Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati

Home , Dadra, Drut, Jaunpuri (raga), Meend, Saptak, Sthai

Component-I (A) – Personal details:

Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati.

Prof. R Thiagarajan Presidency College, Chennai.

Prof. Suneera Kasliwal Vyas Delhi University, New Delhi.

Prof. Anjali Mittal Delhi University, New Delhi

Component-I (B) – Description of module:

Subject Name Indian Culture

Paper Name Indian Aesthetics and Fine Arts

Module Name/Title Salient Features of Hindustani Music

Module Id I C / IAFA / 19

Pre requisites An interest to know about the art of North Indian Music

Objectives The module gives an outline knowledge of the various important aspects of Hindustani music, like Nada, Shruti, Swara, Saptak, Raga, Taal, Musical Forms, Musical Concerts and Musical Education

Keywords Nada, Shruti, Swara, Saptak, Raga, Taal,Dhrupad,Dhamar,Masitkhani Gat, Ekal Prastuti,Jugalbandi,Guru Shishya Parampara.

E-text (Quadrant-I) : 1. Introduction The classical music system of North India is called Hindustani Music. This style of music is also known as North Indian Classical Music/ Raagdari Sangeet/ Abhijatya Sangeet or Shastriya Sangeet. Vedas are the sacred scriptures of the Hindus. Studies of these vedic scriptures have revealed that music evolved from the vedic period. Amongst the four vedas namely, Rig Veda, Yajur Veda, Sama Veda and Atharva Veda, the Sama Veda was musical. The chanting of the sacred hymns of this veda were melodic. The system of Hindustani Classical Music too followed a tradition that was laid down by great musicians and composers through the ages and thus it has many unique characteristics. In this lesson, we will be studying about some salient and important features of Hindustani Music. In order to get a better understanding of this, it is necessary to learn about the basics and certain common terms that are used in this system. We will also learn about the following aspects in this lesson: 1. Sound 2. Nada ( musical sound) 3. Shruti 4. Swar (Shuddha, Vikrit, Achal ) 5. Saptak(Mandra,Madhya, Taar) 6. Raag (Vadi, Samvadi, Anuvadi, Vivadi, Aaroh,Avroh,Pakad,Time theory of ragas, Thaat) 7. Laya - (Vilambit, Madhya, Drut), Taal, Matra, Bol, Theka, Vibhag, Avartan,Sam, Khali and Tali.

8. Musical Forms/ Composition Styles (Anibaddha, Nibaddha ,Dhrupad, Dhamar, Khayal, Tarana, Tappa, Dadra, Masitkhani Gat and Razakhani Gat) 9. Musical Concerts/ Presentation (Alap, Sthai, Antara, Mukhda, Taan, Gamak, Khatka, Murki, Meend and Zamzama) 10. Musical Education ( Guru Shishya Parampara, Schools, Colleges, Online) 2. Nada Struck sound which is musical and pleasing to the ears is called Nada. It has three special features known as pitch, timbre and magnitude. Nada is of two types, namely ahata nada (the struck sound) and anahata nada (the unstruck sound).

Sound

Musical (Nada) Non Musical

The former being an object of sense perception and the later a matter of mystic experience. Ahata nada or struck sounds can be termed as musical sound. This is produced by the collision of two objects thus creating a vibration. All the worldly sounds perceived by the human ear belong to this category. 3. Shruti

“Shrooyatey Iti Sruti” – any sound that is heard is called Sruti. The word shruti is derived from the sanskrit word “shru” which means “that which can be heard”. These shrutis or intervals convey a distinct and definite expression to the listener.Only twenty two shrutis were accepted in music. These shrutis can be distinguished accurately and clearly from one another in different melodic figures in vocal music.Each shruti has a name depicting its character. According to ancient scholars our notes in a saptak are of three types: ● Sa Ma Pa are chaturshrutic, engaging four shrutis. ● Re Dha are trishrutic, engaging three shrutis. ● Ga Ni are dvishrutic, engaging two shrutis. 4. Swar Swar is a sanskrit word which means a note of an octave. In the ancient treatises on music, swar has been described in many ways. Out of the twenty two shrutis, seven pure sounds have been selected and placed at varied intervals in an octave. These seven shrutis are called Swar. Because of the difference in intervals between them, they are more distinctly audible and they can resonate for a longer period without disturbing the balance of vibrations for a particular note. This quality makes the notes melodious, which is an inherent and desired quality of music. Swars are the alphabets of music.

