Scribd
Upload
148 views8 pages

Music XII

The document provides an overview of key concepts in Indian classical music, including Alankar, Gamak, Kan, Meend, Khatka, Murki, Murchhana, Thaat, Jaati, Raag, and Saptak, along with their definitions and characteristics. It also discusses the Time Theory of Ragas, emphasizing the significance of performing specific ragas at designated times for optimal emotional impact. Additionally, it highlights important ragas like Raag Bhairav and Jhaptal, and describes the Tanpura, its components, tuning, and importance in Hindustani music.

Uploaded by

Dipti Garg
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
148 views8 pages

Music XII

The document provides an overview of key concepts in Indian classical music, including Alankar, Gamak, Kan, Meend, Khatka, Murki, Murchhana, Thaat, Jaati, Raag, and Saptak, along with their definitions and characteristics. It also discusses the Time Theory of Ragas, emphasizing the significance of performing specific ragas at designated times for optimal emotional impact. Additionally, it highlights important ragas like Raag Bhairav and Jhaptal, and describes the Tanpura, its components, tuning, and importance in Hindustani music.

Uploaded by

Dipti Garg
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

Music Notes (Most Important Topics)

 Alankar: means (musical) ornament.


It is a systematic arrangement of swaras (notes) in ascending or descending order.

 Gamak: means to move or going on (Sanskrit word “gam”)


 Singing or playing a serious note is called gamak.
 It is vibrations of such swaras which give happiness to the
listener.
 In ancient times, there were 15 types of gamak.
 In 'Sangeet Ratnakar', Pandit Sharangdev ji has written:
"Swarasya Kampo Gamak: Shrotrichitta Sukhavaha."
 Kan: means straw
 This is also called sparsh swar or grace note.
 The touching of front note (next vowel) and back note (previous vowel) of
the main note (main vowel) is called Kan (particle).
 Particle (Kan) vowels are mainly of two types:-
1. Pre-Lagan Particle (Poorav Lagan Kan):- This note is used before
the main swar (i.e. before the root vowel). It is written on the left side
of the main swar, like RG.
2. Attachment Particle (Anu Lagan Kan):- This note is used after the
main note (i.e. after original vowel). It is written on the right side of
the main swar, like GM.
 Meend: means slow continuous glide
 It is a type of an ancient Gamak.
 Moving from one swar to another without breaking voice is called Meend.
 For showing Meend, inverted half-moon is drawn over swaras like
 It brings out the melodic beauty and emotional appeal of a Raga.

 Khatka: means fear or doubt.


 It is a type of Sphurit Gamak
 When four or more swaras are rounded and used in a fast rhythm (i.e. fast
laya like drut) it is called Khatka.
 For Khatka on the Swar 'P'; the cluster of swaras 'Dha Pa Ma Pa' are sung
and played quickly in such a way that it sounds sweet and pleasant.
 Khatka is used in Thumri, Dadra, Tappa and Instrumental music too.

 Murki: means earring placed in the ears


 It is a type of Sphurit Gamak.
 Murki features three swaras: S R S and R N S & these are written as: SRS
or RNS
 It is frequently used in Tappa, Thumri, and Dadra.

 Murchhana: means dazzling or emerging


 The act of doing Aroha and Avroha ascending and descending order of all
seven swaras in a serial order is called Murchhana.
Swar: The voice
It is whose movement
village-specific number
, i.e. basedis on
regular
[Link] definite is called swara. Out
of 22 Shrutis, the main 12 Shrutis are called Swaras
 Murchhna's notes are in order and complete. ( 7 Shudh + 4 Komal + 1 Teevra)
Thaat / Mail: A group of seven notes which can produce a raga is called thaat or mail. In
modern times there are only 10 thaats few of them are: Bilawal, Kafi, Bhairav, Kalyan
Rules of Thaat -
(1) There should be 7 notes in the thaat.
(2) The notes of the thaat should be in sequence.
(3) It is not necessary to have both ascent and descent in the thaat.
(4) Thaat is not sung or played.

Jaati: It is indication of number of Swaras in a raag. We know how many swaras have
been used in Aroh and Avroh of the raga, further –
 The raga with 5 swaras has been called the raga of the Audav Caste (Jaati).
 The 6-voice raga has been called the Shadav Jaati raga.
 The 7-voice raga has been called the raga of the whole Jaati.

Raag: A group of minimum 5 swaras (notes ) and maximum 7 swaras (notes) which is
pleasing to hear is called raag. Raag is a series of note upon which melody is
constructed. In every raag at least M or P should be there. Examples: Raag Bhairav,
Raag Malkauns etc.

Octave (Saptak) : When all the seven pure notes are arranged in order, then their group
is called Saptak. Their names are S, R, G, M, P, D, N in order. There are three types of
octaves:
 Lower Octave (Mandra) : S R G M P D N (Writing S R G M P D N, with dots)
. . . . . . .

