'Glossary of Terms in Indian Classical Music'

Introduction to the course

Chapter 1

Sub topic 1

SANGEET

In Indian classical music, Sangeet encompasses a rich tapestry of vocal, instrumental, and dance forms. It is not merely an auditory experience but a holistic expression of artistry that engages multiple senses.

At its core, Sangeet is a seamless integration of melody, rhythm, and expression. Vocal music, with its intricate ragas and soulful renditions, forms the backbone of Sangeet. The human voice, capable of conveying a wide range of emotions and nuances, takes center stage in this art form.

Instruments, both traditional and contemporary, play a vital role in Sangeet. Each instrument, whether it's the sitar, tabla, flute, or violin, brings its unique timbre and character to the ensemble, adding depth and dimension to the music.

Dance, another integral component of Sangeet, adds a visual dimension to the auditory experience. Through graceful movements and expressions, dancers interpret the rhythms and melodies of the music, enhancing its aesthetic appeal and storytelling.

Sangeet is not confined to performance alone; it is deeply rooted in tradition and spirituality. It is a means of connecting with one's inner self, invoking feelings of devotion, joy, or melancholy, depending on the mood of the composition.

Moreover, Sangeet is a dynamic and evolving art form, blending traditional elements with contemporary influences. It transcends boundaries of language, culture, and geography, serving as a universal language that unites people across the world.

In essence, Sangeet is a celebration of creativity, expression, and harmony, embodying the rich cultural heritage of India and serving as a timeless source of inspiration and delight for generations to come.

TOPIC 2

NAAD

In a master class, the concept of "Naad" is explored with depth and precision. Naad, in essence, represents the primal essence of sound, resonating within the fabric of the universe. It goes beyond the mere auditory experience, encompassing vibrations that are both audible and transcendent.

Participants in the master class are guided to understand Naad as the foundational element of music, serving as the bedrock upon which melodies, rhythms, and harmonies are built. Through this exploration, they gain insight into the intricate interplay of sound frequencies and their profound impact on human consciousness.

Moreover, the master class delves into the spiritual and philosophical dimensions of Naad, highlighting its significance in various cultural and religious traditions. Participants are encouraged to contemplate the universal resonance of Naad and its role in fostering a deeper connection with oneself and the cosmos.

Practical exercises and demonstrations may be employed to elucidate the concept further, allowing participants to experience Naad firsthand through vocalization, instrument playing, or meditative practices. By immersing themselves in the vibrational energy of Naad, participants can unlock new avenues of creativity, self-awareness, and spiritual growth.

Overall, the master class provides a comprehensive exploration of Naad, empowering participants to appreciate its profound significance in both musical and spiritual contexts. Through engaging discussions, experiential learning, and reflective practices, participants emerge with a deeper understanding of Naad and its transformative potential in their lives.

TOPIC 3

GHONGHAT

"Ghonghat" is elucidated as a sound characterized by its sharpness and lack of suitability for musical expression. It embodies frequencies that are irregular and disruptive to the harmonious flow of music. Just as an object ill-suited for a particular task cannot fulfill its purpose effectively, Ghonghat finds limited utility in musical contexts. It is a term reserved for frequencies that lack consistency or stability, resulting in an unpleasant auditory experience. The discussion surrounding Ghonghat in a master class may emphasize the importance of discerning and utilizing sounds that contribute positively to musical compositions, while recognizing the limitations of disruptive frequencies.

Chapter 2

ANDOLAN

"andolan" would involve breaking down the concept of oscillation frequencies in musical instruments, particularly string instruments like the tanpura and sitar. Here's how you could describe it:

"Andolan" is a term used in Indian classical music to describe the oscillation or vibration frequency of a string on a musical instrument. Imagine plucking a string on a sitar or tanpura. That string doesn't just sit still; it vibrates back and forth, creating sound waves that we perceive as musical notes.

Now, what determines the pitch of that note? It's the frequency of those vibrations. If the string vibrates slowly, we hear a low pitch; if it vibrates quickly, we hear a high pitch. This frequency of vibration is what we refer to as "andolan."

But here's where it gets interesting. Each string has its own natural frequency of oscillation, depending on factors like its length, thickness, and tension. When we pluck or strike a string, it vibrates at its natural frequency, producing a specific note.

Now, in Indian classical music, we often play multiple strings together to create harmonies or melodies. To ensure that these strings harmonize perfectly, we need to tune them to the same frequency. This process of tuning involves adjusting the tension of each string until its andolan matches that of the others.

Why is this important? Well, imagine playing a chord on a guitar where each string is slightly out of tune. It would sound dissonant and unpleasant, right? Similarly, if the strings of a tanpura or sitar aren't perfectly tuned, it can disrupt the harmony of the music.

In essence, andolan is crucial because it determines the pitch and quality of the sound produced by a string instrument. By understanding and controlling these oscillation frequencies, musicians can create beautiful, harmonious music that resonates with listeners.