The chart below shows the division and placing of notes and their intervals as accepted by contemporary musicologists. Names of the seven notes are Shadaj - Sa, Rishabh - Re, Gandhar - Ga, Madhyam - Ma, Pancham - Pa, Dhaiwat - Dha, Nishad - Ni. We will be using Sa, Re, Ga, Ma, Pa, Dha,Ni in further descriptions for easy understanding. This is a normal scale of seven notes.Notes are of two types, movable or vikrit and immovable or shuddha. Shuddha Swara - Sa and Pa are immovable or static notes, i.e. Achal Swar Vikrit Swara - Re,Ga,Dha, Ni and Ma are movable notes. When the four notes, Re,Ga,Dha and Ni leave or move from their place, they are always placed lower than their respective normal notes. These notes are called komal or flat notes. In the notation system , they take the symbol of a small horizontal bar underneath the note. Eg: Re, Ga, Dha, Ni . Ma is the only movable note, which is placed higher than its normal form. Due to its sharp tone, this note is called teevra or sharp. While writing the notation, this note is indicated by a small vertical line above the note. Eg: M’a Thus we can say that a scale is made up of seven normal notes(shuddha) and five flat/sharp notes(vikrit) ie. Sa, Re , Re, Ga, Ga, Ma, M’a, Pa, Dha, Dha, Ni, Ni.The chart of swars is given below:

A student of music is initially taught to sing the shuddha swaras in different tempos and combinations and permutations (Alankar) to acquire a strong voice control. Once the student is well-versed in the shuddha swaras(natural notes), the vikrit swaras(flat and sharp notes) are included in the lessons and practised well. The greater the awareness of the modulations of tones, the greater shall be the success and more sound knowledge of the swaras will follow. Aaroha - The ascending or upward movement of the swaras is called Aroha. Avroha - The descending movement of the swaras is called Avroha.

5. Saptak When a set of seven notes are sung or played in an order, it is called a saptak. Eg: Sa,Re,Ga,Ma,Pa,Dha,Ni sung or played in this order is a saptak. The division of saptak is based on the normal and natural range of human voice. Music develops mainly within three saptaks, low or mandra, middle or madhya, taar or high while singing/playing. There are no symbols for the middle saptak notes(madhya saptak) in the notation system. These are simply written as Sa,Re,Ga,Ma,Pa,Dha,Ni. In the notation system ,the lower saptak notes (mandra saptak) are indicated by a small dot underneath the note. Eg: S.a,R.e,G.a,M.a,P.a,D.ha,N.i while the notes of the higher saptak(taar saptak) can be recognised by a dot on top of the note Eg: S’a,R’e, G’a, M’a,P’a, D’ha, N’i. 6. Raag Raag is derived from the sanskrit word “ranj” which means to please, to delight or to satisfy. Scholars have defined raag as a special melody , embellished with different notes that has the characteristic capability to charm and delight the listener. The notes used in a raag, time of singing and playing and how it is being treated by the musician, all these things influence the mood of the raag to a great extent. Like thaats, raags are also bound by a set of rules which are: ● Raag should be produced from a scale. ● Number of notes in a raag must not be less than five. ● Raag should have an aroh and avroh. ● The note Sa is never abandoned in a raag. ● Ma and Pa notes are never omitted together in a raag. ● Raag must have vadi and samvadi. ● Raga should be melodious and pleasing to the ear. Raags have been divided into three categories or jatis on the basis of number of notes used in a raag. The three jatis are: Audav- Audav raags have five notes in both aroha and avroha. They are pentatonic raags like Bhupali. Shadav- Shadav raags have six notes in aroha and avroha. They are hexatonic raags like Jaunpuri Sampoorna- Sampoorna raags have seven notes in both aaroha and avroha. They are heptatonic raags like Bhairav. On the basis of these jatis, many raags can be produced from a scale. In the structure of raags, four types of notes play an important role. These are vadi, samvadi, anuvadi and vivadi. Vadi- The predominant note in a raag is called vadi. It plays an important role in the development of a raag and is always accentuated and bears long pauses. Samvadi- The second frequently used swara in a raag is samvadi. It reinforces the vadi swar. Anuvadi- Notes other than vadi and samvadi in a raag are called Anuvadi. Vivadi-A note not regularly used in a raag is vivadi. Some names of popular ragas are - Yaman, Bhopali, Kafi, Allhaiya Bilawal, Bihag, Khamaj etc

Time theory and the ragas- In India, music is closely related to the emotional aspect of life. Ragas evoke certain kind of moods depending on the particular time of the day and night. Each quarter of the day is connected to a certain emotion. This is the reason why they are sung or played at a particular time. When sung or played at a specific time allotted to them, ragas can develop more naturally and the mood of the raga can be expressed more impressively. There are certain features of ragas which limit them to a certain time. Ragas which have their vadi swara in the lower tetrachord or poorvaang are called the Poorvaang Vadi Ragas. These ragas are played between midday and midnight. Ragas which have their vadi swara in the upper tetrachord or uttaraang are called Uttaraang Vadi Ragas. The time of singing or playing is between midnight and midday.

