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Home , Arohana, Asavari, Avarohana, Bageshri, Bhatiyar, Bhimsen Joshi

Fusion Without Confusion

Raga Basics

Indian Rhythm Basics

Solkattu, also known as is the art of performing percussion syllables vocally. It comes from the tradition of South and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and , however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion

Mridangam Dolak Gattam

North Indian Percussion

Tabla Baya (a.k.a. Tabla) Pakhawaj

Indian Rhythm Terms Tal (also tala, , or taala) – The Indian system of rhythm. Tal literally means "clap". Today, ​ the tabla has replaced the clap in the performance, but the term still reflects the origin.

Bol –The mnemonic system where each stroke of the drum has a syllable attached to it. These ​ syllables are known as bol. It is common to consider the bol to be synonymous to the stroke itself. High resonant or open bols: Ta, Na, Tu ​ High closed, (non resonant) bols: ti, te, re, tet, ne, ke, kat, ka ​ Low open bols: Ge, Ga, Ghin ​ Combination bols: Ge+Ta = Dha or Dhin ​ Ge+Tet = Dhet ​ Ge+Tu= Dhi ​

Theka – A conventionally established pattern of bols (bhari, khali) which define the tal. ​ Some of the most popular Thekas (6 beats) Dha Dhin Na Dha Tin Na Rupak (7 beats) Tin Tin Na Dhin Na Dhin Na Keherewa (8 beats) Dha Ge Na Ti Na Ge Di Na (10 beats) Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na (16 beats) Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Ti Ta TeTe Dhin Dhin Dha n Bhari – The ‘beat’, characterized by a particular pattern of clapping. It is the section of the ​ theka that has the low resonant tones of the drum.

Khali – The ‘un-beat’, characterized by the wave of the hands. It is the section of theka, usually ​ 3/4ths of the way through the cycle that is characterized by having no low tones.

*Most of the popular thekas are characterized by having a beat pattern that is laid out like this: Bhari, Bhari, Khali, Bhari (AABA) ​ i.e.Teental (16 beat theka)=Clap, 2, 3, 4, Clap, 2, 3, 4, Wave, 2, 3, 4, Clap, 2, 3, 4.

Lay or Laya - The tempo. The tempo may be either slow (), medium (madhya), or fast ​ ().

Sam - The beginning of the cycle. The first beat of any cycle is usually stressed ​

Tihai – Literally means “3 ”, and is one of the most popular rhythmic concepts in Indian ​ music. A tihai consists of a rhythmic phrase that repeats 3 times, with the last beat usually ending on the Sam. A tihai signifies a major change in the music, such as the beginning or end of a solo or particular section of music. It is the most important tool for communication between the artist and the other performers and/or audience.

Theka – Teental (16 beats) Red denotes sections in Khali ​

(Hindustani Music?)Theory

1. Harmonium: It is a wind instrument having roots of origin in , England and Denmark. It’s also called a , used in churches and chapels in the 19th century. It ​ was greatly modified in India to suit the sedentary style of playing . 2. Parts of a Harmonium: ● Keys: Wooden or plastic controls to help generate music ​ ● Bellows: Folds present at the edge of a harmonium used to pump in air. ​ ● Body: Main part that comprises of all other parts of the harmonium ​ ● Wind chest: The box necessary to store air for sustaining a sound. Bigger the wind chest, more sustenance. ● Stops: Are of two types, main and drone. Main stops are to manage the flow of air to the wind chest or the reed chamber. Drone stops help produce a constant reference sound. ● Reeds: Metal controls stuck to reed board on one end and free on the other, that vibrate when air hits them producing the desired sound. ● Coupler: Optional feature of a harmonium that lets you hear the corresponding note from exactly an octave lower/higher.. 3. Comparison between Hindustani and Carnatic Classical music:

Hindustani Carnatic Evolved over with the influence of More closer to the traditional Indian music Islamic & Persian invasions in North, East & which evolved from Samaveda West India Flexible style of singing/instrumentals, Prescribed style of singing, with intricate presence of different voice modulations Main instruments used: Tabla, , Main instruments used: , , , , Harmonium, Flute , Mandolin, Jalatarangam,

These differences aside, both Hindustani and Carnatic music were developed on the basic elements of swara, and taal. Both are sub-genres of Indian Classical music derived from Vedic scriptures and language scripts.

