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THEORY
Benefits of learning music
o you listen to music while you study, or do you prefer total silence? The jury is out on
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which is better since everyone is different; however, several research studies are proving
that listening to the right kind of music can put your mind into study mode.
● ere are some of the benefits of tuning in to the right tunes:
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● Relaxes the mind
● Increases concentration
● Lessens distractions
● Improves focus
I ntroduction of Indian classical music and it’s two different styles
India is known for its diverse culture, food, dresses, and more. Along with these, it is
also known for its music! There are many forms of Indian music. Many Indian artists
have been inspired by many world-renowned musicians and have combined Indian
classical music with genres from the west like jazz, or R&B, creating some amazing
music.
There are two main traditions of classical Indian music
- Carnatic music (practiced predominantly in South India) and
- Hindustani music (found in Northern, Eastern and Western regions of India)
hat is Hindustani music
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Hindustani classical music is an Indian classical music tradition. It originated in North
India around the 13th and 14th centuries. In contrast to Carnatic music, the other main
Indian classical music tradition from South India, the Hindustani classical music was
not only influenced by ancient Hindu musical traditions and Vedic philosophy but also
by the Persian elements. Hindustani classical music is the most popular stream of
Indian music.
industani music is based on the raga system. The Raga is a melodic scale, comprising
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of notes from the basic seven- Sa, Re, Ga, Ma Pa, Dha and Ni. On the basis of notes
included in it, each raga attains a different character. The form of the raga is also
determined by the particular pattern of ascent and descent of the notes, which may not
be strictly linear.
Hindustani classical music is primarily vocal-centric. The major vocal forms associated
with Hindustani classical music are the khayal, Ghazal, dhrupad, dhammar, tarana and
thumri.
hrupad style of singing is traditionally performed by men with a tanpura and
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pakhawaj. The lyrics sung in Dhrupad are in a medieval form of Hindi and typically
heroic in theme, or in praise of a particular deity. A more adorned form is called
dhamar. The place of dhrupad has been taken by somewhat less austere and more
free-form khayal.
hayal consists of about 4-8 lines of lyrics set to a tune. The performer uses these few
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lines as the base for improvisation. The Khayal form of Hindustani classical music is
ascribed to Hussain Shah Sharqui, the 15th century ruler of the Sharqi dynasty. It was
made popular by the 18th century rule of Mohammed Shah. Some of the modern day
vocalists are Bhimsen Joshi, Nagraj Havaldar, Kishori Amonkar, Ulhas Kashalkar, Ajoy
Chakraborty, Prabakar Karekar, Pandit Jasraj, Rashid Khan, Aslam Khan, Shruti
Sadolikar, Chandrasekhar Swami and Mashkoor Ali Khan.
nother vocal form of Hindustani music is Tarana. Tarana are songs that are used to
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convey a feel of joy and are usually performed towards the end of a concert. Thumri is
an informal vocal form of Hindustani classical music and is said to have begun with the
court of Nawab Wajid Ali Shah, the Nawab of Oudh.
riginally a Persian form of vocal music, Ghazal is an important part of Hindustani
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Classical music. Ghazal exists in multiple variations, including folk and pop forms. Some
notable Ghazal performers include Ghulam Ali, Jagjit Singh, Mehndi Hassan and Pankaj
Udhas. The themes of Ghazals range from love, joy and piety.
hat is Alankar or Palta and its importance
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Alankar is an ancient Sanskrit word, referring to any pattern of ‘musical decoration’.
Hindustani music is primarily about single-line melodic development, without much in
the way of chord progressions or functional harmony. This focus on melody gives
decorative elements a particular importance – hear how the ornamentations squeeze
more from each phrase in the clip.
rnaments add to the beauty of a person. Likewise, Alankaras or Paltas play the role of
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beautification in Indian Classical Music. Elaboration of Indian Classical Music in the
form of Ragas involves many levels. Each level involves beautification in its own way. A
good musician employs various technicalities like Aalap, Taan, Murki, Gamak, Meend,
Jod, Jhala and of course Alakaars. The elaboration of Indian Classical Music lasts for
hours, yet beauty is never compromised. Each step advances into another level without
being monotonous. This is the beauty of Indian Classical Music. Alankaars or Paltas play
a great role not only in elaboration (Swar Vistar) but also in Swar Sadhan (Initial
practice) during the early phase of learning Indian Classical Music.
ccording to Indian Classical Music, Alankaars are arrangements of musical notes
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(swaras) in a definite pattern. The swaras while ascending (Aaroh) and descending
(Avroh) follow a specific pattern adding beauty to a musical phrase. Beautiful Alankaars
or Paltas can be composed easily by combining swaras.
oncept of Sur, Laya & Taal
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SUR
The word swara (meaning notes) is derived from the Sanskrit word ‘Svar’, which means
sound. There are different forms of sound. But the sound which is soothing to the ear
nd which is musical is known as swaras or sur. Hindustani classical music has 7 major
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notes also known as Shudha Swaras.
“Sur” is the feeling of pitch match with the reference “Sur" ( tanpura, harmonium, etc.).
“Sur” is a note, it may be produced by any instrument, or by using vocal chords.
The seven svara are Shadja(Sa), Rishabh (Re), Gandhara (Ga), Madhyama (Ma),
Panchama (Pa), Dhaivata (Dha) and Nishada (Ni).
AYA
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This term refers to the repetitive nature of any activity or phenomenon. It roughly
corresponds to the English word ‘rhythm‘. Laya is all around us in nature. The
heart-beat has a laya to it, as does the ticking of a clock, as do the seasons of year, or
even the gait of person.
I n music, laya is the process where sounds are separated by time. If you were asked to
clap for a duration of ten seconds, one can observe that each clap would be spaced out
by some amount of time. So this nature of repetition of events which are spaced out by
some time is called laya. Laya is not just confined to percussive sounds. Melody has
rhythm too, the movement from one musical note to the other has a sense of time to it.
AAL
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The etymology of the word ‘Taal’ or ‘Tala’ has its origin in Sanskrit words. The word
means pivot, based upon, being established.
Thus, Taal is a music meter; a strike or beat that determines the flow of music.
An integral part of Hindustani music, Taal, constitutes rhythm, which occurs naturally
in life processes like heartbeat and breathing.
o visualize the flow of music, one can clap hands or thighs, wave hands, touch fingers,
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strike small cymbals or use some percussion instruments.
Now, Tabla and Pakhwaj are the widely used percussion instruments in Indian Classical
Music. They are used to create beats or rhythm on the basis of which Music flows or
bases upon.
Besides Ragas, Taal also forms the foundational elements of Indian Classical Music.
To conclude, Taal or Tala establishes the time dimension of Musical piece. Actually, it
implies the music meter. However, that does not mean Taal will always be recurring in
pattern.
Rather, Taal arranged in a hierarchical manner based upon which the music is
composed or performed.
he Indian Classical Music is composed and performed according to a metric structure,
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a rhythmic structure which is a Taal.
The Tala forms the measuring structure that repeats, in a cyclical harmony, from the
beginning to the end of each particular song or dance segment.
A Taal measures musical tempo in Indian music. However, this does not imply a regular
repeating pattern; instead, its hierarchical arrangement depends on how the piece of
music is to be interpreted.
oncept of Raag
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A raga (pronounced RAH-guh) is a collection of pitches, kind of like a scale or mode in
Western music. Each raga is defined, however, not only by the pitches themselves, but
also by specific formulas for using them. Within a raga, there will be prescribed ways of
ascending and descending the scale, as well as specific melodic phrases that can be
performed during improvisation.
Indian musicians learn their craft by practicing these pitch syllables in particular
patterns, over and over. You can sometimes hear Indian vocalists singing the pitch
names as they improvise within a piece.
A Range of Expression. Whereas Western music has two kinds of scales, major (think
“Happy Birthday” or “Twinkle Twinkle, Little Star”) and minor (think “Greensleeves,” or
“Chim Chim Cher-ee” from Mary Poppins), Indian music has dozens of different ragas.
Listeners familiar with Indian music can recognize the raga from just a few short
melodic phrases. Listen to these examples of contrasting ragas in the Resource Carousel
above.
Like scales in Western music, ragas help set the mood for a piece of music—but in much
greater detail. Traditionally in Indian music, each raga was itself associated with a very
specific emotion. In modern times, the ragas are often still associated with a particular
time of day or season.
Definitions :
hwani (Sound) :The sound one can hear is calledDhwani.Origin of sounds : The
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friction of two elements creates sounds.
aad :The sound one can hear (by human beings) iscalled Naad. The sound, is
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useful for one in music is called Naad.
S ruti :The sound, is been used for geet(music) andeach sound is different from
each one, which one can differentiate is called Sruti.
S war :The sound (naad) which is particular and melodiousto human ears, called
as Swara.
There are 2 types of swaras
hal Swara:The swara that can change the positionis called Chal Swara.There are
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5 chal swaras : re, ga, ma, dha, ni . These swaras are known as vikrit notes.
chal Swara:The swara that cannot change the positionsare called Achal Swara.
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There are 2 achal swaras: Sa and Pa.
There are12 swarasin music are :
. Sa–Shadaj
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2. re-komal Rishabh
3. Re – shudh Rishab
4. ga - komal Gandhar
5. Ga – Shudh Gandhar
6. Ma–Madhyam
7. ma - Tivra ma
8. Pa–Pancham
9. dha-komal Dhaivat
10.Dha – Dhaivat 11. ni - Komal Nishad 12.Ni – Nishad
aag: A beautiful combination made of minimum offive notes or maximum of
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seven notes, is called Raagas.
T haat: Thaat is a Parent Scale.The primary function of athaatis not as a tool for
music composition, but rather as a basis for classification of Raagas.
adi Swar: Vadi is a first prominent, most importantnote of Raaga.Samvadi Swar
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: Samvadi is a second important note of Raaga.
nuvadi Swar :The swaras remaining after vadi andsamvadi swaras in particular
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raga, are called Anuvadi Swara.
Varjit Swar: Varj Swar is an absent (missing) notein Raaga.
Jaati: Jaati is a number of note in Raagas. Thereare 3 types of jatis are:
.Audav:It has 5 notes
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2.Shadav:Ithas6notes
3.Sampurna:It has 7notes
ikrit Note :The raags having Tivra or Komal notes,those swaras are called as
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Vikrit notes. There are 5 types of vikrit notes are : re, ga, ma, dha, ni
aroh: Ascending order of swaras called as Aaroh.i.e. SA RE GA MA PA DHA NI
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SA........
varoh: Descending order of swaras called as Avaroh.i.e. SA NI DHA PA MA GA RE
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SA.......
Pakad :The Pakad contains the melodic theme of theraga.
lankar :Meaning of Alankar is Abhushan (Jewellery).The particular group of
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swara characters is known as Alankar. Alankar is Palata.
S aptak :Meaning of Saptak is ‘’Seven’’. When allseven shuddha swara’s are
maintained at any one pitch is called Saptak.
There are 3 types of Saptak are :
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1 andra Saptak:The swaras having low pitch are calledMandra Saptak.