Thaat or scale - A set of seven notes which can produce a raag is called Thaat. In north Indian system of music, ten scales have been accepted, which can produce many raags. These scales have certain rules to follow. The names of the ten thaats which have been accepted by musicologists in north Indian system of music are as follows: Thaats

7. Laya or tempo - It is the regular occurrence of measured time. In other words we can say, the speed in which the taal is played is called laya or tempo. There are three tempos in music namely: Vilambit or slow Madhya or medium Drut or fast Taal Taal is the measurement of time in singing, playing and dancing. This time cycle, when set to beats and divided into bars, gets a name, for eg - Teen taal, Jhap taal etc. In other words, measured rhythmical time is called taal. Matra - The smallest time unit is called a matra or a beat. Taals are formed with matras. Aavartan - A complete cycle of a taal is called Aavartan. Eg: a full cycle of teentaal complets in 16 beats or jhaptaal complets in 10 beats or any other taal played on a percussion instrument , completes one avartan. A series of avartans are played on the percussion instrument for continuation of the rhythm. Bol - Syllabic names used for the different stroked on tabla/pakhawaj are called bols. They are also called Pataksharas or mnemonics. Vibhag - Each section of a taal is called vibhag. A vertical line demarcates the sections.Eg: Teentaal is divided into four vibhags. Theka - When a taal is played on the rhythm instrument , without variation it is called a Theka. Sam - The first beat of a taal is called Sam. When a taal is played on a percussion instrument, Sam is always emphasised for clear distinction from the other beats. It is marked with the symbol “x”. Khali - Khali means empty or blank. While playing a taal on the tabla, when the left hand is not used it is called Khali. It is indicated with the symbol “o”. Tali - A clap of the hands on the strong matra of sam and/or the first matra of subsequent vibhags except khali is called tali. An example of a taal is given below - Taal - Teentaal Matra - 16 Vibhag - 4

8. Musical Forms (Composition Styles) Hindustani music has recognized two broad categories of musical forms: Nibaddha and Anibaddha.

Anibaddha - The word anibaddha means “not bound”. The music which is not set within the limitations of a framework like a song and has no rhythmic structure as taal or defined sectional arrangements is called Anibaddha. Nibaddha - Nibaddha on the other hand means “bound” or set within a frame. A song or an instrumental piece with definite parts, set to a taal and having a defined beginning and end is a Nibaddha form. Another word used for a composed form, particularly a song , is prabandha - that which is well bound. Current composed forms in Hindustani music are: Dhrupad, Dhamar, Khayal, Tarana, Tappa, Thumri, Dadra, Masitkhani Gat and Razakhani Gat. Dhrupad - Dhruvapad which is now known as Dhrupad means a song of the fixed state of mind. Dhruva means fixed and Pada means song in sanskrit language. Dhrupad is a deep and sedate style of classical music. The composition is divided into four parts - sthai, antara, sanchari and abhog. Present forms of Dhrupad mostly have only sthai and antara. It is sung with the accompaniment of pakhawaj, weaving intricate rhythmic patterns and set to chautaal, tivra or sultaal. Dhamar- Dhamar is a lighter form of dhrupad, sung invariably in Dhamar taal. The lyrics generally describe the playful acts of Radha, Krishna and Holi, a spring festival. Dhamar also has two parts sthai and antara. Khayal - Khayal is a Persian word which means a thought or imagination. Adhering to the basic rules of the raga when a song is adorned with various techniques and sung creating diverse melodic patterns, it is called Khayal. In comparison to Dhrupad, Khayal has greater freedom. Khayals are of two types: Vilambit or Bada Khayal and Drut or Chota Khayal.Khayal also comprises of Sthai, Antara, Mukhda, Alap and Taan. Bada khayal is set to Ektaal, Tilwada or Jhumara taal whereas chotta khayal is set to Teentaal, Ektaal or Jhaptaal. Sthai - It is the first part of a composition. In sthai, the composition mainly develops in the lower and middle octave. Antara - It is the second part of the composition. In antara, the composition mainly develops in the middle and higher octave. Mukhda - The key phrase of the text of the composition which is repeated after every taan, alap and boltaan when played or sung is called mukhda. Aalap - Free extemporization of a raag, emphasising on the vadi, samvadi, alpatva, bahutva, purvang, uttarang and other salient features in a slow tempo is called aalap. It can be sung in aakar that is without pronouncing any syllables, only using the sound of vowel Aa. Some singers use syllables like teri, nom, tom etc to improvise the notes.It is a very expressive

