Vocal Level 1

Introduction

Welcome to Vocal Level 1.

You are about to start the wonderful journey of learning to sing, a journey that is challenging, but rewarding and enjoyable! Whether you want to jam with a band or enjoy singing solo, this series of lessons will get you ready to perform with skill & confidence.

What will you learn?

Level 1 covers the following topics

• Introduction to music • Origin of Indian music • Genres of Indian Music • Swar o Shuddha and Vikrit Swar o Chal and Achal Swar • Breathing Exercises • Sur Exercises for perfecting the notes (swar) • Varna • Aaroh-Avaroh • Alankaar • Saptak • Rhythm/Taal o Dadra Taal o Keherwa Taal • Brief note on Tabla • National Song • National Anthem • Simple tips to improve Singing

What You Need

• Harmonium / Synthesizer

• Electronic Tabla / Tabla App

You can learn to sing without any of the above instruments also and by tapping your feet, however you will get a lot more out of this series if you have a basic harmonium and a digital Tabla to practice.

How to Practice At Home

Apart from this booklet for level 1, there will be video clippings shown to you for each topic in all the lessons. During practice at home, please follow the method shown in the clippings. Practice each lesson several times before meeting for the next lesson. A daily practice regime of a minimum of 15 minutes will suffice to start with. Practicing with the harmonium and the digital Tabla will certainly have an added advantage. Digital Tabla machines or Tabla software’s are easily available and ideally should be used for daily practice.

LESSON 1

Let us begin our journey together and learn the skills which make singing such a melodious, enjoyable & distressing experience!!

In this lesson we are going to learn about

• The Introduction to music • The origin of Indian Music • Genres of Indian Music • Swar- Shuddha Swar • A song based on Shuddha Swar

What is Music? In general, Music is a mode of expressing our emotions with the help of sounds, notes, chords and rhythms. Amongst the five main fine art forms i.e. Music, Poetry/writing, Painting, Sculpture and Architecture, Music enjoys the supreme position. In the western countries music implies only vocals and instrumentals. But in India, music implies Vocals (Gaayan), Instrumentals (Vaadan) and Dance (Nritya). Hence, Indian Music is a blend of singing, dancing and playing instruments. Music is based on two important aspects: ‘Swar’ (Melody) and ‘Taal’ (Rhythm).

Origin of Indian Music

As far as the origin of Indian music is concerned, there have been various arguments. The most prevalent ones are as follows… It is said that the sound that pervades in the whole Universe, i.e., Nadabrahma, in other words the cosmic sound of ‘Aum’, gave rise to the various musical notes. This sound itself represents divinity. Hence in the earlier times, in India, music was believed to have evolved from the temples in the form of prayers and used only for ritualistic purposes. Gradually it also moved into the lives of common people in the form of melodies and folk tunes for festivities, marriages, harvest times and other modes of cultural expression. Eventually some of these local folk tunes formulated into Raag(s). For example, from the tribes/people of malava-kaisika derived Raag Malkauns, Raag Gurjari from Gujarat, etc.

Genres of Indian Music

There are three main genres of Indian music

• Classical Music (Shaastriya Sangeet) • Semi-Classical Music (Upshaastriya Sangeet) • Light Music (Bhav Sangeet)

Classical Music

Classical Music or ‘Raag Sangeet’ is that genre of Indian Music in which it is mandatory to follow all the rules of music that have been followed and handed over to us through generations of music tradition. Hence it is that form of music which is rule bound. For example, while singing a particular Raag we have to follow the rules pertaining to that Raag like the swar (notes) that can be used and that are forbidden, the way they can be used and also it has to be sung within the boundaries of laya (vilambit laya, drut laya, etc.) Classical Music is sung in two styles or methods

❖ Hindustani Classical Music

Hindustani Classical Music is also called North Indian classical music. This style is prevalent in the northern parts of India namely Bengal, Bihar, Orissa, Uttar Pradesh, Gujarat, Punjab, Haryana, Jammu Kashmir and Maharashtra. Some of the popular Hindustani classical singers are Pandit Gulam Ali Khan, Pandit Bhimsen Joshi, Ustad Bade Ghulam Ali Khan, Pandita Kishori Amonkar etc.

Pandit Bhimsen Joshi

Carnatic Classical Music Carnatic Classical Music is also called South Indian Classical Music. This is prevalent in the southern parts of India like Tamil Nadu, Karnataka, Kerala, Andhra Pradesh etc. Some famous Carnatic Classical Singers are, Dr. Balamuralikrishna, M. S. Subbulakshmi, etc.