2. Madhya Saptak:The swaras having mid pitch is calledMadhya Saptak
3. Tar Saptak:The swaras having high pitch are calledTar Saptak.
hayal Gayaki :Khayal is a Parasi word and meaning of Khayal is imagination of
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thoughts. When one is singing any of the Raga in its particular rule, while singing
when one is using its imagination is called Khayal Gayaki.
There are TWO types of Khayal :
.Vilambit Khayal:The Khayal that is sung in veryslow laya (tempo),is called
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vilambit khayal.
2.Dhrut Khayal:The Khayal that is sung fast laya(tempo), is called Dhrut khayal.
Tan :Singing any of the raga's, a group of notes(swaras)in fast speed is called Tan.
lap :Singing any of the raga's notes(swaras) atvery slow speed (Vilambit laya), is
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called Alap.
Saragam :Short names of Swaras, are called Saragam.i.e. Sa Re Ga ...........
Sthaayi :First (starting) part or stanza of bandishis called Istai.
Antara :Second part or stanza of bandish is calledAntara.
T aal: The tool can be used to calculate the timeduration in Music (composition),
that measuresmusicaltimeis called Taal.
Vibhag :The divisions can show, parts of taal arecalled Vibhag.Matra:
Laya :The Time Stability in Music, is called Laya.There are 3 layas are :
.Vilambit Laya:The slow tempo or rhythm is calledVilambitLaya.
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2. Madhya Laya:The medium speed that is neithertoo fast nor too slow is called
madhya laya.
3.Dhrut Laya:The rhythm is faster than Madhyalaya.It is called Drut Laya.
atra:A matra is a beat, the smallest rhythmic sub-unitof a taala is calledMatra.
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Or ( The one , counting the beats in particular laya is called Matra )
T heka :The bols created using Hindustani Classicaltaal Instruments, Tabla and
Mridang is played in one speed and one particular beat cycle is called Theka.
S am :The First beat of taal is called Sam. Or (TheFirst bol of Theka in Taal is called
Sam )
hali :Each Taal has particular divisions , which one is showing with claps on bols
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in a pericular speed. While showing this divisions, there is no clap apart from bol
is called Khali.
T ali :Each Taal has particular divisions , whichone is showing with claps on hand is
called tali or bhari.
Avartan :Avartan is to repeat the same beat cyclesam to sam in taal system.
ugun :The laya(tempo) has been increased from itsparticular speed to double
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speed is called Dugun.
OTE : Elementary knowledge (notation system) ofVishnuNarayan
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Bhatakhande or Vishnu DigambarPulaskar. Make a shortnote on any one.
Kindlyrefer google.
Notation Details according to Vishnu Narayan Bhatakhande and Vishnu Digambar Pulaskar :
Origin of Indian Music
The origin of Indian music should be traced back to the Vedas.
The Vedas are a collection of hymns in Sanskrit language.
The literature in the Veda is divided into 4 parts:
.
1 ▪ ig Veda
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2. ▪ Yajur Veda
3. ▪ Sama Veda
4. ▪ Arthava Veda
he Rig Veda is the most ancient, the recitation of the Rig Veda at the beginning was done
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in monotone, and later developed to include up to three tones: a principal tone and two
accents, one higher (uddatta) and one lower (anudatta).
he Yajur Veda, mention the Vina (traditional Indian instrument, the one that Saraswati
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plays in the picture below), as musical support during the vocal recitation of the ceremonies.
In the Yajur Veda the way to sing the hymns is modified and here is possible to see two
principal notes and two accents in the way that the first concept of tetra chord is formed
In the Sama Veda we can trace the real origin of the Indian music. To the original tetra
chord, there were added three more notes, giving the result of the first scale of seven notes.
hose seven notes, used to chant the Sama Veda become the first Raga, and according to
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Sakuntala Narasimahan (invitation to Indian music), this raga correspond to Kharaharapriya
Raga of the Carnatic musical system.
he ‘Raga’ is a particular arrangement of a sequence of note in a particular descending and
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ascending order; each raga has a particular “performing rule and it’s associated to particular
“mood” and time of the day.
uring the course of the centuries, thanks to the contribution of different musicians like
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Bharata, Matanga, Sarangadeva, etc. Indian music developed more and more creating
different raga, bhajan, kirtan, musical exercises etc.
uring the XII and XIII century A.D. there was a division in two different musical systems:
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the southern one (Carnatic) and the northern one (Hindustan)
his happened because the north of India started to get frequent invasions from Muslims
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coming from the west.
hose invasions created socio-cultural changes that influenced the music that was
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contaminated by Arabic and Persian styles (Hindustani music)
In the south the music styles continued to develop around the same line, without external
influences. (Carnatic music- carnatic in Tamil means “Traditional”).
ow is important to understand thatthe Indian music(like all the arts and sciences
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originated from the Vedic system) has its root in the concept that the creation, the
reality is a manifestation of the Consciousness at different level of vibrations.
In Tantra this Consciousness is called Shiva and the Manifestation in form of vibration is
called Shakti.
In Sanskrit there are many terms related to the word “Sound”
Among those three terms are very important when we talk about music:
Sruti, Swara and Nada
rutiliterary means something like “that has beenheard”. Sruti in music refer to the
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smallest interval of pitch that the human ear can detect.
o clarify the concept (for those who don’t know abut music and acoustic), every sound has
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a Pitch (the pitch indicate the frequency/vibration of the sound and is measured in Hz).
hen the frequency of the sound change the pitch change, if the sound frequency change
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of few Hz we are not able to detect with our ears the change in the tonality of the sound. If
the sound change in Hz is higher our ear is able to detect the change of the tonality of the
sound.
So Sruti refer to the this small interval /range of frequencies.
In music theory there is the concept of Octave, that is the interval between one pitch (let’s
say with the frequency =xHz) and another pitch having double frequency (2xHz).
In the Octave there are 22 Sruti. So in the 7 note scale , there are 22 different “sub-note”,
having different tonality from each other.
wararefer to the sound that manifest itself, inSanskrit grammar Swara refer to the vowels
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(that are the first manifestation of sounds from the language point of view), in music Swara
refer to the musical notes, the “steps” of the musical scale in the Octave, each swara is
separated from each other by an interval of 2,3 or 4 Sruti.
Generally in one octave are recognized 7 Swara:
SA, RE, GA, MA, PA, DHA, NI,
Nadais the “causal sound”, the “Sound”.
With the term Nada we can refer to:
1. T he Primordial Sound vibration, the omnipresent vibration that animate the
universe.
2. General Sound-Frequency used in music
In the Brihaddesi of Matanga, maybe the earliest Indian musical treatise there is the
following definition of Raga:
So we can say that:
ada is the “Primordial sound” and is present in the entire range of frequency, audible and
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not audible.
he audible range of frequencies (from 20Hz to 16-20 KHz) is divided in Sruti (22 in each
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octave-from xHz to 2xHz).
Among the 22 Sruti, 7 Swara manifests themselves.
he combination/arrangement of the 7 Swara in a particular ascending and descending
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order create the Raga.
aga is a particular scale, but is more than that.In the Sangitaratnakara (a work about the
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musical science) the raga is described as“what givepleasure to the mind of the listener “.
aga in Sanskrit means “attraction”, so the Raga is a particular scale that attracts and gives
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pleasure to the listener.
Definitions :
Swar :
he sound (naad) which is particular and melodious to ears, called as Swara.
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There are 2 types of swaras are :
1. Chal Swara :The swara, can change the position calledChal Swara.
here are 5 chal swaras are : re, ga, ma, dha, ni these swaras known as vikrit notes.
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2. Achal Swara :The swaras can not chage the positionscalled Achal Swara. There are 2
achal swaras are : Sa and Pa.
There are12 swarasin music are :
1. Sa – Shadaj
2. re - komal Rishab
3. Re – shudh Rishab
4. ga - komal Gandhar
5. Ga – Shudh Gandhar
6. Ma – Madhyam
7. ma - Tivra ma
8. Pa – Pancham
9. dha - komal Dhaivat
10.Dha – Dhaivat
11. ni - Komal Nishad
12. Ni – Nishad
ikrit Note :The raags having Tivra or Komal notes,those swaras are called as Vikrit notes.
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There are 5 types of vikrit notes are : re, ga, ma, dha, ni
huddha Swara :Apart from 22 srutis musicologisthave been selected 7 srutis, Those 7 srutis
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are called Shuddha Swara. i.e. SA RE GA MA PA DHA NI SA
lankar :Meaning of Alankar is Abhushan (Jwellery).The particular group of swara character is
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known as Alankar. Alankar is Palata.
aal: The tool one can use to calculate the timeduration in Music (composition),that
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measures m usicaltimeis called Taal.
heka (Thah) :The bols created using Hindustani Classicaltaal Instruments, Tabla and
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Mridang is played in one speed and one particular beat cycle is called Theka.
Tanpura : Name of parts
Tabla : Parts of Tabla
Laya :The Time Stability in Music, is called Laya.
1. Vilambit Laya :The slow tempo or rhythm is calledVilambit Laya.
2. M
adhya Laya :The laya is having faster speed thanvilambit laya and slower speed
than druth laya is called Madhya Laya.
3. Dhruth Laya :The rhythm is faster than Madhya layais called Dhruth Laya.
4. A
ad Laya : The laya (tempo) one is using in the beatof 1.5(dedh) in the particular
speed is called Aad (dedhgun).
Istai :First (starting) part or stanza of bandishis called Istai.
an :While singing any of particular swaras, oneis singing the previous and the next
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notes(swaras), is called Kan.
Khataka :While singing any of particular swaras,one is singing the previous and the next
notes(swaras) with a jerk, is called Khataka.
aad :The sound one can hear (by human beings) iscalled Naad.
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The sound, is useful for one in music is called Naad.
There are only two Naads, are :
1. Ahat Naad :
The sound one can hear with the friction of two elements called as Ahat Naad.
2. Anahat Naad :
he sound one can hear without any friction, but still one can feel the sound called as
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Anahat Naad.
i.e. 1. Sound of an air
2. Meditating sound
There are three specialities(features) of Naad :
1. High Pitch and Low Pitch of Naad :The one can experience(feel)the high pitch and
low pitch intensity of 12 swaras during singing(music).
2. S
mall to Large Naad :The sound which is small, willcover small area but the sound
which is large will cover the larger area of people, is small and large Naad.
3. C
haracter and Quality of Naad :There is sound differencebetween every instrument
according to character of every instrument, i.e. Sitar, Harmonium and because of the
the different character of every instrument, one can specify the difference that is Quality
of Naad.
aag: A beautiful combination made of minimum offive notes or maximum of seven notes, is
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called as Raagas.
haat: Thaat is a Parent Scale.The primary functionof a thaatis not as a tool for music
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composition, but rather as a basis for classification of Raagas.
According to Vishnu Narayan Bhatakhandeji there are 10 thaat in Hindustani classical
music.
