Vocal Grade 2 Introduction

Home , Bhoopali, Pakad, Puriya Dhanashree, Ramkali, Thaat

Vocal Grade 2

Introduction

Welcome to Vocal Grade 2 Hope you are enjoying this wonderful journey of music, having learnt quite a bit in the first level about the different types of Swars, Varnas, Alankars , Saptaks, and a lot many other singing techniques and melodious songs! Taking this journey forward into the next level, let us dive deep into learning few more concepts of singing and many more songs!!

WHAT WILL YOU LEARN ?

Grade 2 covers the following topics : • Introduction to Thaat . Characteristics / Rules of Thaat. Names of the ten Thaats and its swars. • Introduction to Raag. Characteristics / Rules of Raag. Comparison between Thaat and Raag. • Geet and its types • Raag Bhoopali • Raag Yaman • Laya • Alankars • Teen Taal and Rupak Taal • Brief note on the Harmonium • Concepts of Dhwani, Naad, Shruti, Vivadi Swar, Nyas Swar, Alap, Anuvadi Swar. • Properties of Naad • Many new songs

• Harmonium / Synthesizer

• Electronic Tabla / Tabla App

How to Practice At Home

Apart from the Booklet for grade 2, there will be video clippings shown for each topic in all the lessons. During practise at home, please follow the method shown in the Videos. Practice each lesson several times before meeting for the next lesson. A daily practice regime of a minimum of 30 minutes will suffice. Practising with the harmonium and the digital Tabla will certainly have an added advantage. Digital Tabla machines and Tabla software / apps are easily available and ideally should be used for daily practise.

LESSON 1

In this lesson you will be learning about: • The Introduction to Thaat • Characteristics/Rules of Thaat • Names of Ten Thaats and its swars

Concepts

Introduction to Thaat

Definition – Thaat is a concept which was developed to organise and classify the different ragas. Another word for Thaat is ‘Mel’. There are altogether ten Thaats. The Characteristics or Rules of Thaat : • A Thaat should always have all seven swars, in an ascending order. • A Thaat is not sung or played, hence • It does not require a vadi-samvadi, pakad, alap-taan and such features. • It does not require both, an Aroh and Avaroh. Only the Aroh is sufficient. • It need not be melodious or entertaining like the ragas.

Names of the Thaats: The names and its swars are as follows: 1. Bilawal Thaat - It has all shuddha swars – Sa Re Ga ma Pa Dha Ni 2. Kalyan Thaat – It has teevra ‘Ma’ and rest swars are shuddha – Sa Re Ga Ma Pa Dha Ni 3. Khamaj Thaat – It has komal ‘Ni’ and rest swars are shuddha- Sa Re Ga ma Pa Dha Ni 4. Kafi Thaat – It has komal ‘Ga’ and komal ‘Ni’ and rest swars are shuddha – Sa Re Ga ma Pa Dha Ni 5. Asavari Thaat – It has ‘Ga’, ‘Dha’ and ‘ Ni’ all three komal and rest swars are shuddha Sa Re Ga ma Pa Dha Ni 6. Bhairav Thaat – It has komal ‘Re’ and komal ‘Dha’ and rest swars are shuddha – Sa Re Ga ma Pa Dha Ni 7. Bhairavi Thaat – It has ‘Re’, ‘Ga’, ‘Dha’, and ‘Ni’, all four komal swars and rest swars are shuddha – Sa Re Ga ma Pa Dha Ni 8. Marwa Thaat – It has komal ‘Re’ and Teevra ‘Ma’ and rest swars are shuddha – Sa Re Ga M̍ a Pa Dha Ni 9. Poorvi Thaat – It has komal ‘Re’, komal ‘Dha’ and Teevra ‘Ma’ and rest swars are shuddha – Sa Re Ga M̍ a Pa Dha Ni 10. Todi Thaat – It has ‘Re’, ‘ Ga’ and ‘Dha’ all three komal and teevra ‘Ma’ and rest swars are shuddha – Sa Re Ga M̍ a Pa Dha Ni

Few Ragas in each of these Thaats:

Let us now know the names of a few ragas in each of these Thaats 1. Bilawal Thaat – Raag Bilawal, Raag Alhaiya Bilawal, Raag Durga 2. Kalyan Thaat – Raag Bhoopali, Raag Yaman, Raag Maru Bihag 3. Khamaj Thaat – Raag Khamaj , Raag Desh, Raag Tilak Kamod 4. Kafi Thaat – Raag Kafi , Raag Patdeep, Raag Bageshree 5. Asavari Thaat – Raag Asavari , Raag Darbari , Raag Jaunpuri 6. Bhairav Thaat – Raag Bhairav, Raag Kalingada, Raag Ramkali 7. Bhairavi Thaat – Raag Bhairavi , Raag Malkauns, Raag Komal Rishabh Asavari 8. Marwa Thaat – Raag Puriya kalyan, Raag Marwa, Raag Bhatiyaar 9. Poorvi Thaat – Raag Poorvi, Raag Puriya Dhanashree, Raag Shree 10. Todi Thaat – Raag Gurjari Todi, Raag Multani, Raag Madhuwanti

SONG based on Kalyan Thaat Jab deep jhale aana Jab shaam dhale aana Sanket milan ka, Bhool na jaana Mera pyaar na bisraana

Main palkan dagar buhaarunga Teri raah nihaarunga Meri preet ka kaajal tum apne Naino mein male aana

PRACTICE AT HOME

Please practise the following several times before meeting for the next class: • Memorize the definition and characteristics of Thaat • Learn the names of the ten thaats and learn to write its swars • Learn the names of few ragas in each Thaat • Memorize the lyrics of the song taught and practise singing it as taught in the video

Special Tips:

Doing Omkaar and Akaar on all the notes daily (as taught in Gradel 1), will improve the quality your voice, your breath holding capacity and the range of your voice. Hope you are doing this every day!!

To sound like a good singer you must have strong vocal support for your singing. Strong Vocal support comes from Good posture, Proper breathing technique and overall practise and development of your singing voice!!