So, in our master class, we'll dive deep into the intricacies of andolan, exploring how it shapes the sound of our instruments and influences our musical performances. Through practice and experimentation, we'll learn how to tune our instruments precisely, unlocking new levels of musical expression and artistry.

TOPIC 2

SHRUTI

Shruti" is a fundamental concept in Indian classical music that refers to the subtle variations in pitch and intonation. It's often described as the microtonal intervals between musical notes, allowing for an incredible richness and depth of expression in our music.

Think of shruti as the fine-tuning of musical notes, akin to adjusting the focus on a camera lens to capture the smallest details. While Western music primarily relies on a system of 12 evenly spaced notes within an octave, Indian classical music recognizes numerous microtonal intervals, or shrutis, within each octave.

These shrutis are incredibly subtle, sometimes as small as a fraction of a semitone. They allow musicians to infuse their performances with exquisite nuances of emotion and mood, creating a deeply immersive and captivating musical experience.

So, why are shrutis so important? Well, imagine a singer performing a raga. As they navigate through different notes and phrases, they subtly modulate their pitch to evoke specific emotions or convey particular meanings. These subtle variations in pitch, known as shrutis, are what give Indian classical music its distinctive flavor and emotional depth.

In our master class, we'll explore how to identify and utilize shrutis effectively in our music. We'll learn how to navigate the intricate nuances of pitch, experimenting with different microtonal intervals to express ourselves more fully through our performances.

Through listening exercises, vocal drills, and practical demonstrations, we'll develop a deeper understanding of shruti and its role in Indian classical music. By mastering the art of shruti, we can elevate our performances to new heights, captivating audiences with the beauty and intricacy of our music.

Types of Notes (Sur) in Indian Classical Music

In Indian classical music, the concept of "Sur" or musical notes is fundamental. The term "Sur" refers to the pitch or frequency of a sound, and in the context of music, it denotes the specific notes used to create melodies. There are various types of notes, each with unique characteristics and roles in the musical system. Here’s an explanation of the different types of notes (Sur) in Indian classical music:

1. Shuddha Swara (Pure Notes):

• Definition: These are the natural, unaltered notes in the octave.

• Notes: There are seven Shuddha Swaras in an octave: Sa (Shadja), Re (Rishabh), Ga (Gandhar), Ma (Madhyam), Pa (Pancham), Dha (Dhaivat), and Ni (Nishad).

• Example: The sequence of Shuddha Swaras in an octave is Sa Re Ga Ma Pa Dha Ni Sa.

2. Komal Swara (Flat Notes):

• Definition: These are notes that are lowered by one semitone (half step) from their natural (Shuddha) position.

• Notes: Komal notes are Re (Rishabh), Ga (Gandhar), Dha (Dhaivat), and Ni (Nishad).

• Example: In the context of Raga Bhairav, the Re and Dha are sung as Komal (flat), making the scale Sa komal Re Ga Ma Pa komal Dha Ni Sa.

3. Tivra Swara (Sharp Notes):

• Definition: These are notes that are raised by one semitone (half step) from their natural (Shuddha) position.

• Notes: The only Tivra note is Ma (Madhyam).

• Example: In Raga Yaman, the Ma is sung as Tivra, making the scale Sa Re Ga Tivra Ma Pa Dha Ni Sa.

4. Achal Swara (Fixed Notes):

• Definition: These are notes that do not change their position in any raga.

• Notes: Sa (Shadja) and Pa (Pancham) are always Achal.

• Example: In any raga, Sa and Pa remain constant and unaltered.

5. Vikrit Swara (Altered Notes):

• Definition: These are notes that can be altered (either raised or lowered) depending on the raga.

• Notes: Re (Rishabh), Ga (Gandhar), Ma (Madhyam), Dha (Dhaivat), and Ni (Nishad) can all be Vikrit.

• Example: In Raga Yaman, Ma is Tivra (altered to a sharp note), while in Raga Bhairav, Re and Dha are Komal (altered to flat notes).

Understanding the Roles and Usage of Notes in Ragas:

1. Shuddha, Komal, and Tivra Notes in Practice:

   • Each raga uses a specific combination of these notes to create its unique identity.

   • For instance, Raga Bhupali uses only Shuddha notes: Sa Re Ga Pa Dha Sa.

2. Alankar (Ornaments):

   • Notes can be adorned with various ornaments to enhance the raga's beauty, such as Meend (glide), Gamak (oscillation), and Andolan (vibrato).

3. Vadi and Samvadi:

   • Vadi: The most prominent note in a raga.

   • Samvadi: The second most prominent note, often complementing the Vadi.

   • Example: In Raga Yaman, Ga (Gandhar) is the Vadi, and Ni (Nishad) is the Samvadi.

4. Usage in Performance:

   • During a performance, musicians will emphasize the Vadi and Samvadi notes and use specific phrases (Pakad) that highlight these notes to establish the raga’s mood.

Practical Application:

To fully grasp the types of notes, students should:

• Listen to Performances: Identify the different types of notes being used in various ragas.

