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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.
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    SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TEHRI GARHWAL (UTTARAKHAND) FACULTY OF MUSIC BACHELOR OF ARTS 2018-2019 AN UNDER GRADUATE PROGRAMME 1 SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TIHARI GARHWAL (UTTARAKHAND) BACHELOR OF ARTS 2018 DEPARTMENT OF MUSIC SYLLABUS HINDUSTANI MUSIC (VOCAL) / STRING INSTRUMENTS OF HINDUSTANI MUSIC (SITAR) & PERCUSSION INSTRUMENTS OF HINDUSTANI MUSIC (TABLA/PAKHAWAJ) (WITH EFFECT FROM 2018-19) 2 SHRI DEV SUMAN UTTARAKHAND UNIVERSITY BADSHAHITHAUL TEHRI GARHWAL (UTTARAKHAND) UNDER GRADUATE 2018 DEPARTMENT OF MUSIC SYLLABUS OF HINDUSTANI MUSIC VOCAL /STRING INSTRUMENS (SITAR) (With Effect From 2018-19) 3 Admission Criteria For B.A. Hindustan Music Vocal/Instrumental (Sitar & Tabla) Only such applicant who might have passed the qualifying examination with Music as an elective subject or who might have passed the four year course/senior diploma/Madhyma from bhathkhande or prayag sangeet samiti shall be permitted to elect music as an elective subject at the under graduate level (B.A.). However, other talented applicants desirous of studying music as an elective subject at the under graduate level may be granted the permission on the basis of their performance in an audition before the head of the department of music. 4 SYLLABUS FOR B.A. (PROG.) HINDUSTANI MUSIC (VOCAL/ INSTRUMENTAL SITAR ) PAPER TOTAL MARKS IN EACH SEMESTER MARKS DIVISION SEMESTER-I 200 (FINAL EXAMS+ASSESMENTS=Total ) Paper - I Practical 60+15 = 75 Paper - II Practical 60+15 = 75 Paper - III Theory 40+10 = 50 SEMESTER-II
  • Easychair Preprint Signal Processing and Machine Learning Approaches

    Easychair Preprint Signal Processing and Machine Learning Approaches

    EasyChair Preprint № 4916 Signal Processing and Machine Learning Approaches and Evaluation for Indian Classical Music Rajashekhar Shastry and Anita Bai EasyChair preprints are intended for rapid dissemination of research results and are integrated with the rest of EasyChair. January 19, 2021 Signal Processing and Machine Learning Approaches and Evaluation for Indian Classical Music Rajashekar Shastry1 and Dr Anita Bai2 1Research Scholar, KL University, Guntur, Andhra Pradesh, India, 2Associate Professor, KL University, Guntur, Andhra Pradesh, India, [email protected], [email protected] Abstract. In the field of signal processing, a considerable amount of work has been done in the analysis and implementation of various techniques related to speech signal processing. When it comes to the Music signal processing, the techniques that are originally developed for speech signal processing have been applied to music signal with good results. In comparison with Indian classical music, lot of research work done in Western classical music on music audio analysis like information retrieval, singer/instrument identification, genre detection, etc.,. This paper provides an overview of some signal processing, and machine learning techniques that specifically applied to the Indian classical music for analyzing and identifying features such as tonic identification, genre classification, raga recognition, music transcription, rhythm, and timbre. We will look at how particular features of Indian Classical music signals impact and how these features are extracted. 1. Introduction Traditionally rich in Indian classical music, its roots date back to Vedic scriptures more than 6,000 years ago, when tunes formed a system of musical notes and rhythmic cycles[1][2]. Indian classical music is truly linked to nature; numerous ragas were produced based on the seasons and time of the day, influenced by nature.
  • Scheme of Exmination for the Session 2012-13 Ba-I (Music

    Scheme of Exmination for the Session 2012-13 Ba-I (Music

    1 SCHEME OF EXMINATION FOR THE SESSION 2012-13 BA-I (MUSIC VOCAL) Semester-I for the session 2012-13 M.M.100 20% Internal Assessment 5% for attendance 10% for unannounced test 5% for assignment Paper-I Theory- Fundamental Study of Music M.M.30 3hrs. Semester-II Semester-I for the session 2012-13 M.M.100 20% Internal Assessment 5% for attendance 5% for unannounced test 10% for assignment Paper-II Theory- - Fundamental Study of Music M.M.30 3hrs Paper-III Practical (Stage-Performance & Viva-Voce) M.M.100 2 Scheme of Examination of BA-I (Vocal) for semester system w.e.f. academic year 2012-13 Ist Semester 20% Internal Assessment 5% for attendance 10% for unannounced test 5% for assignment Theory Paper-I Theory MM.30 Note: 1 Que. 1 consisting of 6 Numbers of short type question (having no internal choice) spread over the whole syllabus should be compulsory. Note: 2 1. Question I consisting of (preferably 6 question having no internal choice) spread over the whole syllabi should be compulsory. 2. The Syllabus is divided into 3 units. Candidate is required to attempt three questions selecting one question from each unit and fourth question can be selected from any unit. The Examiner should set 8 questions (Unit 1-3 questions, Unit 2- 3questions and Unit 3- 2questions) from the 3 unit and the candidate will be required to attempt 4 questions from the three units. 3. The candidate should attempt 5 questions in all including 1 compulsory question. Section –A 1. Notation of three Drut Khayals in the following Ragas: a) Yaman b) Alhaiya Bilawal c) Kafi 2.