form of singing and playing. Aalap also reflects the depth, creativity,training and temperament of the musician. In instrumental music Aalap is very extensively played and followed by jod alap and jhala. Taan - Taan refers to playing or singing greater number of notes in a shorter span of time.There are varieties of taans like saral, sapat, vakra and gamak taan etc incorporating different characteristics of the phrases and techniques. Tarana - Tarana is a classical form but the composition does not have any poetical beauty because it uses only bols or syllables such as Ta, Na, De, Re, Odane etc which have no meaning are used. It is sung in a very fast tempo. So this style involves a great deal of practise , skill and technique. Rhythm is important in tarana. Like khayal, tarana also has two parts: sthai and antara. Tappa - Tappa is a classical form of singing which originated from Punjab. In this compositional form, the movements of the phrases are very quick. Thumri - Thumri is a very sweet and melodious form expressing the soft and tender sentiments of love. Normally the compositions are short but the singer while improvising the composition embellishes it with a variety of melodic patterns and techniques in order to express diversified sentiments. Thumris are composed in the ragas which convey a lighter mood such as - Khamaj, Pilu, Bhairavi, Tilang, Pahari etc. The taal used for the compositions are Deepchandi (14 beats), Teental ( 16 beats) and Dadra ( 6 beats). Dadra - Dadra is a light classical vocal form.It was originally accompanied by dadra taal (from where the term for the genre was borrowed), but now dadra compositions are often found in other light talas such as kehrwa. Gat - Gat in its most general sense means a fixed composition. As such, one can find gats for both melodic instruments as well as rhythmic instruments like the tabla. However, the most usual use of the word implies the fixed composition for melodic instruments.Gat is a structure very much like the sthai in the vocal tradition. It has a fully developed cycle and is invariably accompanied by the tabla. Gats are of two types - Masitkhani and Razakhani. Masitkhani Gat - The masitkhani is the basic slow gat. It essentially is set to teentaal and has a fixed pattern of mizrab(plectrum) bols. Razakhani Gat - The razakhani is the fast gat. It starts from madhya laya and goes upto ati drut laya which is set to teentaal. It has variety of mizrab bols woven rhythmic and melodic patterns. It is concluded with jhala. 9. Music Concerts or Presentation An artist performing in a concert follows a structure in his/her performance. He/she starts with anibaddha alaps followed by the composition which is set to a certain taal. In continuation with this, the artist sings/ plays nibaddha alaps and taans which are also bound by taal. To enhance the beauty of the composition the performer uses various embellishments like gamak, khatka, murki, meend and zamzama. Hindustani music concerts are of different types like vocal, instrumental, jugalbandi, fusion and so on. Vocal and Instrumental concerts can be performed by a single artist or sometimes by two or more people too. Jugalbandi concerts are those where two artists perform two systems like the Karnatak music and Hindustani music simultaneously on the same stage. Eg: one artist might play a south Indian piece in one raga and the other artist might play a parallel hindustani piece in an equivalent raga. This is applicable for vocal and instrumental. Fusion concerts involve music systems of different cultures from different countries.

Solo vocal performance by Pt. Vidyadhar Vyas

Solo vocal performance by the known Pandit Jasraj

Solo Sitar performance by Prof. Suneera Kasliwal Vyas

Duet performance by famous Pandit Rajan Sajan Mishra

Jugalbandi between Dr. Balamurali Krishna, a well known Karnatak vocalist and Pt. Bhimsen Joshi, a renowned vocalist of Hindustani Music.

Fusion of Hindustani Music and Western Music. Pt. Ravishankar(Sitar), Ustad Alla Rakha(tabla) and Yehudi Menuhin ( violin player) 10. Hindustani Music Education Hindustani music is traditionally learnt from a guru(teacher). Earlier a student who wished to pursue music lessons would stay with his/her teacher for years and learn the art from him/her. This was called the Guru Shishya Parampara. With time this trend changed and students began to go to the teacher’s house, learn music and come back home. Nowadays many institutions and organisations have sprung up to impart training in music. It has also become one of the important courses in the school curriculum and higher education stream. Online and skype classes are also becoming very popular.