Space for rough notes

LESSON 2

In today’s lesson you will be learning about: • Introduction to Ragas • Characteristics/Rules of Ragas • Comparison between Thaat and Raag

CONCEPTS

INTRODUCTION TO RAGAS

Definition : Raag is the central feature of Classical Indian Music tradition. It is a melodic structure which has the ability to affect people’s emotions and has symbolic associations with seasons, time and mood.

CHARACTERISTICS OR RULES OF RAGAS:

1. A Raag should be entertaining with melodious phrases and graceful rendition of swars(notes) 2. A Raag should have a minimum of at least five swars 3. A Raag is believed to have originated from any one particular Thaat 4. No Raag can have ‘Sa’ as its varjit swar as ‘Sa’is the most important and base/foundation swar. (Varjit swar – It is that swar which is not used or is forbidden in the particular raag) 5. Every Raag should have either a ‘Ma’ ( it can be shuddha or teevra) or a ‘Pa’, both these swars together cannot be omitted/varjit in any raag 6. Every Raag should have features like Aaroh/Avaroh, Vadi/Samvadi, Pakad, singing/playing time, Alap and Taan, etc

Definitions of some conceptual features of Ragas: • Jaati – Jaati refers to the number of swars/notes used in the raag. ▪ There are three main types of jaatis. o ‘Audav Jaati’ – five notes o ‘Shaadav Jaati’ – six notes o ‘Sampoorna Jaati’ – seven notes

• Vadi swar – The most important swar in the Raag is called Vadi swar.

• Samvadi swar – The second most important swar, after the vadi swar, is the Samvadi swar.

• Gaayan Samay – The most appropriate time at which a particular raag should be sung/played.

• Aroh – The ascending order of notes.

• Avaroh- The descending order of notes.

• Pakad- The catch phrase of the Raag.

COMPARISON BETWEEN THAAT AND RAAG

1. A thaat is considered to be the father of the raag, hence all ragas are created from or are born out of particular thaats. 2. A thaat has to have all seven swars but a raag may or may not have all the seven swars. Yet all ragas should have a minimum of atleast five swars. 3. Thaat is never sung but a raag is sung hence it should be melodious and entertaining. 4. Thaat does not require an aroh and avaroh both (as both are same in it) but raag should have both aroh and avaroh. 5. Thaat does not require vadi-samvadi swar, pakad, nyas swars, varjit swars, etc as it is not sung but a raag requires all these because a raag is sung. 6. Every thaat should have all the seven swars in sequential (ascending) order but a raag can have its swars in any order. 7. The thaat is named after the most important raag created from it but the ragas have their independent names. 8. There are only 10 thaats but there are many ragas.

SONG based on raag Bihag

Tere sur aur mere geet Dono milkar banegi preet

Dhadkan mein tu hai samaaya hua Khayaalon mein tu hi tu chhaaya hua Duniya ke mele mein laakhon mile Magar tu hi tu dil ko bhaaya hua Main teri jogan tu mera meet Dono milkar banegi preet

SONG based on Raag Bilawal

Aa chal ke tujhe Main le ke chalun Ik aise gagan ke tale Jahan gam bhi na ho Aansoo bhi na ho Bas pyaar hi pyaar pale Ik aise gagan ke tale

Sapano ke aise jahan mein Jahan pyaar hi pyaar khila ho Hum jaa ke vahan kho jaaye Shikava na koi ghila ho Koyi ghair na ho Koyi bhair na ho Sab milke yoon chalte chale Jahan gam bhi na ho Aansoo bhi na ho Bas pyaar hi pyaar pale Ik aise gagan ke tale

PRACTISE AT HOME

• Memorize the definition and the rules of the Ragas. • Understand all the conceptual features of the raag. • Understand and differentiate between Thaat and Raag. • Memorize the lyrics of both the songs and practise singing as taught in the video.

Special Tips

It is a good practice to keep the digital taanpura playing in the background while you are doing your daily chores. It helps to create and strengthen the sense of sur in you. Digital taanpura apps are easily available in the mobile phones and can be downloaded!

Space for rough notes

LESSON 3

In today’s lesson you will be learning about : • Definition of Geet(Song) • Types of Geet(Song)

Introduction to Geet

Definition: Any musical melodious composition made with the help of words and swars and based on a rhythm is called a Geet or Song.

Types of Geet / Song

1. Dhrupad – It is one of the oldest and most profound vocal genre in Hindustani classical music. It requires immense expertise and is ussually sung/ played along with the Pakhawaj. During the time of King Akbar, Tansen’s Guru Swami Haridas was one of the most well-known Dhrupad singers . These days very few classical singers sing in Dhrupad style, some of them are The Dagar Bandhus, The Gundecha Brothers to name a few.

2. Dhamaar – Dhamaar is also an old style of musical genre typically sung/performed in Dhamaar Taal of 14 beats. Most of these songs give a description of Krishna with Radha and the gopis during the festival of Holi (spring festival of colours). It is a romantic musical form.

3. Khyal – Khyal is a relatively modern genre of classical singing. Its name comes from an Arabic word meaning ‘Imagination’. It is a more free and flexible form of singing compared to Dhrupad and it provides greater scope for improvisation. It has two parts Sthayi and Antara. A typical Khyal performance uses two songs – Bada Khyal (in Vilambit laya) and Chotta khyal (in Drut laya) . Some of the recent well known khyal singers are Rajan Mishra and Sajan Mishra, Rashid Khan, Ashwini Bhide , etc

4. Thumri – Thumri is a semi classical form of Geet. The word ‘Thumri’ means ‘ Thumakna’ that is to make a dance like movement. In the earlier times, the dance performers were courtesans with their goal as singing and dancing mainly to make themselves look gorgeous. Hence Thumri came to be sung in Shringaar rasa ( love and joy) . It is sung in ragas like Khamaj, Desh , Pilu ,etc. Lord Krishna’s courtship with the gopis and his companion Radha is a common theme in Thumris. Some of the well known Thumri singers of today are Girija Devi, Shobha Gurtu, etc

5. Tappa – Tappa is a semi classical form of Geet. Poetry full of expressions of love and physical intimacy is the salient feature of Tappa. It is sung in raags like Khamaj, Kafi, Bhairavi , Pilu, etc. It is believed to have derived from folk music of Punjab and Sindh hence it has many Punjabi words. Tappa means leaping, springing up and hopping and hence has a remarkable feature of bounce and rebounce of musical notes in it. Tappa singing has complex Taans. Tappas are very short and not as richly controlled as thumris and khyals. But nevertheless this form of singing requires immense skill.

