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SANGEETHA VAIBHAVAM 25 Apr 13 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 Sangeetha Vaibhavam Salutations to all. AMMA or Sadguru Mata Amritananamayi Devi says that music is the very essence of life – we find that music can be found in our breath itself. Everything in the world has a particular musical aspect to it though only true musicians will be able to understand and appreciate the same. Unless we are able to understand the various rhythms in the world, we will not be able to live in harmony with nature. When nature is in disharmony we will find lot of natural calamities like hurricane, flood etc. happening. Though man has progressed quite a lot with respect to technology as well as making living as pleasant as possible there is absolutely no answer to natural calamities. Only recently we found that the great nation of Japan didn’t stand a chance for the big earthquake as well as the tsunami that wreaked havoc. Though there are means to figure out if natural calamities are about to happen, such means aren’t foolproof and majority of time such means fail miserably. Therefore rather than trying to find out ways to live pleasantly in the world we should try to find a way to live harmoniously with nature. Many initiatives like planting trees, recycling etc. are required in order to bring harmony into nature. Unless nature’s harmony or calmness is maintained, there will be more and more natural calamities which have absolutely no answer from us. The easiest way to bring harmony to nature is through music. As mentioned, everything has a tune and rhythm to it. If and when we are able to find Ishwara as pervading the entire world, then we will be able to appreciate the harmony in everything. In order to perceive Ishwara as pervading the entire world, we have to get rid of duality. Duality cannot easily be got rid of in our mind and the easiest way to get rid of duality is to merge the mind unto Ishwara. The way one achieves this is through singing the divine names of the Lord. The purpose of this magazine is to instigate the mind to start focusing on the Lord through the nuances of music. The more and more a person dwells into music, he will find that he cannot stay away from music. Music overpowers such a person and thereby he will be able to ever rejoice in bliss singing the names of the Lord. The love towards Lord through vision of oneness will flow to the entire world thereby bringing harmony to the world. Wherever such a person lives, there will be harmony and balance of nature. http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 1 of 22 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 May we all strive to develop passion and love towards Ishwara through music so that not only will we bring balance in nature, we will also be able to achieve the ultimate goal of life as moksha and will be able to ever rejoice in bliss here and now itself. AUM NAMAH SHIVAYA nd Apr 22 http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 2 of 22 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 Anukramaanika Sangeetha Vaibhavam .................................................................................................................................. 1 Sangeetha Prakaashanam ............................................................................................................................. 4 Hindustani Vivaranam ................................................................................................................................... 7 Raaga Vivaranam ........................................................................................................................................ 10 Kriti Deepam ............................................................................................................................................... 11 Acharya Arpanam ........................................................................................................................................ 15 Ishwara Smaranam ..................................................................................................................................... 18 Anukramaanika Nirdesham ........................................................................................................................ 22 http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 3 of 22 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 Sangeetha Prakaashanam In the previous months, we saw about Ragaand various aspects of Raga. In this article, we will see about Talam. Talam is the rhythm aspect of the song, which adds the value as to how the song has to be sung. Whether the song is slow paced song or fast paced or how long each notes have to be sung. Though there will be side percussion instrument that would accompany a vocalist while singing, the singer would normally would indicate the talam in their gesture of either clapping or tapping on the thigh. There are 3 basic hand movements used in talam– downward beating with palm facing down is called Thattu, beating with palm facing up is called veechu and then counts using the fingers starting from little finger. Based on these types of talam gestures, there are 3 important terms. 1. Laghu: Laghu is one thattu followed by specified number of counts. It is normally represented by ‘|’. Laghu of 4 is represented as | 4 is represented by 1 thattu and 3 counts starting from the little finger. 2. Dhrutam: Dhrutam is one thattu and one veechu. This is represented by ‘0’. 3. Anudhrutam: Anudhrutam is one thattu. This is represented by ‘U’ Based on these types of beats following are 7 types of Talam and their representation 1. DhruvaTalam - |0|| 2. MattyaTalam - |0| 3. RoopakaTalam – 0| 4. TriputaTalam - |00 5. JhampaTalam - |U0 6. Ata Talam – ||00 7. EkaTalam - | The Laghu in each of the talam above could be any of the following counts 1. Tisram–count of 3 2. Chatusram – count of 4 3. Khandam – count of 5 4. Misram – count of 7 5. Sankeernam – count of 9 http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 4 of 22 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 When we include these 5 counts to each of the 7 talam, we get total of 35 talams. Each of the Laghu count type is called Jati. For example, if we consider laghu of 4 in Dhruvatalam we say it ChatusraJatiDhruvatalam. If we consider laghu of 3 in TriputaTalam, we say it as TisraJatiTriputaTalam. Each beat is termed as an Aksharam and the gap between two aksharams is called Nadai. The number of swaras that can come between two aksharas form the Nadai. The nadai also could be one of Tisram, Chatusram, Khandam, Misram and Sankeernam. So for example, if we have nadai of Tisram in TriputaTalam with ChatusraJati, we say it as TisranadaiChatusraJatiTriputaTalam. This means that between each akshara of ChatusraJatiTriputaTalam, there could be 3 swaras in it. Thus, including 5 nadai for each jati of each talam we may end up getting 175 patterns of talam. Sometimes, talam names are used without indicating the Laghu and they are to be interpreted as: Eka (ChatusraEka), Roopaka (ChatusraRoopaka), Triputa (TisraTriputa), Jhampa (MisraJhampa), Ata (Khanda Ata). ChatusraRoopakatalam is represented by 2 thattu and 1 veechu. There are also some of the most famous named talams such as AdiTalam, KhandaChapu and MisraChapu. When we see AdiTalam, it has a laghu of 4, Dhrutam and Dhrutam and thus this belongs to ChatusraJatiTriputaTalam. KhandaChapuis normally represented by one thattu of 2 aksharam, 1 veechu of 1 aksharam and 1 veechu of 2 aksharams. It can be considered as MisraJatiJampaTala or Khandaekatalam. MisraChapu is normally represented by two veechu, one representing 1 aksharam and another representing 2 aksharams and then two thattu, each thattu representing 2 aksharams. MisraChaputalam is considered as ThisraJatiTriputaTalam. Kaalam or the time period of the talam is one of the aspect of the rhythm. A song could have one tempo or multiple tempos in the same song. The middle tempo is called MadhyamaKalam. The most popular way of saying about different kalams are first kalam (which corresponds to the MadhyamaKalam), second kalam and Third Kalam. In first kalam, each swaram is sung for each aksharam. In second kalam, two swaras are sung between two beats and in third kalam four swaras are sung between each beat. When we double the tempo from MadhyamaKalam it is DhurithaKalam and when we halve it is chowkakalam. There is one more aspect of Talam, the starting point of the song and this is denoted by the term Eduppu. Most of the songs would start at the first beat and they are termed as http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 5 of 22 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 SamaEduppu. Some songs would start after the first beat and it is indicated by anaagathaedupu and some start before the first beat and it is indicated by atheethaeduppu. There are two major type of talam called Deshadi and Madhyadi. These are represented by AdiTalam only by the song start after samam. In Madhyaditalam, the song start after ½ aksharam and in Deshaditalam, the song start after 1 and ½ aksharas. The famous song Bantu reethikolo in the Raga Hamsanandi is in DeshadiTalam. http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 6 of 22 AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 Hindustani Vivaranam Talas In the previous magazine we learnt about the various thaats in Hindustani Music. We also saw as to how intonation of svaras makes a big difference in ragas that have the svaras, yet are so vastly different from one another. The three aspects
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