Names of 10 Thaats are :
1. Kalyan : SA RE GA ma PA DHA NI SA Tivra ma
2. Bilawal : SA RE GA MA PA DHA NI SA
3. Kafi : SA RE ga MA PA DHA ni SA Komal ga, ni
4. Bhairav : SA re GA MA PA dha NI SA Komal re, dha
5. Bhairavi : SA re ga MA PA dha ni SA Komal re, ga, dha, ni
6. Todi : SA re ga ma PA dha NI SA Komal re, ga, dha Tivra ma
7. Marwa : SA re GA ma PA DHA NI SA Komal re , Tivra ma
8. Aasawari : SA RE ga MA PA dha ni SA Komal ga, dha, ni
9. Purvi : SA re GA ma PA dha NI SA Komal re, dha Tivra ma
10.Khamaj : SA RE GA MA PA DHA ni SA Komal ni
These 10 thaats are called Ashray Raga.
2 Thaat according to Vyankatmakhi : Chatudandiprakashikais the name of the book is
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written by Pt. Vyankatmakhi. After Pt. Vyankatmakhi there is a book in Carnatic music is called
Raag Lakshanam, which also has 72 thaat and somewhere500 ragas been created from this.
ruti :The sound, is been used for geet(music) and each sound is different from each one,
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which one can differentiate is called Sruti.
In ancient times, great musicologist has selected particular 22 Naad, those are called Sruti.
Sruti is been divided 2 times , ancient times and modern (present) times.Duringancient
timesits been situated or starts fromnumber 4.Duringmodern (present) timesits been
situated or starts fromnumber 1.
ivision of 7 swaras :
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Formulato divide sruti is : 4, 3, 2, 4, 4, 3, 2
Division of 22 srutis in modern (present) times are :
1. 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
| | | | | | |
A
S RE GA MA PA DHA NI
In ancient times Raag Kafi was known as shuddha saptak or shuddha thaat.
Division of 22 srutis in ancient times are :
1. 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
| | | | | | |
SA RE GA MA PA DHA NI
In modern (present) times Raag Bilawal is known as shuddha saptak or shuddha thaat.
andhiprakash Raga :Sandhiprakash is the particulartime period when a day is turning into
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night and night is turning into a day. i.e. 3:30am - 4:30am and 3:30pm – 4:30pm. The Ragas
been sung during this particular time period is called Sandhiprakash Raga.
There are 2 types of Sandhiprakash Raga are :
. Pratahkal sandhiprakash Raga :The Ragas been sungduring the time change process of
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night to day is called Pratahkal sandhiprakash Raga.
i.e. Ahir Bhairav Raga, Bhairav Raga, Bairagi Bhairav Raga, Lallit Raga etc.
. Sayankal sandhiprakash Raga :The Ragas been sungduring the time change process of
2
day to night is called Sayankal sandhiprakash Raga.
i.e. Raga Purvi, Raga Marwa, Raga Multani, Raga Madhuvanti etc.
Shuddha Re-Dha Ragas :This type of ragas mainly sungafter 12pm mostly in the evening
during the whole day, because sandhiprakash time period comes twice. Which is night to
morning and morning to night. Bilawal, Khamaj, Kalyan these particular that type of ragas
mainly been sung in this Shuddha Re-Dha ragas.i.e.Raga Des, Raga Jajwanti, Raga Kalyan,
Raga Bhoopali etc.
omal Re-Dha Ragas :This type of ragas mainly sungafter 12am mostly in the morning times
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during the whole day, because sandhiprakash time period comes twice. Which is night to
morning and morning to night. Todi, Bhairavi, Bhairav these particular thaat type of ragas
mainly been sung in this Komal Re-Dha ragas.
i.e.Raga Gurjari todi, Raga bilaskhani todi, Raga Ahir bairav etc.
omal Ga-Ni Ragas :This type of ragas mainly sungafter 12am, some of the ragas in the
K
midnight times and some of in the afternoon times during the day, because sandhiprakash
time period comes twice. Which is night to morning and morning to night. Bhairavi, Kafi,
Asawari these particular thaat type of ragas mainly been sung in this Komal Ga-Ni ragas.
i.e. Raga Bhimpalasi, Raga Malhar, Raga Asawari etc.
hrupad :Dhrupad Gayaki style of music has been originatedin 15th century during the
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kingdom of king Mansingh Tomar. Now also in this present time (century) Dhrupad Gayaki is
very serious and solid style of music. (Dhrupad Gayaki is very much male oriented style of
singing, now days even female sings) This style is not having taan type, but more of dugun,
tigun and chaugun layakari is been used in this style. In this style NOM, TOM is been used very
much instead of Alap.
There are FOUR Divisions of Dhrupad Gayaki are :
1. Istai
2. Antara
3. Sanchari
4. Abhog
hrupad Gayaki style is been mostly sung in chau taal, Surphak taal, Rudra taal etc.
D
Dhrupad Gayaki has Four Vani are :
1. Khandahar Vani
2. Nauhar Vani
3. Dagur Vani
4. Gobarhar Vani
Dhrupad Gayaki has Four Vani are :
1. Khandahar Bani :
ajaSamokhanSinghwasafamousBeenkar.HebelongedtoKandaharregion.Thus,hisstyle
R
of singing came to be knownasKandaharBani.ThisBaniwasrichinitsvariety.Itsgaitwas
majestic and robust, using heavy and vigorous Gamakas, expressive of valor. In contrast to
Gaudiya or Govarhari Bani , it usually was not sung in slow tempo.
KhandarBaniwasprominentinJorAlaapoftheRudraBina.Alongwithbewilderingpatternof
vigorousGamakas,itcouldalsobringoutsoftanddelicatenotes.TheDhrupadcompositions
of this Bani were set mostly in Madhya and Dhrut laya, with the singer innovating series of
Bol-tans in rhythmic patterns along with the Pakhawaj. The Bani was best suited for
expressing the fast and furious Vira Rasa.
2. Nauhar Bani :
Its founder was Rajput Shri Chand who belonged to Nauhar. It style was characterized by
quick,jerkypassagesemployingavarietyofGamakas.Itusuallymovedinquicksuccessions,
moving as it were in slow deliberate curves from thefirsttoitsthirdorfourthnote,andthen
changing course . Thus, the Nauhar Bani with its jumpyc hhoots(short, quick musical run)
surprised the listeners at each of its movements.
Nauhar Bani was technically calledChhoots tyle with predominance of Madhya laya ,
spacious Dhrupad compositions .It was ideally suited for depicting the joy and wonder of
Adbhuta Rasa of songs set to smaller beats. This style of rendering is very popular with
wandering minstrels singing songs of love and war.
3. Daguar Bani :
ItsaidtohavebeenfoundedbyBrajChandwhobelongedtoaplacecalledDaguar.Hencehis
style came to be known as Daguar Bani. It was characterized by its delicately executed
meends(glides)withGamakas.Itwasmarkedbycorrectintonation,purityofdesign,simplicity
of execution and a massive structure. It adopted the contemplative elaboration of Govarhar.
The rendering of the songs and Dhrupad in Daagar Bani was mostly
inVilambit andMadhyalaya,providing greaterscopeforportrayingvariousRasasindifferent
Taalas.ItwaswellsuitedforDhamarsongs.And,initsmediumtempoitjudiciouslyblendedin
the Kandahar Bani to add color to its performance.
4. Gobarhar Vani :
ansen is said to be the originator of this Bani.Itissaid;hewasoriginallyaGaudaBrahmin
T
(Ramtanu Pandey). And therefore, his stylecametobeknownasGaudiyaorGovarhariBani.
This Bani was characterized by itssmoothglides,almostlinierincharacter.Itsgaitwasslow
and contemplative; spreding a feeling of repose and peace.
Gauhar Bani was described as Shuddha Bani that is chaste and pure. Its rendering was
straight and simple with the gaps between the words and between the stanzas , bridged
by a
ansor m
eands. It iwas ideally suited for compositions in slow tempo (Vilamba kala)
portraying Shantha, Gambhira and Bhakthi Rasas.
ori :Hori is one of the Indian festival which is been celebrated with colours. The songs (geet)
H
is been played or sung during this festival , is known as Hori Gayaki. This gayaki is mainly been
sung in braj language.
OR (The songs of hori is been sung in dhamar taal,is known as hori-dhamar).
appa Gayaki :After Khayal Gayaki, Tappa Gayakigotintroduced. Meaning of word Tappa is
T
jumping upwards or forward. Tappa is especially taan pradan type of gayaki. This Tappa Gayaki
of style has been invented by Shorimiya. This style of singing is mostly been sung in Panjabi
language.
hamar :Dhamar is the name of taal, as well as oneform of gayaki. Dhamar form of gayaki is
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very close to Dhrupad gayaki. This form of singing is mainly of Veer Rasa, one can feel or
experience. This style is not having taan type, but more of dugun, tigun and chaugun layakari is
been used in this style. In this style NOM, TOM is been used very much instead of Alap. This
style of gayaki is particularly been sung in dhamar taal only.
ilambit Khayal (bada khayal): One is singing invery slow laya (tempo), is called vilambit
V
khayal.
amak :One is singing any of raga’s notes(swaras)with a vibrations and in a serious way is
G
called Gamak.
Bol Tan :One is singing particular tan with bolsof bandish is called Bol Tan.
isra Tan :The notes(swaras) one is singing in zigzagcombinations with the mixture of small
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combinations of aaroh and avaroh in a fast speed is called Misra Tan. (This tan is a mixture of
shuddha tan and kut tan).
ut Tan :The tan in which swaras (notes) system andcontinuation is not clear is called Kut
K
tan.
wara vistar :The swaras (notes) , one is singingin elaborated way and in a slow speed, is
S
called Swara vistar. This same process one can do while doing alap.
.Merits and demerits of musician
1
merits and demerits of singers
'Sangeet Ratnakar' mentions 22 virtues and 25 demerits of singers. Apart from these,
many merits and demerits can be told, but only the main ones are being described
here.
ualities of singers-
Q
(1) Sweet voice- Having a sweet and melodious voice capable of taking gamak, kan
and meend, being able to sing at least in practice is a great quality.
(2) Pure pronunciation- The pronunciation of the words of the song should be pure and
clear.
(3) Swara and Shruti-Gyan- Ability to understand and sing all the swaras and shrutis
used in a raga.
(4) Rhythm and Taal - Knowledge- The singer should be rhythmic and should have a
good knowledge of all the popular taals.
(5) Raga-gyan- should have subtle knowledge of maximum diseases. Not only this, but
should have the ability to avoid samprakriti ragas, to show scarcity, abundance and
disappearance-appearance.
(6) Proper practice, at least that much practice should be there that he can sing
tan-alaap etc. according to his mind.
(7) Beautiful co-ordination of voice, rhythm and emotion- The singer should have this
quality that he should give proper place to all three voice, rhythm and emotion in his
singing.
(8) Creative power – The singer should have this quality that he can compose beautiful
tone-alap etc. at the same time and they should not be repeated.
(9) Singing without effort and with concentration - while singing, the listeners should
not feel that the singer has to work hard and his mind is not fixed at one place.