 Medium Octave (Madhya): S R G M P D N (Writing S R G M P D N, with no dots)


 Higher Octave (Tar): Ṡ Ṙ Ġ Ṁ Ṗ Ḋ Ṅ (Marked with a dot above the swara)

Time Theory of Ragas (Samyayukta Raga)


The Time Theory of Ragas states that specific ragas are performed at designated times
of the day/night to enhance their emotional, aesthetic, and joyful impact, based on the
8 Praharas (3-hour intervals).

The 1st part of the octave (Saptak), S R G M is called Purvanga , sung from 12 noon to
12 midnight, while the 2nd part P D Ni Sa is called Uttarang, sung from 12 midnight to 12
noon.

Some ragas are played in the morning and evening while few only at night.
 Sandhipraksh ragas like Raag Bhairav is sung in the morning.
 Raag Sarang is sung in the afternoon.
 Evening ragas like Marwa and Purvi are sung in evening.
 Raag Malkauns is sung only at night.

Some ragas are sung according to the season like Ragas Megh and Malhar during
Rainy season. Raag Basant, Raag Bahar are sung during Spring. Raga Kafi is sung and
played during Holi. These ragas are also called seasonal ragas.
To conclude we can say that time has great importance in our music but listening to
these ragas at proper time is very rare because most of the music concerts are held in
the evenings and secondly of course, in schools night ragas are taught during the day.

But remember ragas performed on their respective times only gives us immense joy and
happiness.

Important Ragas
1. Raag Bhairav (Introduction & Features)

Introduction: Considered one of the most fundamental morning ragas, it evokes a


peaceful, devotional, and meditative atmosphere (Bhakti/Shant Ras).

Key Features:
 Thaat: Bhairav
 Swara: Re (R) and Dha (D) are Komal (flat); all other notes (Sa, Ga, Ma, Pa, Ni)
are Shuddh (natural).
 Jati: Sampurna-Sampurna (7 notes in Aroh and Avroh).
 Vadi & Samvadi: Dha & Re
 Time: Early Morning (Sandhi Prakash Raga).
 Aroh (Ascending): Sa, Re (komal), Ga, Ma, Pa, Dha (komal), Ni , Sa^
 Avroh (Descending): Sa^, Ni, Dha (komal), Pa, Ma, Ga, Re (komal), Sa,
 Pakad: Ga, Ma, Dha, Dha, Pa and Ga, Ma, Re, Re, Sa
 Raas/ Nature: peaceful & devotional, creates a feeling of spirituality.
 Use: used in Dhrupad and Khayal styles of Hindustani music, especially for
meditation.

Note: Use of komal Re and komal Dha is a special feature of Raag


Bhairav.

2. Jhaptal (Introduction & Features)

Introduction: A very common, medium-tempo, 10-beat rhythmic cycle (tala)


Key Features:
 Matras (Beats): 10
 Vibhag (Divisions): 4 (2+3+2+3)
 Taali (Claps): 1st, 3rd, 8th beats (1, 3, 8)
 Khali (Wave): 6th beat (6)
 Tali–Khali Pattern: Tali – Tali – Khali – Tali
 Theka: Dhi Naa | Dhi Dhi Naa | Ti Naa | Dhi Dhi Naa
 Laya: Vilambit, Madhya, and Drut laya
 Nature: Jhaptal is a popular & rhythmic taal used in both Khayal
and instrumental music.
 Use: Used to provide rhythmic accompaniment to Khayal, semi-
classical, and instrumental music during classical music concerts.

The Tanpura is a4-stringed fretless drone instrument essential to


Hindustani music for providing the Aadhar Swar (base note) and harmonic,
soothing sound. Key components include the Tumba (gourd resonator),
Dandi (neck), Tabli (soundboard), and Ghurach/Bridge. It is typically tuned
to

Pa−Sa−Sa−Sa

𝑃𝑎−𝑆𝑎−𝑆𝑎−𝑆𝑎

(or

Ma−Sa−Sa−Sa

𝑀𝑎−𝑆𝑎−𝑆𝑎−𝑆𝑎

).

Key Components of the Tanpura:

 Tumba: A resonator made of dried pumpkin/gourd, which amplifies


sound.

 Tabli: The flat wooden plate covering the Tumba.

 Dandi: A long, hollow wooden neck.

 Ghurach/Bridge: A bone or ivory bridge on the tabli where strings


pass over.

 Javari: Thread, or cotton placed between the strings and the bridge
to create a buzzing, resonant sound.

 Khoonti: Pegs at the top for tuning the four strings.

 Langot/Kil: The hook at the base of the tumba where strings are
tied.
Tuning of the Tanpura:
The four strings are generally tuned as follows:

1. First String (Mandra Pa/Ma): Tuned to the lower octave fifth (

Pa

𝑃𝑎
) or fourth (

Ma

𝑀𝑎
) if

Pa

𝑃𝑎
is omitted in the Raga.

2. Second & Third Strings (Madhya Sa): Tuned to the middle


octave Shadaj (

Sa

𝑆𝑎
). These are generally steel wires.

3. Fourth String (Mandra Sa): Tuned to the lower octave Shadaj (

Sa

𝑆𝑎
). This wire is thicker (brass).

Types of Tanpura:

 Male: Larger with thicker strings for a lower, deeper sound.

 Female: Smaller with higher-pitched strings.


