Written by: Nayha Jehangir Khan
Posted on: April 02, 2019 | 
Shabih Sen
The enchanting frequencies and transformative vibrations of North Indian classical instruments have remained an essential part of our cultural history. Understanding the terminologies used to explain classical music can feel arduous, yet listening to a century old Raag can mesmerize the modern-day listener. The experience is meditative, and learning these sacred ancient musical practices ensures their survival in the fast-paced digital era of music.
The performance of Surbahar by Shabih Sen, a maestro of different styles of music including Classical, Semi-Classical Sufi and Folk, was hosted by RUNG School of Music and Art, on 30th March, 2019 in Islamabad. This intimate gathering instantaneously transported the listeners to a 15th Century Royal Mughal Court since Shabih Sen belongs to the Senia Gharana of Tan Sen, the court musician of Mughal emperor Akbar.
Never performed before in Pakistan, the Surbahar has a deep, melancholic and elongated sound because of a wide fingerboard, unlike its counterpart, the Sitar. The Surbahar’s strings have an exceptional capacity to be stretched, and the notes of even one octave higher, can be played from each fret on the main playing string itself. The resonance of sound felt in its large structure, is greater than that of the Sitar. The Surbahar has seven main strings, and eleven to twelve sympathetic strings, fixed upon the fingerboard just below the main strings. The tuning of the instrument requires precision and patience.
As for the performer, trained in Sitar, Classical Vocals, Tabla, and Harmonium, Shabih Sen is currently the Principal at RUNG School, while the faculty consists of family and members of the Senia Gharana such as Zabih Sen, a Classical Vocalist and Faizan Sen, a Violin player. Wajih Nizami, the Founder of the school, is an accomplished Sitarist. Together, this classical band of brothers is passionately delivering the soul and spirit of the dying arts to the people of Islamabad. RUNG School of Music and Art is diligently offering Piano, Rubab, Sitar, Tabla, Harmonium, Guitar, Violin, Ghazal, Calligraphy, Painting, Design and Sufi Music classes, at their F-8 Markaz Branch.
The audience
Shabih Sen performed three memorable Raags for the audience. Raag Aimen, with its softer arpeggios guided the listener towards the darker more somber shores of Surbahar. The musical transitions moved from lighter spacious notes to more compressed dense sounds of the inner chambers of the Surbahar. Each string had a pulse, felt individually with tremor like reverb following right after. A psychedelic, seemingly non-directional composition is formed with the continuous playing of a multitude of chords passing through each other, the performer, the audience and the hall. Surbahar, the instrument, had its own dominating presence, its weight and intricately detailed wooden structure melding with Sen’s own body and performance.
Raag Jaijaiwanti was performed and compared to the act of breathing, as the strings on the lower half are like a soft inhale. They begin lightly but soon carry the weight of the deeper bass notes higher on the fret board. The strings are stretched off the fret board and held in like a breath of air, and as the pressure of the Raag builds, the waves of sound become slower and bound together.
Raag Marwa’s performance orchestrated a deep connection with the Surbahar and scales of emotion and layers of ambiance were felt with its earthy tones and volcanic murmurs. A sadness and loss filled the room, whilst leaving heaviness on the listener’s heart.
The vibrations of classical music can be felt throughout the body and mind. Rajendar Menen in his book, The Miracle of Music Therapy, states that “classical Indian ragas can benefit a host of conditions ranging from insomnia, high and low blood pressure to schizophrenia and epilepsy.” Perhaps, it’s time we study the therapeutic potential of a surbahar lesson.
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