(10) Jana-Mana-Ranjan – The singer should have such ability that the listeners are
enthralled by his singing. The public should be entertained by his songs. Mere artistic
marvel is not enough.
(11) Vocal range- The higher the vocal range of the singer, the better. Pure and clear
sound should be heard in all the three octaves and the sound can be made small or big
as per the need.
(12) Self-confidence – Fearlessly singing on the stage while observing and handling
every situation. It should appear to the listeners as if he has full command over the
tone and rhythm.
(13) Singing - His singing should be as complete as possible and according to the
voice.
(14) According to the time, occasion and listeners – The singer should have the ability
to choose the raga, words of the song, duration of the song, style of singing etc.
according to the time, occasion and audience.
emerits of singers
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(1) Hoarse throat - The effect of dry and sharp throat is not good. The first impression
on the listeners is made by the voice. No matter how artistic a person with a hoarse
voice sings, his effect on the listener will not be very good.
(2) Badsura song – The notes of the melody should be put in their place.
(3) Erroneous pronunciation of vowels and words – voice trembling, singing by
clenching teeth, taking out voice from nose, not having proper shape, not pronouncing
words properly etc.
(4) Impurity of raga - singing impure raga
(5) Betal and Belay - Betal and Belay while singing.
(6) Lack of proper practice- Lack of proper practice.
(7) Repetition defect - Repeating the vowel groups used once again and again.
(8) Mudra-defects – making faces while singing, bending hands, singing by keeping
hands on ears, singing with closed eyes etc.
(9) Disorganized singing - singing out of sequence.
(10) Lack of self-confidence-singing in fear, soon finish singing by showing all your
magic.
(11) Not singing according to the time, audience and occasion- Not singing keeping in
mind the present situation is a great shortcoming of the singer.
(12) Showing more preparation than necessary- By showing more preparation than
your practice, the voices become dissonant.
(13) Singing carelessly – Singing carelessly while singing is a shortcoming of the singer.
(14) Lack of co-ordination of voice, rhythm and emotion – It is not appropriate to give
more importance to any of these.
(15) Monotonous singing – lack of interest in singing etc. are demerits.
● Types of Taan
1. S
huddha Taan– The taan in which the sequence of notesis the same and the
ascension-descension is straight-straight, it is called 'Shuddha Taan'. Like - ' Sa re ga
ma pa dha ni sa ' ' Sa ni dha pa ma ga re sa. It is also called 'Sapat Taan”'.
2. K
oot Taan– The taan in which the order or sequenceof vowels does not appear to be
clear, is called 'koot taan'. It always moves in a zigzag way. Like - ' “DD PD DP MP MD
PM GM GD MD PM GD MP ND SN DP MD PM GR SS”, etc.
3. M
ishra Tan– “Pure Tan” and “Kat Tan”, in which thereis a mixture or mixture of these
two, it will be called ‘Mixed Tan’. For example - '’SS NS DN DS ND PD NS SN DP MG
RS'. In this both 'koot tan' and 'Shudh tan' are mixed.
4. K
hatke ki taan– If the taan is taken by pushing onthe vowels, then it will be called
‘Khatke ki taan’.
5. J hatke ki taan– When the taan is going at doublespeed and suddenly starts going at
quadruple speed in the middle, then it is called ‘Jhatke ki taan’.
curvature
6. V
akratan- It is similar to 'Koot Tan'. Vakra meanscrooked, that is, whose movement is
not straight, in which there is no sequence of vowels. This will be called 'curvature'.
7. S
arok Tan- In which four notes are recited togetherin sequence; Like – 'Saregam
regamp gampadh mapadhani'. This will be called 'Sarok Tan'.
8. L
adant Taan– The taan in which several types of rhythmare mixed, it is called ‘Ladant
Taan’, like – ‘Nisa Nisa Re Re Re Re Nidh Nidh Sa Sa Sa Sa’ etc. In these taunts, the
fight between the singer and the instrumentalist is very funny.
9. G
itkari Taan– This taan is taken by rapidly followingtwo notes one after the other. We
call this type of tone 'Gitkari tone'.
10.Jabde ki tan- When tone is taken with the help ofthe jaw by extracting sound from the
end of the throat, it is called 'Jaw Tone'. It is difficult and only accomplished singers are
able to present such tones.
ind of Geet or songs: detailed knowledge of Tappa,Thumri,
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Tarana, Tirwat, Chaturang, Bhajan, Geet and Ghazal
● BHAJAN
hajan comes from the word ‘bhaj’ which means to worship. The basis of music has always been
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devotion and spirituality. The Gandharva music, or the marga music was composed to sing the
praises of God.
andharva marg led to the Dhrupad tradition that went on to become the very foundation of
G
classical music in India.
And as music evolved further, the devotional expressions also changed from staunch classical
renditions to light classical music that dwelled more in the unbound love and devoutness of the
devotee.
Bhajan, as a musical form, came into prominence during the Bhakti movement. There is no stringent
rule book for light classical music as it is there for classical music. And the same applies to Bhajans.
Bhajans emphasize majorly on its lyrics and a melodious raga that complements that. The words
used to compose the lyrics rake devotional feeling (bhakti ras) in the minds of the listeners.
Sung in religious gatherings, Bhajans are accompanied with instruments like Harmonium,
Tambourine, Tabla, and Dholak.
The closest analog of Bhajan is Kirtan, a more high-paced and energetic form of music that involves
multiple performers singing and dancing at the same time. In contrast, Bhajan involves solo
renditions and is characterized by medium to slow-paced melodious compositions.
Some of the most celebrated Bhajan singers include Anup Jolata, Anuradha Podwal, and Manna De
among many others.
GHAZAL
●
As beautiful as the word, Ghazal is the most beautiful musical expression of love, pain, and
separation. The ultimate culmination of lyrics, melody, and feelings that touch upon the most
sensitive points of human emotion - Ghazal always finds a special place in the collectibility of every
musical connoisseur.
T aking its roots from the 7th century Arabic poetry, Ghazal spread its roots across Persia, Turkey,
India, and also in Germany.
The Arabic word ‘Ghazal’ means to speak sweetly and passionately or to display a romantic gesture.
A slight variation in the spelling – ‘Gazaal’ refers to a young and beautiful deer. There are several
interpretations that also relate the word ‘Gazal’ to the ‘cry of an injured Gazaal (deer).
Thus, the poetic form of Gazal derives its elements of passion and pain from both the above
connotations.
hazals are composed in the form of poems that comprise five to fifteen rhythmic couplets. Just like
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Qawwali and Khayal, Ghazal also has a specific structure that binds the poems.
Ideally, Ghazals comprise less than five couplets. The ones that go up to fifteen couplets are known
as ‘qasidas’.
Ghazal follows a particular ‘rhyme and refrain rule’ – the Arabic terms of which are – ‘qaafiyaa’ and
‘radif.’ Other significant fragments that impart Ghazal its depth and grace include – Matlaa or the
first ‘sher,’ Maqtaa or the last couplet and Bah’r or the metric pattern that binds each line of the
Ghazal.
Each ‘sher’ or couplet of a Ghazal is complete in itself and yet connected with each other to impart a
holistic oneness in the rendition.
hazal, as a form of music, spread its roots in India around the 12th century following the same
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route as its closest analogs – Khayal and Qawwali. Following the path set by its progenitor – Amir
Khusroo, the baton was taken up by notable stalwarts in India – Mirza Ghalib, Mohammad Iqbal,
and Kazi Nazrul Islaam.
● TAPPA
T appa takes its lineage from Pashto folk literature. Tappa is a song sung at marriages or at the time
of grief. It uses ‘Rabab’ and ‘Mangay’ as its instrumental ally.
T hough there is no prescribed gender role for singers of Tappa, it is usually sung by women. The
influence of this Pashtun folk literature was first seen to be influencing the music of Punjab through
the camel riders.
Later, Tappa sprawled to the Mughal court during the reign of Muhammad Shah and thereafter, to
the courts of Asaf Ud Dowla of Awadh through the compositions of his court singer – Shori Mian.
Tappa traversed eastward to Bengal, where it was further refined by composers – Ramnidhi Gupta
and Kalidas Chattopadhyay. Their compositions are known as Nidhi Babu’s Tappa.
In a later stage, Tappa refines and evolves furthermore to give way to ‘Puratani,’ – a term used to
define semi-classical Bengali songs.
Tappa reached its Zenith as a musical genre by the end of the 19th century and reigned till the first
half of the 20th century. It soon became the centre of attraction at the ‘baithak khana’ or assembly
hall, ‘naach ghar’ or entertainment halls of the Bengali ‘zamindaars.’
After that, however, its popularity took a downward turn to no one from the succeeding generations
showing interest in pursuing the genre.
The celebrated exponents of this genre include – Dadathakur and Ramkumar Chattopadhyay.
T arana And Thillana
Tarana is a type of composition in Hindustani classical vocal music in which certain words and
syllables (e.g. odani, todani, tadeem and yalali) based on Persian and Arabic phonemes are
rendered at a medium or fast pace. It was invented by Amir Khusro. The structure consists of a
main melody, usually short, repeated many times, with variation and elaboration at the
performer's discretion. There is a second, contrasting melody, usually with higher notes, which
is introduced once before returning to the main melody. The tarana may include a Persian
couplet, and may use syllables from sitar or tabla such as "dar-dar" or "dir-dir"; singers might
recite full compositions (e.g. tihais, gats, tukdas) within the body of the tarana. Thillana is the
carnatic counterpart of tarana. But, unlike tarana, it does not include persian verses.
● HORI
ori is sung during the festival of Holi capturing its joyous and playful spirit. Shringar rasa
H
dominates in the Hori compositions. Though most of the songs are upbeat in nature, there are
few based on viraha evoking the pathos of two separated lovers. In Mathura-Vrindavan, every
hori revolves around Radha-Krishna and is called Raas. In Awadh region, one would find many
compositions on Ram and his brothers playing Holi in the stype.
● GEET
T he Hindi geet is basically just a song.Undoubtedly, the most popular is the film song.
There are also a few genres which are oriented specifically toward musical education.
The most notable example is the lakshan geet. In this style the words of the song
actually describe the raag which is being performed. Another genre which is used for
pedagogic purposes is the swarmalika. This style uses the sargam of the piece instead of
words.India also has a rich tradition of folk music. These will vary from region to region.
● CHATURANG
‘Chaturang’ literally means ‘four colours’. It is a very appealing style of singing that compactly
combines sections from four diverse classical forms - khayal, tarana, sargam and tirwat, all in the
same raga. The bandish is crisp and has a well-structured sthayi. The antara is rendered at first
in madhya or drut laya. This is followed by a rapid tarana, which in turn gives way to sargam and
the performance is rounded off with an enchanting tirwat, or the melodic use of pakhawaj and
tabla bols. Like tarana, chaturang relies on the use of meaningless sounds to develop ragas. Yet,
as signified by its name, it brings together a spectrum of four 'colours' into one band. Each
stands separately, but the whole coalesces to give a 'rainbow' effect.