Dr. M. Balamuralikrishna M. S. Subbulakshmi

Though both these styles have their own distinct characters, yet their basic principles are more or less similar as both are based on one of the most important Sanskrit music text called ‘Sangeet Ratnakar’, written by Sharangdev.

Semi Classical Music

Semi Classical Music is that genre of Indian Music which even though is based on the classical Ragas; the compositions are not so strictly rule bound as in classical music. These compositions mainly aim to express one’s emotions through skillful rendition of words rather than showing one’s technical knowledge and expertise. This genre of music includes Thumri, Dadra, Tappa, Kajri, Hori, Chaiti etc. Some of the popular Semi Classical Singers are Begum Akhtar, Shobha Gurtu, Shubha Joshi Malini Rajurkar, etc.

Begum Akhtar Shobha Gurtu 5

Light Music

Light Music is that genre of Indian Music which unlike Classical Music is not bound by rules at all. The compositions may or may not be based on particular Raag. The singer is free to use whatever notes or Laya (tempo) he/she wants and whether or not he/she wishes to use Aalap, sargam, taan etc., is completely the singer’s choice. The main aim of Light Music is entertainment. The compositions of this genre include devotional songs (Bhajans or Kirtans), folk songs, film songs, celebration or festival songs, inspirational songs, patriotic songs, Ghazals etc. Some of the popular singers of this genre are Lata Mangeshker, Mohammad Rafi, Anup Jalota, Mehdi Hassan, Wadali Brothers, etc.

Lata Mangeshker Mohammad Rafi Suresh Wadkar

Introduction to Swar

2 types of Swar/notes

• Shuddha Swar • Vikrit Swar

Shuddha Swar

To know about music we, it is imperative for us to study the concept of ‘Swar’. Useful melodious sounds used in Music are called ‘Swar’.

Swar (Notes) - A Swar is a distinct tone on the Indian musical scale which is reproducible and pleasing to the ear. Swar is also called Sur. There are totally seven primary Swar (notes) that have been formalized in the ancient Indian music texts.

The names of these seven swar are

• Shadaj (S) • Rishabh (R) • Gandhar (G) • Madhyam (M) • Pancham (P) • Dhaivat (D) • Nishad (N)

For the ease of singing, the first alphabet of each of these names is taken and the short form or short names of these swar are formed as Sa, Re, Ga, Ma, Pa, Dha and Ni.

सा रे ग म प ध नि

Song based on Shuddha Swar

Jyoti kalash chhalke

Hue gulabi, laal sunehere, Rang dal baadal ke

Practice for Shuddha Swars

Practice at Home

Please practice the following several times before meeting for the next class

• The names (full and short forms) of all the primary/shuddha swar • To write the shuddha swar • To sing the shuddha swar, holding on to each note one at a time for as long as your breath lasts. • Memorize the lyrics of the song based on shuddha swar and practice singing it as is taught in the video. • Listen to a few classical, semi classical and light music performances of various artists

Special Tips

• Listening music will bring about a natural improvement in your understanding and singing. Many experts say that learning music is 60% listening and 40% singing!! • Whenever you sing, make sure your spine remains straight as it helps to breathe properly. • Choose your own scale and sing in the scale comfortable to your voice so that you do not strain your vocal chords while singing!!

Most Important… Enjoy Yourself While Singing!!!

Space for Rough Notes

LESSON 2

In this lesson you will be learning about

• Vikrit Swar- Komal swar and Teevra Swar • Chal and Achal Swar • Song based on Komal Swar • Song based on Teevra Swar

Concepts

Vikrit Swar

In between the primary or full tone notes/swar there are the flat/sharp or half tone notes called the Vikrit Swar.

These are of two types: • Komal Swar • Teevra Swar

❖ Komal Swar Komal Swar are found between two shuddha swar and are a bit lower in pitch from the shuddha swar. Hence the komal swar are those which fall half step lower from their original or shuddha position. These are referred to as flat notes. There are four komal swar- Komal Re, Komal Ga, Komal Dha and Komal Ni. These are symbolized in notation by a dash below the note. रे ग ध नि Practice of Komal Swar Practice these Komal swar with the help of the harmonium.

Song based on Komal Swar:

Tu pyar ka sagar hai Teri ik boond ke pyaase hum Lauta jo diya tune Chale jaayenge jahaan se hum Tu pyar ka sagar hai

❖ Teevra Swar Teevra Swar is the note which is half step above the full note or shuddha swar and is referred as a sharp note. Hence, when a shuddha/primary swar raises half step above from its original position then it is called a Teevra Swar. There is only one Teevra Swar which is Teevra Madhyam (Ma). It is symbolized in notation by a small vertical line over the note. म Practice of Teevra Swar

Practice the Teevra swar with the help of the harmonium.

