPPPP –PPPPPPP | P –dPdn –n n n n | n n n ~ n ~ n ~ | n nRgmgRg PdndPd |
P nDSnDndPndPdPm | gRmgRgmPPndPmgRg | PmgRmgRgg RRSRR | RRSnDnSnDn dPndP |
d – S RgRg – g mPm P -- | (3 + 2 + 3 + 2 + 3 + 3) m gR m gR g RS - | m gR g RS R Sn - | R Sn
S nd D n
d – d n P – P d n S n S ---- ||
Tabla Solo- tacit
Main Composition- Gat
P- m- g- Rg- RSn- | S----- n R S n d P | P d n S n- d n S R S- |
n S R g R- g P m g R g | P- m- g- Rg- RSn- | S----- n R S n d P |
P d n S n- d n S R S- |n S R g R- g P m g R g | R- g- P- d n - d P d | S----- n R S n d P |
R- g- P- d n - d P d | S----- n R S n d P | R g R- R- D n D- D- | G m G- G- m n P m g R |
n S R g R- g P m g R g | P- m- g- Rg- RSn- | S----- S----- |
n S R g RgR S n S R SRS | n D n S nSn d P d S nSn | d S nSn d P P—P-- |
157
n S R g RgR S n S R SRS | n D n S nSn d P d S nSn | d S nSn d P P—P-- |
P d P P P P P n d d d d | d S n n n n n R S S S S | P d P P P n d d d S n n|
N R S S g R R m g R g R | P- m- g- Rg- RSn- | S----- n R S n d P |
P----- P----- | -- P n n S S R R m m P | P—P D- P—P D|
PDS–DPPDPPP-|PDPDPmR–RSS-|SRG–G–RSSRS-|
S R m – m – G M G R G R | S – S R S N S – R G R - | -- R m G R R – G R S - |
SRSSN–S–RGR-|SRG–PmmPmGG-|
G DPPP P DPPP P DPPP | P D P m P m G m G R G R |
-PmGmG–mGRGR|-GRSRS–gRSRS|-Pm–mG–GR–R-|
- S - - - g – gRS R S n n - | PPPPn – n – PPPPS – S - | - R S n – g R S – m g R |
n S R g R- g P m g R g | P- m- g- Rg- RSn- |S – R – R – R - |
R–R–R–R-|R–R–R–R-|R–R–R–R-|R–R–R–R-|
R – R – R – R - | R – R – R – S - |S - * - S- * - |
S - * - S- * - | S - * - S- * - | P- m- g- Rg- RSn- |
S----- n R S n d P | P d n S n- d n S R S- | n S R g R- g P m g R g |
P- m- g- Rg- RSn- |g - - g g – g - - g g - | g – g - g – g - - g g - |
g - - g g – g - - g g - | g - - g g – g - - g g - |g – g- R R R – R g R S |
R–S–S---SRg-|G-G--G--RG---|RG--RS---SRG-|
P-P-P----P–D-|S–D–P---PDSR|G–G–G–RG–RG-|
R S – R S – D S D R S D |SSDDSSD D – P D P D P - | P D P D G – DPG – DPR - |
DP R – GR S – RSSGRRPGGDPP | SDDRSSSDDDPPDP G – PG R - |
GR S – R g - - g R G g G | g R – G P - - D – D S - | D S D R S – R S D d P - |
R S D d P P R S D d P P | D P G g R R G g R S S - | S D d P - - P – S – n S|
R – P – S – n SR – P - | S – nnSSRRgm | P- m- g- Rg- RSn- |
158
S----- n R S n d P | P d n S n- d n S R S- |n S R g R- g P m g R g |
P- m- g- Rg- RS - | m - - m m – m - - m m - | m -- m -- m-- m-- |
m -- m -- m-- m-- |m ----- m ----- | m ----- m ----- |
m ----- m ----- | m ----- m ----- | m ----- m ----- |
m ----- m ----- | P- m- g- Rg- RSn- |
S----- n R S n d P | P d n S n- d n S R S- |n S R g R- g P m g R g |
P- m- g- Rg- RSn- | S----- n R S n d P | d n S S n d n S R R S n |
S R S S n d P m g R D R | P- m- g- Rg- RSn- | S----- n R S n d P |
------------ | ------------ | ------------ |
------------ | SSSS S S – n – d P m n - | d – P m g d – P – m g R |
P- m- g- Rg- RSn- | S----- n R S n d P |------------ |
------------ |------------ |R S n d P m g R S n d P |
P- m- g- Rg- RSn- |------------ |------------ |
mPdP d – dnSn S – SRgR g m | P- m- g- Rg- RSn- |
------------ |------------ |
n d P d P m P m g RgmgRS | m – g R S – PdndPdn – d |
P d – RgmgRgm – g R S | P- m- g- Rg- RSn- | ------------ |
------------ |------------ |------------ |
------------ |
------------ |
------------ |PPPPPPnnnnnn ------------ |
RRRRRRmmmmmm------------ |
mmmmRRR n - ------------ | - - - - S – D – m - - |
--------Rg--|
----mP------|
159
RRRRRR RRRRRR RRRRRR RRRRRR |
nnnnnn nnnnnn nnnnnn nnnnnn | R S n d P m g R S n d P |
PdPdnd nSnSRS RgRgmg mPmP - | - nn d P m – dd P m g |
- PP m g R – mm g R S | n R – R m – m D – D S - | R S n d P m g R S n d P |
- nn d P m – dd P m g | PP m g R – mm g R S | n R – R m – m D – D S - |
RSndPmgRSndP|P–n–R–m–D–S-|g–S–D–m–R–n-|
SSSSSSSgRSn nnnnnnnrSnd |
dSndP PndPm mdPmgPmgRmgR | S – S—S—S-- |
----- (tabla solo)-------- | goes into Kaharwa 4 + 4
-- S r g m P m | P m g m g R S - | -- S R g m P m | P m g m g R S - |
-- n S n R R S | n R R S n d P - | - - n S n R R S |n R R S n d P - | - - P - - - P PPP |
P---PPPP-|PPP–PPP-|PPPmgPmg|m–dnS–nd|m–dnS–nd|
N–R gm–g R|n–Rgm–gR|g–PdndPdn–n–dnSR|gRSndPmg|
RSn–SRgR|SnSndPnd|Pmg–PPPS|SSggSSgg|
gPPPnnPP|SSnRSndP|mPmgRSn-|S--n–Rg-|
R – g m – g – m | P - - n – R g - | R – g m – g – m | P - - n – R g - | R – g m – g – m| ( return to
dadra)
P- m- g- Rg- RSn- | S - - - - - - - PPPPP - | P- m- g- Rg- RSn- |
S - - - - - - - PPPPP - | P- m- g- Rg- RSn- | S - PPPPP - P- m- g- |
Rg- RSn- S - PPPPP -| P- m- g- Rg- RSn- | S - - - - - - d – S – n – d – P ---------- ||
160
COPYRIGHT PERMISSION
Morning Love by Ravi Shankar

