Folder: musical study

Musical Notes (swaras):

1. Sa: Shadaj – Sound of Peacock
2. Re: Rishabh – Sound of bull
3. Ga: Gandhar – Sound of goat
4. Ma: Madhyam – Sound of horse
5. Pa: Pancham – Sound of Cuckoo
6. Dha: Dhaivat – Sound of donkey
7. Ni: Nishad – Sound of elephant
8. There are 7 shuddha swaras – Sa, Re, Ga, Ma, Pa, Dha, Ni (in ascending order of pitch). There are 4 komal swaras (re, ga, dha, ni) and one tivra swara (ma). Thus a total of 12 swaras.
9. A komal swara is half tone lower in pitch than its shuddha swara, and a tivra swara is half tone higher than its shuddha swara. So all 12 swaras in ascending order of pitch are: Sa, re, Re, ga, Ga, Ma, ma, Pa, dha, Dha, ni, Ni.

Notations:

• We will represent shuddha swaras as capital letter, e.g. “Ga”, and komal and tivra swaras by lower letters, e.g. “ga” or “ma”.
• Lower octave swara e.g. dhaivat swara as: dha’; and the upper octave dhaivat as: dha”

Capital letters are shuddha swaras: Sa, Re, Ga , Ma, Pa, Dha, Ni

Small letters are komal or tivra swaras: Komal: re, ga, dha, ni; Tivra: ma

“ signifies taar saptak and ‘ signifies mandra saptak; else it is madhya saptak.

~ signifies alankar

Examples:

re” => is a taar saptak komal rishabh

ma => is a madhya saptak tivra madhyam

Ni’ =>  is a mandra saptak shuddha nishad

dha’ => is mandra saptak komal dhaivat

Glossary of Hindustani Classical Music

1. Aalap: Introductory phase of composition (without tabla)
2. Aaroha: Ascending structure of notes in a raga
3. Alankar: Ornamental structure of notes (Meend, Kan, Gamak, Muraki, Khatka, Andolan, Kamapn)
4. Anaghat: Taal played on tabla in such a way as to create sum prior (usually by one matra) to the normal first matra. It is used to create interesting rhythmic effect.
5. Anuvaadi: The other notes of the raga
6. Atit: Similar to anaghat, except that sum is created delayed by one matra. It is used to create interesting rhythmic effect.
7. Avaroha: Descending structure of notes in a raga
8. Bandeesh: Composition (that which has been “bound” in taal, laya and rules of raga) in a taal, composition with tabla
9. Bol: Words used in solfa. Tabla bols are words used by tabla e.g. dhin, na, ghe, tirkat, tu, kete, dhage, treke, ta, tin etc. Words of sitar are da, ra, dir. Bols of vocal compositions are actual words or names of notes also.
10. Chalan: A specific characteristic of each raga that describes its “punctuations” of notes
11. Gat: Portion of composition with tabla
12. Jati [1] of a raga: Identification of a raga based on number of notes in aaroha and avaroha. There are three jatis: Odav, Shadav, Sampurna, and the combinations there of.
13. Khali: Not emphasized beat
14. Komal swara: flat notes (re, ga, dha, ni) [komal = delicate]
15. Laya: Speed of the flow of music. It can be Vilambit (slow), Madhya (medium) ou Drut (fast).
16. Madhya saptak: Middle octave
17. Mandra saptak: Lower octave
18. Matra: Beat (measure or unit of time)
19. Murchhana: Transposition of a raga scale to create another raga scale
20. Nyas: “Resting place”. Particular swara in the raga where you can rest, i.e. end the phrase.
21. Odav jati: Has five notes
22. Pakad: Defining or identifying pattern of notes in a raga
23. Prahar: A subdivision of the day assigned for the proper rendition of a raga. The day is divided in 8 prahars or divisions, each one with 3 hours duration. There are 4 prahars during daytime and 4 prahars during nighttime. The first prahar typically starts at 6am.
24. Purvanga: First four notes of Saptak (Sa, Re, Ga, Ma)
25. Raga: Musical framework of rules to aid in making compositions [2]
26. Rasa: Sentiment. Each raga carries a primary sentiment. There are 9 sentiments e.g. devotion, peace, romance, disgust (used in drama), laughter (for drama), pathos, viira, seriousness.
27. Samkirna raga, example of: Raga Desh is Odav-Sampurna raga because it has 5 notes in ascend (Sa, Re, Ma, Pa, Ni) and 7 notes (Sa”, ni, Dha, Pa, Ma, Ga, Re, Ga, Sa) in descend. Raga Malkauns is Odav raga because it has 5 notes in ascend (Sa, ga, Ma, dha, ni) in ascend and 5 notes in descend (Sa”, ni, dha, Ma, ga, Sa). It is not a samkirna raga.
28. Samkirna raga: Raga with different of number of notes in ascend and descend.
29. Sampurna jati: Has 7 notes
30. Samvaadi: Second most important note in the raga
31. Saptak: “Octave” – Group of 7 notes. It can be Mandra (lower), Madhya (middle), Taar (higher)
32. Shadav jati: Has 6 notes
33. Shuddha swara: Natural notes (Sa, Re, Ga, Ma, Pa, Dha, Ni) [shuddha = pure]
34. Sum (or Sam): The beat in taal where taal cycle and phrase of composition come together in a strong emphasis; it is usually the first beat and is usually tali.
35. Swara (or Svara; Sur): Notes (Sa, Re, Ga, Ma, Pa, Dha, Ni)
36. Taal (or Tala [3]): Rhythmic cycle
37. Taan: Rapid succession of notes
38. Taar saptak: Upper (higher) octave
39. Tali: Emphasized beat
40. Tarana: A composition that uses bols of tabla, sitar, pakhawaj as its words.
41. Thaat: Main scale structures (10 of them) or classes of raga defined by musicologist Bhatkhande. They are Bhairav, Asawari, Todi, Kafi, Marawa, Kalyan, Khamaj, Bhairavi, Poorvi, Bilawal.
42. Theka: Simplified arrangement of the main bols of a taal. It defines the structure and subdivisions of a taal.
43. Tihai: Repetition of a phrase done three times usually ending in Sum.
44. Time of performance: Each raga has been assigned a particular time of the day (prahar) for its rendition.
45. Tivra swara: sharp note (ma) [tivra = soft]
46. Uttaranga: Last 4 notes of Saptak (Pa, Dha, Ni, Sa”)
47. Vaadi: Most important note in the raga [4]
48. Vakra jati raga: “Vakra” means indirect, or convoluted.This type of raga has specific rules regarding how a vakra swara must be approached in ascend or descend. This makes Chalan of raga a bit complicated and careful execution is required, else raga might slip into alternate raga scale. For example, raga Darabari Kanada is a vakra sampurna raga with ni being a vakra swara in descend. The descend of Darabari Kanada is: Sa”, dha, ni, Pa, Ma, Pa, ni, ga, Ma Re Sa. Notice that, in descend, one has to go to dha from Sa” before one can use the note ni.  Bilaskhani Todi is a vakra raga with Pa being a vakra swara in descend. The descend of the raga is: re” ni dha Ma, Pa dha ni dha Ma ga re, re ga Ma ga re, ga re Sa. In descend Pa is taken after going to Ma. Also, Ma is taken after ga (as in re ga Ma ga re phrase), after having travelled through the full scale. In a normal ascend, you can not take Ma after ga. You have to do: Sa, re ga Pa dha Sa”.
49. Vibhag: Subdivision of a taal. For example, Dadra has two vibhags.
50. Vivaadi: Forbidden notes in the raga = varjit swara

