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North Indian music (Hindustani Sangit) has been handed down from teacher to student orally for over 2,000 years. The basis of North Indian flute music is the raga (the melodic form), and the tala (the time measure). Thousands of ragas exist, each based on one of ten parent scales. Various ragas are associated with different times of the day, as well as different seasons.
Beyond its melodic form each raga encompasses a particular mood and synthesis of emotions which a skilful musician evokes. Improvisation plays an essential part, but always within the established framework of the raga which is being expressed.
A raga can consist of three parts. The alap, or out of tempo invocation, the jor. in which a basic tempo is established, and the jhala, in which the tempo is increased and brought to a climax. The tempo is defined by the solo instrument - in this case the bansuri. Most performances of ragas utilize the tabla to help emphasise the rhythmic aspects.
As an Indian musician, Sachdev believes in the Vedic theory that sound is the source of everything and that it offers the easiest means to reach God and to feel the divine essence.
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In India, when Sachdev was a young boy, he heard a shepherd playing a flute. The sounds so inspired him that he immediately began a lifetime's study of the bansuri and of the classical music of India. Fifty years later, Sachdev's continuing devotion to North Indian music and Indian flute music have made him one of the most inspiring instrumental performers in any genre.
The ragas:
Subtle Feelings - Raga Samhendra Madhyam. played in teental, a 16-beat rhythm cycle, is a very unusual and delicate raga with a graceful pace. it is accompanied very sensitively on the tabla in a traditional yet innovative way.
Bouquet - As a bouquet has many different flowers and colours, so does this piece. It is made up of five different compositions based on different, but related ragas.
Punjab Folk - This folkloric song from the northern region of India is very heartwarming and nostalgic for me", writes Sachdev, "I remember as a child listening to my mother sing this song in the early mornings when she used to churn yoghurt to make fresh butter an buttermilk."
Traditional Alap - This alap in the Raga Bhimpalasi is very deep and majestic. It is one of the very ancient ragas played in the vocal tradition known as Dhruvpad. Pakhawaj, a barrel shaped drum, is used to give flavour to the Drhuvpad style.
Imagination - Raga Bhimpalasi is played and improvised in the Khayal singing style. Khayal allows for more imaginative improvisation. This is played in the teental rhythm cycle on the tabla.
Bhajan - This devotional song takes you to the temples of India where you can here manjiri (hand cymbals), drums and people singing in ecstasy, in an effort to become one with their deity.
The exquisite Indian flute music of which Sachdev is such a master is brought to the fore in these personal and spiritual improvisations that he offers. Tabla master Swapan Choudhuri joins Sachdev on this intimate recording.
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