• Practice Scales: Sing or play scales (Aroha and Avaroha) of different ragas to understand how the notes are utilized.

• Identify Patterns: Pay attention to the characteristic phrases (Pakad) and how they emphasize certain notes.

Conclusion:

Understanding the types of notes (Sur) in Indian classical music is crucial for appreciating and performing this rich musical tradition. By studying Shuddha, Komal, Tivra, Achal, and Vikrit notes, and their application in ragas, students can develop a deeper insight into the structure and expression of Indian classical music.

Types of Notes (Swar) in Indian Classical Music

In Indian classical music, notes (swar) are the basic units of melody. These notes are categorized based on their pitch and the way they are used within various ragas. The categories include Achal, Komal, Tivra, and Shuddha Swaras. Here is a detailed explanation of each:

1. Achal Swara (अचल स्वर) - Fixed Notes:

• Definition: Achal Swaras are notes that do not vary or change their pitch in any raga. They remain constant and are not altered.

• Notes: The Achal Swaras are Sa (Shadja) and Pa (Pancham).

• Characteristics:

  • Sa and Pa act as the foundational notes in any raga and provide stability.

  • They are not rendered as either flat (Komal) or sharp (Tivra).

2. Shuddha Swara (शुद्ध स्वर) - Pure Notes:

• Definition: Shuddha Swaras are the natural, unaltered notes in the scale.

• Notes: There are seven Shuddha Swaras in an octave: Sa (Shadja), Re (Rishabh), Ga (Gandhar), Ma (Madhyam), Pa (Pancham), Dha (Dhaivat), and Ni (Nishad).

• Characteristics:

  • They form the basic structure of the octave (Saptak).

  • Example Scale: Sa Re Ga Ma Pa Dha Ni Sa.

3. Komal Swara (कोमल स्वर) - Flat Notes:

• Definition: Komal Swaras are notes that are flattened by one semitone (half step) from their Shuddha position.

• Notes: Re (Rishabh), Ga (Gandhar), Dha (Dhaivat), and Ni (Nishad) can all be Komal.

• Characteristics:

  • They provide a softer and often more emotional sound to the raga.

  • Example: In Raga Bhairav, Re and Dha are sung as Komal (Sa komal Re Ga Ma Pa komal Dha Ni Sa).

4. Tivra Swara (तीव्र स्वर) - Sharp Notes:

• Definition: Tivra Swaras are notes that are sharpened by one semitone (half step) from their Shuddha position.

• Notes: The only Tivra note is Ma (Madhyam).

• Characteristics:

  • It adds a sharper, more intense sound to the raga.

  • Example: In Raga Yaman, Ma is sung as Tivra (Sa Re Ga Tivra Ma Pa Dha Ni Sa).

Practical Application in Ragas:

1. Achal Swara Usage:

   • Sa and Pa provide a base for other notes and are frequently used as points of reference in compositions and improvisations.

2. Shuddha Swara Usage:

   • They form the basic scale and are used in their natural pitch.

   • Ragas like Bilawal use only Shuddha Swaras (Sa Re Ga Ma Pa Dha Ni Sa).

3. Komal Swara Usage:

   • Used to create specific moods and emotions.

   • Ragas like Bhairav and Bhimpalasi use Komal notes to create their unique sound.

4. Tivra Swara Usage:

   • Adds a distinctive sharpness to the raga.

   • Ragas like Yaman and Marwa utilize the Tivra Ma for their characteristic phrases.

Example Ragas:

• Raga Bhairav:

  • Aroha: Sa komal Re Ga Ma Pa komal Dha Ni Sa

  • Avaroha: Sa Ni komal Dha Pa Ma Ga komal Re Sa

• Raga Yaman:

  • Aroha: Sa Re Ga Tivra Ma Pa Dha Ni Sa

  • Avaroha: Sa Ni Dha Pa Tivra Ma Ga Re Sa

Understanding Through Practice:

1. Listen to Recordings: Hear renditions of different ragas and identify the use of Achal, Shuddha, Komal, and Tivra Swaras.

2. Sing or Play Scales: Practice singing or playing the scales (Aroha and Avaroha) of different ragas to internalize the sound of each type of note.

3. Identify in Compositions: While listening to or performing a composition, identify which notes are Shuddha, Komal, or Tivra and how they contribute to the raga's mood.

Conclusion:

Understanding Achal, Komal, Tivra, and Shuddha Swaras is crucial for mastering Indian classical music. These notes are the building blocks of ragas and are essential for creating the unique emotional and tonal landscape of each raga. By studying and practicing these notes, musicians can develop a deeper appreciation and proficiency in Indian classical music.

CHAPTER 3

SWARON KE NAAM

VADI , SAMVADI, VARJIT& VIVAADI

In Indian classical music, the concepts of Vadi, Samvadi, Varjit, and Vivadi play a crucial role in the structure and aesthetics of a raga. Here’s an explanation of each term:

1. Vadi (वादी):

   • Definition: The Vadi is the most prominent and important note in a raga. It is the note that is emphasized the most and serves as a melodic focal point.

