 Since part-singing is not in vogue,
classification of voices is not attempted. Every individual can adopt the 'fundamental
pitch' of adharashadja suited to his voice. Except the breath control exercises, the voice
training methods in India consists of the solmisation, vocalisation and humming exercises.
For solmisation practice, the solfa syllables Sa, Ri, Ga, Ma, Pa, Dha and Ni are resorted
to. But there lies some difference in enunciating these syllables between North Indian and
South Indian singers. Singers of North Indian system enunciate the solfa syllables as Sa,
Ri, Ga, Pa, Dha, Ni, while singers of South Indian system pronounce these syllables as Sa,
Ri, Ga, Ma, Pa, Da, Ni. The difference in enunciating these syllables may be due to the
style in music. Singers of South Indian music resort to Madhayamakala and Trikala swara
passages to a much larger extent, than singers in North Indian music. It becomes difficult
to pronounce 'Dha' in medium and fast swara passages and perhaps owing to this reason, the
singers of South Indian music adopt 'Da' instead of 'Dha'.
In North India, the vocal student undergoes
early training for a number of years to cultivate the voice. The student is asked to
sustain on the seven notes as long as his breath capacity permits. This exercise, which is
known by the name Sur - Bharna helps the student to attain steadiness and volume. The
tradition is to begin with the scale Yaman. Then this exercise is practised in Bhairavi.
The one with all tivra swaras (Yaman) and the other with all komal swaras (Bhairavi) train
the voice to produce the two types of five notes - ri, ma, dha, and ni. The scale
exercises are practised upon the vowel 'Ah'. Then Alamkaras that are known as Palate -
combination of notes are taught in different ragas such as Yaman, Bilaval, Kafi and
Bhairavi. The Khanda Meru is then practiced which acclimatizes the singer to sing the
different combinations of swaras. Meru is regarded as one Sthayi. For example, S to n is a
Meru. R to r or S is a Meru and so on. Amiyanath Sanyal defines Meru as - "The range
of notes involving a categorical series from the first to its twelfth is called
Meru." When this Meru is sectionally presented, the sections are called Khanda Meru.
The teachers of North Indian music believe that frequent articulation
of the solmisation syllables varies the mouth position too often and thereby spoils the
quality of the voice. Hence they pay more attention to vocalisation exercises. Much
importance is given to practice on the vowel Ah that ensures 'Open-throat' singing. To
increase the volume in the Mandra Sthayi of lower octave Kharaj practice is prescribed.
The student is asked to sing the notes from Mandra Sthayi Madhyama to Madhya Sthayi
Madhyama in the early morning for one or two hours almost every day. Some teachers
prescribe the range to be from Madhya Sadja to Mandra Sadja. But recently some singers of
North Indian music appear to take the view that too much Kharaj practice tempts the singer
to force his voice in the Madhya Sthayi also. After these exercises, simple songs are
first taught. The voice training methods also differ according to the Gharanas in North
Indian Music as each Gharana specialises in a particular style within the purview of North
Indian music.
The systematic course of voice-culture of South Indian music includes
scale exercises - Sarali Varisas, Tara Sthayi, Varisas, Datu Varisas, Janta Varisas and
Alankaras - and technical compositions - Gitas, Svarajatis and Varnas. The scale exercises
are set up in Mayamalavagoula, while the technical compositions are composed in different
ragas. Equal importance is given to solmisation and vocalisation practice.
 An instrumentalist learns to hold the instrument correctly before he learns to
play upon it. Vocally this is known as posture. In India, the singer adopts the squatting
posture unlike the Western singer because more importance is attached to the production of
graces and ornaments than the bulk of the voice. The body is kept relaxed, the head is
raised neither too high nor the chin too low and the position of the mouth opening is
either too big or too small. A study on the voice - culture methods of different nations,
through the ages, reveal that the methods of voice training cannot be generalised and tend
to vary with the styles of music.
(Concluded)
Dr.S.A.K.Durga
(Mail id: sakdurga@hotmail.com
)
Dr. Durga is an internationally well-known voice training specialist
for singers. She received her research degree M.Litt., from the Madras University, for her
thesis on Voice-Culture. Indian Musicological Society, Baroda, has brought out her book on
Voice Culture. Carnatica, Chennai, has brought a video out titled "The Ideal
Voice" with her presentation on Voice Culture. She has conducted many workshops on
Voice-Culture in India including the Shibir for Gujarat - Sangeet Natak Academy, India,
and in other foreign countries including Bharathiya Vidhya Bhavan, London. Dr. Durga is a
visiting professor for Voice Culture at S.N.D.T., Women's University, Bombay and The Music
Academy, Madras.
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