6. Lakshan Geet – Lakshan Geet is that song in which the lyrics of the song describe the features or description of the Raag. The main goal of this song is to help the students to know and understand the main features of the raag. This also has two parts – Sthayi and Antara. Lakshan Geet is only for imparting knowledge to the beginner students and not for performance sake.

7. Sargam Geet – Sargam Geet is a song or a composition made up of swars instead of words/lyrics. It is a classical form of Geet made of swars(notes) pertaining to that particular raag. It is also for beginner students and used as a mode of teaching the students about the way the swars are used in that raag and is not for performance sake. It also has a Sthayi and Antara.

8. Chaturanga – As the name suggests , this form of Geet combines sections from four diverse classical forms – Khyal, Tarana, Sargam and Pakhawaj or Tabla bols , all in the same Raga. A Bandish with a sthayi and antara is rendered at first in Madhya or drut laya . This is followed by a Tarana which gives way to Sargam and the performance is then concluded with Pakhawaj or Tabla Bols.

9. Tarana – Tarana is a composition in the classical genre in which certain words and syllables( e.g. ‘tadani’, ‘taneem’, ‘daani’ ) based on Persian and Arabic words are rendered in medium (Madhya) or fast (drut) laya. This form of Geet was invented by Amir Khusro. In the modern times, the Classical singer Amir Khan popularised it.

10. Trivat – As the name suggests, this is a form of Geet which combines three features – Sargam, Tarana and Pakhawaj or Tabla bols, all in one composition.

11. Hori – It is a genre of semi classical singing which gives a description of Radha and Krishna and the gopis at the time of the festival of Holi . it is more popular in Uttar Pradesh around Banaras, Mathura and the Bhojpur regions of Bihar.

12. Kajri – Kajri is a semi-classical singing style popular in Uttar Pradesh and Bihar . It is ussually used to describe the longing of a maiden for her lover as the monsoons approach and is the style notably sung during the rainy season. Some of the popular kajri singers are Pandit Channulal Mishra, Girija Devi , Shobha Gurtu , etc.

13. Dadra – Dadra can be described as a speedier form of thumri. Although it resembles a thumri, it is a much looser form and allows more freedom for the artist. It may have more than one antara unlike thumri which usually has one sthayi and one antara. It is uSually sung in Dadra taal and also in Keherva taal. It is commonly performed in light ragas like Pilu , Pahadi , etc.

14. Bhajan – Bhajan is a Sanskrit word meaning singing to glorify God. It is a genre of light music and may or may not be based on any one particular raag. It has no set rules and is a free form of Geet . These are mostly sung in Keherva taal or 8 beats Taals (Bhajani Theka) but may also be sung in other Taals. Some of the recent bhajan singers are Anuradha Paudwal, Anup Jalota, etc

15. Ghazal – Ghazal is a form of light music genre. It is a poetic form of Persian origin, set to rhyme. Ghazal means conversing with the beloved. The most important feature of the Ghazal are the lyrics and the way these are expressed. It is free from set rules. Some of the famous Ghazal singers are Jagjit Singh, Hariharan, Mehdi Hassan, etc

16. Qawwali – Qawwali is a form of Sufi devotional music aiming to lead the listeners to a state of ecstasy or spiritual union with God. In the modern times it has gained a global audience mainly through the works of artists like Nusrat Fateh Ali Khan. Some of the other famous Qawwali singers are Abida Parveen, Aziz Mian, etc.

17. Lok Geet / Folk Song – Folk song is a genre of light music. It is a song originating among the people of a country or an area and passed by tradition from one generation to another and marked by simple melody and narrative verses. Some of the Indian folk songs are Lavani, Bhangra/Gidda, Bihugeet, Garba, etc

18. Kirtan/ Dhun – Kirtan is a Sanskrit word meaning ‘Praise’ . It is a form of chanting involving mantras or hymns, praises to God or other religious or mythological contexts.. The chanting is done along with instruments like cymbals, harmonium and tabla or drums.

SONG - Bhajan

Paayoji maine ram ratan dhan paayo Vastu amolik dee mere sataguru Kirpaa kar apnaayo Paayoji maine ram ratan dhan paayo

Janam janam ki punji payee Jag mein sabhi khovayo Paayoji maine ram ratan dhan paayo

SONG - Bhajan from a Film

Toraa mann darpan kehalaaye Bhale bure saare karamon ko Dekhe aur dikhaaye Toraa mann darpan kehlaaye

Mann hi dewataa Mann hi eeshwar Mann se badaa naa koi Mann ujiyaaraa jab jab phaile Jag ujiyaaraa hoye Iss ujale darpan par praani Dhool naa jamane paaye Toraa mann darpan kehlaaye

PRACTISE AT HOME

Please practise the following several times before meeting for the next class: • Learn the definition of Geet • Learn and understand the different types of Geet • Please listen to all the different types of Geet /songs to understand its main differences. • Memorise the lyrics of both the songs taught and practise singing both as taught in the video.

Special Tips :

• Hope you are doing the simple Pranayams / Breathing Exercises that were taught in Grade 1. It will immensely help in increasing the breath holding capacity and also add power and strength to the voice. • Set aside some time everyday to listen with full concentration and focus some Indian Classical form of music. This will greatly help to understand sur and taal.

Space for rough notes

LESSON 4

Hope you are enjoying this journey of learning newer aspects of this musical world with every progressing class !! In today’s lesson you will be learning about the: • Introduction to Laya • The main types of Laya • How to show Dadra and Keherva Taal with the help of your hands in Thah and Dugun Laya • How to sing Alankars in Thah and Dugun Laya

CONCEPTS

In Indian music, ‘Laya’ means ‘tempo’ or ‘speed’. For example, our heart beat follows a particular tempo, our breathing follows a tempo, the pendulum of the clock follows a particular tempo, etc.