   • Role: The Vadi note often acts as the principal note around which the raga is constructed. It is frequently repeated, highlighted, and used as a point of rest (nyasa swara).

   • Example: In the raga Yaman, the Vadi is Ga (G).

   • 
     

2. Samvadi (संवादी):

   • Definition: The Samvadi is the second most important note in a raga, often complementing the Vadi. It is usually the fourth or fifth note from the Vadi, depending on the raga's structure.

   • Role: The Samvadi note supports the Vadi and helps in creating a balanced and harmonious musical framework. It adds to the mood and emotion of the raga.

   • Example: In the raga Yaman, the Samvadi is Ni (N).

   • 
     

3. Varjit (वर्जित):

   • Definition: Varjit refers to the notes that are omitted in a particular raga. These notes are deliberately left out in the ascent (Arohana), descent (Avarohana), or both.

   • Role: The omission of certain notes helps in distinguishing one raga from another and contributes to the unique identity and flavor of the raga.

   • Example: In the raga Bageshree, the notes Re (R) and Dha (D) are varjit in the ascent (Arohana).

   • 
     

4. Vivadi (विवादी):

   • Definition: Vivadi notes are the dissonant or discordant notes that are usually avoided in a raga because they can create tension or clash with the overall mood of the raga.

   • Role: While generally avoided, some ragas may use Vivadi notes sparingly and with careful ornamentation to enhance the raga's expression and to create a specific emotional impact.

   • Example: In the raga Marwa, Re (R) can be considered a Vivadi note as it creates a certain tension when used in the raga.

Understanding these elements is essential for the performance and appreciation of Indian classical music, as they contribute to the distinctive character and emotional expression of each raga.

CHAPTER 3

SWARON KE NAAM

VADI , SAMVADI, VARJIT& VIVAADI

In Indian classical music, the concepts of Vadi, Samvadi, Varjit, and Vivadi play a crucial role in the structure and aesthetics of a raga. Here’s an explanation of each term:

1. Vadi (वादी):

   • Definition: The Vadi is the most prominent and important note in a raga. It is the note that is emphasized the most and serves as a melodic focal point.

   • Role: The Vadi note often acts as the principal note around which the raga is constructed. It is frequently repeated, highlighted, and used as a point of rest (nyasa swara).

   • Example: In the raga Yaman, the Vadi is Ga (G).

   • 
     

2. Samvadi (संवादी):

   • Definition: The Samvadi is the second most important note in a raga, often complementing the Vadi. It is usually the fourth or fifth note from the Vadi, depending on the raga's structure.

   • Role: The Samvadi note supports the Vadi and helps in creating a balanced and harmonious musical framework. It adds to the mood and emotion of the raga.

   • Example: In the raga Yaman, the Samvadi is Ni (N).

   • 
     

3. Varjit (वर्जित):

   • Definition: Varjit refers to the notes that are omitted in a particular raga. These notes are deliberately left out in the ascent (Arohana), descent (Avarohana), or both.

   • Role: The omission of certain notes helps in distinguishing one raga from another and contributes to the unique identity and flavor of the raga.

   • Example: In the raga Bageshree, the notes Re (R) and Dha (D) are varjit in the ascent (Arohana).

   • 
     

4. Vivadi (विवादी):

   • Definition: Vivadi notes are the dissonant or discordant notes that are usually avoided in a raga because they can create tension or clash with the overall mood of the raga.

   • Role: While generally avoided, some ragas may use Vivadi notes sparingly and with careful ornamentation to enhance the raga's expression and to create a specific emotional impact.

   • Example: In the raga Marwa, Re (R) can be considered a Vivadi note as it creates a certain tension when used in the raga.

Understanding these elements is essential for the performance and appreciation of Indian classical music, as they contribute to the distinctive character and emotional expression of each raga.

CHAPTER 4

MANDRA, MADHYA & TARSAPTAK

The range from the 'Sa' of the middle octave (Madhya Saptak) to the 'Sa' of the higher octave (Taar Saptak) is what we call a Saptak. As I mentioned earlier, a Saptak is completed when you reach the higher 'Sa' (Taar Saptak Sa). To feel complete, we sing 'Sa Re Ga Ma Pa Dha Ni Sa'. Even though the higher 'Sa' (upper 'Sa') is considered a second 'Sa', it is still counted within the same octave because it is the same note, just written differently.

There is also another form, which is the 'Mandra Saptak Sa'. As I am explaining, 'Mandra' refers to the lower octave, 'Madhya' means the middle octave, and 'Taar' refers to the higher octave.

• 'Madhya' means middle, like when we talk in a middle pitch.

• When we speak in a slightly lower tone, it is 'Mandra'.

• A slightly higher tone is 'Taar Saptak'.

The lower octave is the 'Mandra Saptak', the middle octave is the 'Madhya Saptak', and the higher octave is the 'Taar Saptak'. Each comes with different tonal qualities.