© 1977 St. Rose Music Publishing Co., o/b/o Anourag Music. Inc. Used by Permission.
161
VITA
Bethany Padgett is an active flute teacher and freelancer in Louisiana. She is second flute
of the Louisiana Sinfonietta, and has performed flute and piccolo with the Louisiana
Philharmonic Orchestra, Opera Louisiane, Acadiana Symphony Orchestra and the Baton Rouge
Symphony Orchestra. She also performs with Incense Merchants, a free-improvisation group in
Baton Rouge. She teaches at the Acadiana Conservatory of Music and Performing Arts
Academy. Bethany is pursuing her doctorate in flute performance at Louisiana State University,
where she studies with Katherine Kemler. She was a winner of the NFA Convention Performers
competition, Piccolo Masterclass competition and advanced in the Young Artist competition in
2013 and will perform at the NFA convention in New Orleans in August, 2013. She won the
NFA Masterclass competition in 2012. She won the Louisiana Flute Society Solo Masterclass
competition in 2013 and 2011 and the Orchestral Excerpt Masterclass competition in 2012. In
2010 she was the recipient of the Everitt Timm Scholarship and the Louisiana State University
Wind Ensemble Scholarship. She received her Masters in flute performance at Illinois State
University where she was awarded a Graduate Assistantship and studied with Kimberly Risinger.
She received her Bachelors in flute performance from Western Michigan University where she
studied with Christine Smith. In 2011 her ensemble Dauphine Street Duo featuring flute and
marimba gave the world premiere of Seven Refrains by Brett William Dietz and in 2012 she gave
the world premiere of Sonata for Flute and Piano by Alejandro Arguello. Bethany has been
active in many organizations including Sigma Alpha Iota, Phi Kappa Phi National Honor
Society, Music Teachers National Association and the National Flute Association, and she is
currently the secretary for the Louisiana Flute Society.
162

