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© ALLY ADNAN NATIONAL ACADEMY of PERFORMING ARTS Presents © ALLY ADNAN NATIONAL ACADEMY OF PERFORMING ARTS presents Talk by Ally Adnan Performance by Ghayoor-Moiz-Mustafa Qawwal July 09, 2017 © ALLY ADNAN qawwali Qawwali is a celebration of love. © ALLY ADNAN qawwali Qawwali has existed in various forms – samaa, zikr, Vedic chants and many others – for at least thirty-two (32) centuries. © ALLY ADNAN Vedic Chants The tradition of chanting Vedic mantars, the Srauta, is the oldest oral tradition in existence. Danda, Dhvaja, Ghana, Jata, Krama, Mala, Pada, Ratha, Rekha, Samhita, Sikha © ALLY ADNAN Vedic Chants a b c d e f g h i j k l m n o p q r s t u v w x y z Jata Paath ab ba ab - bc cb bc - cd dc cd - ………. Dhvaja Paath ab yz - bc wx - …………..... - wx bc - yz ab Ghana Paath ab ba - abc cba abc - bc cb - bcd cdb bcd © ALLY ADNAN Zikr Zikr is a devotional practice in which the believer recites divine names and attributes, repeatedly and in rhythm, to achieve the state of trance. © ALLY ADNAN Samaa The devotional practice of samaa involves singing, playing musical instruments, dancing, praying, recitation of poetry and several other rituals. It is used to achieve a higher spiritual state. © ALLY ADNAN The Sounds of Qawwali َﺳﺒﱢ ِﺢ ْاﺳ َﻢ َرﺑﱢ َﻚ ْاﻷَ ْﻋﻠَﻰ Glorify the name of thy Lord, the Most High ﺍ�� ﺑﺰﺭگ ﻭ ﺑﺎﻻ ّﺭﺏ ﮐﮯ ﻧﺎﻡ ﮐﺎ ہﺮ ﻋﯿﺐ ﺳﮯ ﭘﺎک ہﻮﻧﺎ ﺑﯿﺎﻥ ﮐﺮ Quran 87 - 2 © ALLY ADNAN The Sounds of Qawwali And everyone who calls on the name of the Lord will be saved. Joel 2:32 All who sincerely call upon my name will come to me after death, and I will take them to paradise. Buddhist Sutras, Vow of Amida Buddha, 18 In this age of quarrel and hypocrisy, the only means of deliverance is chanting the holy name of the Lord. There is no other way. There is no other way. There is no other way. Brahan-Naradiya Purana 3.8.126 © ALLY ADNAN © ALLY ADNAN Love Qawwali can be but is not always about God. © ALLY ADNAN Love Qawwali can be but is not always about God. It can be but is not always about religion. © ALLY ADNAN Love Qawwali can be but is not always about God. It can be but is not always about religion. It is, however, always about love. © ALLY ADNAN Love always © ALLY ADNAN © ALLY ADNAN qawwali The practice of qawwali, in its primeval form, gained popularity in South Asia as musicians, ascetics, clerics, mystics, philosophers, scholars, and Sufi saints moved to the region from Iran, Afghanistan, Turkey and other countries. © ALLY ADNAN The Varna System Brahmins Priests Kshatriyas Rulers, Administrators, Warriors Vaishyas Artisans, Merchants, Tradesmen, Farmers Shudras Laborers Dalit Untouchables © ALLY ADNAN The Varna System The Dalits were prohibited from reading and studying Hindu scriptures. Books, music, and the arts were off limits. © ALLY ADNAN Qawwali Qawwali was used extensively to attract non-Muslims to Islam. It was particularly popular with people who belonged to lower and untouchable castes