The higher notes are produced from above your head; the vibrations are consciously felt in the head. Singing regularly is very important so that you can develop an understanding of the notes.

These are the varieties of Mandra, Madhya, and Taar Saptak.

Just as in a Saptak we see the notes Sa Re Ga Ma Pa Dha Ni Sa, and we have also seen the concept of Vadi Swar in a raga, the Saptak is divided into two parts for better organization. The Saptak is divided into two parts to better organize it, just like India is one country but divided into different states like Gujarat, Maharashtra, etc., for better administration. Although the states are different, they are all part of the same country, just like different foods on the same plate. Similarly, the Saptak is divided into two parts: Purvang and Uttarang.

How do we divide the seven notes into two parts?

• The first part is Sa Re Ga Ma Pa

• The second part is Ma Pa Dha Ni Sa

You can see that Ma and Pa are used in both parts, similar to how borders of different states can overlap.

Now, the Vadi Swar of a raga determines the character of the raga based on which part of the Saptak it is in. For example, in the raga Bhupali, the Vadi Swar is Gandhar (Ga), which is in the Purvang part of the Saptak. Hence, Bhupali is considered a Purvang Vadi raga. Similarly, if the Vadi Swar of a raga is in the Uttarang part, that raga is considered Uttarang Pradhan.

In this way, the part of the Saptak in which the Vadi Swar of a raga falls helps decide the nature of the raga. This division is not mandatory, meaning it is not compulsory to always sing in the middle (Madhya) or lower (Mandra) octaves, but singing more in the Madhya and Mandra octaves helps create the atmosphere of the raga. These are not strict rules but rather steps to enhance our raga singing or playing.

CHAPTER 5

RAAG CHALAN

We have seen which notes are used in a raga and all its details. Now, let's understand the structure and grammar of a raga, which includes its Aroha (ascent) and Avaroha (descent). To show which notes are included in a raga, the Aroha and Avaroha are sung.

Aroha refers to the ascending order of notes from Sa to the upper Sa, similar to climbing a mountain. Avaroha refers to the descending order of notes from the upper Sa to the lower Sa.

For example, in the raga Bhupali, the notes Ma and Ni are omitted. Therefore, its Aroha is: Sa Re Ga Pa Dha Sa, and its Avaroha is: Sa Dha Pa Ga Re Sa.

The Pakad of a raga refers to a distinctive phrase or sequence of notes that helps identify the raga. It's like the main signature of the raga, making it recognizable through its specific grammar and identity.

The Pakad, along with the Aroha and Avaroha, helps us understand the Chalan (movement) of the raga. It also helps identify the Vadi (most important note) and Samvadi (second most important note) and the main characteristics of the raga.

For example, in the raga Bhupali, the Pakad is: Pa Ga Dha Pa Ga Re Ga Re Sa. The most frequently sung note in this raga, which is Ga, indicates the Vadi Swar.

By understanding these elements, we can identify and differentiate ragas effective

Key Concepts in Indian Classical Music:

1. Raga (राग):

   • A raga is a framework for musical composition in Indian classical music, characterized by a specific set of notes, motifs, and a unique mood or emotion (rasa). Each raga is distinguished by its specific rules for how the notes can be used and the characteristic phrases that define its identity.

2. Aroha (आरोह):

   • Definition: The Aroha is the ascending scale of a raga, describing the order in which the notes are played or sung in an upward sequence.

   • Example: In the raga Bhupali, the Aroha is: Sa Re Ga Pa Dha Sa.

3. Avaroha (अवरोह):

   • Definition: The Avaroha is the descending scale of a raga, detailing the order in which the notes are played or sung in a downward sequence.

   • Example: In the raga Bhupali, the Avaroha is: Sa Dha Pa Ga Re Sa.

4. Pakad (पकड़):

   • Definition: The Pakad is a distinctive melodic phrase that captures the essence of the raga. It is a recognizable motif that makes the raga easily identifiable.

   • Example: In the raga Bhupali, the Pakad is: Pa Ga Dha Pa Ga Re Ga Re Sa.

5. Chalan (चलन):

   • Definition: The Chalan refers to the characteristic movement of a raga, including typical note patterns and the way phrases are constructed. It encompasses the Aroha, Avaroha, and Pakad and shows how the notes flow within the raga.

   • Example: The Chalan of raga Bhupali would involve typical phrases such as: Sa Re Ga, Pa Ga, Dha Pa, Ga Re Sa.

Additional Key Elements:

1. Vadi (वादी):

   • Definition: The Vadi is the most important and prominent note in a raga. It is often emphasized and used frequently.

   • Example: In the raga Bhupali, the Vadi is Ga (Gandhar).

2. Samvadi (संवादी):

   • Definition: The Samvadi is the second most important note in a raga, often harmonizing with the Vadi.

   • Example: In the raga Bhupali, the Samvadi is Dha (Dhaivat).

3. Rasa (रस):

   • Definition: The emotional essence or mood conveyed by a raga. Each raga is designed to evoke a specific feeling or atmosphere.

