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M U S I C … a Raga Or Raaga (IAST: Rāga; Also Raag Or Ragam ; Literally "Coloring, Tingeing, Dyeing") Is Akin to a Melodic Mode in Indian Classical Music

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M U S I C … a Raga Or Raaga (IAST: Rāga; Also Raag Or Ragam ; Literally INDIAN ART MUSIC Chandrashekhar H. Mendole M U S I C … A raga or raaga (IAST: rāga; also raag or ragam ; literally "coloring, tingeing, dyeing") is akin to a melodic mode in Indian classical music. ... Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common. M U S I C RAAG MARWA Raag Marwa (hexatonic) Raag Marwa is sung during the late afternoon hours up to sunset. It is one of the major ragas in Hindustani classical music and is sung widely and taken very seriously. One of the interesting things about Raag Marwa is that it de-emphasizes the root note "sa." Probably because of this, it is a somewhat unsettling raga, and mainly evokes dark moods of foreboding and anxiety. It can also portray compassion or resignation in the face of some inner struggle. MUSICAL GENRES IN PRESENT DAY INDIA . ART NON - ART (“CLASSICAL”) (“LIGHT/POPULAR”) N O R T H SOUTH TRIBAL I N D I A N THEATRE (“HINDUSTANI”) INDIAN (“CARNATIC”) MUSIC FOLK ♣ Has religious/philosophic roots CINEMA ♣ Has a highly formalised grammar, dictated by textual as well as oral tradition PROVINCIAL MUSIC ♣ Has different genres (Vocal – Alap, Dhrupad/Dhamar, Khayal, Sadra, Thumri, Bhajan, Geet etc Instrumental – Alap, Masidkhani, RELIGIOUS Rajakhani, Firozkhani, Amirkhani Gat etc) OR “INDUSTRIAL” ♣ Has different styles (called Geeti, Bani or PHILOSOPHIC Baaj) ♣ Has regional schools of presentation (currently called Gharanas) NON-INDIAN ♣ Has regional variations in choice of IMPORTS Ragas, Talas, etc. RAAG BHAIRAV Raag Bhairav (heptatonic) Bhairav is another very important raga in the Hindustani classical tradition. It is a morning raga, and solemn peacefulness is its ideal mood. It is very easy, however, for this scale to deteriorate from majestically peaceful to pathetically melodramatic, and artists must watch out for that. I think it was Pundit Vilayat Khan who once described Raag Bhairav as the music in the mind of Lord Shiva as he meditated in the Himalayas. That made an impression on me. Picture Shiva-the-terrible, absorbed in the deepest meditation in a dark cave in the Himalayas. Everything is still, except for the occasional dripping of a stalagtite. Then dawn breaks and the first rays of sunlight penetrate into the cave. Imagine the music in the mind of this man of terrifying passions at that time in his state of perfect peacefulness. And that, to me, is what Raag Bhairav should be THE GAMUT OF NOTES 8. Sa – Shadja – Do – Tonic 7. Ni – Nishada – Si/Ti – Leading Note ♭7. Ni – Komala Nishada 6. Dha – Dhaivata – Lah – Submediant ♭ 6. Dha – Komala Dhaivata 5. Pa – Panchama – Soh – Dominant # 4. Ma’ – Tivra/Kari Madhyama 4. Ma – Madhyama – Fah – Subdominant 3. Ga – Gandhara – Mi – Mediant ♭ 3. Ga – Komala Gandhara 2. Re – R’shabha – Re – Supertonic ♭ 2. Re – Komala R’shabha 1. Sa – Shadja – Do – Tonic SOUND IN INDIAN ART MUSIC Static Note – Ornamented Note – Unembellished tones: Tones embellished by different types of Used for teaching or ornaments, such as analysing musical phenomena but not Meend, Soot, Andolan, (except but rarely) in Gamak, Krintan, etc. : performance Used in performance ORNAMENTS (“ALANKAR”) ⋆ Andolan – “oscillation” on a note ⋆ Gamak – fast Andolan. Gamak may range from the heavy and guttural to the light and almost superficial. Again, Gamak may be of varying speeds ⋆ Sparsha Svara, Kan or Krintan – grace note (acciaccatura) ⋆ Meend – glissando ⋆ Soot or Aansh – fast Meend from one note to another distant note ⋆ Mürki – akin to mordent ⋆ Khatka – akin to turn ⋆ Kampan – vibrato ELEMENTS OF MUSIC Melody – notes sounded successively Harmony – notes sounded simultaneously Rhythm – pulses in time Dynamics – intensity (volume) Timbre – tone colour ORGANISING NOTES Melodic Organisation: Harmonic organisation: Against a fixed system According to the of static notes sounded principles codified by continuously but softly the system of in the background - RAGAs and - TALAs and in unintended counterpoint, from an - performance practice imitating accompanist R A G A a melodic concept capable of intense emotional communication and comprising: -a given set of notes, ascending and descending - characteristic microtones - characteristic phrases -relative importance of the notes - characteristic ornaments or lack thereof -the general speed to be adopted -the register to be used (low or high pitch) - an accepted time of performance ORGANISING TIME – TEMPO (LAYA, GATI) Tempo (Laya) Slow Medium Fast (Vilambita) (Maddhya) (Druta) Medium Medium Slow Fast (Maddhya (Maddhya Vilambita) Druta) Slow Fast (Vilambita) (Druta) Very Slow Very Fast (Ati (Ati Vilambita) “Linear” “Cyclic” Druta) (Tala-Heena) (Tala-Yukta) T A L A Tala → the cyclic organisation of periodic beats (Matra) = an endlessly repeated series of ordered rhythmic syllables in time Rhythmic syllables → Names of sounds on percussion instruments (Dha, Na, Dhin, Tin, Thum, Kat, Tita, Tirakita, Ghe, Dhita, etc.) A Tala has: Cycles – each cycle is called an “Avartana” Divisions into bars, which may be equal or unequal Accent points, which may be “beaten” (“Tali”) or “unbeaten” (“Khali”) A primary accent point (“Sama”) – the point of rhythmic resolution A vocal enunciation of the ordered rhythmic syllables in an Avartana, called “Theka” THEKA TALA MATRA Kaharva 4 Dhage Nati Naka Dhin | | Dadra 6 Dha Tin Na | Ta Dhin Na | | Roopak 7 Tin Tin Na | Dhin Na | Dhin Na | | Jhaptal 10 Dhin Na | Dhin Dhin Na | Tin Na | Dhin Dhin Na | | Ektal 12 Dhin Dhin | Dhage Tite | Thum Na | Kat Ta | Dhage Tite | Dhin Dha | | Jhoomra 14 Dha –Dha Tirakita | Dhin Dhin Dhage Tirakita | Ta –Ta Tirakita | Dhin Dhin Dhage Tirakita | | Deepchandi 14 Dha Dhin - | Dha Dha Dhin - | Na Tin - | Dha Dha Dhin - | | Adachoutal 14 Dhin Tite | Dhin Na | Thum Na | Kat Ta | Tite Dhin | Na Dhin | Dhin Na | | Trital 16 Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Tita Dhin Dhin Dha | | … and many more, including fractional Matras (e.g. Jhampak Tala of 8½ Matras) RHYTHMIC IMPROVISATION (“LAYAKARI”) ↠ Dügün – double speed ↠Tigün – triple speed ↠Choügün – quadruple speed ↠Panch, Chhey, Sat, Ath, Naü, etc gün – respectively 5, 6, 7, 8, 9 etc times the original speed ↠Aad – 3/2 times the original speed ↠Aad ka Ülta – 2/3 times the original speed ↠Küad – two viewpoints: 5/4 or 9/4 times the original speed ↠Küad ka Ülta – 4/5 or 4/9 times the original speed ↠Biyad – there are several varieties of this: 7/4 or 27/8 (“Küad of Aad” = 9/4 of 3/2) times the original speed, etc. ↠Biyad ka Ülta – 4/7 or 8/27 times the original speed ↠Paun – 3/4 times the original speed ↠Paun ka Ülta – 4/3 times the original speed PERFORMANCE PRACTICE Hindustani Recital Vocal Instrumental “Light- “Classical” Melodic Classical” Percussion Instrument Dhrupad & Thumri “Light- Dhamar “Classical” Classical” Khayal Bhajan Gayaki Ang Dhun Tarana Ghazal Dhrupad Ang Khayal Ang Tantrakari KHAYAL RECITAL ※ Auchār-Ālāp ※ Vilambit (Bada) Khayāl - Vistār (Badhat) ⇨ Sthāyi, Antarā - Behlāvā - Tān ※ Drut (Chhotā) Khayāl ⇨ developed similarly as above.
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