Teaching Techniques
Ustad Shahid Parvez Khan has dedicated considerable time and energy during the past decade in training young students in both India and in the West. While traveling in North America, he is joined by students from around the world who seek the opportunity to attend his concerts and to participate in a series of unique workshops exploring the Sitar and the performance of Indian Classical Music. His students include musicians of all levels, ages, nationalities and religions. Ustad Shahid Parvez Khan is a strong proponent of the ancient tradition of "ustad-shagird /guru-shishya parampara," the oral transmission of music from teacher to student. In this tradition, the student must immerse him or herself in the company of the guru for an extended period of time observing the guru's actions, watching how the guru explains, sings and plays his music. This immersion is necessary for the student to absorb the essence of the music and the light of his or her ustad/guru. Ustadji proudly upholds this ancient ustad-shagird /guru-shishya tradition, yet has found new and innovative ways to practice it in the contemporary world. Ustad Shahid Parvez Khan presents his students with musical and spiritual challenges of ever increasing difficulty as they spend more time with him and become familiar with his taleem. Ustadji's tiered approach is reflected in the four basic formats for group learning: workshop, riyaz
sessions and shibir, and chilla. Most students will begin by attending one or more
workshops, and then participate in any number of relatively more intense riyaz sessions and shibirs, until they finally are invited to take part in a rare and very special learning event called a chilla.
Workshop
| The workshop is generally a few hours long. Ustadji will teach a small amount of material focused on specific musical challenges facing each student or group of students. Observers are also welcome; in fact Ustadji encourages students to listen in on other lessons |
Riyaz Session
Riyaz is Persian word corresponding to English “practice,” or the French “repetition.” As in any classical tradition, it is the essential foundation without which the student will never improve. During these sessions Ustadji focuses on the basics of how to properly do riyaz. Through rigorous, extended practice sessions the student is taught discipline and dedication. Sargam and other exercises strengthen both the right and left hands and dramatically improve tonal clarity. Every student will leave these sessions with a renewed sense of how to practice properly at home and with a firmer foundation for future learning challenges.
Shibir
A shibir is much more than a workshop; it is a learning experience both essential and unforgettable for any student of Indian classical music. The students spend three uninterrupted days with the guru. The world is left behind for a concentrated focus on music. Musicians of all levels are present, yet each student comes away with an uncanny sense that the lessons were contoured to their specific musical and spiritual needs.
The learning becomes slightly more sequestered. The students will eat at least one meal together every day, as even mundane things become a part of the learning process. At most shibirs there are three levels of students, roughly beginner, intermediate and advanced (sometimes with a special group of very advanced students) who will normally work on one theme raga. Occasionally the shibir will be conducted as a “guru purnima” and each student or small group of students will prepare a raga specially selected for them to perform for the Ustad.
Perhaps the most deeply rewarding part of the shibir is the opportunity to hear the master live and breath his tradition in a setting where he can be moved by the rhythms beating at its heart -- a rhythm unbroken by the deadening dictates of clock time. The highlights are impromptu performances by the guru that reach beyond even his mastery in the concert hall. The shibir will have a profound and lasting effect on the student's appreciation for and understanding of this music.
Chilla
The chilla varies in length, from three days to a week, and maximal isolation from outside distractions is essential. Its anticipated benefits for the student are far beyond what they are from a shibir. According to Ustadji, the student can expect their understanding and playing to move up one entire level in just a few days. This concentrated learning is accomplished through a narrow focus on playing fundamentals. Long, often repetitive sessions drill the students. These group sessions put the students' physical, mental and spiritual endurance to an extreme test. Sargam is, as always with Ustadji, the foundation. Sargam sessions can be complemented by a palta, bandish and taans in a given raga. Perhaps the one thing that most sets the chilla apart from other group sessions is the extent to which every aspect of the students' day is channeled into a focused rhythm that illuminates the meaningful interplay, and hoped for unity between life and music