● Thumri
T humari stands as an important and dominant genre in Indian music along with Dhrupad,
Khayal and Tappa; as a well-accepted genre by all performers, musicologists and audience. With
keeping its unique character intact as a musical form, Thumari has its own idiom, scholastic
tradition, aesthetics and mannerisms, which are in many ways different than Khayal and Tappa,
but still there are many commonalities.
T he Hindi word 'Thumari' is said to be derived from - 'Thumakna' meaning an attractive gait. So,
literary meaning is 'the song having attractive - rather sensuous, gait of melody and rhythm'.
The content of sensuousness is the main emotive basis in Thumari, though there are many
compositions of Thumari depicting the devotional aspect. An example of thumri is Bari Umar
Larkaiya Na Chhedo Saiyyan by Shobha Gurtu
rigin:
O
Some musicologists speculate about the traces of Thumari in ancient form - 'Charchari
Prabandh' or 'Hallisak Geeti'. But the available documentation on Thumari mentions its origin in
around 16-17th century A.D. Thumari is said to be originated from the songs of Northern Indian
folks, specifically from the region between Ganga - Yamuna Rivers.
L anguage:
These songs are basically in the regional dialects of Hindi such as Awadhi, Bhojpuri, Mirzapuri,
etc. But there are some compositions of Thumari in other languages such as Rajasthani, Marathi
and Bengali, also. The dialect of Thumari is soft and tender than any other forms and it allows
aking colloquial usage of words to sound them elastic, for example - 'Paani' becomes 'Paniyaa'
m
and 'Piyaa' turns into 'Piu' or 'Piyaruwa', etc.
S ubject matter:
Thumari portrays mainly various moods in love - unison, separation and such ups and downs in
the journey of relationship. The main character in the lyric of Thumari is mostly a woman in
love, and the illustration differs in the stages of the disposition such as age, social status, etc.
usical characteristics:
M
In Thumari, the lyrics i.e. 'Bol-ang', is very important. So, the musical elaboration of the words
with different shades is focused in the rendering, which is called as 'Bol Banaao'. Thins involves
Alap, some times with mixtures of Raags for highlighting the sentiments. After singing the Sthayi
and Antara in slow tempo, usually there is rendition of words in fast progression on Tabla called
'Laggi' when the singer twists the words with melodic variations called as 'Bol-Baant'.
aags:
R
Thumari is sung mostly in the so called 'lighter' Raags such as Khamaj, Kafi, Tilang, Desh, Tilak
Kamod, Sorath, Piloo, Mand,Manjh-Khamaj, Jogia, Kalingda, Shiv-ranjani, Bhairavi, etc. in which
there is wider scope for emotive improvisation with the subtleties in Alankaars, mixtures of
Raags. So, many times, Thumari is found in combination of some Dhuns, so called as 'Jhilla' and
'Jangulaa'. But the tradition has gifted us some Thumaris in raags typical of Khayal, such as
Bihag, Shahana, Sarang, Poorvi, Kalyan, Sohni, etc.
T aals:
The Taals for Thumari are Deepachandi, Addha, Ikwaai, Sitarkhani, and some 'Bandhi Thumari' is
to be sung in Jhaptaal, Ektaal also. There taals of smaller cycle, derived from folk music, that are
Kehrawa, Dadra, Khemta, Chachar which are used for the compositions of Dadra, in fast tempo.
Some able Thumari singers also sing Thumari in slow tempo Kehrawa or Dadra.
ifference between Thumari and Dadra:
D
'Dadra' can be explained as a speedier version of Thumari, approximately. Though the name
suggests about the Taal Dadra, the compositions are set in other taals than dadra such as
Kehrwa and Chachar. An example of a dadra is Savare Aijaiyo by Dr Vasantrao Deshpande
Though Thumari and Dadra are mentioned always as a twin-term, there is some distinction -
1. Thumari is usually sung in slow tempo and Dadra is bit faster.
2. Thumari has more elaborate, lengthy structure of improvisation than crisp, compact
Dadra.
3. The lyric of Thumari generally possesses only two parts - Sthayi and Antara. On the
contrary, Dadra is decorated by and large with more than one Ataras.
4. Thumari mostly says purely about the human love relationship. But the songs in the
category of Dadra such as Kajri, Jhoola, Hori, Chaiti, etc. mostly depict the nature,
seasonal variation and the human sentiments in that reference.
Â
Forms under the umbrella of Dadra:
● K ajri:'Kajri' word means 'Black - rainy clouds'.Kajri mainly explains the pathos of a
separated lover during rainy season. But the typical of Mirzapuri Kajri also narrates the
joy in rains. Eg. Shobha Gurtu - Tarsat Jiyara Hamar Naihar Me
● Sawan: Sawan also is a rainy season song, but rather than explaining the human
sentiments, it gives emphasis on the seasonal beauty. Eg. Shobha Gurtu - Sakhi Sawan
Aayo
● Jhoola:This is the song while playing the swings,sung by women in north India during
the rainy season, with the depiction of romantic mood of Lord Krishna and Radha. Eg.
Shobha Gurtu - Jhoola Dheerese Jhulao
● Chaiti:Song to be sung in the summer month, Chaitra,which has depiction of girl asking
for new bridal dress to her husband, mostly. In Chaiti, there is usage of words 'Ho Raam'.
Eg. Shobha Gurtu - Chaitar Chunariya Rang De
● Hori:Hori in Thumari style is called as 'Kacchi Hori'in which the festival of colors is
described. Eg. Shobha Gurtu- Hori Khelan Kaise Jaoon
● Barahmasa:That has description of all the three seasonsin the twelve months in Indian
scenario.
T humari and Bhajan:
'Bhajan' means devotional song, specifically written by the saint-poets such as Meerabai, Kabir,
Surdas, etc. Many Thumari singers sing the Bhajans in the format of Thumari-Dadra. So, it adds
the repertoire of the Thumari's subject matter, not restricting it only to the sensual realm. The
compositions such as 'Saiyya Nikas Gaye' or 'Barse Badariya Sawan Ki' are fine examples of
Thumari-Ang Bhajans.
T humari and Ghazal:
It is a form of Urdu-Farsi poetry with its unique stylistic construction and subject matter is
mainly related to love relationship. Till the first half of 20th century, Ghazal was also often sung
in Thumari-Dadra format. But later, as there was development of distinct style of Ghazal
rendering, this form was separated from Thumari's influence. On the other hand, there are
some Dadras in which Sher's (couplet) in Urdu poetry are rendered between two Antaras. For
example - 'Chha Rahi kali Ghata' (Dadra in Desh).
haranas in Thumari:Thumari is said to be originatedin the Purab, i.e. eastern region of
G
Ganga-Yamuna rivers in north India, so it is called as 'Purabi' or 'Banarasi' Thumari, which is sung
mostly in slow tempo. Later new style emerge called 'Lucknowi Thumari' which gives more
importance to fast tempo compositions, also called as 'Pachhahi Thumari'. Another school in
Thumari came out, that was 'Punjabi Thumari' which has lighter rendering, but fanciful and
startlingly attractive phrases.
2. The Raga Ragini System of Indian Classical Music
Indian music is very unique in that, it is highly spiritual innature. The singer/artist tries to reach
God through his music. Like all the other Indian classical Performing Arts, classical music too, is a
journey of theJeevatmaor the soul towards theParamatmaor the Divine.
As they say, ‘Western music moves the heart, while Indian music moves the soul’.
“Geetam Vadyam Nrithyam Trayam Sangeetam Uchyatey”
T his phrase in Sanskrit implies that the word ‘Sangeetam’or music includes the practice of
Geetam(Vocal Music),Vadyam(Instrumental Music)andNrithyam(Dance).
‘Sangeeta sadhana’, or the practice of such music,is the key to attaining the Divine, according
to Indian music.
NAADA
India’s rich cultural system is made up of the silken fabric of dance and music. Both the pure
Classical Indian forms as well as folklore rely heavily on one aspect of Sangeetam – thenada.
The nada can be defined as sound or more specifically, as resonance.
“ Ananda lakshanam anahata namnee deyshey
nadatmana parinatam thoo aroopam eeshey
prachnan mukheyna manasA paricheeya manam
samshanti nethra salilai: pulakaischa dhanyA:”
T his Sanskrit sloka describes the nada. It says, “The true nature of nada is bliss. The source of
this Divine Energy is theanahata chakra, which issituated in the heart region. This chakra or
spiritual center is the seat of the Primeval Sound, ‘aum’, the creator of the world. This Divine
Energy is formless and can be perceived only through mystical experiences. So state the great
seers, in an extremely ecstatic state, shedding ceaseless tears of joy”.
According to Sarangadeva ofSangeeta Ratnakarafame,nada is produced thus:
- The Atma or the soul desiring to speak or sing, stirs the mind.
- The mind strikes the fire residing in the body.
- The fire strikes the wind in the body.
- The wind residing in theBrahmagranthiand rising along the upward path, manifests
successively on the navel, heart, throat, head and mouth.
Thus the nada is produced by the conjuction ofpranaor life-force (‘nA’) andanalaor fire (‘da’).
NADOPASANA
S angeetam andsangeeta sadhanais an important partof India’s rich cultural heritage. Music is
akin to the Divine and the upasana or the practice of music is regarded as a prayer to the Divine
Light.
S aint Thyagaraja, one of the Trinity of Carnatic (south Indian classical) music, extols the
importance of this aspect in several of his compositions. In his Telugukriti(or composition),
‘Naadatanumanisam’, he states:
‘Nadatanumanisam Sankaram Namamimey Manasa Sirasa’,meaning, “I bow to that Lord Siva
who is the very essence of nada or resonance (sound)”.
Yet another famous composition of Thyagaraja goes as follows:
‘Sobhillu Saptaswara Sundarulu Bhajimpavey ManasA’,where the composer talks about the
Divine Light glowing through the sevenswarasor notes.
T here are several stories relating to each God in Indian mythology. While this can astound and
overwhelm any foreign student interested in studying Indian art and culture, it is a normal way
of life in India!
T heHindupantheon contains thirty-three crores ofGods, Goddesses and Divine Beings. Idol
worship is one of the main types of religious worship in India. While this can be quite confusing
to say the very least, the ultimate aim of the Hindu seeker is to go beyond idol worship and
realize the true state of the formlessBrahman, theUltimate One.
adopasana, or the worship of that One Universal Power through music, is the final aim of the
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musician or singer.
Nada gives rise to srutis, which in turn gives rise to swaras or notes. It is these notes that give
rise to variousragasof Indian music.
SRUTI
“Shrooyatey Iti Sruti”– any sound that is heard iscalledSruti.
T his definition, however, is very general. Sruti goes to mean the smallest interval of a sound that
can be perceived by a trained ear. Classical Indian music abounds with semi-tones and
quarter-tones to enhance the quality of music. Some of the quarter-tones used are very subtle
and can only be heard by those who are deeply involved in the study of music.
S ruti also has various other meanings. It can mean the ear, hearing, even theVedas. The term
sruti also denotes the drone instrument, which constantly gives the singer/musician the
required pitch.