Main types of Laya

Laya/Tempo is mainly of three types:

• Vilambit Laya or in other words slow/prolonged tempo • Madhya Laya or in other words medium tempo • Drut Laya or in other words fast tempo

The Madhya Laya is usually considered as the regular tempo. The Vilambit Laya is a few times slower than the Madhya Laya. The Drut Laya is a few times faster than the Madhya Laya. In classical music, the laya keeps on changing throughout the classical performance and usually all the above mentioned types of layas are shown in one particular performance. But in semi- classical music and light music, the laya ussually remains the same throughout a song and these genres ussually use the Madhya or Drut Laya.

Thah Laya – Singing or playing 1 matra(or 1 swar) in 1 matra refers to single speed and is known as Thah Laya. For example – In Grade 1 we have learnt Dadra Taal which is of 6 beats. Now if the swars (notes) of the song that we are singing follows a tempo such that each note falls on one single beat at a time, then it is said to be in That Laya or Single speed/tempo. Hence, 6 notes will fall on 6 beats (each note coinciding with 1 beat)

Dugun Laya – Singing or playing 2 matras(or 2 swars) in 1 matra refers to double speed and is known as Dugun Laya. For example – If there are 12 swars (notes) in total and these are to be distributed equally amongst the 6 beats of the Dadra taal then each beat will have to accommodate 2 notes at a time, such that 12 notes/6beats = 2 notes in 1 beat. Hence, in this case the laya is said to be in Double speed or Dugun laya.

Dadra Taal in Thah laya

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

Dadra Taal in Dugun Laya

1 2 3 │ 4 5 6 │ DhaDhi NaDha TiNa │ DhaDhi NaDha TiNa │ X 0

Alankar in Dadra Taal in Thah Laya

Aroh: 1 2 3 │ 4 5 6 │ Sa Re Ga │ Re Ga Ma │ Ga Ma Pa │ Ma Pa Dha │ Pa Dha Ni │ Dha Ni Ṡa │

Avaroh: Ṡa Ni Dha │ Ni Dha Pa │ Dha Pa Ma │ Pa Ma Ga │ Ma Ga Re │ Ga Re Sa │ X 0

Alankar in Dadra Taal in Dugun Laya

Aroh and Avaroh: 1 2 3 │ 4 5 6 │ `SaRe `GaRe `GaMa │ `GaMa `PaMa `PaDha │ `PaDha `NiDha `NiṠa │ `ṠaNi `DhaNi `DhaPa │ `DhaPa `MaPa `MaGa │ `MaGa `ReGa `ReSa │ X 0

Keherva Taal in Thah Laya

1 2 3 4 │ 5 6 7 8 │ Dha Ge Na Ti │ Na Ka Dhi Na │ X 0

Keherva Taal in Dugun Laya

1 2 3 4 │ 5 6 7 8 │ `DhaGe `NaTi `NaKa `DhiNa │ `DhaGe `NaTi `NaKa `Dhi Na │ X 0

Alankar in Keherva Taal in Thah Laya

Aroh: 1 2 3 4 │ 5 6 7 8 │ Sa Re Ga Ma │ Re Ga Ma Pa │ Ga Ma Pa Dha │ Ma Pa Dha Ni Pa Dha Ni Ṡa │

Avaroh: 1 2 3 4 │ 5 6 7 8 │ Ṡa Ni Dha Pa │ Ni Dha Pa Ma │ Dha Pa Ma Ga │ Pa Ma Ga Re │ Ma Ga Re Sa │ - X 0

Alankaar in Keherva Taal in Dugun Laya

Aroh and Avaroh: 1 2 3 4 │ 5 6 7 8 │ `SaRe `GaMa `ReGa `MaPa │ `GaMa `PaDha `MaPa `DhaNi │ `PaDha `NiṠa `ṠaNi `DhaPa │ `NiDha `PaMa `DhaPa `MaGa │ `PaMa `GaRe `MaGa `ReSa │ X 0

PRACTISE AT HOME

• Understand what is Laya and what are the three main types of Layas • Practise Dadra Taal showing taali and khaali with the help of your hands in Thah and Dugun Laya as shown in the video • Practice Keherva Taal showing taali and khaali with the help of your hands in Thah and Dugun Laya as shown in the video • Practise singing both the Alankars in Thah and Dugun laya as shown in the video in Dadra and Keherva Taal

Special Tips

• Do your Riyaz of the mandra saptak notes in the early mornings and of the Taar saptak notes in the evening hours for best results • Make it a routine to practise standing notes and alankars every single day. This will immensely help to improve voice quality and flexibility.

Space for rough notes

LESSON 5

In today’s lesson you will be learning : • To sing more Alankars in Thah and Dugun Laya • Some benefits of singing Alankars

Some Benefits of Practicing Alankars Practicing different Alankars will help you improve your Sur and Taal. It helps in gaining control over the voice, improves voice projection and voice quality. It also helps in improving the concentration power and alertness of your mind besides building confidence in the singer. Doing the Alankars in various speeds also brings about flexibility in the voice. It is one of the most important foundation practice to help in singing sargams and taans with ease, creativity and expertise. The practice of Alankars builds a powerful cognitive link between voice and creativity that pays off in fluency and expressions. Some more Alankars: Please learn to sing both of these Alankars in Thah and Dugun Laya 1. Aroh: SaSaRe SaSaRe SaRe SaSaReSa SaSaReSa ReReGa ReReGa ReGa ReReGaRe ReReGaRe GaGaMa GaGaMa GaMa GaGaMaGa GaGaMaGa MaMaPa MaMaPa MaPa MaMaPaMa MaMaPaMa PaPaDha PaPaDha PaDha PaPaDhaPa PaPaDhaPa DhaDhaNi DhaDhaNi DhaNi DhaDhaNiDha DhaDhaNiDha NiNiṠa NiNiṠa NiṠa NiNiṠaNi NiNiṠaNi ṠaṠaṘe ṠaṠaṘe ṠaṘe ṠaṠaṘeṠa ṠaṠaṘeṠa Avaroh: ṠaṠaNi ṠaṠaNi ṠaNi ṠaṠaNiṠa ṠaṠaNiṠa NiNiDha NiNiDha NiDha NiNiDhaNi NiNiDhaNi DhaDhaPa DhaDhaPa DhaPa DhaDhaPaDha DhaDhaPaDha PaPaMa PaPaMa PaMa PaPaMaPa PaPaMaPa MaMaGa MaMaGa MaGa MaMaGaMa MaMaGaMa GaGaRe GaGaRe GaRe GaGaReGa GaGaReGa ReReSa ReReSa ReSa ReReSaRe ReReSaRe SaSaṆi SaSaṆi SaṆi SaSaṆiSa SaSaṆiSa