Song based on Teevra swar:

Chandan sa badan chanchal chitawan Dheere se tera ye musakana Mujhe dosh na dena jagawalon Ho jaaun agar main deewana

Concepts

Chal Swar and Achal Swar

After learning the Vikrit Swar we realize that the notes ‘Sa’ and ‘Pa’ a never move from their original positions on the musical scale. They are always stationary. Hence, we call these ‘Achal (immovable) Swar’. These two swar exist only in the shuddha forms. On the other hand, the Vikrit swar (Re, Ga, Ma, Dha, Ni) are notes which can move from their original positions to form its Komal and Teevra counterparts. Hence these swar are called ‘Chal (movable) Swar’.

Practice at Home

Please practice the following several times -

• To write the Vikrit swar- Komal and Teevra • Understand the correct position of the Komal and teevra swar and sing them. Take the help of the video clippings if required. While singing the Vikrit swar, hold on to each note one at a time for as long as your breath lasts. • Memorize the lyrics of the songs, ‘Tu Pyar Ka Sagar’ and ‘Chandan Sa Badan’, and learn to sing it as taught. Enjoy the process of singing!! • Keep listening to the various genres of music. 10

Special Tips

• Whenever you are singing songs, be careful of the pronunciations of the words. Pronounce each word correctly and clearly. • It is important to understand the meaning of the words of the song that we are singing so that we can express the correct emotions while singing.

Space for Rough Notes

LESSON 3

In this lesson you will be learning about

• Importance of proper breathing in singing • Simple breathing exercises • Sur practice exercises

Importance of proper breathing for better singing

Proper breathing is the single most important element in singing. In order to control your voice, you need to give out exactly the amount of breath/air you need for the sound you want. If there is no air passing through our vocal chords, there will be no sound. But if there is a steady flow of air flowing out of our lungs, to our vocal chords then the vocal machine will perform much better. Hence, how you exhale controls the quality of the sound, the volume, the pitch and the tone. And how you inhale governs how you exhale.

It is our diaphragm that helps in creating this steady flow of air. The diaphragm is a muscle located at the base of our lungs and helps in inhalation. So when we breathe using our diaphragm, it expands our lungs, helping it to fill in more air and hence aid in better inhalation, which governs our exhalation and which in turn controls our voice quality.

Exercises

Simple breathing exercises for daily practice

Some of the breathing exercises which can be practiced daily to help in better singing are as follows:

Deep Breathing

Take a deep breath very slowly, using your nose to breathe in (inhale) and then breathe out (exhale) very slowly using your mouth. The slower the process of inhalation and exhalation, the better it is for your lungs as well as for your singing.

Anulom Vilom Pranayam

This is the alternate nostril breathing technique. First close your right nostril with the thumb of your right hand and breathe in (inhale) slowly from your left nostril and retain the breath. Then close your left nostril with the middle finger of your right hand and breathe out (exhale) slowly from the right nostril. Now alternate the process and inhale in a similar way from the right nostril and exhale from your left nostril while closing your right nostril with the thumb of your right hand. This is one complete cycle.

Counted Breathing

Take a slow deep breath through your nose to count of one, then hold the breath to a count of four and then exhale completely through your mouth to a count of two. Hence, the ratio of inhalation-hold-exhalation will be one: four: two. Increase the duration of the counts over a period of time.

Exercise/Practice for Improving Sur

Sur Practice

Omkaar on ‘Sa’- Play the ‘Sa’ note key on the harmonium. Inhale deeply and while exhaling slowly, try to match your voice with the sound of the ‘Sa’ note, pronouncing ‘OM’ instead of ‘Sa’. Hold the note for as long as you can. Then again inhale deeply and repeat the process. Practicing this for about 5minutues daily at the beginning of your daily practice regime can be very beneficial

Omkaar on all the swar/notes- We have practiced Omkaar on ‘Sa’. In a similar manner, we can practice Omkaar on all the notes by holding and sustaining the breath on each note, one at a time. We can start by practicing each note for a minute or two.

These exercises are extremely beneficial in the long run as these help in increasing our voice range, in developing base or depth in the voice and help us to be able to sing and hold the swar/sur more correctly and with stability.