Indian music relies very heavily on srutis and sruti values. Subtle and gross differences in sruti
values is what gives us the swaras or notes in Indian music.
SWARA
T he swara or the note is derived from the roots of the two words, ‘Swayam’ and ‘Ranjakam’. So
the word ‘swara’ means, ‘that which pleases on its own accord’. World music has seven
universal notes.
T he number seven is of great esoteric significance in our lives. We have seven days of the week,
seven colors of the rainbow, the seven seas, theSaptarishior seven sages and so on.
T he seven notes of Western music are Do, Re, Mi, Fa, So, La and Ti, while its Indian counterpart
isSa, Re, Ga, Ma, Pa, DhaandNi.
The origin of the swara
T he origin of swara goes back to the Vedic period. Tracing the origin of the swara is an
interesting journey.
ThesamanChant
- The earliest Aryan dwellers chanted theRig Vedahymns with just one note. This was the first
stage, wherein theGayatri mantra, or the‘Om BhurBhuvaswaha’was chanted only with one
note.
- Then came thegathaor thegathika, wherein twonotes were used for chanting. This is when
cadences came into being, along with the chant.
- The third stage was the most important one – when the saman chant was introduced in
hymns. This stage included chanting with three swaras or notes. It is believed that Indian music
came about after the introduction of thesama veda.
Mythological origin of the swara
There is a fascinating mythological tale about the origin of the swaras, as follows:
It is believed that Lord Shiva once addressed a celestial congregation, for the welfare of
mankind. While the subject of His address became the Vedas, the differences in His tonal
quality became the seven swaras.
S hiva is known to have five faces or the ‘panchavaktra’,which are,Satyojata, Vamaka,
Tathpurusha, IsanaandAghora.
e first addressed the audience at the centre, and then the immediate left and right. The centre
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tone became the basic note or thesadja(s a), whilethe ones on the immediate left and right
became the ‘ni’ of the lower octave and ‘ri’ respectively.
S hiva then addressed the audience to the far left and right. Here, two notes emanated out of
each face, to reach to the farthest sides. So there emanated the notes ‘dha’ and ‘pa’ of the
lower octave on the left side and ‘ga’ and ‘ma’ onthe right.
This totaled to seven swaras,Sa, Re, Ga, Ma, Pa,DhaandNi.
MotherNature’s contribution to the Indian swara system!
ne interesting fact that the origin of swaras gives us is that they were derived from Mother
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Nature Herself! The tonal quality of each note is associated with the call of a specific animal or
bird, as listed below:
NAME OF NOTATION NOTATION SOURCE
SWARA WRITTEN
Sadja Sa S Cry of the peacock
Rishabha Re R Lowing of the bull
Gaandhaara Ga G Bleating of a goat
Madhyama Ma M Call of the heron
Panchama Pa P Call of the cuckoo
Dhaivata Dha D Neighing of the horse
Nishaada Ni N Trumpeting of theelephant
The 12 swaras
T hough the seven note system in music is universally accepted, Indian system adds an extra 5
notes, depending on the variation of the srutis. The manipulation of these swaras is what gives
rise to one of the most important concepts of Indian classical music, theraga.
The 12 swaras are as follows:
NAME OF THE SWARA NOTATION
Sadja S
Komal Rishabha R1
Shudh Rishabha R2
Komal Gaandhaara G1
Shudh Gaandhaara G2
Shudh Madhyama M1
Teevra Madhyam M2
Panchama P
Komal Dhaivata D1
Shudh Dhaivata D2
Komal Nishaada N1
Shudh Nishaada N2
RAGA – THE SOUL OF INDIAN MUSIC
The following is the Sanskrit definition given to the word, ‘raga’:
“Ranjayati Iti Raaga:”
T hat which pleases the ear is referred to as a raga. The raga can be defined as a melodic type or
melodic mould. It is a collection of notes in a particular order, giving rise to a melody type. The
raga is the very soul of Indian music.
It is very difficult, almost impossible, to define a raga in just a word or two. Though the
above-mentioned definition of a raga exists, it is only valid for academic purposes.
s Harold.S.Powers states, "A raga is not a tune, nor is it a 'modal' scale, but rather a continuum
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with scale and tune as its extremes." The Indian raga is far more complex than the simple modal
scale and encompasses in itself a variety of ways in which you can treat its notes or swaras. The
raga is also much more complicated than just a tune. The raga can also present itself as a
ethod of on-the-spot creative improvisation (like theAlapanaor theraga vistara) by the
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musician/artist.
agas are ever-changing, dynamic entities. They veritably pulsate with life and help produce an
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almost unlimited flow of ideas in the artist. The raga, being so vast a subject, goes beyond the
most detailed definition and has to be experienced by both the singer and the listener to be
properly understood.
aga is the pivotal concept of Indian music. It is uniquely melody-based and is a fine example of
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‘absolute music’. Nowhere else in world music can you see the existence of a phenomenon like
the raga. Hence the Indian raga system generates much interest among musicians and
musicologists of world music.
T he raga is a compilation of a series of notes in an octave, which bear a definite relationship to
one another and occur in varied phrases of permutation and combination, thereby giving a
shape and a unique personality to it. The raga must have a minimum of five notes in the order
as prescribed by the ancient texts on music. Further, it must have a Sa and either the Ma or the
Pa. There are exceptions in Carnatic music, of course, but those ragas have limited scope and do
not sound very pleasing when sung for too long.
T he raga is ornamented with various shakes and graces too, thereby enabling it to emote and
breathe life and expression into a song.
estern music places importance on scales. Western classical music deals with various major
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and minor scales as the basis of its music. These scales are of equal temperament, meaning
they are rendered in the same way by each and everyone singing or playing that particular
scale.
Indian music, on the other hand, stresses on scales of unequal temperament, or what is termed
as ‘just intonation’ or ‘correct intonation’. Here, the notes of each raga or melody are rendered
in different raga. The notes of a scale are embellished with shakes and oscillations, which
enhance the beauty of the raga. These shakes are referred to as ‘gamakas’.
It is the usage of these gamakas or ornamentations that makes Indian music what it is today.
These gamakas give character and a unique emotional quality to the raga as a whole.
Healing properties of ragas
agas are said to have healing properties, if sung properly. Emperor Akbar’s great court singer,
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Tansen, is said to have been able to light oil-lamps, bring rain and even save lives with his music.
There is also a historical reference to how he brought a dead man to life by singing a particular
raga.
agas in Indian music are known to have healing properties. While ragas likeSahanaheal the
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body of mild ill-health,Todirelieves severe sinus headaches. Singing the Carnatic ragasBharavi
andAthanarestore sagging spirits and bestow a feelingof well-being both on the singer and his
audience.
RAGA AND RASA
T he raga, as discussed earlier, is capable of emoting and expressing feelings and thoughts. This
happens through the clever use of the appropriate srutis, swaras andpakads(the most
important phrases of a raga).
T his emotional quality of the raga is known as the rasa, or the quality of that emotion. Raga and
rasa go hand-in-hand in Indian classical music. If rendered properly, every raga is capable of
giving rise to some emotion, both in the person singing it and among the general audience too.
T heNatya Shastra, an ancient treatise on Indian PerformingArts (believed to have been written
by Bharata Muni, somewhere between 400 BC and 200 AD), talks about the ‘navarasas’ - nine
types of rasas or emotions. These are:
- Shringara(L ove/Eroticism)
-Hasya(Mirth)
-Karuna(Compassion/Pathos)
-Raudra(Anger)
-Veera(Valour)
-Bhayanaka(Fear)
-Bibhatsa(Disgust)
-Adbhuta(Wonder/Amazement)
-Shanta(Peace/Serenity)
E ach raga admits of one predominantrasa. One ragamight even portray more than one
emotion, if treated in different ways. Oscillating one note feebly may give rise to veera rasa,
while shaking it more vigorously could give rise to raudra rasa.
T he exposition of the raga and the resulting rasa(s) all really depends on the caliber of the
musician and the extent to which his imagination stretches to define the boundaries of the raga.
The Gaana Rasa
T hough theNatya Shastraspeaks only of nine rasas,one more rasa may be added to the list and
that isgana rasa. Gana rasa is the pure aestheticenjoyment of music, without any other
e motion involved. This may also be termed as ‘Sangeetananda’ or joy derived from singing or
listening to music.
T his capacity of the raga to give rise to rasas or emotions is what makes Indian music occupy a
unique place in the history of world music.
f course, one experiences a plethora of emotions when one listens to artists like Bach,
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Beethoven or the famous singer, the late Amalia Rodrigues. But the extent to which the rasa
theory of Indian classical music has been systematized makes it a cut above the rest of world
music.
RAGAS AND RAGA DEVATAS
E ach raga in Indian music is assigned a particular form and the singer/musician sings melodies
keeping this image in mind. Theraga devatAor thepresiding deity of the raga is as important as
the raga itself.
T his is yet another point where Indian classical music stands out from the rest of the world
music. Each raga or melodic mould is actually personified and given a form and shape.
T he concept of the raga devatA, in fact, is so important, that it is often said that singing raga
phrases wrongly would cause injury or even headaches to the raga devatA!
CLASSIFICATION OF RAGAS
Raga, being a very vast subject, it has been classified in several ways, from time immemorial.
Graama/murchana/jaati classification
arious methods of raga classifications have been tried out by experts from as early as the 9th
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Century, considering aspects of music that held its sway in that particular era. One of the
earliest attempts of raga classification was thegrama/murchana/jatidifferentiations.
ut many of these classifications have not helped in the present scenario, as the ancient ragas
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themselves have evolved. Besides, many hundreds of new ragas have also come into existence
today. So they would fit nowhere in the ancient system of raga classification.
Classification into Melakartas and Thats
amamatya expounded the 72Melakarta(the full ragaor the parent raga) system for Carnatic
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music in the 16th Century, which was further elaborated and clarified by Venkatamakhi in the
17th Century. This type of raga classification is the very anchor of the Carnatic system of music
and has come to stay in this system.
F amed scholar and musicologist PanditVishnuNarayan Bhatkande, studied the Melakarta
system in detail and came out with a monumental contribution to the world of Hindustani
music. Out of the 72 Melakartas, he selected 10sampoornaor full ragas and referred to them as
Thaats. The 10 Thaats, which are the basis of Hindustanimusic today, areBilaval, Khamaj, Kafi,
Asavari, Bhairavi, Kalyan, Todi, Purvi, MarvaandBhairav.
gain, there are controversies regarding this classification too, but Bhatkande’s Thaat system is
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the widely accepted by most musicians in Hindustani music.
aga classification has also been done on various grounds – on the number of notes they take,
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on the mood they create, on thebhavaor feeling/expressionthey generate, the time they are
sung at, the features they take and so on and so forth.