2. Aroh: SaGa ReMa GaPa MaDha PaNi DhaṠa

Avaroh: ṠaDha NiPa DhaMa PaGa MaRe GaSa

PRACTISE AT HOME

• Understand the importance and benefits of practising Alankars • Practise singing both these Alankars in Thah and Dugun Laya as taught in the video • Try making one simple Alankar by yourself and practise singing in Thah and Dugun laya

Special Tips

• Only after you are able to sing one Alankar properly and confidently, go to the next one • It is important to maintain a rhythm while singing an Alankar

Space for rough notes

LESSON 6

In today’s lesson you will be learning : • To sing some more Alankars in ‘Swar’ and ‘Aakar’ • Importance of singing in Aakar

Alankars:

As we all know, the practise of holding notes and stability of voice is important. Similarly flexibility of voice also has to be developed and this is very effectively done with the help of Alankars. Hence let us learn one more Alankar !

1. Aroh: `SaGaReSa `ReMaGaRe `GaPaMaGa `MaDhaPaMa `PaNiDhaPa `DhaṠaNiDha `NiṘeṠaNi `ṠaĠaṘeṠa

Avaroh: `ṠaDhaNiṠa `NiPaDhaNi `DhaMaPaDha `PaGaMaPa `MaReGaMa `GaSaReGa `ReṆiSaRe `SadlhaṆiSa

Importance of Singing Alankars in ‘Aakar’

The eternal vibration of the Universe (i.e. AUM) is the force of creation and also the vibration inside our body. Hence, musical chanting of Aum was actually the invoking of inner forces through music.

AUM is made by three syllables: 1. Aakaar – means aaaaaa 2. Ukaar - means uuuuuu 3. Makaar – means mmmmmm

Practising the Alankars in ‘Aakar’ along with other vowels such as ‘ee’, ‘uu’, ‘oo’ as well as nasal consonants ‘nn’, ‘mm’ helps us to improve the pronunciation of words and diction. It is relatively easier to sing in tune using words and lyrics. But once we remove the words or consonants then the swars(notes) seem to merge into each other and it becomes difficult to remain in tune as the support from the words is no more there. Hence, it is a challenge to train your voice to sing each swar with precision and clarity without the use of consonants and only in Aakar. Singing in Aakar also allows the focus to be only on the Sur and Melody. Also, when singing rapid swar(note) patterns at fast speed, there is no time to pronounce consonants or words and hence a pure vowel sound like ‘aaaa is all there is time for.

Some important points to keep in mind while singing in ‘Aakar’ 1. While singing in ‘aakar’ there should be a distance of two fingertips between the lips. 2. Clarity of the sound ‘aa’ is very important. The mouth should be properly opened while pronouncing ‘aaaa’ 3. While singing ‘aakar’ the throat muscles should not be clenched but instead should be free and the voice should be projected freely and not be supressed. 4. There should be stability in the voice while doing ‘Aakar’ that is the voice should not be wavering and quivering.

Now let us learn to sing a few Alankars in both ‘Swar’ and ‘Aakar’:

1. Aroh: `SaReGa `ReGaMa `GaMaPa `MaPaDha `PaDhaNi `DhaNiṠa Avaroh: `ṠaNiDha `NiDhaPa `DhaPaMa `PaMaGa `MaGaRe `GaReSa

2. Aroh: `SaRe `SaReGa `ReGa `ReGaMa `GaMa `GaMaPa `MaPa `MaPaDha `PaDha `PaDhaNi `DhaNi `DhaNiṠa

Avaroh: `ṠaNi `ṠaNiDha `NiDha `NiDhaPa `DhaPa `DhaPaMa `PaMa `PaMaGa `MaGa `MaGaRe `GaRe `GaReSa

3. Aroh: `SaGa `ReMa `GaPa `MaDha `PaNi `DhaṠa

Avaroh: `ṠaDha `NiPa `DhaMa `PaGa `MaRe `GaSa

PRACTISE AT HOME

• Memorize and practise singing all the Alankars taught in this lesson, in Swar and Aakar • To sing the ‘Aakar’ correctly, follow all the points mentioned in this lesson

Special Tips

• Sing each Alankar first in Swar and then in Aakar, alternating for a few rounds continuously!! • To make it challenging try singing 2 different Alankars first in swar one after the other and then the same ones in Aakar one after the other. Example: In Teen Taal, First sing this Alankar in Swar Aroh: `SaGa `ReMa `GaPa `MaDha `PaNi `DhaṠa

Avaroh: `ṠaDha `NiPa `DhaMa `PaGa `MaRe `GaSa

Now Immediately sing this Alankar in Swar

Aroh: `SaReGaMa `ReGaMaPa `GaMaPaDha `MaPaDhaNi `PaDhaNiṠa

Avaroh: `ṠaNiDhaPa `NiDhaPaMa `DhaPaMaGa `PaMaGaRe `MaGaReSa

Now sing the 1st one in ‘Aakar’ followed by the 2nd one in ‘Aakar’. Then again sing both one after the other in Swars and then repeat both one after the other in Aakar and this can continue for a few rounds of practice !!

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LESSON 7

In today’s lesson you will be learning about: • Introduction and Importance of Harmonium in Indian Music • Description of the Harmonium

Introduction and Importance of Harmonium in Indian Music

A Harmonium is a reed instrument which produces sound with the use of bellows. Initially, in India, it was mainly used for religious purposes like for singing kirtans but now it is one of the prime instruments used in Indian Classical Music specially in the North Indian or Hindustani School of Music.

