Fusion Without Confusion Raga Basics Indian

Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India 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 Tabla 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 South India, 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 Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, 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 Dadra (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 Jhaptal (10 beats) Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na Teental (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 (vilambit), medium (madhya), or fast (drut). Sam - The beginning of the cycle. The first beat of any cycle is usually stressed Tihai – Literally means “3 times”, 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 France, England and Denmark. It’s also called a pump organ, used in churches and chapels in the 19th century. It was greatly modified in India to suit the sedentary style of playing Indian classical music. 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 time 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 gharanas voice modulations Main instruments used: Tabla, Sarangi, Main instruments used: Veena, Violin, Santoor, Sitar, Harmonium, Flute Mridangam, Mandolin, Jalatarangam, Ghatam These differences aside, both Hindustani and Carnatic music were developed on the basic elements of swara, raga and taal. Both are sub-genres of Indian Classical music derived from Vedic scriptures and Sanskrit 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 – Dhaivat, 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. Saptak/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. Vibhag: The number of parts in a taal cycle. Eg- Teentaal has 4 vibhags 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 thaat is a group of swaras from which rags are derived. Thaats are generally referred to as “Janani/Mother of rags’. Pandit 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 Arohana, Avarohana; 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. Asavari: Sa Re G\a Ma Pa Dh\a N\i Sa’ Ga, Dha, Ni – Komal Rest swars – Shudh 2. Bilawal: Sa Re Ga Ma Pa Dha Ni Sa’ All swars – Shudh 3. Bhairav: Sa R\e Ga Ma Pa Dh\a Ni Sa’ Re, Dha – Komal Rest swars – Shudh 4.

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