   • Example: Raga Bhupali often evokes a feeling of devotion and serenity.

4. Jati (जाति):

   • Definition: The classification of a raga based on the number of notes in the Aroha and Avaroha. There are three main types:

     • Audava (औडव): Five notes

     • Shadava (षडव): Six notes

     • Sampoorna (सम्पूर्ण): Seven notes

5. Vakrata (वक्रता):

   • Definition: The use of notes in a non-linear fashion, where the raga may take a zigzag path (vakra gati) instead of a straight ascent or descent.

   • Example: In some ragas, phrases might move like Sa Re Ma Ga Pa instead of the straightforward Sa Re Ga Ma Pa.

Practical Application:

Understanding these elements helps performers and listeners alike to identify and appreciate the unique characteristics of each raga. For example, in a performance of raga Bhupali:

• The musician would start with an Alap (slow, improvisational introduction) to establish the raga's mood, using the Aroha and Avaroha.

• The Pakad would be frequently highlighted to reinforce the raga's identity.

• The Vadi and Samvadi would be emphasized to bring out the raga's main notes.

• The Chalan would guide the overall movement and development of the raga throughout the performance.

By mastering these concepts, musicians can effectively convey the essence of each raga, creating a rich and emotionally resonant experience for the audience.

Bandish (बंधिश)

• Definition: A Bandish is a fixed, melodic composition in a raga. It is typically set to a specific rhythm (tala) and serves as a framework for improvisation and elaboration.

• Role: It is the foundation of a performance in which the musician explores the raga through various improvisational techniques.

Components of a Bandish

1. Sthayi (स्थायी):

   • Definition: The Sthayi is the first section of a Bandish and serves as the main theme. It is typically sung in the lower and middle octaves.

   • Role: The Sthayi sets the mood and introduces the key phrases of the raga. It is the part of the composition to which the singer frequently returns after exploring other sections.

   • Example: In a Bandish, the Sthayi might be: "Pa Ga Re Sa, Sa Ni Dha Pa."

2. Antara (अंतरा):

   • Definition: The Antara is the second section of a Bandish and usually moves to the higher octave. It contrasts with the Sthayi and provides a sense of progression.

   • Role: The Antara explores the higher notes and expands the melodic range of the composition.

   • Example: An Antara might be: "Ga Ma Pa Dha Ni Sa, Sa Re Ga Ma."

3. Abhogi (अभोगी):

   • Definition: Abhogi can be a term used to describe a specific raga or sometimes an additional section in longer compositions.

   • Role: When referring to a section in a composition, Abhogi often serves as a transition or bridge between other sections.

   • Note: Abhogi as a raga is different and characterized by its specific notes and structure (e.g., Sa Re Ma Pa Dha Sa).

4. Sanchari (संचारी):

   • Definition: The Sanchari is an optional, often more elaborative section found in some longer forms of classical music compositions such as Dhrupad. It usually follows the Antara.

   • Role: It further elaborates on the raga, often with more complex and extended phrases.

   • Note: Sanchari is more common in certain styles like Dhrupad, and less so in Khayal, where the primary focus remains on Sthayi and Antara.

Practical Application

In a typical performance, a musician might structure their rendition of a Bandish as follows:

• Introduction (Alap): A slow, non-rhythmic introduction to the raga.

• Sthayi: Establishes the main theme and key phrases. The singer might sing: "Pa Ga Re Sa, Sa Ni Dha Pa."

• Antara: Expands to the higher octave, providing contrast. For instance: "Ga Ma Pa Dha Ni Sa, Sa Re Ga Ma."

• Improvisation: The artist returns to the Sthayi and Antara, elaborating with improvisations like Taans (fast melodic runs) or Bol Bants (rhythmic variations of the lyrics).

• Conclusion: Often revisits the Sthayi to bring the performance full circle.

By understanding and utilizing these components, musicians create a rich and dynamic performance, effectively showcasing the depth and beauty of the raga.

HOW TO USE THE WORKBOOK

Step-by-Step Guide:

1. Introduction to the Workbook:

• Purpose: The workbook serves as a reference guide to familiarize yourself with the essential terms in Indian classical music.

• Structure: It is organized alphabetically, making it easy to look up specific terms. Each term is accompanied by a detailed explanation, examples, and sometimes illustrations or musical notations.

2. Reading the Glossary:

• Start with Familiar Terms: Begin by reading through terms you are already somewhat familiar with. This will help build confidence and provide a context for learning new terms.

• Use Examples and Notations: Pay attention to the examples and musical notations provided. Try to correlate these with what you have learned or heard in practice.

3. Key Sections to Focus On:

• Raga (राग): Understand the definition and components of a raga, including Aroha, Avaroha, Pakad, Chalan, Vadi, and Samvadi.

• Tala (ताल): Study the different rhythmic cycles, their structures, and how they are applied in compositions.

• Bandish (बंधिश): Learn about the fixed compositions in a raga and their sections like Sthayi and Antara.