The Harmonium did not originate in India. It only came to India in the 18th century with the arrival of the British in India. At that time, it looked more like a piano and had a foot- pedal and was played with both the hands.

Eventually the Indian musicians developed a liking for it as it went well with their vocals and was easy to learn and play. And hence they modified it into a hand pumped version as it retained the Indian tradition of sitting on the floor and singing. The Indian musicians ussually play their instruments while singing and the harmonium served best and most convenient as an accompanying instrument for this purpose as it was also easily portable. As Indian classical music is more melodic, the musicians play all the individual notes/keys and not much of the chords, so one hand was sufficient to play the keys and the other hand was used for bellowing.

Description of the Harmonium

The standard Harmonium has a wooden box as the body, with the side handles, bellows, keys, stops, reeds, reed board, coupler and scale changer. A high quality harmonium with full sound range has a keyboard with 39 keys and a total range of 3 octaves.

Popular Harmonium Players

Some of the popular Indian Harmonium players are Pandit R.K. Bijapure, Pandit Tulsidas Borkar, Dr. Arwind Thatte, Pandit Monto Banerjee, Ajay Joglekar, etc.

PRACTISE AT HOME

• Learn to Identify the different parts of the harmonium • Look for the above mentioned harmonium players on the net and see how they are playing the harmonium

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LESSON 8

In today’s lesson you will be learning about: • Introduction to Teen Taal • Demonstration of Teen Taal • Song based on Teen Taal

CONCEPT

Teen Taal is the most common Taal/rhythm used in Indian Classical music (vocal, instrumental and dance). It is also used in Light music.

BRIEF DESCRIPTION OF TEEN TAAL

Matras – 16 Vibhag (divisions) – 4 (all equal divisions with 4 beats in each division) Taali – 3 ( on Sam or 1st beat, 5th beat and 13th beat of the Taal) Khaali – 1 (on the 9th beat of the Taal)

The Bol of Teen Taal: Thah Laya

1 2 3 4 │ 5 6 7 8 │ 9 10 11 12 │13 14 15 16 │ Dha Dhin Dhin Dha │Dha Dhin Dhin Dha │Dha Tin Tin Ta │Ta Dhin Dhin Dha │ X 2 0 3 x

Teen Taal : Dugun Laya

1 2 3 4 │ 5 6 7 8 │ `DhaDhin `DhinDha `DhaDhin `DhinDha │`DhaTin `TinTa `TaDhin `DhinDha │ X 2

9 10 11 12 │ 13 14 15 16 │ `DhaDhin `DhinDha `DhaDhin `DhinDha │ `DhaTin `TinTa `TaDhin `DhinDha │ 0 3

SONG

Now let us learn a song based on Teen Taal

Garajat barasat saavan ayo re Laayo na sang main hamare bichde balamava Sakhi ka karu haay

Rimajhim rimajhim megha barase Tadape jiyarava meen samaan Padh gai pheeki laal chunariya Piya nahi aaye

PRACTISE AT HOME

• Learn the description of Teen Taal • Practise how to show Teen Taal with the hands with taali and kaali in both Thah and dugun Laya • Memorize the lyrics of the song and practise singing as taught in the video

Special Tips

• Practising Teen Taal showing with the hands taali and kaali along with the Tabla will help ! • It is a good practise to keep the digital tabla playing in the background while doing other works and whenever the Sam comes become aware of it and notice it. This will help to develop a sense for rhythm/taal and help immensely while singing complex raags in the future !!

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LESSON 9

In today’s lesson you will be learning about : • Introduction to Raag Yaman • Sargam Geet in Raag Yamam • Song based on Raag Yaman

CONCEPTS

Introduction to Raag Yaman Raag Yaman is considered as one of the most fundamental ragas in Hindustani Classical Music. It is therefore one of the first ragas taught to students but it also has great scope for improvisation.

Brief description of Raag Yaman

Thaat – Kalyan Jaati – Sampoorna Sampoorna Vadi Swar – Gandhar ‘Ga’ Samvadi Swar – Nishad ‘Ni’ Swars – Teevra Madhyam ‘Ma’ and rest are all Shuddha swars Varjit Swar (forbidden notes) – None Gaayan Samay – First Prahar of the night (7 pm to 10 pm)

Aroh : Sa Re Ga Ma Pa Dha Ni Ṡa Avaroh : Ṡa Ni Dha Pa Ma Ga Re Sa Pakad : ṆiReGaMaPa, PaMaReGa, ReṆiReSa

Sargam Geet in Raag Yaman

Sthayee

1 2 3 4 │5 6 7 8 │9 10 11 12 │13 14 15 16 │ │ │Ni Dha - Pa │M̍ a Pa Ga M̍ a │ Pa - Pa M̍ a │Ga Re Sa - │Ṇi Re Ga Re │Ga M̍ a Pa Dha │ Pa M̍ a Ga Re │Ṇi Re Sa - │Ṇi Re Ga M̍ a │Dha Ni Ṡa - │ Ṙe Ṡa Ni Dha │Pa M̍ a Ga M̍ a │ X 2 0 3

Antara

1 2 3 4 │5 6 7 8 │ 9 10 11 12 │13 14 15 16 │ │ │ Ga M̍ a Dha Ni │Ṡa - Sa Sa │ Ni Ṙe Ġa Ṙe │Ni Ṙe Ṡa - │ Ġa Ṙe Ṡa Ni │Dha Pa M̍ a Pa │ Ga M̍ a Pa M̍ a │Ga Re Sa - │ Ṇi Re Ga M̍ a │Dha Ni Sa - │ Ṙe Sa Ni Dha │Pa M̍ a Ga M̍ a │ | | X 2 0 3

SONG Based on Raag Yaman

Wo shaam kuch ajeeb thi Ye shaam bhi ajeeb hai Wo kal bhi paas paas thi Wo aaj bhi Kareeb hai

Jhuki jhuki nigaah main Kahin mera khayaal tha Dabee dabee hansi mein ik Haseen sa gulaal tha Main sochta tha mera naam Gunguna rahi hai wo Na jaane kyu laga mujhe Ke muskura rahi hai wo

PRACTISE AT HOME

• Learn the description of Raag Yaman • Practise singing the Aroh, Avaroh and Pakad of raag Yaman • Practise singing the Sargam Geet as taught in the video along with the Tabla • Memorize the lyrics and practise singing the song based on Raag Yaman as taught in the video

Special Tips

• Try practising a few simple alankars (that you have learnt earlier), in Kalyan thaat by replacing the shuddha madhyam in these to teevra madhyam and keeping the rest of the swars the same (as shuddha). This will help to improve your control over swars ! • Listen to audios/songs based on Raag Yaman (classical and light ) by eminent singers. This will help in understanding the flavour of the raag!