4. Sangeet: A combination of vocal or instrumental sounds to create a pleasant tune. ​ 5. Swar: Refers to a single music note in Indian Classical music. There are 7 standard swars; Sa, Re, Ga, Ma, Pa, Dha, Ni and a total of 12 swars (7 pure, 4 minor and 1 sharp). Sa – Shadaj, Re – Vrishabh, Ga – Gandhar, Ma- Madhyam, Pa – Pancham, Dha – , ​ Ni – Nishad. 6. Shudh Swar/Pure Swar: All standard notes in their natural form are Shudh swars ​ 7. Vikrut Swar/Chala Swar: Known as distorted swars, which can be distorted from their natural form. Classified as two kinds: Komal & Teevr Swars. Eg. Re, Ga, Ma, Dha, Ni 8. Achala Swar: Swars having a standard frequency, and do not move from their original notes. Eg. Sa, Pa 9. Komal swar/Minor Swar: The frequencies of 4 of the standard swars can be lower than their natural forms. Such swars are called Komal swars. Their position on the keyboard is to the left of the Shudh swar. Eg: Re, Ga, Dha and Ni. 10. Teevr Swar/Sharp Swar: The frequency of the swar Ma, can sometimes be higher than its standard note. That note is referred to as Ma-Sharp and its place on the keyboard is to the right of the Shudh Ma. 11. Varjit Swar: Any swar not occurring in a Rag is called a Varjit swar. ​ 12. /Octave: A group of seven consecutive natural swars on a keyboard is called a Saptak. There are three Saptaks on a Harmonium: Mandra, Madhya and Tara. 13. Aroha: Ascending order of notes ​ 14. Avaroha: Descending order of notes ​ 15. Alankar: A group of swars sung continuously to enhance the beauty of a Rag. ​ 16. Vadi: The most important note of a Rag. ​ 17. Samvadi: The second most important note of a Rag. ​ 18. Sargamgeet: A composition of notes (without lyrics) of any Rag set into a particular taal is called Swargeet. 19. Lakshangeet: The song that delivers the characteristics of a Rag. ​ 20. Sthayi/Mukhda: The first phrase of a song. ​ 21. Antra: The phrase following the Sthayi and usually encompassing the notes from the upper octave. 22. Aalap: A tune that is sung in between a Rag to expand the Rag and improvise the melody. ​ 23. Taan: Group of swars sung at the end of a Rag in Drut laya (Fast speed). ​ 24. Laya: Refers to the tempo of a song/Rag. Can be of three speeds; Vilambit Laya (slow speed), Madhya Laya (medium speed) and Drut Laya (fast speed). 25. Matra: The smallest unit of time in taal. ​ 26. Taal: The cycle of beats (matras) used to measure the duration or time-flow of a composition. 27. Aavartan: A whole cycle of taal. ​ 28. Sam: The first beat of a taal cycle. ​ 29. : The number of parts in a taal cycle. Eg- Teentaal has 4 of 4 beats each. ​ 30. Taali: The pattern of clapping according to the taal. ​ 31. Khali: The wave of hand in relation to the claps. ​ 32. Theka: A conventionally accepted arrangement of common bols ( Dha, Dhin, Ta, Thin, Ga, Ki, etc)

THAATS

A is a group of swaras from which rags are derived. are generally referred to as “Janani/Mother of rags’. Venkatmyukhi had initially established the current system of classifying Hindustani classical music into 10 major thaats. Characteristics of thaats: 1. Thaats cannot be sung. 2. Thaats do not have , ; they only have thaat swars. 3. Thaats are composed of shudh or vikrut swars at a time. 4. Thaats are sampoorna. The 10 thaats:

1. : Sa Re G\a Ma Pa Dh\a N\i Sa’ ​ ​ ​ ​ ​ ​ Ga, Dha, Ni – Komal Rest swars – Shudh

2. Bilawal: Dha Ni Sa’ All swars – Shudh

3. : Sa R\e Ga Ma Pa Dh\a Ni Sa’ ​ ​ ​ ​ Re, Dha – Komal Rest swars – Shudh

4. : Sa R\e G\a Ma Pa Dh\a N\i Sa’ ​ ​ ​ ​ ​ ​ ​ ​ Re, Ga, Dha, Ni – Komal Rest swars – Shudh