[1] Literally meaning “race”.

[2] Raga is a musical structure based on which musical compositions are created which are pleasant to hear. Raga means “that which colors the mind”.

[3] The word tala is formed from the initial syllables of tandava and lalita marmika (tala = ta + la).

[4] If vaadi is Purvanga, samvaadi will be in Uttaranga, and vice-versa.

Variation of forms and traditions in Indian classical music –  with example of raga Tilak Kamod

By Kirit Dave’

I wrote this article in response to a query from a person who was frustrated with raga Tilak Kamod. He was confused about how he thought that the opinions about rules of raga varied. He believed that the differences arose from varied traditions of the gharanas. The rules appeared to him rather subjective. He expected classical music to be a bit more unyielding.

Note: I will use a single quote ’ to represent mandra saptak (lower octave) and double quote ” to represent taar saptak (upper octave). I will also use Capital letter for shuddha svara (natural notes) and small letters for komal svara (flat notes).

Indian classical music is an art that is being passed down from generations to generations, akin to our religious traditions. If someone asked an Indian what is the Hindu religion, it may be hard to say what it really is. You cannot point to one scripture like Christians can with Bible, or Muslims with Koran. But that is the strength of Hinduism, not its weakness. It allows for meaningful interpretation, and therefore has sustained over thousands of years. When something is flexible but is also firmly founded (yes they both can exist together) then that survives for a longer time. Our musical traditions are like that.

Ragas for the most part are well defined, but there are exceptions. But those exceptions are not rule-less randomness. Also not all ragas have exceptions. Everything is not either day or night in our music; there are evenings and dawns also.