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LESSON 10

In today’s lesson you will be learning about: • Introduction to Taal Rupak • Demonstration of Taal Rupak • Song based on Taal Rupak

CONCEPTS

Rupak Taal is a popular seven beats Taal. It is commonly used in Bhajans, Geet, Ghazals, etc. It is a unique Taal as its first beat is a Khaali.

BRIEF DESCRIPTION OF TAAL RUPAK

Matras (beats) – 7 Vibhag (divisions) – 3 (divisions of 3 /2/2 beats) Taali – 2( on 4th beat and 6th beat of the Taal) Khaali – 1 (on the 1st beat of the Taal)

THE BOL OF RUPAK TAAL : THAH LAYA

1 2 3 │4 5 │6 7 │ Tin Tin Na │Dhin Na │Dhin Na │ 0 2 3

Rupak Taal: Dugun Laya

1 2 3 │ 4 5 │ 6 7 │ `TinTin `NaDhin `NaDhin│`NaTin `TinNa │`DhinNa `DhinNa │ 0 2 3

SONG based on Rupak Taal

Mere humsafar mere humsafar Mere paas aa mere paas aa Hamein saath chalna hai umra bhar Mere paas aa, mere paas aa, mere paas aa

Hai safar hamara naya naya Kisi pal andhera jo ho gaya Kahin dhal naa jaae ye rah guzar Mere paas aa mere paas aa Hamein saath chalna hai umra bhar Mere paas aa, mere paas aa, mere paas aa

PRACTISE AT HOME • Learn the description of Taal Rupak • Practise how to show Taal Rupak with the hands with taali and kaali in both Thah and Dugun Laya • Memorize the lyrics of the song and practise singing as taught in the video

Special Tips • Practising Rupak Taal with the hands showing taali and kaali along with the Tabla will help ! • Listening to different kinds of songs in Taal Rupak will help in understanding the taal and in future to be able to sing in this Taal with ease !!

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LESSON 11

In today’s lesson you will be learning about : • Introduction to Raag Bhoopali • Sargam Geet in Raag Bhoopali • Song based on Raag Bhoopali

CONCEPTS

Introduction to Raag Bhoopali

Raag Bhoopali is also known as Raag ‘Bhoop’. It is one of the basic ragas ussually learnt first by the students. Most of the songs in this raag are based on ‘Bhakti’ rasa or in other words, these are devotional.

Brief description of Raag Bhoopali

Thaat – Kalyan Jaati – Audav - Audav Vadi Swar – Gandhar ‘Ga’ Samvadi Swar – Dhaivat ‘Dha’ Swars – All swars are Shuddha Varjit Swar (forbidden notes) – Madhyam ‘Ma’ and Nishad ‘Ni’ Gaayan Samay – First Prahar of the night (7 pm to 10 pm)

Aroh : Sa Re Ga Pa Dha Ṡa Avaroh : Ṡa Dha Pa Ga Re Sa Pakad : GaReSadlha, SaReGa, PaGaReSa

Sargam Geet in Raag Bhoopali Sthayee

1 2 3 4 │5 6 7 8 │9 10 11 12 │13 14 15 16 │ │ │Ga Re Sa dlha │ - Sa - Re │ Ga - Pa Pa │Re Re Sa - │Sa Re Ga Re │Ga - Ga - │ Dha Pa Ga Re │Ga Ga Re Sa │Ga Pa Dha Ṡa │ - Ṡa Dha Pa │ Ga Re Ga Pa │Re Re Sa - │ X 2 0 3

1 2 3 4 │5 6 7 8 │9 10 11 12 │13 14 15 16 │ │ │Ga - Pa - │Dha - Pa - │ Ṡa - Ṡa Ṡa │Ṡa Ṙe Ṡa - │Ṡa Ṡa Dha Dha │ Ṡa Ṡa Ṙe - │ `ṠaṘe Ġa Ġa Ṙe │Ṡa Dha Pa - │Sa Re Ga Pa │Dha Ṡa Dha Pa │ Ga Re Ga Pa │Re Re Sa - │ X 2 0 3

SONG based on Raag Bhoopali

Dekha ek Khwaab to ye silsile hue Dur tak nigahon mein hain gul khile hue Ye gila hai aapki nigahon se Phool bhi ho darmiyan to faalse hue

Meri saanson mein basi khushboo teri Ye tere pyaar ki hai jaadugari Dhadkano mein tere geet hai mile hue Kya kahun ki sharm se hai lab sile hue

PRACTISE AT HOME • Learn the description of Raag Bhoopali • Practise singing the Aroh, Avaroh and Pakad of raag Bhoopali • Practise singing the Sargam Geet as taught in the video along with the Tabla • Memorize the lyrics and practise singing the song based on Raag Bhoopali as taught in the video

Special Tips • Practise the Sargam Geet of both the Raags that are taught , again and again as this will help in understanding the exact positions of the notes in the raga and therefore help in better understanding of the Raga • Listen to audios/songs based on Raag Bhoopali (classical and light ) by eminent singers. This will help in understanding the flavour of the raag!

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LESSON 12

In today’s lesson you will be learning about: Some important concepts in music like • Dhwani • Naad • Shruti • Nyas Swar • Alap • Anuvadi Swar • Vivadi Swar

CONCEPTS

Dhwani – Dhwani is a Sanskrit word which means ‘Sound’. Dhwani can be pleasant/melodious or unpleasant/noise to the ear. Sound or Dhwani that is pleasant/melodious and soothing to the ear is what is useful in music.