Classification of Janya Ragas
fter the sampoorna ragas, there came the janya ragas. These child ragas, which were derived
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from the Melakartas, had one of few notes missing in them, or would take notes foreign to the
parent raga. So ragas were further classified on such basis.
epending on the swaras they took, theseVarjya(withnotes missing in them) janya ragas were
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classified as follows:
udava– Taking5 notes in thearoha/avaroha(the ascentor descent)
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Shaadava– Taking 6 notes
Vakra– Taking notes in a zig-zag manner, not followingthe right order
Upaanga– Taking notes in conformity with the parentraga
Bhaashaanga– Taking foreign notes or ‘anyaswaras’,not belonging to the parent raga.
RAGA AND THE TIME THEORY
It is believed that certain ragas are most beneficial while sung at an appropriate time during the
day. Both the Hindustani and Carnatic music systems believe in the time theory, but it is the
former that places much emphasis on this theory.
T he time theory was first constructed and propagated about 500 years ago by the famous
Hindustani (north Indian classical music) musician, Pandit Bhatkande. Pandit Bhatkande is hailed
as the father of Hindustani music, as he was the one who built a systematized module for
Hindustani music.
industani singers faithfully follow the time theory by rendering ragas only at their specified
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timings. The time theory is split into two parts – thePurvaragas and theUttararagas. The
Purva Ragas are those sung between 12 noon and 12 midnight, while the Uttara Ragas are
ideally sung between 12 midnight and 12 noon.
T he ragas to be sung between twilight and dusk are calledSandhi Prakashragas. These are
supposed to be sung around 4 and 7 o’clock, both in the morning and evening.
esides the time of day, seasonal ragas also exist. It is best to sing certain ragas at certain times
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of the year. For example, ragaBasant Baharis bestsung during spring, ragaAmritavarshini
during the rainy season or to bring in more rain and so on.
T he reason for compartmentalizing these ragas is probably because they already have the
capability to generate a particular emotion, which can be heightened by that season. Spring is a
season for the heart to blossom with love. Singing a raga that exudes theShringararasa, brings
out the real beauty of the raga.
MUSIC, PAINTING AND POETRY
T here has been a close inter-relation between music, painting and poetry. Much of Indian music
has come into existence through the heartfelt outpourings of brilliant composers likeMirabai,
Tulsidas, Purandaradasa Thyagaraja, His Highness Maharaja Swati Tirunal and so on. So, Indian
music and poetry have a strong link that binds them together.
clear link has been drawn between music and painting too. Since each raga is capable of
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emoting and is given a unique personality, it was inferred that these ragas could be actually
expressed on canvas.
T he connection between the raga and painting came into the fore between the 16th and 19th
Centuries, when painting of miniatures was encouraged by the Moghul rulers.
T here have since even been several successful attempts at interpreting music through the use of
colors and painting.
T HE RAGAMALA PAINTINGS
TheBhakti(devotion) andBhajana(sacred) traditionwas petering out by the 13th Century and
the new trend was towards secular music – the singing of ragas. A number of new ragas were
coming into existence, bringing this field to the forefront.
Nevertheless, musicians of the old school still believed in the rasa theory and the time theory.
They also believed in the raga devatA concept and carried on with propagating their views on
music.
The 14th Century saw a change in the music scene. Music literature included a description of
ragas in short Sanskrit verses called ‘dhyana’ (meditation/contemplation).These little poetic
verses highlighted the characteristics of the ragas, breathing life into them and giving each of
them a particularswaroopa(persona) of a deity,nayaka(hero) or anayika(heroine).
This is what led to theraga-raginisystems and thesubsequent creation of theragamala
paintings, a series of portrayals of these raga-raginibhavas(expressions) on canvas. These
ragamalas or garland of ragas, is what clearly illustrated the close connection between poetry,
painting and music.
T o quote H.J.Stooke, “Poetry, painting and music were thus brought into a new relationship”
with the advent of the ragamalas.
The ragamala paintings usually depict the raga as a human, divine or semi-divine figure, with or
without other characters around. The theme for such paintings is usuallyShringara(romantic)
or Bhakti (devotional) oriented. Most of the paintings also have the raga or ragini name
inscribed in them, as also thedhyanaor the Sanskritverse, as mentioned above.
The ragamala paintings are an obsolete art today, as it has no relevance in today’s music. Ragas
have evolved through the decades, so many of these paintings do not seem relevant to the raga
they mention. Besides, these paintings do not have any provision to describe newer and later
raga additions. So this, though a wonderful system at one time, has faded away into obscurity
now.
1. THE RAGA-RAGINI CLASSIFICATION
2. T he raga-ragini system makes for an interesting study. Because the ragas in Indian music
have been given a sacred, demi-God status, it is only natural that they were classified
into ‘human-like’ groups and assigned familial relationships with each other.
3. The raga-ragini system of raga classification occurred between the 16th and 19th
Centuries and preceded the modern classification of ragas, as it exists today.
4. The raga-ragini system tries to draw a parallel between the dynamic and the static – the
Prakrutiand thePurusha. Further, the raga-raginisystem also illustrates the fluctuation
in human behavior and responses to situations. It is related to the various mood changes
in a person, with apt ragas to portray these emotions.
5. It is the classification of ragas on the raga-ragini basis, that gave rise to the close link
between poetry, art and music, as mentioned before. Variousnayaka-nayika
(man-woman) relationships and emotions were depictedwith poetry, painting and
music.
6. Again, Hindustani music relies more heavily on the raga-ragini system. Carnatic music
merely acknowledges the existence of this theory.
7. The raga-ragini (male-femaleraga) classificationcan be traced right since the time of the
treatise, ‘Ragatarangini’, written by Lochana Kavi. This book discusses in detail several
songs of the Maithila dialect of the Hindi language. These songs were set to many ragas
and raginis prevalent during that time. In his book, Lochana Kavi has dealt with both
regional and local ragas and raginis of Mithila during that time.
8. The raga-ragini classification of ragas is created with the following principle:
9. There are 6 principal male ragas, namelyBhairav,Malkauns, Hindol, Deepak, Shriand
Meghragas. These ragas have five wives or raginiseach and these raga-ragini ‘couples’
also have 8 children orraga putraseach. This givesus a total of 84 ragas.
10.Mentioned below is a detailed list of the ragas, raginis and their children:
r aga –Bhairav
Raag Bhairav is known to be the first raga, that emanated from Siva himself. A simple and
common raga, this is seldom heard in concerts today, as it is deemed as a morning raga.
r aginis –Bhairavi, Punyaki, Bilawali, Aslekhi, Bangli
putra ragas –Harakh, Pancham, Disakh, Bangal, Madhu,Madhava, Lalit, Bilawal
r aga –Malkauns
Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said to have
been created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it.
raginis -Gaundkari, Gandhari, Seehute, Devagandhari,Dhanasri
putra ragas -Mustang, Maru, Mewara, Khokhat, Parbal,Chand, Bhora, Nad
indol
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This raga depicts love and personifies kaama or love and the beauty that isKrishna. A simple
raga to sing, it is also very pleasing to the ears.
raginis -Telangi, Devkari, Basanti, Sindhoori, Aheeri
putra ragas -Surmanand, Bhasker, Chandra-Bimb, Mangalan,Ban, Binoda, Basant, Kamoda
raga –Deepak
T ansen, one of the ‘navaratnas’ in Emperor Akbar’s court, is said to have lighted lamps with this
strong, vibrant raga.
raginis -Kachheli, Patmanjari, Todi, Kamodi, Gujri
putra ragas -Kaalanka,Rama, Kuntal, Kamal, Kusum,Gaura, Champak, Kanra
r aga –Shri
This is a very old raga, taken from the Poorvi Thaat. As the name suggests, it is also a very
auspicious raga.
raginis -Bhairavi, Gauri, Karnati, Sindhavi Asavari
putra ragas -Salu, Sagra, Sarag, Gund, Gaund, Kumbh,Hamir, Gambhir
r aga –Megh
As the name of the raga suggests, it lets us envision monsoon in all its primitive force and lets us
conjure up images of thick clouds, thunder and lightning.
raginis -Sorath, Asa, Gaundi-Malari, Gunguni, Sooho
putra ragas -Biradhar, Kedara, Gajdhar, Jablidhar,Jaldhara, Nut, Sankar, Syama
T his system of raga-ragini classification was also accepted and upheld by the Tansen school of
thought.
T he raga-ragini classification had not accepted very easily by scholars at that time. Many
musicologists argued that this basis for classification of ragas was merely imaginary and nothing
to do with the actual ragas.But the raga-ragini theory started gaining importance when the
scientific principle of the male-female raga elements showed up in theVadi-Samvadiswaras or
notes. Vadi-Samvadi notes are notes showing the male and the female character of the swara.
THE ANCIENT RAGA-RAGINI PARIVARA SYSTEM
In actuality, the raga-raginiparivara(family) systemis believed to have existed many centuries
ago, much before the bifurcation of Indian music into Hindustani and Carnatic music.
Indain music was one before the 13th Century, that is, till the Moghul invasion. It was after this
that there was such a clear line of distinction between north Indian and south Indian music.
Though both systems are similar even to date, the difference lies in the way the notes are
treated and sung.
The ancient raga-ragini system too had six main ragas, each with 5 wives or raginis. Each of
these raga-raginis had 8 sons or putras and 8 daughters-in-law or vadhus. So then the ragas
totaled to 132.
There is no unanimity among the different schools of Hindustani music regarding what the main
ragas are and who their respective raginis are either. There is another school of thought that
names six other ragas as the main ragas. According to them, the six major ragas areKanada,
Vasanta, Mallara, Vibhashaka, GandharaandDipaka.According to this school, Kanada’s raginis
areMayuri, Todi, Gaudi, Varati, Vilolika and Dhanasri.
This school of thought also points out to the existence ofdasaanddasi(male and female
servant) ragas and dhoota anddhootiragas too, givingthem certain specific characteristics.
The raga Kanada’s raginis, Mayuri and Todi have been mentioned to have dasi ragas likeShyama,
Vaya, Vagiswari, Saradi andVrindavani.Paraj, accordingto them, is also a male dasa raga of
these ragas.
This raga-ragini ambiguity lasted for a long time, but disappeared as soon as the MelakartA and
Thaat (parent raga) systems came into being in Carnatic and Hindustani music respectively.
REASONS FOR THE DECLINE OF THE RAGA-RAGINI SYSTEM
T he ragamala paintings ceased to be of great importance from the 19th Century onwards. Now,
it is an obscure art and has lost all its followers.
Further, many of the original ragas and rAginis have evolved and transformed with the passing
years, so their ancient iconography held good no more.
Yet another reason for the decline of the raga-rAgini system is that contemporary musicians and
singers no longer perceive the connection between the ancient poetic descriptions and
paintings of the ragas and rAginis.
CONCLUSION
T he raga-rAgini classification, though not practically viable in today’s music scenario, is very
useful from the historical, academic, artistic and philosophical point of view. Knowing more
about the raga-rAgini classifications and studying them in detail could also enhance our own
knowledge of the subject of music and could probably even help us sing and perform better in
future.
