The thread on pitch correction started by Kishore Bhakta veered towards the importance of riyaaz and some valid points were raised.

What is riyaaz and why is it needed?
Does riyaaz mean learning by rote or doing the same thing over and over again?
Does riyaaz affect creativity?
Would just a few hours of riyaaz a day suffice ? Were the earlier musicians better because of the 16 hours of riyaaz they put in a day or was it innate talent?
Can riyaaz make up for talent?

I am not a singer nor a musician, so it would be good to get opinions from those who sing or play music. But here are my thoughts (with some help from google!)

Riyaaz is an exercise in singing. When we sing we produce notes or swaraas of different audio frequencies. An expert singer can produce the right swara at the right time. He can do that because he has gained a good control over his vocal chords by singing over and over again. When you practice singing using a swaramaalika (or scale) for a particular raaga, you train your voice to jump from one swara to another without touching any other swara that is not in that raaga. Let's say you are singing a raaga with 7 swaras out of 12. As long as you do not touch the 5 swaras that are outside of this raaga, your singing is said to be in tune (soorila). If you touch any of those 5 swaras your singing is out of tune (besoora). When you practice multiple raagas, you develop the ability to sing any of the 12 swaras selectively and accurately. You also develop the ear for music and can easily tell whether your swaras are in perfect harmony with the accompanying music. It is always a good practice to sing to the accompaniment of a perfectly tuned musical instrument.

Riyaaz helps in keeping the vocals in tip-top condition so that there are less chances of slipping a note and it also enhances lung power. One could compare it to the practise that sportsmen put in before matches. Now, a player could theoretically go in and play without practice, yet give good results if he is talented. However, if he has put in hours and hours of practice, he has more staying power, he is less likely to make mistakes, and will be in control of the game.

Of course, riyaaz cannot make up for talent!

What happens with riyaaz is that the singer will be in control and in fact can be as creative as he wants. Which is why classical singers always sing a raga in different ways each time. One rendering of a raga will not be the same as another, simply because the singer, with his riyaaz has the confidence to try different interpretations of the raga. He can hold a note longer or go to a higher pitch simply because of riyaaz.

In SRGMP itself, I found that many singers improved their singing over the episodes. Those whom I had written off actually came back to perform better in the later episodes. It could have been due to riyaaz.


credit-punjini

An excerpt of a conversation between Begum Parveen Sultana and T.N. Krishnan. It refers to riyaaz and teaching.

Krishnan: But some of the youngsters are doing a good job. They do not stop with learning or appreciating. Unlike in our times, they don't shy away from asking questions, do not follow things blindly and are forthright about their views.

Parveen: I do agree. I never fault youngsters or discourage them. After all they are our future. My 18-year-old daughter is learning both Hindustani and Western classical. But as far as I am concerned, I cannot compromise on my music. Innovation, experimenting, fusion... fashionable terms in the field of arts today, but they don't appeal to me. Most fusion pieces today are noisy and done un-aesthetically. It calls for a good understanding of all genres and styles. For instance, Ravi Shankar and Yehudi Menuhin; Palghat Mani Iyer and Allah Rakha. Fusion is not just about picking up from here and there and putting it together. That is confusion.

Krishnan: Yes, like you said these pieces should be organised and composed meticulously, for a divine effect. Personally, I have never felt the need to go beyond the classical parameters. Wherever I perform, it is only Carnatic music. Our tradition is so vast that even at this stage I feel there is much to learn. My aim is to make listeners experience peace and enjoy some relaxed moments.

Parveen: For that we need just pure soul, pure swar and taal. Isn't it?

Krishnan: True. And sadhana is the only way to discipline mind and music. No short cuts, easy diversions or over-taking, the route to success here is long-winding and arduous.

Parveen: My gurus would not let me skip riyaaz even in sickness. Now each day I thank them for making me do it. Only practice can give you the sustaining power and keep your energy level high.

Krishnan: But one should practise in the right way, or else it could prove detrimental. Choosing a guru is equally important. People generally go by names, and not vidwat.

Parveen: You should be fortunate to get a good guru and the gurus also should be lucky to get sincere sishyas. Teaching is an art by itself, and a difficult one at that. You should have in-depth knowledge, the right temperament and perseverance. I may be a good singer and performer, but need not be a great teacher.

Krishnan: For the past 35 years, I have also been teaching so I know it quite well. You should teach not only the nuances of the art but also presentation. Audience response depends on the way you showcase your talent.