Practice at Home

• Practice all the breathing exercises and sur exercises daily, preferably early in the morning. Check that your voice matches correctly and accurately with the sound of each note/swar of the harmonium. • Try to be as regular as possible with these exercises and try not to miss it. Even if you do not find time to practice songs daily, tuning your voice daily is important and very beneficial

Special Tips

• Open your mouth to sing more clearly and confidently. • Sing open throated (without suppressing your voice).

Space for Rough Notes

LESSON 4

In this lesson you will be learning about • Varn • Different ways of combining the notes to form various Varna • Simple Varn for practice • How to compose Varn/melodies on your own

What is Varn?

Varn is the method of grouping or singing the musical notes through various combinations and permutations. It requires great skill, knowledge and creativity to be able to compose huge varieties of Varn or, in other words, melodies.

Ways of forming different Varn

The musical notes can essentially be grouped in four ways. • By repetition - Sthayi Varn ▪ Sa Sa ▪ Sa Sa Sa ▪ Sa Sa Sa Sa • By combining the notes in ascending order - Aarohi Varn ▪ Sa Re Ga ▪ Sa Re Ga Ma ▪ Sa Re Ga Ma Pa • By combining the notes in descending order - Avarohi Varn ▪ Sa Ni Dha ▪ Sa Ni Dha Pa ▪ Sa Ni Dha Pa Ma • By combining the above mentioned ways together - Sanchaari Varn ▪ Sa Re Sa Re Sa Re ▪ Sa Re Ga Ma Ga Re Sa ▪ Sa Ni Dha Pa Pa Dha Ni Sa

Practice Varn

We can use the different ways of combining notes as mentioned above and form our own Varn combinations or in other words our own Melodies….

But before we try forming new melodies, let us practice singing together the above taught Varn and understand this concept better. Please follow and sing along first with swar and then in ‘Aakaar’.

Improvisation/Group Activity

• Form different groups. Each group will be given a particular Varn combination. Each group will sing their given Varn first in swar and then in Aakaar. • Now each student will form his/her own simple melody using any of the ways of combining that has been taught and will sing it in swar and then Aakaar.

Practice at Home

• Practice several times all the Varn combinations that have been taught. Please use the video clippings during practice if required. Practice in swar and Aakaar. • Awaken the composer within you and try to form your own melodies with various ways of combinations and have fun with your newly acquired skill of composing music!! Please feel free to expand your creativity.

Special Tips

• Enjoy whenever you are singing and always sing stress free!! • It is a good habit for singers to talk less as constant talking strains the vocal chords, not giving it enough time to rest!!

Space for Rough Notes

LESSON 5

In this lesson you will be learning about: • Aaroh and Avaroh • Alankaar • Practicing simple Alankaar • Learning an Alankaar song

Concepts

Aaroh and Avaroh

Aaroh

Arranging and singing the swar/notes in ascending order is called “Aaroh”. Aaroh of a Raag is the sequence of notes in the ascending order from Madhya Sa to Taar Sa’

Now we will sing it with the harmonium!

Aaroh- Sa Re Ga Ma Pa Dha Ni Sa

Avaroh

Arranging and singing the swar/notes in descending order is called “Avaroh” Avaroh of a Raag is the sequence of notes in the descending order from Taar Sa to Madhya Sa

Now let us sing the same set of notes as above in descending order, Avaroh- Sa Ni Dha Pa Ma Ga Re Sa

Now we will sing both the Aaroh & Avaroh together Aaroh - Sa Re Ga Ma Pa Dha Ni Sa Avaroh - Sa Ni Dha Pa Ma Ga Re Sa

Alankaar

A melodic presentation of notes/swar in which a pattern is followed is called an Alankaar. The word ‘Alankaar’ means ornament. Just like the ornaments enhance our physical beauty and grace, in the same way, practicing Alankaar enhance grace and melody in singing. It is very important for students to practice Alankaar as it enables them to enhance their knowledge of swar and also improve their singing abilities. An Alankaar is also called a ‘Palta’. Expanding a Varn from Madhya Sa to Taar Sa & back leads to the formation of an Alankaar,

Practice/Exercise- Alankaar

Let us practice a couple of Alankaar together in Swar and Aakar!!

Aaroh- Sa Re Ga, Re Ga Ma, Ga Ma Pa, Ma Pa Dha, Pa Dha Ni, Dha Ni Sa Avaroh- Sa Ni Dha, Ni Dha Pa, Dha Pa Ma, Pa Ma Ga, Ma Ga Re, Ga Re Sa

Aaroh- Sa Re Sa Re Ga, Re Ga Re Ga Ma, Ga Ma Ga Ma Pa, Ma Pa Ma Pa Dha, Pa Dha Pa Dha Ni, Dha Ni Dha Ni Sa Avaroh- Sa Ni Sa Ni Dha, Ni Dha Ni Dha Pa, Dha Pa Dha Pa Ma, Pa Ma Pa Ma Ga, Ma Ga Ma Ga Re, Ga Re Ga Re Sa

Song (based on Alankaar) / Alankaar Geet

We will learn a new Alankaar and then a song based on that Alankaar.