Naad – The sound which is pleasant, pleasing and soothing to the ear and which can be used in music is called as Naad. Naad can be of two types – Aahat and Anahat Naad. Aahat means ‘to strike’. The sound which is produced by hitting and striking an object is Aahat Naad. For example the sound of Tabla, Guitar, etc. Anahat means ‘which exists forever’. Anahat naad cannot be produced, it can only be experienced. Hence, the sound which is already existing in the Universe is known as Anahat Naad. Anahat Naad can be experienced in deep meditation. You can sit very silently and preferably alone in a sound proof room and you may be able to hear a very subtle humming sound which is Anahat Naad.

Shruti – Indian classical music is based on the concept of Shruti. On the Indian musical scale from ‘Sa’ to ‘Ni’(one Saptak), there can be various melodious sounds (Naad) but experts of Indian music have chosen only 22 sounds/naad out of these which can be distinctly differentiated and identified from each other and reproduced in singing. Hence, there are 22 Shrutis in one Saptak. And out of these 22 shrutis 12 shrutis are identified and designated as Shuddha and Vikrit swars.

Nyas Swar – In a raag there are some swars in which we pause or rest for sometime or on which a composition ussually ends, these swars are known as Nyas swars. These are pre decided swars. For example the Nyas Swars in Raag Bhoopali are ‘Sa’, ‘Ga’ and ‘Pa’.

Alap – The slow melodic improvisation on the notes of the Raga is called Alap. It can be done with the help of swars/aakar/bol,etc.

Anuvadi Swar – In a raag the swars other than Vadi and Samvadi swar are known as Anuvadi swars. For example in Raag Bhoopali, Gandhar and Dhaivat are Vadi and Samvadi swars and the remaining swars are Anuvadi swars.

Vivadi Swars – Sometimes in a raag we use varjit swars(forbidden notes) to break the monotony and to beautify the raag , these are known as Vivadi swars.

PRACTISE AT HOME • Understand and memorize each of these musical concepts • Try to identify/experience these practically

Special Tips • Listen to more of pure classical based music(vocals and instrumentals) on a regular basis. This will help to develop a sense in music making it easier to identify swars (shuddha and vikrit) . • Hope you are regularly practising the Alankars taught in Grade 1

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LESSON 13

In today’s lesson you will be learning about: The Properties of Naad • Pitch of Naad • Volume of Naad • Quality of Naad

CONCEPTS

There are three properties of Naad. These are :

1. Pitch of Naad – It is the frequency of sound. The frequency refers to the number of vibrations per second of a particular sound. When the sound frequency (number of vibrations per second) is higher, the pitch of the sound is higher. If the sound frequency is lower, the pitch of the sound is lower. We can clearly understand this with the help of the harmonium. When we go on playing the keys of harmonium from left to right, the pitch of Naad goes from low to high.

2. Volume of Naad – Volume of Naad is the magnitude or the loudness and softness of Naad. The same Naad can be loud or soft. The softer the volume, the smaller the Naad. The greater the volume , the bigger the Naad. For example we can sing a swar in loud or soft volume keeping the pitch same .

3. Quality of Naad – It is the quality of sound. It allows us to hear the difference in two sounds. The flute, the sitar, the baby’s voice, a harmonium all sound different because they have different timbre/tone or quality. We can also differentiate between the sounds of different instruments only by listening to them even if we do not see them. We can identify the singer of a particular song just by listening to his voice and understanding the tone of his voice. We can identify which friend is calling us just by listening to the friend’s voice.

PRACTICE AT HOME

• Learn the three different properties of Naad • Understand the difference between the properties • Listen to the different instruments and without seeing these try to identify these • Listen to the songs of different singers of different genres and on the basis of their quality of Naad try to identify them

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LESSON 14

In today’s lesson you will be learning : A Folk song – Qawwali Let us learn a folk song today in the form of a Qawwali.!

Ho lal meri pat rakhiyo bhala jhoole laalan Sindhri da sehwan da sakhi shahbaaz kalandar Dama dam mast kalandar, ali dam dam de andar Dama dam mast Kalandar, ali da pehla number Ho lal meri, lal meri

Char charaag tere balan hamesha Panjwan mein baalan aaiyan balaa jhoole laalan Sindhri da sehwan da sakhi shahbaaz kalandar Dama dam mast kalandar, ali dam dam de andar Dama dam mast kalandar, ali da pehla number Ho lal meri , lal meri

PRACTISE AT HOME

• Memorize the lyrics of the song and practise singing as taught in the video

Special tips

• Choose your own scale and sing in the scale comfortable to your voice so that you do not strain your vocal chords while singing ! • Enjoy yourself while singing specially these kind of songs! • Be careful of the pronunciations of the words. Pronounce each word correctly and clearly !

LESSON 15

In today’s lesson you will be learning about: The good and bad qualities of a singer The Good qualities of a singer are: • The singer’s voice should be in tune and pleasing to the ear • He should have good control over the voice in reference to the pitch • The singer should be able to sing easily in all the three Saptaks • The singer should be able to sing confidently in free and open voice • The singer should be able to understand the meaning and lyrics of the song and should be able to convey the same • The singer should be well versed with the concept of taal and should be used to singing along with the taal • The main aim of music is to entertain people. The singer should always keep this in mind and try to keep his/her expressions pleasant • The singer should regularly practise and do Riyaz • The singer should be well aware of theory as well as practical part of music • Good pronunciation and diction are very important in singing. Words should be pronounced clearly and correctly

The Bad qualities of a singer are : • Singing in an uninterested and dull manner • Not singing clearly • Not singing in correct Laya or Taal • Singing in an under confident and shaky voice • Singing out of pitch and distorted • Grinding your teeth while singing. • Not hitting the right Swars . But singing in lower or higher Shruti • Singing in nasal voice • Putting unnecessary pressure on your voice while singing • Choosing an inappropriate scale while singing. In other words singing in a sur in which you are not comfortable • Singing carelessly

Keeping in mind the good and bad qualities try improving your singing with consistent efforts !