Ragas have definite rules and the rules are necessary to give identity and characteristic sentiment to the raga.  Rules also help create foundation of aesthetics. To the extent possible, they help create sentiments and color the mind accordingly. But all these things also give rise to various opinions especially when the raga structure is complex, for examples ragas Bilas Khani Todi and Tilak Kamod. Time of performance, classifications in the thaats (major classes of the ragas), aaroha (upward movement of the notes) avaroha (downward movement of the notes), vaadi, samvaadi are sources of differences in opinions in some ragas. We should not necessarily attribute these differences to gharanas alone, and thereby make those differences purely subjective. Within one gharana also artists differ in opinion. Artists’ opinion arises out of certain needs they discover, upon the rendering of the composition. This is a little like the study of law. We have Codified laws and Case laws that govern us. Case law emerges upon the interpretation of the law rendered by the courts in previous cases. In order to preserve consistency (which is essential to the fairness of the application of the law) judges follow the Case law. The Case law is not a random opinion of some judge. Rather it is a meaningful interpretation of the Codified law, surrounding certain circumstances and societal evolution. There is a good reason why that judge made certain ruling based on the Codified law. But then it becomes a Case Law and carries a lot of weight in the court for interpreting future cases. In music also, grammar of music exists like coded law, but rendering or creation of some specific composition caused an artist to develop alternate opinion to the existing and prevalent notion of the raga. But opinion is not for the sake of “opinion” alone.  Nor is it simply to demonstrate ones so called “individuality”.

Alternate interpretations are there for valid reasons. And that is why they are there not in all ragas but in certain complex ragas. You need to study the grammar of the music to see the reasons. In Hindi you may have heard people say, “yeh raga tedha hai .. ” (“This raga is convoluted”). They are in fact talking about such complex raga. It is ignorance to criticize interpretations without examining the origins of those interpretations. You can not have a meaningful opinion on things you have not studied. You can have an opinion on the flavor of ice cream you like. This is understood to be a personal opinion of choice, requiring no justification of reasoning. Differences of opinion in our music, is not like that.

Opinions differ quite often because artists are trying to maintain the purity of the raga. “Purity of the raga” means preserving a raga from the effect of some other raga. If you are careless in your execution of a composition, you may end up transitioning into another raga and the listener will be disturbed. The sentiment may be destroyed. For example, rendition of raga Bilas Khani Todi requires careful workmanship to save it from the effects of raga Bhairavi, and raga Komal Re-Asawari. In order to maintain the purity, artists find it necessary in some compositions to have alternate opinions.

Vaadi (most important note) and Samvaadi (second most important note) are also the sources of differences of opinions. Vaadi and Samvaadi may change for different compositions of the same raga depending on they the composition is rendered. So the rules are not always fixed but that they are made flexible in order to serve the purpose of the raga theory. This is similar to the Case Law which may appear to differ from the Coded law to a party, but in fact it is simply an application of the Code law. Actually the flexibility that Case Law offers, allows the longevity to the Coded law. Since the society and its values evolve and change, the Case Law is necessary to give longevity to the Coded Law, or else we would be re-writing the law books all the time. Similarly, occasional differences with the traditional grammar of the ragas is necessary, to preserve the purpose of the raga theory.

Lord Krishna came to teach Dharma and elucidated it in Bhagavat Giita. But try explaining it to someone who may not know about Krishna or His philosophy. Krishna destroyed not one, but all top Kaurav leaders namely, Bhishma, Drona, Karna, Jaydrath and Duryodhan, apparently going against the laws of war at that time. To protect the very Dharma that He had come to re establish, and for which He created the entire Mahabharat, He appears to have gone against the laws of the war at the time. The real life is not sealed in rigid rules. If we do so, we will violate the very purpose of the rule.

One day I asked to Shujat Khan (son of great Ustad Vilayat Khan sahib) about raga Bilas Khani Todi. I said to him that in Bilaskhani Todi I have heard a prominent singer sing Pancham (Pa) right after Dhaivat [Dha] in the descent. He became very upset. He said that can not be, and it is wrong no matter who does it. I played one rendering of the Avaroha of Vina Sahasrabuddhe, which was like this:

Avaroha: re” ni dha Pa, Pa dha ni dha Ma ga re, ga Ma ga re, re ga re Sa.

Traditionally and commonly accepted practice is to sing:
re” ni dha ma, Pa dha ni dha Ma ga re, ga Ma ga re, re ga re Sa.

This would have satisfied Shujaat Khan. He was upset. He said this goes all against what he had learned all his life and his forefathers would not approve it. Frankly, I agree with Shujaat Khan. However, even more disturbing fact to me personally, is that it sounds more beautiful the way Vina Sahasrabuddhe did! That rendition seems to maintain unresolved pressure for a longer time (because Ma is held off longer) and so when it does resolve, it gives a greater relief. I am assuming that this is done very sparingly by Vina Sahasrabuddhe. As a matter of fact, I have heard no one do that or play that way except her. So to save one raga from the other or as in this case to put just a little “spice” in it, artists do uncommon things occasionally.

Tilak Kamod is also a complex raga that requires some thought process to preserve it from raga Desh and raga Khamaj. It is a prominent raga of Khamaj thaat and so Komal Nishad (ni)  is important in its descent. But often it is removed altogether in order to save it from Desh. Additionally to save it from raga Desh and Khamaj, the note structure requires certain sequence of rendering. That sequence is: Sa Re Ga Sa Ni’. This sequence should be prominently used throughout the composition. Regardless of gharana, artist, vocalist or an instrumentalist all MUST employ Sa Re Ga Sa Ni’ as the prominent note combination. There must also be the prominent use of reverse meend (an ornament that is a continuous sliding from one note to the other) from Sa” to Pa. You will hear that in the pakad (defining pattern of the raga) of the raga also. One can look for these items as identifying marker in the compositions based on this raga. Towards the end of this article I will write more about this raga.

