Listening Western Classical music through Indian tradition
The vocabulary of Western music is largely Italian, which will sound like Greek to those who do not know it
There are many text books by Sri Lankan authors for those studying eastern (Indian) music, while students of Western music have a wide choice of mostly Western publications and a very few of local origin.
But it’s hard to think of a work which bridges the gap between the two musical worlds.
“Swara Sittam” by Dharshani Chandrasena is one such rare book.
Dharshani Chandrasena is an accomplished musician and teacher. She is the daughter of musician R. A. Chandrasena, a familiar name from the 1950s to the 70s. He composed music for several films and wrote the music for a number of very popular songs of the era, including “Linden Watura Beela” and “Mohen Mula Wela” (Victor Ratanayake), “Kiyayi Mihiri Katha” (Dhanapala Udawatta), “Sewwandiyakata Pem Benda” (Punsiri Soysa) and Suvandai Muwe Mal Peni (Sumith Ahangama).
The notation for ten of his most popular songs is given in this book in both Eastern and Western musical form. Finding Western notation for Sinhala songs is very difficult as it is usually given in the traditional sa-riga-ma-pa form.
This is because the authors often do not know how to read and write Western notation.
Dharshani Chandrasena has obviously mastered both worlds and she has written another book titled “Western Notations for Popular Sinhala Songs” specifically to fill this gap, though unfortunately this seems to be out of print now as I could not find a copy.
But “Swara Sittam” is available and will be very useful to those students or practicing musicians of music who wish to understand the other side of the musical divide (Eastern music vs. Western and vice versa) or to lay readers who simply want understand how the grammar of music works.
The author starts with a basic introduction of each musical culture, and explains with logical progression the language and terminology of each system.
The theory behind scales, modes and ragas is explained lucidly. Accompanying illustrations facilitate understanding. This book explains Western music theory better than some Western publications I have come across.
Many people have no idea what time signature means in Western music, or how a scale is made and used. The author also unravels the mysteries of a raga concept of the Eastern tradition.
What is really fascinating is her explaining of the better known ragas such as Bilawal, Yaman, Bhairavi, Thodi and Bhageshri in terms of Western notation and scales, so that a musician of student of Western music can practice these ragas without any confusion.
Her explanation of major tonic triads too, will be useful to those trying to compose music.
No composition is taught here, generally speaking. It is up to the student to try his luck with guesswork.
But the author explains the basics using the C Major triad, showing how the sub dominant (F) and the dominant (G) notes work in relation to C, the tonic note. Students can create their own chord charts using this model.
Her Scales Chart based again on the C Major Scale too, is very useful as reference, with illustrated examples of scales as diverse as the blues minor, blues chromatic, C bebop descending, C pentatonic, C Hungarian Major etc. The vocabulary of Western music is largely Italian, which will sound like Greek to those who do not know it.
The Indian terminology is equally obscure to the uninitiated. These terms are explained throughout the book, and there is an added dictionary of musical terms at the end. All in all, this is an invaluable reference work.