4. Interactive Learning:

• Practice Alongside Reading: While reading about terms like Aroha and Avaroha, practice singing or playing these scales on your instrument.

• Identify Terms in Music Pieces: Listen to recordings of classical music and try to identify the terms you’ve learned. For example, identify the Vadi and Samvadi in a raga performance.

5. Utilize Additional Resources:

• Audio and Video Supplements: Use online resources such as YouTube videos and recordings by renowned musicians to hear examples of terms in context.

• Attend Live Performances: If possible, attend live performances and take notes on the terminology used by the performers.

6. Regular Review and Practice:

• Consistent Revision: Regularly review the glossary to reinforce your understanding. Repetition is key to retention.

• Group Discussions: Engage in discussions with peers to exchange knowledge and clarify doubts.

7. Application of Knowledge:

• Composition and Improvisation: Apply the terms in your own compositions and improvisations. For instance, create a short bandish using the structure of Sthayi and Antara.

• Teaching Others: Try to explain the terms to a fellow student or a non-musician. Teaching is a great way to deepen your own understanding.

Practical Session:

Example Exercise:

• Term: Raga Bhupali

  • Aroha: Sa Re Ga Pa Dha Sa

  • Avaroha: Sa Dha Pa Ga Re Sa

  • Pakad: Pa Ga Dha Pa Ga Re Ga Re Sa

  • Vadi: Ga

  • Samvadi: Dha

• Activity: Sing or play the Aroha and Avaroha of Raga Bhupali. Identify the Pakad and practice improvising within this raga.

Discussion:

• Questions: What mood does Raga Bhupali evoke? How does the omission of Ma and Ni affect its character?

• Feedback: Share your rendition with the class and receive constructive feedback.

Conclusion:

By following this structured approach, you will be able to effectively use the 'Glossary of Terms in Indian Classical Music' to enhance your theoretical and practical knowledge. Regular practice and application of these terms will deepen your appreciation and proficiency in Indian classical music.

Feel free to ask questions and share your experiences as we go along. Happy learning!

WORKBOOK COURSE 2

'Glossary of Terms in Indian Classical Music'

INTRODUCTION TO THE COURSE

Greetings, I'm Krishna Raval. Today, we'll delve into the terminology used in Indian classical music. These terms aren't part of our everyday language, which often leaves us puzzled about their meanings. Each field of knowledge comes with its own language nuances. Therefore, it's crucial to grasp the language associated with a subject to gain clarity. Understanding and familiarizing oneself with a subject before delving into it is imperative. In the realm of music, while definitions may be found in books, they might not always be explained comprehensively. That's where a teacher comes in - someone who can elucidate concepts in a manner that resonates and aids in retention, often using simpler language.

CHAPTER 1

TOPIC 1

SANGEET

Let's start by understanding what music entails. It encompasses vocal, instrumental, and dance elements, collectively known as music. These three components harmonize, support, and complement each other, creating a musical ambiance when combined. Singing is often hailed as the pinnacle of musical expression. This is because even when sung without accompaniment from instruments like tabla, pakhawaj, tanpura, or harmonium, or without any accompanying dance, it still feels full and fulfilling. Singing, in itself, is a complete art form, capable of evoking beauty and emotion. While instruments and dance can enhance its impact, singing remains inherently fulfilling and lacks nothing. When we sing, rhythm naturally accompanies us. For instance, when I vocalize the musical sequence "sa re ga ma pa dha ni sa," you can observe my enjoyment, perhaps even a desire to dance. This experience can also be enjoyed without physical movement, as it ultimately depends on individual preference.

When you sing, you feel as if you're dancing from within, with a rhythm pulsating inside you. Similarly, instruments can also stand alone; they possess their own unique identity. They don't necessarily require vocal accompaniment; the rhythm sustains itself. However, when it comes to dance (nritya), it lacks significance without music in the background. It cannot be performed without its complementary elements (purak kaala). Nevertheless, this doesn't imply that dance loses its essence without music. It's essential to have melody (swar), rhythm (lay), and beat (taal) ingrained within you; they form the core of dance. Singing enables you to sense the presence of instruments and the essence of dance. Playing instruments acquaints you with melody and rhythm, while dancing brings together all these elements. Hence, they are referred to as each other's complements (purak kala), each maintaining its individuality. In conclusion, vocal (gayan), instrumental (vadan), and dance (nritya) collectively constitute music (sangeet).