^ 5. : Sa Re Ga Ma ​ Pa Dha Ni Sa’ ​ Ma – Tivr Rest swars – Shudh

6. : Sa Re Ga Ma Pa Dha N\i Sa’ ​ ​ Ni – Komal Rest swars – Shudh

7. : Sa Re G\a Ma Pa Dha N\i Sa’ ​ ​ ​ ​ Ga, Ni – Komal Rest swars – Shudh

^ 8. : Sa R\e Ga Ma ​ Pa Dha Ni Sa’ ​ ​ ​ ​ ​ Re – Komal Ma – Tivr Rest swars – Shudh

^ ​ 9. (Bhairav + Kalyan): Sa R\e Ga Ma Pa Dh\a Ni Sa’ ​ ​ ​ ​ ​ ​ ​ Re, Dha – Komal Ma – Tivr Rest swars – Shudh

^ ​ 10.: Sa R\e G\a Ma Pa Dh\a Ni Sa’ ​ ​ ​ ​ ​ ​ ​ ​ ​ Re, Ga, Dha – Komal Ma – Tivr Rest swars - Shudh

RAG FACTORS Rags are identified by a few characteristics called Rag factors. There are 10 factors as listed below:

1. Thaat 2. Aroha 3. Avaroha 4. Pakkad – Small group of swars that helps us identify the Rag. 5. Vadi Swar – Most occurring and important sraw of the Rag. nd 6. Samvadi – 2 ​ most important swar of the rag (helping swar of the vadi swar) ​ 7. Jati – Caste of a rag 5 swars: Audav 6 swars: Shadav 7 swars: Sampoorna 8. Gaan samay: Specific time of the day the rag has to be sung. 9. Prakruti: Nature (mood) of a rag. 10.Varjit swar: Swar not occurring in a rag. LIST OF COMMON HINDUSTANI

● All upper case letters refer to the "Shuddha Swaras" or natural tones. Example, R G D N. ​ ​ ● All lower case letters refer to the "Komal Swaras". Example, r g d n. ​ ​ ● For 'Ma', m refers to the natural one and M refers to the 'Tivra or Kori Ma'. ​ ​ ​ ​ ● The upper octave notes are suffixed by the ' sign. Example, S' R' G' m' P' D' N'. ​ ​ ● The lower octave notes are prefixed by the ' sign. Example, 'S 'N 'D 'P 'm 'G 'R. ​ ​ ● Thaat can be defined as the root or parent raga from which another raga (child) can be derived. Example, '' derived from 'Asavari'. There are about 10 Thaats: Asavari, ​ Bhairav, Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, Marwa, Purvi, Todi. ​ ● Aarohana is the ascending note pattern and Avarohana is the descending note pattern.

The following ragas have complete (all 7) notes and the Aarohana and Avarohana are Monotonic (straight).

Hindustani Raga Aarohana Avarohana Time Thaat Chakravaham S r G m P D n S' S' n D P m G r S Pre-Dawn Bhairav Mayamalava Bhairav S r G m P d N S' S' N d P m G r S Morning Bhairav Gowla Bhairavi S r g m P d n S' S' n d P m g r S Dawn Bhairavi Kalyan Mecha S R G M P D N S' S' N D P M G R S Evening Kalyan Jaunpuri Jhonpuri S R m P d n S' S' n d P m g R S Morning Asavari Kafi S R g m P D n S' S' n D P m g R S Night Kafi Late Night to Kalingra Mayamalavagaula S r G m P d N S' S' N d P m G r S Bhairavi Dawn Melakaratha Kiravani S R g m P d N S' S' N d P m g R S Night Raga Dheera Bilawal S R G m P D N S' S' N D P m G R S Morning Bilawal Shakarabharanam Melakaratha Latangi S R G M P d N S' S' N d P M G R S - Raga Bhairav S R G m P d N S' S' N d P m G R S Morning Bhairav Purvi Kamavardhini S r G M P d N S' S' N d P M G r S Dusk Purvi The following ragas have missing notes (does not have all 7 notes) but have straight Aarohana & Avarohana

