Learning Indian Music with Swar System's Swar Tutorial

Swar Shala for OS X includes up to 49 perfectly sampled instruments and 2 multimedia tuto-rials on Indian classical music.

And now for something completely different…
Today boys and girls, we are talking about Swar Systems’ Swar Tutorial, part of the SwarShala software release. I thought I’d be able to give you a review of the whole SwarShala package, but Swar doesn’t have a distributor in Australia, and there was a problem with the download I had access to, so we’ll have to make do with only part of this comprehensive software suite. The bit I have been flipping through is a tutorial addressing the Carnatic tradition, and it can be purchased separately from its parent, SwarShala, for $50 (USD). It is largely written in Flash, and you access it through your favourite browser. In the package I have been looking at you get a lot of text, video and audio examples, all presented neatly and simply in a clever multi-media wrapper. SwarShala costs $80 and includes additional another tutorial (on the Hindusthani tradition) as well as 49 Indian instruments and built-in sequencing/tracking tool.

<a href=”http://www.swarsystems.com”><img src=http://www.osxrecording.com/images/swar1.jpg align=left>

I need you to bear with me for a moment, yes, I am reviewing Swar Systems’ software, but first I need to establish why your average, everyday modern electro-music nut should think about buying this excellent tutorial package on Indian music. If you aren’t interested in any kind of justification, skip the next two paragraphs, otherwise read on.

I’ve been thinking a bit lately about all this synthesis, re-synthesis, and sound filtration stuff we can do nowadays. Yeah, I bet I know what you’re thinking, “that’s got to be dangerous, and he could pull a muscle or something!” This possibility pondering has illuminated the fact that one can create just about any sound they can think of (and some they don’t want to think of!). This in turn has led me to this sort of mini-epiphany.

If we can create any sound, and by that I mean ANY sound, including stuff based on oscillators or samples that can be frequency-nudged using infinitesimal increments up or down, why am I trying to play them on a keyboard designed for a scale based on 12 tones to the octave?

If you’ve never delved into the subject before, you should Google-up Harry Partch, and read up on Just Intonation. Or read the theory behind good ol’ Johnny Bach’s Well-Tempered Clavier. I’d hazard a guess that few contemporary musicians realise that he (the big J.S.) was making a musico-scientific statement in publishing that booklet. I love a lot of his stuff, but in terms of tempered intonation, the man has got a lot to answer for, IMHO.

<a href=”http://www.swarsystems.com”><img src=http://www.osxrecording.com/images/swar2.jpg align=right>

So what has that got to do with learning about traditional Indian music, I hear you ask? Well, I think musicians living today have, through access to infinitely tuneable sound machines, access to possibilities that go way beyond the equal tempered scale.

Therefore if we are really going to make the most of these newish gizmos, we are practically obliged to explore some other tuning and toning approaches. In terms of richness, complexity, history and all-around sonic goodness, it’s pretty hard to beat music from the sub-continent. Some of this stuff goes back thousands of years, and oddly enough, it doesn’t all rely on the same permanently out of tune 12 notes we are all used to. Oh, and if you buy that argument, let’s talk for a minute about how western time signatures (esp. 4/4!) aren’t the only ways to think of rhythm…

The tutorial covers its subjects in three sections. The first is “Initiation” which includes background/history, then “Building Blocks” and finally “Ornamantation”. The next covers Indian melody archetypes or Ragam (Raga). The Ragam section first defines the topic, then goes on to explain how they are classified. It concludes by giving a thorough run through of 10 common Ragams. The last section explains the Carnatic science of rhythm, which is called Talam. Did you know that there are 7 basic Talams, each with 5 varieties, together making up the 35 main Talas? Well, you do now and if you take the time to go through this tutorial yourself, you will also learn what Mridangram means. (No, I’m not going to tell you, check it out for yourself!)

<a href=”http://www.swarsystems.com”><img src=http://www.osxrecording.com/images/swar3.jpg align=left>

The Carnatic tradition has roots that scholars reckon go back to the 20th Century B.C. For those of you a bit weak on temporal math, we’re talking about 4,000 years B.N. (before now). Those are some deep roots, and not surprisingly, the tutorial carries a lot of information. Most of it is in text form, which is displayed in a scrollable window in the centre of the interface. To the right of the text window is a panel that has space for links to video and audio files that help flesh out the experience. I found that while the text reads well, it was a bit much to try to take in – the terms like “Bharatamuni’s Natyasastra” and “Thirukkural Silappadikaram” started to swim in my head after about 20 minutes.

Nonetheless, I did find the presentation of the story compelling and interesting enough to keep reading. The multi-media elements also helped to keep my interest, and they made it easier to understand what the text was talking about. I would have liked to also have a pdf or other paper-based print out of the text though, because I find that reading from the screen tends to be fatiguing after long periods, and I would have also like to have a reference with a good index that I could pick up and flick through. But those are quibbles really, this is a multi-media package and its done well.

Although the history was interesting, I found myself drawn more to the other two sections, especially the one on Talam (rhythm). Learning about the swaras (notes) system was cool, but man, those rhythms can be freakishly complex. I think the only way you could possibly understand what the theory is all about is through the examples provided, and thankfully, all throughout there is a lot of video and audio. When there is singing, a translation is also provided. One of the songs had the lyric:

“I shall ever be worshipping with joy, the Transcendental Lord, the personification of righteousness, this prince of Ayodhya, with tender Tulasi leaves.”

Now, I’m not religious, but I can dig that sentiment, just like I can dig this tutorial package. Swar also makes a plug of Indian instruments, using Linplug’s sampling engine. Maybe once I get a bit more au’ fait with the theory, I’ll give them a spin too. Until then, you’ll have to excuse me; I need to practice my Roopaka Talam.

The Verdict (5 star system)
GUI/Interface... 4/5 (A bit too much text for these old eyes.)
Stability... 4/5 (The installer failed me, but I was dealing with a download, most users will be installing from a disk.)
Manual/Tutorial... 5/5 (Uhm, that’s what this is.)
Sound... 4/5 (There were lots of audio & video examples.)
Value For Money... 4/5 (The SwarShala package @ $80 is good value.)
X Factor... 4/5 (Finding a new perspective on music can be good for you!)

For more information, see <a href="http://www.swarsystems.com>www.swarsystems.com

Review set-up:
OS X 10.3.9
Downloaded version – Safari browser used to view tutorial

Bye-line
BK is justa guy trying to make his way in the universe by making dangerous modern art.