In an interview, my most revered musician and in my opinion the greatest singer of the 19th century, Ustad Bade Ghulam Ali Khan sahab said: and these are his words “… aaroha avaroaha mane hai sidha aana, or sidha jana” (“ascent and descent means to go straight up and straight down”). Late Ustad Ali  Akbar Khan sahab also personally told me the same thing about aaroha and avaroha at his house in California. So if you adopt that definition, raga definition becomes a little more fixed in general. And then in the Pakad phrase, you can deal with the sequential nature of the patterns. Then in the actual composition, you can render proper vaadi,  samvaadi, alpattva (notes that are sung very sparingly) bahuttva (notes that are sung frequently), nyaas (notes on which you can stop or rest) etc. These small things are not at all insignificant. For example, improper use of nyaas can literally destroy the composition and entire raga sentiment. In some ragas the note structures are so similar that it is hard to explain the differences in the theory. But you may find that the nyaas is very different in them and, that changes everything. These subtle things also cause differences of opinion among the artists (practicing scholars) let alone the purely theoretical scholars. You can see why our music requires a strong guru-disciple’s traditional relationship and personalized intense teaching. For this reason, it takes many years of training and commitment to master the art. Gharanas have developed in order to preserve and pass the classical art on from family to family, so that the compositions can be properly learned and then rendered correctly, and accurately.

Briefly speaking the picture of Tilak Kamod is:

Pa’ Ni’ Sa Re Ga, Sa Re Pa Ma Ga, Sa Re Ga Sa Ni’.
Re Ma Pa Dha, Ma Pa Sa” Pa, Dha Ma Ga, Sa Re Ga Sa Ni’.

Notice the prominence of Sa Re Ga Sa Ni’ combination and the Sa” Pa meend above.

Tilak Kamod is karun (pathos) raga. It creates sadness and a type of longing arising from sadness. Desh although very similar to Tilak Kamod in note structure, portrays the sentiments of beauty, light nature and a bit of romance. All three ragas (Tilak Kamod, Desh and Khamaj) are well suited for folk music and thumari style of performance.

Bade Ghulam Ali Khan Sahab said in the same interview that I referred to earlier, “jo kuchh bhi banaya gaya hai, voh bahot soch samaz ke banaya gaya hai”. He said, “whatever has been designed has all been done with careful and rational thought process”. This means that the rendering of the composition should follow the rules that are prescribed. In the interview he was explaining how people go off and make variations of raga based on some other raga, but these so called variations are so terrible that they lack the fundamentals of making any meaningful music. In his words “… in rago ki niv itani kharab hai ki jaise puri imarat dab jayegi ” (“The foundation of these ragas is so bad that the whole building will collapse in its own weight”). He gave an example of raga Megh Ranjani that some one had composed. Khan Sahab pointed out that in this raga two successive notes are missing. This is a very serious violation of fundamentals and cannot be supported from any angle of aesthetics. Yet other time someone asked him why folk music seems to adopt raga Sarang a lot. He said .. it does not matter .. what is important is that in the end what will survive in time and will be acceptable to people is the truth. What he meant by “truth” of course are the compositions that are designed and executed properly with proper rules.

Bade Khan Sahab, born on April 2, 1902 (died 1967) was not only a supreme musician but a seer of music and was not a dogmatic person. He understood musical traditions in proper light. He did not support false following of traditions that were wrong. He said that God has given us intellect and if we respect our elders we should correct their mistakes and not follow them. To say this took a lot of guts in a highly conservative musical societies of that time where traditions are revered like God. Today, Bade Ghulam Ali Khan Sahab’s legend lives all around the world. His singing styles are being studied at research institutions internationally notably in Canada, USA, and Holland. My eyes become wet every time I write or think about this incredible legend of our time.

But once again the point I am making is that, one need not be frustrated by various opinions about the ragas. There are valid reasons for those opinions. You must understand them in the backdrop of aesthetics, grammar of music, in the traditions of gharanas, and in an effort to save the raga from other raga. When in doubt, study the compositions and see how those opinions are implemented by different musicians. I used to be confused on these matters and I used to ask many musicians personally but ultimately you do have to use your mind and ears to see how those opinions are used in real compositions. Then you may see the reasons for those variations in opinions. Bade Khan Sahab was more conservative than Pandit Bhimsen Joshi; partly perhaps because he was much older than Pandit Bhimsen Joshi. Yet Bade Ghulam Ali Khan Sahab was very intelligent man who knew the pulse of musical traditions. Bhimsen Joshi (recently died 2011) among the modern musicians also has crossed traditional bounds across gharanas to still produce a very authentic music that shows unique style within Kirana Gharana. He developed his music by learning from various gharanas. Many may not admit, but are going cross-gharana traditions. You can tell if you listen to their gayaki-ang (limbs of singing style). Listen to Ajoy Chakravartti, who is one of my favorite singers and a man who presents excellent Patiala gharana style today. If you listen to his taans (rapid successions of notes) carefully, you will also see Agra style lurking behind Patiala, his main style, especially in laykari (playing with complex tempos while maintaining strict rhythmic movements). So rules are fluid, but for good reasons. This is true not only about the ragas but also about the styles of singing.