The Alankaar goes like as follow Aaroh: Sa Re Sa Ni, Sa Re Sa Ni Sa, ● ●

Re Ga Re Sa, Re Ga Re Sa Re,

Ga Ma Ga Re, Ga Ma Ga Re Ga,

Ma Pa Ma Ga, Ma Pa Ma Ga Ma,

Pa Dha Pa Ma, Pa Dha Pa Ma Pa,

Dha Ni Dha Pa, Dha Ni Dha Pa Dha,

● ● Ni Sa Ni Dha, Ni Sa Ni Dha Ni,

● ● ● ● ● ● ● Sa Re Sa Ni Sa Re Sa Ni Sa

Avaroh: ● ● ● Sa Ni Dha Ni, Sa Ni Dha Ni Sa,

Ni Dha Pa Dha, Ni Dha Pa Dha Ni,

Dha Pa Ma Pa, Dha Pa Ma Pa Dha,

Pa Ma Ga Ma, Pa Ma Ga Ma Pa,

Ma Ga Re Ga, Ma Ga Re Ga Ma,

Ga Re Sa Re, Ga Re Sa Re Ga,

Re Sa Ni Sa, Re Sa Ni Sa Re, ● ●

Sa Ni Dha Ni, Sa Ni Dha Ni Sa ● ● ● ● ● ● Now we’ll learn a beautiful song based on this Alankaar that we just learnt!!

Lyrics are as follows:

Gungungun karta, bhanwara aaya jo,

Baith ke phoolon pe, kuch muskaya woh,

Dekh ke maali ko, phir ithlaya woh,

Muskake khud pe hi itraya woh,

Ek panchhi aaya, bola bhaware se,

Kyun itrata tu? mehnat mali ki,

Mati maali ki, baithne de woh tujhe,

Phool bhi maali ka, kyun itrata tu.

Practice Session

Alankaar Practice Practice and revise all the Alankaar that we learnt

Aaroh- Sa Re Ga……….Re Ga Ma………… (Till Taar Sa) Avaroh- Sa Ni Dha…..Ni Dha Pa………… (Back to Madhya Sa)

Now sing along with the harmonium. In the same way practice the second Alankar

Now practice the new Alankaar song that we learnt!! First sing the Alankaar and then the song based on it

Practice at Home

Please practice the following several times.

• Simple Aaroh - Avaroh and all the Alankaar taught, in swar and Aakaar • The song based Alankaar. • The Alankaar Song. • Let your imagination grow and create simple Alankaar on your own and practice them. • Form groups and each group prepares any one song taught so far.

Special Tip

• Even after years of musical training, most singers and professionals continue to practice Alankaar to keep improving their singing skills and voice flexibility!!

Practice Regularly!!

Space for Rough Notes

LESSON 6

In this lesson you will be learning about • Saptak • Types of Saptak • How to practice the notes in the three Saptak

Concepts

What is Saptak?

The stretch of swar from Shadaj (Sa) to Nishad (Ni) is called a Saptak. It is called Saptak because it contains seven notes. In western music, this is known as ‘Octave’. A Saptak is formed by the seven Shuddha swar and their Vikrit forms. Let us see how!! Sa Re Ga Ma Pa Dha Ni - This is a Saptak.

Now we will see how the seven Shuddha swar and the five Vikrit Swar form a Saptak. It will go like this: Sa re Re ga Ga ma Ma Pa dha Dha ni Ni

Types of Saptak

There are three types of Saptak • Madhya Saptak • Mandra Saptak • Taar Saptak

Madhya Saptak The normal tone of human voice, which is neither high nor low is called the Madhya Saptak or the Middle Octave. It has got no symbol in the notation system. It consists of totally twelve swar including seven shuddha swar and five Vikrit swar.

Mandra Saptak The Saptak which is below or lower than the Madhya Saptak is called the Mandra Saptak. This Saptak is below the lower Sa of the Madhya Saptak. Its notes are low and deep. The notes of this Saptak are indicated by a dot below the note.

Taar Saptak The Saptak which is higher or above the Madhya Saptak is called the Taar Saptak. This Saptak starts from the higher Sa of the Madhya Saptak. Its notes are high and sharp. The notes of this Saptak are indicated by a dot above the note.