 Instrumental: Used for accompanying Sitar or Sarod, often tuned
to

Pa−Sa−Sa−Sa

𝑃𝑎−𝑆𝑎−𝑆𝑎−𝑆𝑎

or

Ma−Sa−Sa−Sa

𝑀𝑎−𝑆𝑎−𝑆𝑎−𝑆𝑎

Importance:

 Provides the Aadhar Swar (base pitch).

 Helps in accurate intonation (Sur-Gyan) for the vocalist.

 Creates a steady, harmonic background during musical performance

Common questions

Powered by AI

The Tanpura is essential in Hindustani classical music for providing the Aadhar Swar, or base note, and a harmonic, soothing sound. It consists of a Tumba (gourd resonator), Dandi (neck), Tabli (soundboard), and Ghurach (bridge), all assembled to create a sustaining drone. The Tanpura aids musicians in maintaining accurate intonation (Sur-Gyan). The steady drone aids the vocalist or instrumentalist in honing their pitch accurately and creates a meditative backdrop that enhances the listener's experience. It is a vital accompaniment that supports the main melody .

The Time Theory in Hindustani music states that specific ragas are performed at designated times of the day or night to enhance their emotional, aesthetic, and joyful impact. This practice is based on the concept of 8 Praharas (3-hour intervals) throughout the day. The theory influences the emotional response of the listener by aligning the raga's mood with the natural environment and time-of-day aura, resulting in an intensified listening experience. However, modern concert practices sometimes overlook this theory, which some believe dilutes the traditional emotional impact intended by the timing .

'Meend' in Hindustani classical music involves a slow continuous glide from one swara to another without breaking the voice. Acoustically, it enhances the melodic beauty and expressiveness of a raga, providing smooth transitions that add depth and continuity to the sound. Rhythmic impact is subtle as it adds tension and release within the music without distinct rhythmic breaks, often used to emphasize a fluid melodic line. Meends covey emotional intensity and maintain the aesthetic flow of the performance .

'Khatka', a type of Sphurit Gamak, involves fast, sweet-sounding execution of a cluster of swaras such as 'Dha Pa Ma Pa' to enhance the melodic complexity and aesthetic richness of music. In Thumri and Tappa, which are styles known for their lyrical and expressive qualities, Khatka contributes to creating an engaging, energetic texture that heightens the emotional appeal. It breaks the linearity, introducing dynamic melodies that add vibrancy and charm to the performance, fostering a rich auditory experience for the listener .

In Hindustani music, 'Thaat' refers to a group of seven notes which can produce a raga. The significance of Thaat lies in its role as the foundational framework for constructing different ragas. A Thaat is defined by certain rules: it includes seven notes arranged in sequence, but these notes do not have to be used in both ascent and descent. While Thaats are theoretical concepts and not performed, they are crucial for categorizing ragas and understanding their structure .

A Raga is a series of at least five and a maximum of seven notes selected to form a melody that is pleasing to hear. It serves as the basis upon which melodies are constructed in Hindustani classical music. Each raga inherently includes certain emphasized notes (Swara), contributing to its distinct emotional and aesthetic character. For example, the presence of the Swara 'M' or 'P' is a requirement in every raga. This framework allows for expressive melodies that evoke specific emotions and atmospheres .

Murchhana refers to the systematic cara of ascending (Aroha) and descending (Avroha) sequences of all seven swaras. It is region-specific and signifies a complete octaval scale in a Raga, which is pivotal in developing ragas as it allows musicians to experiment with different scales within a given Thaat. The relation to Thaat is fundamental, as Murchhana initiates from particular pitches of a Thaat's scale, allowing the creation of raga variations. It plays a crucial role in exploring harmonic possibilities and changing the perceived mood of a raga .

A 'Sampurna-Sampurna' jati raga is characterized by the inclusion of all seven notes in both its ascending (Aroh) and descending (Avroh) sequences. Raag Bhairav exemplifies this with its ascending scale Sa, Re (Komal), Ga, Ma, Pa, Dha (Komal), Ni, Sa^ and descending scale Sa^, Ni, Dha (Komal), Pa, Ma, Ga, Re (Komal), Sa. Unlike ragas with Audav (5 notes) or Shadav (6 notes) jatis, the 'Sampurna' classification allows for a fuller melodic exploration and complexity within the performance .

Gamak refers to the vibrations of swaras (notes) that give happiness to the listener. It is significant in Hindustani classical music as it enriches the emotional and melodic expression of a performance. Historically, there were 15 types of Gamak, and its purpose is to create a more nuanced and expressive rendition of a raga, thus enhancing the emotional appeal and depth of the music .

The choice of octave in playing a raga is influenced by the raga's emotional and tonal requirements as well as the performer's skill and the intended audience effect. Lower octaves (Mandra) are used for more serene or grave expressions, giving depth and resonance. Medium octaves (Madhya) provide a balanced and clear expression, often forming the main body of a performance. Higher octaves (Tar) inject excitement and intensity, useful during climactic moments. The effective use of different octaves facilitates a dynamic and emotional performance, enhancing listener engagement .

You might also like