About raga Tilak Kamod:

This raga is well suited for folk music, thumaris and bhajans. It can also be a full scale serious raga. Many scholars use all natural notes in it, but some (including Khurshid Anwar Sahab) suggest Komal nishad (ni) in order to legitimize its classification under Khamaj thaat. Nonetheless Komal-nishad is only sparingly employed.

The Ni is a nyaas note. Meend from Sa” to Pa is necessary along with Sa Re Ga Sa Ni’ combination. These rules keep Tilak Kamod safe from  Desh and Khamaj. Pa is also an important nyaas note and can be used as nyaas in the ascent and descent both.

This raga is dominant in the Purvanga (first tetra chord i.e. Sa Re Ga Ma). Large majority of composition in this raga follow Sa as Vaadi (most important note) and Pa as Samvaadi (second most important note) notes. Very few follow Re as Vaadi note because Re Vaadi brings the danger of raga Desh in this raga. Ga Vaadi would bring the shadow of Khamaj. And because this raga is predominant in Purvanga, the only sensible thing to do is to use Sa as the Vaadi note.

In this raga some scholars only allow Ni while others allow both Ni and ni. Some allow the use of Ga in aaroha while others do not. Decisions should not be absolute but based on the structures of the sthayi and antara parts of the composition. This raga’s allocated time of performance is late evening or early night.

Although its name is Tilak Kamod, it has nothing to do with raga Kamod and raga Kamod has no influence on it. Some mistakenly point out the Re-Pa movement in both ragas as an element of similarity. But that is not correct. The Re-Pa movements are very different in Kamod and Tilak Kamod.

This is an alpabetical listing of the important and frequently used Indian Classical music terms. This section is taken from culturalindia.net.

Achal – Achal Swaras are the fixed swaras of the seven musical notes. Sa and Pa are the achal swaras of the Indian classical music.

Arohi – The term Arohi, also known as Arohana and Aroh, is used to define the ascending melody in music.

Avirbhav – Avirbhav is that technique of presenting the raga, in which the raga is noticeably expanded and exhibited

Abhoga – The last stage of a musical composition, especially in the Drupad music.

Alaap – Alaap is the free flow of the Raga, in which there are no words and no fixed rhythm. It is the purest from of melody.

Andolan – Andolan refers to a slow alternation between the notes and shrutis that are next to each other.

Ang – The term ‘Ang’ refers to the root to which a particular raga belongs. For example, Tantrakari Ang (instrumental style of music)

Alankar – Means ornaments or adornments. Alankaras are those notes and features that differentiate one raga from the other. The application of an alankar is essentially to embellish or enhance the
inherent beauty of the genre.

Antar Gandhar – One of the variable forms of the third note ‘Ga’ of Indian Classical Music.

Antara – Antara is the second stage of a musical composition that emphasizes the upper half of the octave-range.

Antya – Antya is the last section of a musical composition, after which the recital ends.

Anuvadi – Those notes of a raga that are neither highlighted nor downplayed are known as Anuvadi notes.

Asthai – Asthai is the first as well as the fundamental part of a composition, which is repeated during the entire alaap.

Asthan – The octave region of a raga is known as its Asthan. For example, the lower octave region is known as the Mandar Asthan.

Ati – The term Ati refers to an extreme in a raga. For example, Ati Vilambit Laya means extremely slow tempo.

Audava – Audava is a raga that has only five notes i.e. ‘Paanch Swaras’.

Avarohi – The term Avarohi, also known as Avarohana and Avaroh, is used to define the descending melody in music.

Bhajan – A devotional song eulogizing Indian Gods and Goddesses. Sung in light classical style, it is usually set to 6, 7 or 8 beat cycles.

Bol – The term ‘Bol’ refers to the words making up a vocal composition.

Carnatic – Ancient classical music of South India is known as Carnatic Music

Chakra – As per the Melakarta table of raga classification, Chakras are the twelve groups according to which the ragas are categorized.

Chalan – Chalan is the makeup of a musical composition, which embodies the movement of a particular raga.

Chautalaa – Chautalaa is the musical cycle that consists of fourteen beats.

Dadra Tal – Dadra Tal is the common cycle in the lighter forms of music, comprising of six or three beats.

Deepchandi Tal – Deepchandi Tal is the tabla composition with fourteen beats

Dhamar Tal – Dhamar Tal is the fourteen beat Tal that has a ‘5+2+3+4’ vibhag pattern.

Dhaivata – Dhaivata is the sixth of the seven swaras or notes of the Indian classical scale.

Drut – Drut is the term denoting the fast tempo or speed of the Tal.

Ektal – Ektal is that Tal of the Indian classical music in which the 12 matras are divided into 6 vibhags, each of them having two matras.

Gandhar – Gandhar is ‘Ga’, the third musical note of Indian Classical Music.

Gayaki – Gayaki is one of the several styles of singing.

Geet – Geet is the Indian term for a song or composition.

Ghazal – Ghazal is a poetic-cum-musical form of Hindustani light music, with Persian and Urdu poetic influences.

Grama – Gramas are the basic notes employed in musical tradition. Initially there were three gramas – Shadaja, Madhyama and Gandhar.

Hindustani – Hindustani Classical Music is the form of Indian classical music that developed in northern parts of India.

Jati – Jati refers to the classification of musical compositions as per the tones.

Jhaptal – Jhaptal is an Indian rhythmic form with a ten-beat cycle.

Jhumra Tal – Jhumra Tal is a slow Indian rhythmic form of 14 (3+4+3+4) beats.

Kan – Kan is the grace note of a musical composition.

Keharwa Tal – Keharwa Tal is the one of the rhythms of the Indian classical music, which has an eight beat cycle.

Komal – The flat form of a note or swar in the classical music of India.

Kriti – Kriti is a format of a musical composition that characterizes the Carnatic form of music.

Lakshan – An introduction to the ragas is known as Lakshan. It comprises of a set of rules and principles.

Laya – Laya can be described as the tempo or speed of the Tal.

Madhya Saptak – The basic saptak, with middle octave region, is known as the Madhya Saptak.

Madhya Laya – Madhya Laya is the medium tempo or speed of the Tal.

Madhyama – Madhyama is ‘Ma’, the fourth musical note of Indian Classical Music.

Mandra – Mandra refers to the lower scale notes of the raga, written with dots underneath them.

Meend – Meend is an unbroken flow of a musical progression, from higher to lower notes.

Mela – Mela is the basic organization of the notes in aroha and avaroha melody.

Mishra – A Mishra melody is that melody which has features of more than one raga. ”

Mridangam – Mridangam is a drumming instrument, used in the Carnatic music of South India.

Nada – The raga or musical notes in music are known as nada vibrations. There are basically two types of Nadas – Ahata (struck) and Unahata (un-struck).

Nada Brahma – The concept of Nada Brahma means that the whole universe was created from the energy of sound.

Nataka – Nataka is the Hindi term used for defining a theater performance.

Nyasa – Nyasa is the last note of a specific phrase of notes, which leads to its ending.

Nishadha – Nishadha is ‘Ni’, the seventh musical note of Indian Classical Music.

Pakad – Pakad is the catch phrase of note combinations, which normally comprises of five notes. It characterizes the flow of a raga.

Panchama – Panchama is ‘Pa’, the fifth musical note of Indian Classical Music.

Pandit – Pandit is a term of respect, used to refer to the masters or scholars in the field of Indian Classical Music.

Poorvang – The lower region of an octave, from Sa to Ma (Sa Re Ga Ma) is known as the Poorvang.

Prati – The term Prati is used to define a sharp musical note i.e. a musical note that is higher in pitch by a semitone.

Raga – Raga is the basic organization of the thirteen musical notes in a composition, as per specific rules.

Ragini – Ragini is the feminine form of raga. It is usually described as a summary of the main theme of the melody.

Rasa – Rasa is the term used to define the emotional state or quality of the raga and ragini. There are nine rasas in classical music.

Rasik – Rasik is name given to the composer of a Rasa.

Rishabha – Rishabha is ‘Re’, the second musical note of Indian Classical Music.

Rupak Tal – Rupak Tal is an Indian rhythmic form, which comprises of seven beats.

Sanchari – Sanchari is the third subsection of a musical composition that comprises of all the regions of the octave.

Sangeet – Sangeet is the Hindu term used to define music.

Sampooran – Sampooran ragas are those ragas that comprise of all the seven notes.

Samvadi – Samvadi is the second most important class into which the notes in the basic musical gamut are divided.

Sandhi Prakash – The ragas that are performed during the hours of twilight or dusk are called Sandhi Prakash Ragas.

Saptak – Saptak means the set of seven swars or seven notes of the Indian Classical Music.

Sargam – Sargam is the term used to define the scale of notes used in the composition of music.

Shadaja – Shadaja is ‘Sa’, the first musical note of Indian Classical Music.

Shastra – Shastra is the treatise or text that explains the timeless rules and principles behind music.

Shaudava – Shaudava Raga is the raga that comprises of six notes in its ascending or descending movement.

Shruti – Shruti is the sound interval between recognized notes or swaras.

Shudha – The pure and natural notes or swaras are known as Shudha Swaras.

Swara – Swaras are the musical notes of a composition.

Swaroop – The term Swaroop refers to the image of a raga.

Tabla – Tabla is a North Indian drum set, which comprises of the Dagga (bass drum) and the Tabla (Treble drum)

Tal – Tal is a predisposed arrangement of beats, in a certain tempo

Tan – An improvised vocal or instrumental musical phrase

Tanpura – String instrument used for drone; Tanpura means to fill the void behind the music; to complete or assist a tan; a. k. a. Tamboora

Tar – Tar is a fast-paced musical and melodic amplification of vocal as well as instrumental classical music.

Tamboora – Tamboora is a musical instrument made from a gourd (Tumba). It is also known as Tanpura.

Thaat – Thaat is Pandit Bhatkande’s classification of all the ragas into one of ten parent scales.

Thumri – Thumri is a form of ‘light-classical’ vocal music. It does not follow the tala and raga rules of music very rigidly.

Tintal (Teental) – Tintal is an Indian rhythmic tal with sixteen beats, in four equal divisions.

Tirobhav – Tirobhav basically means the process of concealing a raga on a temporary basis.

Tivra – Tivra means the highest state (pitch) of the two notes, madhyama and nishad.

Uttarang – Uttarang is the higher tetra-chord of an octave, which comprises of Pa, Dha, Ni and Sa notes.

Vadi – Vadi is the note that holds the maximum importance in a raga.

Vakra – Vakra Raga is one of the four Janya Ragas and has swaras in a non-sequential order.

Varana – The four Varanas are the four basic ways, on the basis of which musical tones are organized.

Varjit – Varjit note is the note that is deleted from the Arohi or Avarohi of its derivative Ragas.

Vikrit – Vikrit notes are the modified notes used in the raga.

Vilambit – The term Vilambit is used to denote the slow speed or tempo of the Tal.

Vivadi – Vivadi notes are those notes that are either not included in a raga or are used very rarely.

By Kirit Dave’

India has two streams of classical music: that of the north, known as “Hindustani” and that of the south, known as “Carnatic”. Hindustani music has three major classical vocal traditions: Dhrupad (originally Dhruvapad – i.e. containing centrally repeating pattern), khayal (literally means “Concept”) and thumari.

STYLES OF HINDUSTANI MUSIC [1]

Dhrupad (original word Dhruvpad) is a style dedicated to an austere rendition. This tradition is the oldest of the three, generally dating pre-Mugal, and during the time of emperor Akbar and it is a bit rigid style. This style is essentially going extinct today, and only a few singers such as Daagar brothers (Daagar-bani form) and Gundecha brothers sing dhrupad. There is yet another style, which is very similar to dhrupad that does exist and that is called Dhamar. It is sung in the Dhamar tala of 14 bits.

What we hear primarily today is the Khayal style. The actual time and origin of this style is controvertial. Some credit Amir Khushru, and others to Niamat Khan (pen name “Sadaranga”) associated with Mugal king Mohammad Shah (pen name “Rangile” 1719-1748). But, khayal compositions of Sadarang are present and being sung today and thereby presence and prominence of khayal in his time.

The khayal has a greater degree of freedom compared to dhrupad and is still adhered to, practiced, performed and taught to students both on instruments and in voice. Generally what you hear today in voice or on instruments as “Indian Classical Music” is in khayal style.

Thumari is the lighter style, and has a greater degree of freedom of expression through choice of notes. Although a lighter and least rigid among the three classical styles, it is probably the most difficult one requiring greater talents. The apparent “freedom” of selection of notes, not afforded in khayal and dhrupad style, requires great skills. The selection of notes must be judicious in the amount of usage and at correct places, so as to intensify the emotions and beauty. Thumari is sung in certain ragas like, bhairavi, desh, tilak kamod, pahadi, kalavati, sohani, kaunsi dhwani, kafi, piloo, jhinjhoti, khamaj. It is not suited for all ragas. There are two accepted forms of thumari, namely Purab anga and Punjab anga. Thumari rendition allows for a lot of creativity improvisation. Along with emotional appeal through notes, the display of the same words in the composition is made in many different musical ways. The primary language used in thumaris is Braj Bhasha. Unlike in khayal style, where variations are sparingly embedded around the central theme, in thumari, the variations from central musical structure are quite pronounced and key to the development of the composition. Bade Ghulam Ali khan (1902 – 1968) rightly, came to be recognized as the greatest thumari singer and left his influence on generations of singers, and music directors in both classical world and the popular and film music.

Yet another form is called Tarana. This is vocal music is generally of faster tempo and instead of language of words, it uses the bols (syllables) of the tabla, sitar, pakhawaj, saragams, and special sounds such as odani, tanom, yalali, yalalom etc. It requires special talents of manipulations of tongue to produce these sounds very quickly. More than the melodic patterns, it is the laykari (flow of the tempo and rhythms) that emerges from the manner of delivery of the patterns of sound, which is really exciting. Ustad Nissar Hussain khan and late Ustad Amir Khan are the acclaimed singers of this art form.