Practice/Exercises

Saptak Practice

Now we need to practice the notes of these three Saptak.

• Madhya Saptak practice: From the lower Sa of the Madhya Saptak we will sequentially go up to Ni of the Madhya Saptak. • Mandra Saptak practice- From the lower Sa of the Madhya Saptak, we will sequentially go down until we reach a note from which we cannot sing further down.

• Taar Saptak practice- From the upper ‘Sa’ of the Madhya Saptak, we will sequentially go up until we reach a note from which we cannot sing further upwards/higher.

Alankaar to practice on all the three Saptak together

● ● ● ● ● Pa Dha Ni Sa Re Ga Ma Pa Dha Ni Sa Re Ga Re Sa Ni Dha Pa Ma Ga Re Sa ● ● ●

Talent Show

Each group will perform any one song taught so far along with the Harmonium and Tabla.

Practice at Home

Please practice the following several times before meeting for the next class • Memorize the names of the three Saptak and understand their difference. • Practice singing the Madhya Saptak Shuddha Swar. • Practice singing the Mandra Saptak Shuddha Swar (as low as you can reach). • Practice singing the Taar Saptak Shuddha Swar (as higher as you can reach). • Practice singing the Vikrit Swar in the Madhya Saptak. • Practice singing the Palta based on all the three Saptak.

(Please refer to the video clippings if required)

Space for Rough Notes

LESSON 7

In this lesson you will be learning about

• Importance of rhythm/beats in singing • A song to clarify and emphasize this

Importance of Rhythm

Whenever we hear the word ‘Music’, we immediately think of two aspects – a tune with some beats. Hence, ‘Music’ is Melody with Rhythm. If there is only melody and no Rhythm (beats) then that is truly not Music.

Whenever a layman (non-musician) listens to any kind of music/song, the most natural reaction would be to tap their feet or clap their hands and follow the beat of the music/song. Even though he/she would not understand any of the technicalities of the song, he/she would still enjoy merely because he/she could follow/relate to the beats of the song. Hence, without rhythm a song/melody is incomplete and not as enjoyable as it would otherwise be.

Song

Now will sing a song, first without beats / Rhythm and then with the beats to clarify its importance and the change it brings to the entire song.

Song lyrics:

Itti si hansi itti si khushi Itta sa tukda chand ka Khwabon ke tinkon se Chal banayein aashiyaan

Dabe dabe paaon se Aaye haule haule zindagi Hothon pe kundi chadha ke Hum taale laga ke chal Gumsum tarane chupke chupke gaayein Aadhi aadhi baant le Aaja dil ki ye zameen Thoda sa tera sa hoga Thoda mera bhi hoga apna ye aashiyan

After singing this, you would have surely realized how important rhythm is for a song! It is the rhythm that makes the song lively and fun and moreover holds the song together. Without rhythm it may not even be called a song!!!

Practice at Home

• Please listen to various kinds of songs of slow, medium and fast tempos and see the effect that the beats or rhythm of the songs create on the emotion and entertainment factor of the song

Space for Rough Notes

LESSON 8

In this lesson you will be learning about

• The Tabla • What is Taal • Important aspects of Taal

Music Theory

Tabla

One of the most commonly used rhythm instrument in the field of Indian music today, is the Tabla. Earlier the Pakhawaj or Mridang or Dholak was used in its place. Tabla, essentially is an accompanying instrument for with vocal/instrumental music but in recent times, solo Tabla performances are also becoming very popular.

As far as the origin of Tabla is concerned, there are various arguments, though most say that it was invented by a musician named ‘Amir Khusrau’ who split the pakhawaj into two halves to make the Tabla. But some experts have also said that it was Ustad Siddhar Khan Dhadhi, a court musician of Delhi darbar in the 18th century, who has invented the Tabla. However, there are no clear evidences to confirm either of the claims.

The word ‘Tabla’ has been derived from the Persian word ‘Tabl’ which means drums. The Tabla is a set of two drums. The smaller one is made of wood and is called ‘Dayan’ as it is played with the right hand. The larger drum is made of clay or metal and is called ‘Bayan’ as it is played with the left hand. Both the drums have a goat skin covering on the top which is stretched and tightened to ensure that it produces a distinct pitch when drummed from different angles. The top skin covering in both the tablas have a black spot on the ink or syahi, in the centre.

Some of the famous Indian Tabla players are Anokhelal Mishra, Ustad Allah Rakha Khan and his son Zakir Hussain, Pandit Kumar Bose, etc.