according to the Varna system. © ALLY ADNAN Hazrat Amir Khusrao 1253-1325 AD Musician, Musicologist, Mystic, Nobleman, Philosopher, Poet, Politician, Scholar, Warrior, Writer © ALLY ADNAN Qawwali The form of qawwali that has been practiced since the thirteenth century was created by Hazrat Amir Khusrau. He defined the requirements and rules for the performance of qawwali and established a number of forms of qawwali. © ALLY ADNAN Hazrat Nizamuddin Auliya © ALLY ADNAN Allauddin Khilji 1250–1316 AD Second Ruler of the Khilji Dynasty Reigning from 1296 to 1316 © ALLY ADNAN The Question Chand Dooa Geet Govind Matha Prabhand Twenty-Eight Thousand (28) Lines of Verse © ALLY ADNAN & The Answer Gul Khayal Naqsh Qalbana Qaul Tarana Twenty-Eight (28) Lines of Verse © ALLY ADNAN Miyan Saamat Bin Ibrahim © ALLY ADNAN Qawwal Bachay In order to ensure the proper education, development and propagation of qawwali, Amir Khusrau trained a group of twelve young musicians in the art form. Miyan Saamat Bin Ibrahim was the leader of the group that came to be known as the Qawwal Bachay. © ALLY ADNAN Qawwal Bachay The school of music established and followed by the scions of the twelve musicians is known as Delhi Ke Qawwal Bachon Ka Gharana. Representatives of the gharana have carried the tradition of qawwali for more than seven hundred years. © ALLY ADNAN © ALLY ADNAN Hindustani Sangeet © ALLY ADNAN Basic Elements of Music Sur & Raag Lay & Taal © ALLY ADNAN Sur FREQUENCY SA RE GA MA PA DHA NI ﻧﯽ ﺩﻫﺎ ﭘﺎ ﻤﺎ ﮔﺎ ﺭے ﺳﺎ A Note of Music © ALLY ADNAN Sur NOTE INDIAN NAME PAKISTANI NAME WESTERN EQUIVALENT DO C ﮐﻬﺮ ﺝ SA Shadja षड् Kharaj RI D ِﺭﮐﻬﺐ RE Rishabh ऋषभ Rikhab MI E ﮔﻨﺪﻫﺎﺭ GA Gandhaar गान्ाा Gandhaar FA F ﻤﺪﻫﻢ MA Madhyam मध्म Madham SOL G ﭘﻨﭽﻢ PA Panchyam पञ्म Pancham LA A ﺩﻫﯿﻮﺕ DHA Dhaivat ्ैवत Dhaivat SI B ِﻧﮑﻬﺎﺩ NI Nishad �नषाद Nikhaad © ALLY ADNAN Sur FREQUENCY SA RE GA MA PA DHA NI FLAT NATURAL SHARP KOMAL SHUDH TEEVAR ُ ِﺗﯿﻮﺭ ﺷﺪھ ﮐﻮﻤﻞ Sa, Pa One Natural Frequency Re, Ga, Dha, Ni One Lower & One Natural Frequency Ma One Natural & One Higher Frequency © ALLY ADNAN Sur FREQUENCY r g M d n SSA RRE GGA MmA PPA DDHA NI ONE SAPTAK Sa, Pa One Natural Frequency Re, Ga, Dha, Ni One Lower & One Natural Frequency Ma One Natural & One Higher Frequency 1. Lower case letter denotes lower frequency variant of note © ALLY ADNAN 2. Upper case letter denotes upper frequency variant of note Raag A sequence of music notes upon which a melody is constructed, subject to certain rules. © ALLY ADNAN Raag ٓ ﺍﺭﻭہﯽ Aarohi Ascent ﺍﻤﺮﻭہﯽ Amrohi Descent ﭘﮑـﮍ Pakar Catch Phrases ﺟﺎﺗﯽ Jaati Class ﻭﻗﺖ Waqt Time َﺭﺱ Ras Emotion ﻭﺍﺩی Vaadi Sonant ﺳﻣﻮﺍﺩی Samvaadi Subsonant ُﺍﻧﻮﺍﺩی Anuvaadi Assonant ِﻭﻭﺍﺩی Vivadi Disonant َﮐﻦ ُﺳﺮ Kan Sur Grace Note © ALLY ADNAN Lay َ ﻠﮯ TEMPO BEATS PER MINUTE ﺍﺗﯽ ﺑﻟﻣﭙﺖ ATI BALAMPAT 20 ﺑﻟﻣﭙﺖ BALAMPAT 40 ﻤﺪﻩ MADH 80 ُﺩﺭﺕ DRUT 160 ُﺍﻧﻮﺩﺭﺕ ANU DRUT 320 Tempo in Music © ALLY ADNAN The Alphabet of Tabla MAJOR SYLLABLES NA TA DHA TIN DHIN TI DHI TU KA GA TIT DHIT TIRKIT ُ ِﺗ ِﺮﮐﭧ ِﺩﻫﭧ ِﺗﭧ گ ک ﺗﻮ ﺩﻫﯽ ﺗﯽ ِﺩﻫﻦ ِﺗﻦ ﺩﻫﺎ ﺗﺎ ﻧﺎ © ALLY ADNAN Taal Rhythmic Time Cycle © ALLY ADNAN Taal First Beat in the Rhytmic Cycle َﺳﻢ Sum Beat with Stress ﺗﺎﻠﯽ Taali Beat with Negation of Stress ﺧﺎﻠﯽ Khaali ٓ One Rhythmic Cycle ﺍﻭﺭﺩی Aavardi Division Within Aavardi ِﻭﺑﻬﺎگ Vibhag © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ SUM © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ TAALI TAALI TAALI © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ KHAALI © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ VIBHAG VIBHAG VIBHAG VIBHAG © ALLY ADNAN Teentaal Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ AAVARDI © ALLY ADNAN Teentaal AAVARDI Teentaal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Na Dhin Dhin Na Na Dhin Dhin Na Na Tin Tin Na Na Dhin Dhin Na ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺗﻦ ِﺗﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ VIBHAG VIBHAG VIBHAG VIBHAG TAALI TAALI KHAALI TAALI SUM © ALLY ADNAN Raag & Taal in Qawwali Qawwali is always performed in adherence to the rules of raag and taal. It observes the tenets of Hindustani Sangeet. © ALLY ADNAN Raag & Taal in Qawwali Amir Khusrao defined the taal to be used in qawwali and invented several raags that are often used in qawwali. © ALLY ADNAN Khusravi Raag & Taal Aiman Mawafiq Asool-E-Fakhta Baghroo Mujeer Farodast Bahar Rangola Qawwali Farghana Saazgiri Farodast Sanam Ghaara Sarparda Ghanam Shahana Hijaaz Shehnaz Hussaini Ushaaq Jangla Zeelaf © ALLY ADNAN qawwali Taal QAWWALI TAAL 1 2 3 4 5 6 7 8 DHIN DHIN DHA DHA TIN TIN DHA DHA ﺩﻫﺎ ﺩﻫﺎ ِﺗﻦ ِﺗﻦ ﺩﻫﺎ ﺩﻫﺎ ِﺩﻫﻦ ِﺩﻫﻦ © ALLY ADNAN Kangana © ALLY ADNAN Malkauns Aarohi S g m d n S’ Amrohi S’ n d m g S Pakar 'n S g m g S 'n S 'd 'n 'd 'm 'd 'n S Vadi Sur Madham Sumvadi Sur Kharaj Anuvadi Sur Gandhaar, Dhaivat, Nikhaad Vivadi Sur Pancham, Rikhab Jaati Audav Ras Veerta Waqt 12:00AM – 03:00AM Din Ka Saatvaan Paihar Film Songs Aik Thi Larki Love You Hamesha Akhiyan Sang Akhiyaan Laagi Aaj Bada Aadmi Man Tarpat Hari Darshan Ko Baiju Bawra Savan Ki Raat Kari Kari Meharbaan © ALLY ADNAN Zindagi Bhara Gam Judai Ka Miss Bombay Jhaptaal JHAPTAAL 1 2 3 4 5 6 7 8 9 10 DHIN NA DHIN DHIN NA TIN NA DHIN DHIN NA ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ِﺗﻦ ﻧﺎ ِﺩﻫﻦ ِﺩﻫﻦ ﻧﺎ ِﺩﻫﻦ © ALLY ADNAN © ALLY ADNAN Genres of Hindustani Sangeet ﻗﻟﺒﺎﻧﮧ Qalbana ہﻮﺍ Hawa ﺍﺑﻬﻨﮓ Abhang ﻗﻮﻝ Qaul ہﻮﺭی Hori ﺑﺴﯿﺖ Baseet ّﻗﻮﺍﻠﯽ Qawwali ﺧﯿﺎﻝ Khayal ﺑﻬﺠﻦ Bhajan ِﻗ ّﺼﮧ Qissa ُﺟﻬﻮﻻ Jhoola ﭼﯿﺘﯽ Chaiti ﺳﺎﺩﺭە Saadara ﮐﺎﻓﯽ Kafi ُﭼﺘﺮﻧﮓ Chaturang ﺳﺎﻭﻥ Sawan ﮐﺠﺮی Kajri ﺩﺍﺩﺭﻩ Dadra ِﺳﻟﻮٹ Silwat ﺧﯿﺎﻝ Khayal ّﺩﻫﻣﺎﺭ Dhammar َ ﺳﮩﯿﻟﮧ Suhaila ِﮐﯿﺮﺗﻦ Kirtan ﺩ ُﻫﺮﻭﭘﺪ Dhrupad ﺳﻮﺯ Soz ﻤﺮﺛﯿﮧ Marsiya ﮔﯿﺖ Geet ّﭨﭙﮧ Tappa ﻤﻨﻘﺒﺖ Manqabat ﻏﺰﻝ Ghazal َ ﺗﺮﺍﻧﮧ Tarana ﻧﻌﺖ Naat ﮔﻮﺳﭙﻞ Gospel ُ ُ ﭨﻬﻣﺮی Thumri ﻧﻘﺶ Naqsh ﮔﻞ Gul ُ ِﺗﻼﻧﮧ Tillana ِﻧﮕﺎﺭ Nigar ﮔﺮﺑﺎﻧﯽ Gurbani ِﺗﺮﻭٹ Tirwat َﻧﻮﺣﮧ Nauha ﺣﻣﺪ Hamd © ALLY ADNAN Tarana The tarana is a genre of classical music invented by Amir Khusrau.
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