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Transcription and analysis of Ravi Shankar's

Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations

Submitted to the Graduate Faculty of the

The School of Music

I am entirely indebted to many individuals who have encouraged my musical endeavors

CHAPTER 1- HISTORICAL CONTEXT……………………………………...…………...……5

CHAPTER 2- THEORETICAL CONTEXT…………………………………………...…….….14

APPENDIX 1- TRANSCRIPTION IN E………………………………………………...……...66

APPENDIX 2- TRANSCRIPTION IN D……………………………………………...……….112

APPENDIX 3- SITAR TRANSCRIPTION IN SARGAM……………………………..………..157

introduction to Hindustani musical characteristics, and prescriptive transcriptions of Morning

to Western musicians who are interested in performing it.

document for the reader’s convenience.

dedicated to the preservation and performance of Indian classical music.

comprehensive autobiography written in 1997 which included an introduction by George

Paluskar’s Raga pravesh (1911-21), Omkarnath Thakur’s Sangitanjali (1938-62), Ramkrishna

Hindustani ragas with corresponding descriptions and transcriptions.

1.1 Ravi Shankar: Biographical Overview

Varanasi (also known as Benares), India in 1920.

through pre-concert talks.14

special strength within me, a surge of power.”18

conducted by David Murphy who was a student of Shankar.

married Sukanya in 1989.

not have, precisely, saints. But no musician alive is a closer fit.”21

1.2 West Meets East Collaborations

Music, My Life, says that Shankar

also hindered the flow of musical influences.

the box set “Ravi Shankar: In Celebration” (1996).

and King Vajra:

derive their characteristics from this fact.27

structure (raga), rhythmic structure (tala), ornamentation and types of compositions.

Hindustani music to provide a theoretical context for Morning Love.

descending (avaroh/avarohi) governing phrases, a hierarchy of pitches and extra-musical

Table 1- Solfege-Sargam Comparison31

Solfege Sargam Meaning Animal Association Chakra

So Pa (Pancham) “fifth” Call of the

La Dha (Dhaivat) “earth,” “Divine” Neighing of the horse

Ti Ni (Nishad) a people of West Trumpeting of the

Table 2- Shuddha, Komal and Tivra Svaras

is called uttering which would range from Ma or Pa to Sa.

example, the ragini Todi

prominent raga associated with it:

1. Bilawal (Ionian) SRGmPDNS

2. Khamaj (Mixolydian) SRGmPDnS

3. Kafi (Dorian) SRgmPDnS

4. Asavari (Aeolian) SRgmPdnS

5. Bhairavi (Phrygian) SrgmPdnS

7. Kalyan (Lydian) SRGMPDNS

10. Todi SrgMPdNS

discussed further in the fourth chapter, “Analysis.”

Unlike Western music, ornamentation is not a secondary feature of Hindustani music. It is a

opposite of krintan and is hammering on the string.

claps” because the third group is a wave instead of a clap: