Merukhand Gayaki plays a vital role in the frequent practices and even in the Indian classical performances. Ustad Amir Khan Saheb’s Gayaki is always associated with merukhand style, because he often created the raga progressions through this technique, during his recitals, which is why his vocalization was unique and mesmerizing.
In merukhand, 3 or 4 notes patterns are selected and all the possible combinations and patterns are rendered while practices. Merukhand technique works well in enhancing creativity of a singer and in improving the vocalization of jumped notes as well.
To illustrate the merukhand style, let’s select 4-note swar pattern initially:
Sa Re Ga Ma Re Sa Ga Ma Ga Re Sa Ma Ma Ga Re Sa
Sa Re Ma Ga Re Ga Sa Ma Ga Re Ma Sa Ma Ga Sa Re
Sa Ga Re Ma Re Sa Ma Ga Ga Sa Re Ma Ma Re Ga Sa
Sa Ga Ma Re Re Ga Ma Sa Ga Sa Ma Re Ma Re Sa Ga
Sa Ma Re Ga Re Ma Ga Sa Ga Ma Sa Re Ma Sa Re Ga
Sa Ma Ga Re Re Ma Sa Ga Ga Ma Re Sa Ma Sa Ga Re = 24 patterns.
Specific notes of the ragas can also be practiced for hours, as it keeps the brain engaged in creating phrases. Often, we come to miss some of the patterns. But this is beneficial exercise for amateurs and professionals too. We can take the same pattern to make the Bhairav notes, making Re Komal (flat): Sa Re Ga Ma OR Kafi notes: Sa Re Ga Ma (Ga Komal). , OR Yaman notes: Ni Re Ga Ma (Ma teevra or sharp).
Now we will create the merukhand pattern taking five notes, of Bhoopali raga: S R G P Dh
Sa Re Ga Pa Dha Saa, Saa Dha Pa Ga Re Sa
SDPGR SDPRG SDGRP SDGPR SDRPG SDRGP
RSGPD RSGDP RSPGD RSPDG REDGP RSDPG
GSRPD GSRDP GSPDR GSPRD GSDPR GSDRP
PSRGD PSRDG PSGRD PSGDR PSDRG PSDGR……
Initially, merukhand technique requires perseverance, patience and practice, but at last, one can easily be pertinent in improvising the ragas, even in the advanced level. One can attain unhesitating command on rendering taans with absolute variety and fluency, after working on this stylization.