Name of Raga Carnatic Raga Aarohana Avarohana Time Thaat Abhogi S R g m D S' S' D m g R S Night Kafi Asavari Nata Bhairavi S R m P d S' S' n d P m g R S Morning Asavari Melakaratha Bairagi S r m P n S' S' n P m r S Morning Raga Bibhash Bauli S r G P d S' S' d P G r S Morning Kalyan , Sudha Bageshri S R g m D n S' S' n D m g R S Night Kafi Bhairavi or S' n D P m g R Late Bhimpalashri Karnatakadevagandh 'n S g m P n S' Kafi S Afternoon ari Bhupali S R G P D S' S' D P G R S Evening Kalyan S' n D P M G R Champakali Ketakapriya 'n S G M P n S' Night Kalyan S Chanrakauns or S g m d N S' S' N d m g S Night Kalyan Kadaram Shuddha S R m P D S' S' D P m R S Night Bilawal Late Melakaratha Hangshadhwan i Hamsadhwani S R G P N S' S' N P G R S Evening Raga Sunada Vinodini S G M D N S' S' N D M G S Seasonal Marwa S r m P d S' S' N d P d m r S Morning Bhairav Late Melakaratha S G P D n S' S' n D P G S Night Raga S' n D P m G R Late Khamaj Hari S G m P D N S' Khamaj S Night S' N D P M g R Melakartha Dharmavathi 'N S g M P N S' Evening S Raga Malkaush S g m d n S' S' n d m g S Night Bhairavi Late Gamaka Samandam 'N S g M P N S' S' N d P M g r S Todi Afternoon Rageshri Nattai Kurinji S G m D N S' S' N D m G R S Night Khamaj Shivranjani none S R g P D S' S' D P g R S Night Kafi S' N D P m G R Sudh Kalyan Mohana Kalyani S R G P D S' Night Kalyan S S' N D N D, G S G M D N S' r' Late Sohini M D M G M G Marwa S' Night r S Vedandagamana S G m P N S' S' n P m G S Night Khamaj Todi Subha Pantuvarali S r g M d N S' S' N d P M g r S Morning Todi Vrindavani Sarang Pushpalathika S R m P N S' S' n P m R S Afternoon Kafi The following ragas have notes (either complete or missing) with Monotonic Aarohana and Non-Monotonic Avarohana

Carnatic Name of Raga Aarohana Avarohana Time Thaat Raga 9 pm till Behag S G m P N S' S' N D P M G m G R S Bilawal midnight Darbari S R g m P d n Darvari Kanada S' d n P m P g m R S Late Night Asavari Kanada S' 9 pm till Kedara Gowla S R m P N S' R' n D P m G R G S Khamaj midnight Hamir Late Hamir/Hamvir S G m P N S' S' N D P G M P G m R S Kalyan (Kalyani) Evening S G m P D N Manj Khamaj none S' n D P M P m G R S Late Night Khamaj S' S' N D P M P G m G R S S m Maru Bihag Kanada S G m P N S' Night Kalyan G M G R S 'N S R M P N Shyam Kalyan Saranga S' N D M P M R G m R G 'N S Evening Kalyan S' The following ragas have notes (either complete or missing) with Non-Monotonic Aarohana and Avarohana.

Name of Raga Carnatic Raga Aarohana Avarohana Time Thaat 'N S g m P g m D n Kanada S' n P m P g m R S Spring Purvi S' S' N d P m G m G r S G m d r' S' Spring Purvi S Chayatarangini, S D P D m P G M D r' N D P m P G r S Pre Dawn Marwa Sama S' S' N D P M P D P G Late Chayanat Saranga S R G m P D N S' Kalyan m R S Evening S G R m G P M D P S' N D P D M P G m Afternoon - Gour none Kafi N D S' R P R S Monsoon S R g M R P m P D S' D n P m P m g R Late Gour Sarang Gouda Saranga Kalyan S' S Afternoon Shekharachandr 'N S r g M g M d n Todi S' N d M G rG r S Morning Purvi ika S' S R g R S, 'D 'n 'P, S' N D P, D m, G R Night - Jaijaiwanti Dhwijavanthi Khamaj R, G m P, N S' g R S Monsoon 'N r G m M m G M r' N d M d M m G r Late Night Surya Lalith Marwa d S' S to Morning r' N r' N D, M G r, 'N Marwa Gamanasrama 'N r G M D, N D S' Night Marwa 'D S Night - S m R m P n S' S' n P m R m 'n R S Kafi Monsoon R m R S m R P n D Night - Miyan Ki Malhar Kanada S' n P m P g m R S Kafi N S' Monsoon N D P G m G R S 'N Pahadi Pahadi S R G P D P D S' All Time Bilawal 'D 'P 'D S S' N D P m g R S 'N Patdeep 'N S g m P N P S' Evening Kafi S G R S S' N d P d P m g R S 'N S G m P 'n D P S' All Time Kafi 'N S Puria Hamsanandi 'N r S G M D N r' S' S' N D M G r S Night Marwa r' N d P M g M r G r Puria Dhaneshri Kamavardhini 'N r G M P d P N S' Evening Purvi S S' N D P M P D P m Early Sudh Sarang none S m R M P N S' Kafi R S Afternoon 'P 'N S R G m R m P Night - Nalina Kanthi S' N P D m G R G S Khamaj N S' second part