Concepts

Taal

Taal (or beat), literally means clap. it is that component of Indian classical music which measures musical time or in other words it is like a musical meter. Various Taal consist of different number of beats. Few of the commonly used Taal are Dadra Taal (of 6 beats), Keherwa Taal (of 8 beats), Jhap Taal (of 10 beats) Ek Taal (of 12 beats) and Teen Taal (of 16 beats).

Fundamentals of Taal • Matra – Refers to each beat.

• Sam – The first beat of the Taal is called Sam. It is shown as ‘x’ below the first matra or Bol.

• Taali – Means a clap. Each Taal has a particular pattern and number of clapping or Taali. Apart from the Khaali, the first beat of each vibhag is shown or emphasized by a Taali. Apart from the ‘Sam’, the Taali are indicated as numbers.

• Khaali – Means empty or in other words, absence of Taali. It indicates a muted or a subtle beat. The Vibhag, in which the first beat is not shown by a Taali, is shown by a Khaali. The Taali and Khaali in the Taal form the basis of timekeeping in Indian music. The Khaali is indicated as ‘0’ below the matra or Bol.

• Vibhag – The beats in the Taal are grouped or divided (evenly or unevenly) into divisions which are known as Vibhag. Hence, It is a measure which consists of any number of beats. For example, if a Taal is of 16 beats and these 16 beats are to be equally divided such that each division has 4 beats in it, then these 16 beats will have to be divided into four divisions and it is these four divisions that are referred to as Vibhag. Hence in the above example the 16 beats taal which is divided into 4 divisions will be said to have 4 Vibhag.

• Bol – Each Matra or beat has a syllable attached to it and these syllables are known as Bol. like Dhin, Tin, Na, etc.

Practice at Home

• Memorize the important details about the Tabla • Memorize the various aspects/fundamentals of Taal • Try and listen to a few Tabla performances, solo as well as an accompaniment and enjoy it!! Even listening to the various Taal regularly from the digital tabla will gradually help in creating a sense of rhythm in you!

Special Tip

• Whenever you are listening to songs of any genre, try to follow its beats! This will create/develop a sense of rhythm in you!!

Space for Rough Notes

LESSON 9

In this lesson you will be learning about

• The Dadra Taal and its detailed description • Lakshangeet of Dadra Taal

Concepts

Brief description of Dadra Taal (6 beats)

• Matra (Beats) - 6 • Vibhag (Divisions) - 2 • Taali- 1 (on the 1st Matra of the Taal) • Khaali- 1 (on the 4th Matra)

Bol of Dadra Taal

1 2 3 | 4 5 6 Dha Dhi Na | Dha Ti Na X 0

Let us try doing Dadra Taal with our hands, showing Taali and Khaali!

Now let us play the Dadra Taal on the digital Tabla and see if we can follow it and count along with showing the Taal on our hands.

Song

Lakshan Geet of Dadra Taal

Mukhda Dadra main gunijan gaavat Do bhaagon mein hove vibhaajit Har vibhaag main tray matra shobhit

Antara Pehli pe sam aavat Chouthi khaali jaavat Bol madhur dha dhi na dha ti na

Practice at Home

• Memorize the description and Bol of dadra taal • Practice showing the taal with your hands as taught • Practice dadra taal with the digital tabla • Practice the Lakhshangeet as taught • Try and listen to songs which are in 6 beat rhythm

Space for Rough Notes

LESSON 10

In this lesson you will be learning about

• A film song based on Dadra Taal

Song based on Dadra Taal

Song Hum Ko Man Ki Shakti

Lyrics

Hum ko mann ki shakti dena, mann vijay karein Doosron ki jai se pehle, khud ko jai karein

Bhed bhaav apne dil se saaf kar sakein Doston se bhul ho to maaf kar sakein Jhooth se bache rahein, sach ka dam bharein Doosron ki jai se pehle, khud ko jai karein Hum ko mann ki Shakti dena

Exercise/Revise

• Revise Dadra Taal with Taali and Kaali • Revise Dadra Taal Lakshan Geet

Practice at Home

• Memorize the lyrics of the song • Practice the song with the taal as taught

Space for Rough Notes

LESSON 11

In this lesson you will be learning about

• The Keherwa Taal and its detailed description • Lakshan Geet of Keherwa Taal

Concepts

Brief description of Keherwa Taal (8 Beat Rhythm)

• Matra (Beats) - 8 • Vibhag (Divisions) - 2 • Taali - 1 (on the 1st Matra ) • Khaali- 1 (on the 5th Matra)

The Bol of Keherwa Taal

1 2 3 4 | 5 6 7 8 Dha Ge Na Ti | Na Ka Dhin Na X 0

Let us try showing Keherwa Taal with our hands.