. Varities of songs- Nibaddh Gaan, Prabandh, Vastu,
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Dhatu, Anibaddh Gaan, Adhwa-Darshak Swar
Nibaddh Gaan
T he music which is rhythmic is called the Nibaddh Gaan. Songs prevalent in modern times like
Dhrupad,Dhamar,Tappa,Khayal,Thumrietc. are calledNibaddh gaan. Just as the two sections
of the modern song are consideredSthaiandAntara,similarly the five sections of the ancient
song likeUdgrah,Dhruva,Melapak,AntaraandAbhogare considered.
Anibaddh Gaan
T he one who is not tied to the rhythm, only the vocal, is called the Anibaddh gaan. LikeAlap.
Mainly Alap is used before the song. In ancient times, four types of Alap were considered –
Ragalap,Rupakalap,AalptiganandSwasthaan.
Prabandh, Vastu and Rupak
rabandh, in the ancient style of singing is a ‘Nibadha Geetprakaar’ (singing within a
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definite framework). ‘Pra + Bandh’ and ‘Prakshena Bhandhanaat’ is how it is defined.
Translated, it means, ‘A song bound by a specific framework of rules’. It has two main
principles:
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1 achanatmak Tatva (creative principle)
2. Shabd – Swar – Taal Bandhan (a set format of rules)
The first tatva is ‘Dhatu’ and the second is ‘Matu’.
Dhatu has 4 types:
.
1 dgraaha - The opening / initial portion of the song.
U
2. Melapak - The one connecting Dhruva and Udgraaha.
3. Dhruva - The third main part of the song. This is compulsory in every song.
4. Abhoga - The last part of the song. The Prabandh geet ends here.
Apart from these 4 angas (parts) of Prabandh, there are 6 more angas as follows:
(a) Swar (b) Birud (c) Tain (d) Pad (e) Paat (f) Taal
T he minimum requirement for a Prabandh is 2 parts. Prabandh is also known as Vastu
and Rupak. But there is a minutedifference in all three. A composition which comprises
of 4 dhatus and six angas is called a Prabandh. When a Prabandh is used in theatre
performances, the piece which describes the protagonist is called Rupak. Vastu is a
composition which completely blends anga and dhatu. Therefore these three terms:
Prabandh, Vastu and Rupak complement each other.
In modern times, these forms of song composition are no longer in use. However out of
the six angas of Prabandh; Dhatu, Matu and Ang are still found in compositions today.
Inancientstyleofsinging,inthefirstcharan(phase)ofPrabandh,therewere15matras
(basiccountingunitsofTaal).Similarlythethirdandfifthcharanalsohad15matras.The
firsthalfofthePrabandhwouldcompriseofswarsandpaat,andthesecondhalfwould
comprise of swars and tain.
. Classification and comparative studies of 22 Shrutis according
4
to ancient and modern scholars.
In reality, the 22 shrutis are 'same'—as the human ear is the 'same' all over the world,
the perception of 12 universal notes (12 Swaras) changing at 22 points (22 shrutis) on
any string, also remain the same. (See 'Play the shrutis yourself' section on Homepage)
However, the names of Swaras and Shrutis are different in the Hindustani and Carnatic
systems. They are given in the following table, along with the names of Swaras in
respective systems in bracket.
* Shat-sruthi Rishabham as a swara can not have Pancha-sruthiRishabham as a sruthi
! Hence, this Swara should be called as 'Pancha-sruthi Rishabham or Sadharana
Gandharam' only.
**This is wrongly termed as 'Teevra Madhyam'. Thedictionary meaning of Teevra is
that which denotes the 'loudness' or 'volume' of sound, not frequency. Tara is the correct
word, meaning 'frequency' of sound. This Madhyam is of a higher 'frequency', not of a
higher 'loudness', and hence should be called as 'Tara', and not 'Teevra' !
***Chatu-sruthi Daivatham as a swara can not haveTri-sruthi Daivatham as a sruthi !
Hence, this Swara should be called as 'Tri-sruthi Daivatham or Suddha Nishadam' only.
atios are important to a musician– because theyindicate the exact 'position' where
R
the shruti can be played on 'any' string. e.g, 15/8 for Tara Nishad or Kakali Nishadam
means that if the string was divided in 15 parts, the shruti can be played on the 8th part
(8/15 = 53.33% length of the string). Similarly, 243/128 indicates that if the string was
divided in 243 parts, the shruti can be played on the 128th part (128/243 = 52.67 %
length of the string).
Sruthis of Gandhar and Nishad- Some experts believethat similar to Rishabha and
Daivatha, there 6 sruthis of Gandhar and Nishad each, in Carnatic system. These are
not different sruthis, but indicate just the 'naming' of sruthis. e.g., R3=G1, R4=G2,
D5=N3, D6=N4 and so on, as follows.
amakams- in Carnatic Music is the basic processof Music creation in which the
G
'Sruthis' are connected by 'Nadas' in between. Here, a 'stay' is made on Sruthis (for >
20 msec, the time required by the human ear to identify a musical note), and the
'connecting' Nadas are taken faster/quicker (for < 20 msec so that the human ear can
'hear' the Nada, but can not identify the Swara !).
The process of creating music in the Hindustani system is also exactly the same. The
difference in the 2 systems is only in terms of the 'way' in which the 'connecting' Nadas
are used. Basic 12 Swaras and 22 Shrutis remain the same.
12 Swaras have 16 Names- in Carnatic system. Thisis so because of the essential
rule that in Sampoorna Ragas (with all 7 notes), the notes should be pronounced in a
sequence
ONLY, as Sa, Ri, Ga, Ma, Pa, Da, Ni. Hence, e.g.
1. W
hen Suddha and Chatusruthi Rishabha, BOTH are used in a Raga,
Chatusruthi Rishabha must be pronounced as 'Ga' (because it comes 'after'
Suddha Ri). This Chatusruthi Rishabham gets a 'different' name which is
Suddha Gandharam, 'Suddha' meaning the '1st' of the 3 Gandharams as
Swaras. Such a note with a different pronunciation is called as 'Vikruta' swara
in Carnatic system. This Suddha Gandharam as a Swara can have 2
Sruthis/frequencies (positions on the string) , namely Tri-sruthi and
Chatu-sruthi Rishabham as shown in the above table.
2. W
hen Suddha and Chatusruthi Daivatham, BOTH are used in a Raga,
Chatusruthi Daivatham must be pronounced as 'Ni' (because it comes 'after'
Suddha Da). This Chatusruthi Daivatham gets a 'different' name which is
Suddha Nishadam, 'Suddha' meaning the '1st' of the 3 Nishadams as Swaras.
Such a note with a different pronunciation is called as 'Vikruta' swara in
Carnatic system. This Chatusruthi Daivatham as a Swara can have 2
Sruthis/frequencies (positions on the string) , namely Tri-sruthi and
Chatu-sruthi Daivatham as shown in the above table.
3. W
hen Sadharana and Anthara Gandharams, BOTH are used in a Raga,
Sadharana Gandharam must be pronounced as 'Ri' (because it comes 'before'
Anthara Ga). This Sadharana Gandharam gets a 'different' name which is
Shatsruthi Rishabham. Such a note with a different pronunciation is called as
'Vikruta' swara in Carnatic system. This Sadharana Gandharam as a Swara
can have 2 Sruthis/frequencies (positions on the string) , namely
Pancha-sruthi and Shat-sruthi Rishabham as shown in the above table.
4. W
hen Kaishiki and Kakali Nishadams, BOTH are used in a Raga, Kaishiki
Nishadam must be pronounced as 'Dha' (because it comes 'before' Kakali Ni).
This Kaishiki Nishadam gets a 'different' name which is Shatsruthi Daivatham.
Such a note with a different pronunciation is called as 'Vikruta' swara in
Carnatic system. This Shatsruthi Daivatham as a Swara can have 2
Sruthis/frequencies (positions on the string) , namely Pancha-sruthi and
Shat-sruthi Daivatham as shown in the above table.
hus, in the above 4 situations, 4 swaras are named 'differently' in Carnatic system to
T
indicate a 'Vikruta' swara (with a different pronunciation). Hence, 12 swaras have 16
names in Carnatic system.
5.Chayalag Raag, Sankirna Raag, Parmel Praveshak Raag
ince ancient times, there have been many attempts to divide ragas into different parts.
S
This is one of those.
Shuddh Raag
The raga which does not have the shadow of a raga is called Pure Raag (Shuddh Raag).
Chhayalag and Sankirn Raag
mixture of only two Ragas, is calledChhayalag Raag.And a mixture of more than 2 ragas is
A
calledSankirn Raag.
Bilawal, Yaman, Todi etc are Shuddh Raag. Puriya-Dhanashri, Bhairav-Bahar are Chhayalag Raag
and Bhairavi, Pilu are called Sankirn Raag.
Parmel Praveshak raag
T he raga which enters from one Thaat to another is called Parmaal Pravesh Raga. Just like
Jaijaivantiis the Parmel praveshak raag. Its singingtime is the last part of the last stroke of the
night.
Before this, the ragas ofKhamajThaat are over andthe time of the ragas ofKafiThaats is
coming.
Jaijaiwanti is one such raga which enters theKafifromKhamajThaat. Because it has the
characteristics of both. In Khamaz,Re, Gaare shuddhand both Nishad uses, and on the other
hand, komalGaand both Nishad are used in Kafi. Jaijaivantihas both characteristics and both
the nishad are also used along with shuddh swaras. That is why it has been called the Parmel
Praveshak raag. Raga Multani and Marwa are also Parmel Praveshak raag.
6.Significance of Vadi-Samvadi notes and Poorvang-Utrang of
the octave in Raag
The lower and upper regions of the octave
n octave is divided into two parts: The lower region is calledPoorvang- an area between the
A
tonic note (Shadaja)and the dominant note (Panchama),such as
S a Re Ga Ma Pa
The upper region is calledUttarang, between the dominantnote (Panchama)and the upper
tonic note (Tar Shadaja), as Pa Dha Ni Sa.
This is similar to lower and upper tetrachords. But now let me explain why these regions are so
important inRagaperformance and composition.
oorvang Precedence Ragas:These are theRagaswhichare developed in the lower octave up
P
to the dominant note of the middle octave. TheVadinote of suchRagasis also situated in the
Poorvangregion. For example inRaga Yaman,theVadinote is the Third (Gandhar). ThisRagais
developed in thePoorvangregion of the middle octave,and the region of the lower octave.
ttarang Precedence Ragas:These areRagasdevelopedfrom the dominant note (Panchama)
U
upwards, including the upper octave(Tar Saptak).As a rule of thumb,Poorvang Ragasare
performed after 12 noon andUttarang Ragascome alivein the morning!
By giving precedence, the main idea is to keep the development of theRagain that specified
area of the octave. This is not to say that the other octaves are completely discarded. To do so
would create a severe limitation to complete melodic expansion and the creative process.
Instead, expressive maneuvers and cadences are skillfully placed in the desired region as often
as possible.
efore actually proceeding to develop aRagamelody,it is important to verify the precedence
B
area of thatRaga.Thus the purity of theRagacanbe maintained while ensuring that the shape
and tonal patterns of theRagaremain distinctly clearin the mind of the creator and the listener
alike.
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