Other forms of lighter classical or classically based forms include tappa, bhajans, dadra, kafi, hori, etc. These compositions are based in one or more ragas as the foundation but are not rigid in following all rules of the raga structure. Prabhat Samgiit follows this form of the music.

Besides these, there are many lighter semi-classical and folk forms such as bhajans, dadra, tappas, ghazals and quawwali. Bhajans are generally spiritual songs of Hindu traditions. Dadras are in 6 bit tala (called dadra too) and often part of the folk traditions. Tappas are usually composed in kafi-class of ragas. Ghazals (love songs) and quawwalis (religious songs) are generally compositions of Islamic origin.

THE SEVEN MUSICAL NOTES

Sa Re Ga Ma Pa Dha Ni are the seven swars or the seven notes that make up the scale. The scale is similar to a western scale; however there are many microtonal structures (called shrutis) in-between each swar. In Indian classical music, the artist tries to invoke one of nine major emotions (called rasas), which are associated with the musical composition, called a raga.

RAGA

A raga is a musical composition based on specially designed ascending (called aroha) and descending (called avaroha) scales for that raga. For example, raga “desh” only allows five notes in ascend (Sa, Re, Ma, Pa, Ni; all natural notes), but allows all seven notes in descend (Sa, Ni-flat, Dha, Pa, Ma, Ga, Re, Ga, Sa), such that the seventh note Ni must be flat and only allowed in descend. By proper rendering of the notes, in their traditional patterns and styles, a performer can create a unique artistic exposition of that raga in every performance. Performing a note out side the scale of the raga is strictly forbidden in dhrupad or khayal styles. In thumari style, variations outside the raga scale are allowed, but require great skill and training to accomplish it successfully. That is why thumaris are not ragas but are based on one or more ragas. The lyrics of a raga or a thumari (in the classical music) are usually spiritual in nature, because music in general was for spiritual purposes. There are thousands of ragas, but only a couple hundred at the most are regularly performed.

PRABHAT SAMGIITA

Many of the Prabhat Samgiit songs are based on the classical backgrounds of these ragas such as Bhairavi, Darbari Kanada, Malkauns, Chandrakauns, Kafi, Todi, Miya ki Malhar, Desh, Kedar, Bhimpalasi, Chhayanat, Pahadi, Shiva Ranjani, Yaman Kalyan, Bageshri, Jayjayvanti, Asavari, Jaunpuri, Khamaj, Deshi, Piloo, etc.

Some of the Prabhat Samgiit songs are in folk styles of dadra, ghazals and quawwalis. A few songs are also based on themes from western tunes from Scandinavia etc.

Prabhat Samgiit collection also includes Padya (poetry) Kirtans. Traditionally these Kirtans are sung in Dhrupad style. The lyrics are about spirituality and often about the life of Krishna. Couplets of the lyrics are sung in slow dhrupad-type measures by the lead singer, and their significance is elaborated in recitation. The group of singers responds to the lead singer in quicker and quicker tempo, until the chorus finishes in a crescendo. Then the leader recites the next couplet again. The process goes on until a particular episode is completed. Tanpura and khol (special type of drum) are used for the accompaniment. In recent times the harmonium, violin, esraj, and sarangi are also used. The Kirtan style is distinguished by its elements of group singing and its use of time-measures. Various Kirtan styles (also called Gharanas) have developed. These are Manoharshahi, Garanhati, Mandarini, Manbhum and Reneti schools, each with its distinctive manner of presentation and incorporating some features of the different classical styles.

Prabhat Samgiit introduces a new gharana of Kirtans called “Prabhat Gharana” kirtans. Musically distinguishing features of Prabhat Gharana are the rules concerning the repeated patterns, the talas involved and the composition-ending pattern. Also, unlike other Gharana kirtans, the bhava (sentiment) of the lyrics contain direct address to God without a third person’s presence.

TALA

Another important component of music is tala or a cycle of rhythm consisting of a fixed number of beats (called matras). A particular rendering of a raga may be in a particular discipline of a tala, suitable to the musical makeup of that particular composition. The synchronization of raga and tala is an absolute discipline imposed on the artist throughout the rendering of the composition. This synchronization is usually evident at the sum or bit #1 of the cycle of rhythm.

MUSIC INSTRUMENTS

A drone instrument (tanpura) provides the pitch and accompanies performances of classical music. The tanpura provides a subtle, almost hypnotic background effect, of which the audience is often unaware.

Indian classical music uses a wide range of musical instruments, which may be used to accompany vocal or instrumental performances. Commonly heard instruments are the sitar, santoor, sarod, sarangi (string instruments), tabla, pakhavaj (drums), harmonium, shehnai and flute. Percussion instruments are used in solo performances as well.

Note:

[1] The division of the article in sections and their naming are an editorial addition and are not part of the original article.