Now let us play the Keherwa Taal on the digital tabla and see if we can follow it and count along with showing it with our hands.

Song

Lakshan Geet of Keherwa Taal

Mukhda

Sugam gaan sajè taal keherwa main Ashta bol rache hai iss neherwa main Do bhaago main iska saar Har vibhag main matra char

Antara

Pehli pe hai nirmit taali Paanchvi pe hai mudrit khaali Vaadan ke hai prakaar anginat Mool shabd hai dha ge na ti na ge dhi na

Practice at Home

• Please memorize the description and Bol of Keherwa Taal • Practice showing the Taal with your hands as taught • Practice Keherwa Taal with the digital tabla • Practice the Lakhshangeet as taught • Try and listen to songs which are in 8 beats rhythm

Space for Rough Notes

LESSON 12

In this lesson you will be learning about

• A film song based on Keherwa Taal

Song based on Keherwa Taal

Song Ek pyar ka nagma

Lyrics

Ek pyar ka nagma hai, maujon ki ravaani hai Zindagi aur kuch bhi nahin Teri meri kahaani hai

Kuch paakar khona hai, kuch khokar paana hai Jeevan ka matlab to aana aur jaana hai Do pal ke jeevan se ik umra churaani hai Zindagi aur kuch bhi nahin Teri meri kahaani hai

Exercise/Revision

• Revise Keherwa Taal with Taali and Khaali • Revise Keherwa Taal Lakshan Geet

Class Activity/Quiz

Different genres of songs will be played (audio) in either Dadra Taal or Keherwa Taal and students should identify the Taal

Practice at Home

• Memorize the lyrics of the song • Practice the song with the Taal as taught • form groups and each group prepares any one song taught in either of the Taal

Space for Rough Notes

LESSON 13

In this lesson you will be learning about

• A brief Introduction of our National Song/ Rashtriya Geet • The lyrics of the National Song/Geet • How to sing our National Song/Geet

Song

Rashtriya Geet

Brief introduction to Rashtriya Geet

Our National Song, also called the Rashtriya Geet was written by Bankim Chandra Chattopadhyay (Chatterjee). ‘Vande Mataram’ is the Rashtriya Geet of India. Its music was composed by Jadunath Bhattacharya. It was first sung in the session of Indian National Congress at Kolkata in 1896. It has the same status as the National Anthem.

Lyrics

Vande Mataram Vande Mataram

Sujalaam suphalaam Malayaja sheetalam Syashya shyaamalam maataram Vande Mataram

Shubhra jyotsnaa Pulakit yaaminim Phulla Kusumita Drumadal Shobhinim Suhaasinim sumadhura bhaashinim Sukhadaam varadaam maataram Vande Mataram

Practice at Home

• Learn the lyrics and tune of the Rashtriya Geet • Try to search and listen to a few patriotic songs

Space for Rough Notes

LESSON 14

In this lesson you will be learning about

• A brief Introduction of our National Anthem • The lyrics of the National Anthem • How to sing our National Anthem

Song

National Anthem

Brief introduction of National Anthem

‘Jana Gana Mana’ is the National Anthem of India. It was written by Rabindranath Tagore. It was officially adopted by the Constituent Assembly as the Indian National Anthem on 24th January 1950

Lyrics

Jana Gana Mana Adhinaayak Jaya Hey Bhaarat Bhaagya Vidhaata Punjab Sindh Gujarat Maratha Dravid Utkal Banga Vindhya Himachal Yamuna Ganga Uchchhal Jaladhi Taranga Tav Shubh Naamey Jaagey Tav Shubh Ashish Maange Gaahe Tav jayagaatha Jana Gana Mangal Daayak Jaya Hey Bhaarat Bhagya Vidhaata Jaya Hey, Jaya Hey, Jaya Hey Jaya Jaya Jaya Jaya Hey

Exercise/Revise

Practice the National Anthem!!

Practice at Home

• Learn the lyrics and tune of the Rashtriya Gaan/National Anthem • Try to search and listen to a few patriotic songs • Study all the lessons and prepare for the mock test.

Space for Rough Notes

LESSON 15

This lesson is designed to give the students an overview about the preparations to be done for Level 1 exam. • We will briefly discuss the overall exam process(theory and practical) • Revise all the 10 songs taught in the curriculum. • Discuss and clear doubts from the entire curriculum, if any. • Theoretical mock test.