Dissolved: A Modern Day Spiritual Classic

Becoming immersed in raga theory and practice, a student learns primarily through oral means by listening and learning the tradition passed down from his or her guru.

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Many years of dedicated training is needed between the guru and his disciple before these building blocks can be fully accomplished but, once they are, the advanced principles can be merged to create one beautifully balanced exhibition of a raga. Styles of Indian classical music.

Each of these styles has a unique set of instruments and sonic characteristics. The intention behind the music, however, is the same. The name chosen for each gharana usually reflected the kingdoms or regions to which the musicians came from to indicate their roots. Hence, a few of the most prominent gharanas are referred to by such names as Agra, Jaipur and Gwalior. The easiest way for westerners to conceive of a raga is as a distinct melodic form containing certain key movements, each embodying a particular personality of their own.

The primary aspects of these movements, the standardized notes swara and the rhythm and time laya , are combined to create unique musical possibilities, each personalized by their own embellishment techniques. To complete a structural composition, two more essential qualities are included: Each bandish consists of a unique blend of the five central elements in Indian classical music: The composition is the face of the raga, defining its essence by bringing together all of its movements, parts and subtleties.

There are two parts to a bandish, each containing two or three lines and lasting only around one to two minutes each within an extended performance anywhere from twenty minutes to an hour. The majority of the performance is left primarily for improvisation, which is based off the compositional foundation exhibited in the composition. There are countless compositions in Indian Classical Music, each showcasing certain characteristics, phrases and musical personalities but no raga performance will be played or heard exactly the same.

They might have similar compositional structures, however they will always be played differently due to improvisation methods and the moods that effect how the musician performs. The power of a raga composition lies in its ability to evoke emotion that captivates listeners. When a performer sings or plays a raga, his or her intention is as much metaphysical as it is physical.

On a technical level, the performer will strive to deliver the raga to its fullest extent to create a complete and well-rounded exposition. The spiritual dimension gives the performer the capacity to dissolve his or her ego in the raga as he or she brings emotion sorrow, pleasure, anger, etc.

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By the end of the performance, the adept performer connects with the raga such that the separation between the player and what is being played will be almost seamless, residing in a oneness of energy. Traditionally, ragas are played according to the time of day. The Hindustani system associates specific ragas within eight 3-hour periods throughout a hour cycle. More simply, there are two sets of ragas, the morning and the evening, each divided by the effects they had on the human senses.

Gum syrup, rich simple syrup, demerara syrup, brown sugar syrup, sugar cane syrup the variety filtered of molasses solids all are great choices.

Agave syrup or other neutral diet-sensitive sweeteners may suffice. Honey, maple syrup, molasses or other strongly-flavored sweeteners do not belong in an Old Fashioned, which is not to say you cannot or should not create nice variations on the Old Fashioned with them. There exists a venerable tradition of sweetening the Old Fashioned with crystalized sugar or a sugar cube.

Rather, they bind the flavors of the drink and contribute botanicals the medicine that make the Old Fashioned a genuine aperitif cocktail. An aperitif stimulates the appetite. When getting started with the Old Fashioned, you should always use Angostura bitters.

Angostura bitters is the ubiquitous benchmark aromatic bitters and always the default choice when no brand is specified.

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Angostura bitters always works. As of this writing, there are at least two dozen novel aromatic bitters on the market: Some of these new bitters will work well and others will disappoint, and success may depend on the spirits you pair with them. You can also combine bitters. For example, when putting bourbon in my Old Fashioned, I sometimes like to use one dash of Angostura bitters and one dash of orange bitters.

A dash has the volume of several drops.

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Unfortunately, the volume these bottles emit in a single squirt varies significantly depending on the design of the dasher top, the volume of liquid in the bottle, and how vigorously you shake it. Your experience will guide you. Initially, your choice of spirit should be from any of the scores of fine bourbons and straight rye whiskeys on the market.

These are simply the easiest spirits to master the Old Fashioned with. In fact, the Old Fashioned is a brilliant way to experiment with and compare these whiskies. Go find some bourbon or straight rye. Give it a stir.

You could stop now, and sometimes you should. Ice is completely optional. Sometimes the drink is better without. If you put ice in your Old Fashioned, you have a finite amount of time to slurp it down before it becomes a watery mess.