Website Reference: http://www.asavari.org/ragamala.html ​

Online Resources http://www.chandrakantha.com/ - A great reference complete with North and South Indian ​ theory, lots of videos, and a worldwide database of teachers. http://sumkali.com - Wonderful Indian music group based out of Ann Arbor, MI. They are ​ available for performances, classes, workshops and more. Led by John Churchville http://www.musicindiaonline.com/ - Listen to all types of Indian music for FREE. ​ http://www.itcsra.org/ - Sangeet Research Academy – a premier music school in Kolkatta, ​ India. This is a great site to read about the history of North Indian Classical Music. http://www.calarts.edu/ - My alma mater, started in the early 70’s by Walt Disney. They offer a ​ BFA and MFA in World Music Performance with a focus on North Indian, Indonesian, and West African music.

North Indian Classical Musicians: Pdt. Bhimsen - Vocalist Pdt. Shankar - Sitar Ustad - Sitar Ustad – Sarode Pdt. - Pdt. - Tabla Ustad - Tabla Pdt. Samar Saha – Tabla

South Indian Classical Musicians Shri T. H. Vikku Vinayakram – Ghatam D.K.Pattammal – Vocal Umayalpuram K Sivaraman - Mridangam G. Harishankar – Kanjira

Bollywood/Popular Musicians: Shreya Goshal A.R. Rehman (Rahman) Shaan Abhijit Sukhvinder Singh

Resources for Indian Music.

Apps http://upasani.org/home/ilehra.html iLehera iTabla Droid Carnatic Raga

Websites karnatik.com

Michigan Connections icarnatic.org

Podcasts ● American Desis Podcast ● Hyphen Podcast: South Asian American Artists ● The Resurgence of Podcasts, South Asian Style ● Chai Tea Party ● Public Radio For All: a podcast collective focused on music & minority storytelling! ​ ● http://thedancepodcast.com/accommodations/

Organizations ● Spicmacay ● GLAC ● Navatman ● Saalt ● Nava Dance Theater ● Indian Raga ● Subcontinental drift ● Cleveland aaraadhana ● Akshara

I've got a link here for your indulgence with a lesson noted out by the foremost Carnatic Guitar player of our time (Prasanna). This has exercises you can try that help with adding some more sliding into western style solo-play. Prasanna is also a fairly accomplished jazz guitar player, so you will find some of his youtube videos / ted talks interesting to watch. https://www.berklee.edu/berklee-today/summer-2015/woodshed/prasanna

This link (start from the section that says "Gamakas/slurs") shows how to play a pentatonic ragam called Mohanam (hindustani equivalent = bhupali). It goes Sa Ri Ga Pa Da Sa (C D E F G A). We discussed gamakas as well. For example, playing the D or the "Ri" consists of sliding from C-->E-->D or Sa-->Ga-->Ri. http://musicianself.com/how-to-learn-to-play-the-guitar-carnatic-geethams/#

And finally, this pdf has all the same basic lessons that I practice on violin (and now guitar). This is the foundation of carnatic (south Indian) music. It starts on page 5. I showed you a couple of them briefly, but we could get together again and go more in-depth into this cuz I frickin love it and I could talk about it and teach it forever. http://www.karnatik.com/beginners.pdf