TOPIC 2

NAAD

Now, let's discuss what "Naad" means in music. All the sounds you've heard, such as breathing, sneezing, laughing, clapping, finger snapping, or foot tapping, are Naad. Any sound that you hear is considered Naad. Essentially, in music, Naad refers to useful sounds. It's a frequency that, when created, allows us to perceive something. This frequency is what we call Naad. Naad is utilized in music. Whatever frequency you're able to hear, all of them are considered Naad. There are also sounds that we can't hear. We can't hear sounds that are either below or above a certain frequency range. Ants can hear, animals can hear, birds can hear, because there are many other things by which God has blessed us. That doesn't mean it's not Naad; rather, it's called "Anahat Naad." Where there is a frequency, there will be some sound. For example, if I pluck something here, there will be a sound. The volume depends on how I pluck it. The sound will be there in some way. There's also Anahat Naad inside our bodies. What is it? It's the constant flow of blood rushing through our veins. How can someone not hear it? Because hearing it requires more than just listening; it's also an Anahat Naad. If the frequency of this flow changes, then that Naad is called "Ghonghat," meaning a harsh sound.

Topic 3

GHONGHAT

Let's explore the concept of "Ghonghat," which denotes a discordant sound unsuitable for musical applications. It possesses an irregular frequency, rendering it unfit for use in music or within the domain of Sangeet. Just as an item not intended for a puzzle cannot serve its purpose within it, similarly, Ghonghat is ineffective in musical contexts. This term is reserved for frequencies lacking consistency or stability. If a frequency fluctuates or varies, it is categorized as Ghonghat. The application of Ghonghat is confined to specific contexts such as travel noise, among others.

CHAPTER 2

ANDOLAN

In the context you provided, it seems you are discussing frequencies, both regular and irregular, and their significance in producing sounds, particularly in musical instruments like the tanpura and sitar. These frequencies determine the pitch of the sound produced.

When a string is plucked or struck, it vibrates at a specific frequency, influenced by factors such as its length, thickness, and tension. When tuning multiple strings, they should vibrate at the same frequency to produce harmonious sounds. Tuning involves adjusting the tension of the strings to achieve the desired frequency.

The process of tuning is crucial in achieving the exact sound desired in musical performance. It requires precision and practice, as even small adjustments can alter the sound produced. Musicians often spend years practicing and refining their ability to tune instruments accurately.

The discussion also delves into the concept of "andolan sankhya" or oscillation frequency, which is the frequency at which the string vibrates after being plucked or struck. This frequency determines the pitch of the sound produced. Different strings may produce the same note (swar), but their oscillation frequencies can vary, leading to differences in how they sound.

For example, even though two strings may produce the same note, such as "sa," they may have different oscillation frequencies, resulting in a difference in sound quality. This distinction is crucial in musical performance, as it affects the overall harmony and tone of the music.

Furthermore, the discussion touches upon the importance of "riyaz" or practice in refining one's ability to produce accurate frequencies and maintain consistency in sound production. Practice enables musicians to develop a keen ear for pitch and make precise adjustments to achieve the desired sound.

Finally, the discussion emphasizes the significance of continuous learning and improvement in music. Music is an ever-evolving art form, and mastery requires dedication and perseverance. As musicians continue to refine their skills and deepen their understanding of sound production, they can unlock new levels of expression and creativity in their music.

Topic 2

SHRUTI

Shruti" is a fundamental concept in Indian classical music that refers to the subtle variations in pitch and intonation. It's often described as the microtonal intervals between musical notes, allowing for an incredible richness and depth of expression in our music.

Think of shruti as the fine-tuning of musical notes, akin to adjusting the focus on a camera lens to capture the smallest details. While Western music primarily relies on a system of 12 evenly spaced notes within an octave, Indian classical music recognizes numerous microtonal intervals, or shrutis, within each octave.

These shrutis are incredibly subtle, sometimes as small as a fraction of a semitone. They allow musicians to infuse their performances with exquisite nuances of emotion and mood, creating a deeply immersive and captivating musical experience.

So, why are shrutis so important? Well, imagine a singer performing a raga. As they navigate through different notes and phrases, they subtly modulate their pitch to evoke specific emotions or convey particular meanings. These subtle variations in pitch, known as shrutis, are what give Indian classical music its distinctive flavor and emotional depth.

In our master class, we'll explore how to identify and utilize shrutis effectively in our music. We'll learn how to navigate the intricate nuances of pitch, experimenting with different microtonal intervals to express ourselves more fully through our performances.

Through listening exercises, vocal drills, and practical demonstrations, we'll develop a deeper understanding of shruti and its role in Indian classical music. By mastering the art of shruti, we can elevate our performances to new heights, captivating audiences with the beauty and intricacy of our music.

Types of Notes (Sur) in Indian Classical Music

In Indian classical music, the concept of "Sur" or musical notes is fundamental. The term "Sur" refers to the pitch or frequency of a sound, and in the context of music, it denotes the specific notes used to create melodies. There are various types of notes, each with unique characteristics and roles in the musical system. Here’s an explanation of the different types of notes (Sur) in Indian classical music:

1. Shuddha Swara (Pure Notes):

• Definition: These are the natural, unaltered notes in the octave.

• Notes: There are seven Shuddha Swaras in an octave: Sa (Shadja), Re (Rishabh), Ga (Gandhar), Ma (Madhyam), Pa (Pancham), Dha (Dhaivat), and Ni (Nishad).

• Example: The sequence of Shuddha Swaras in an octave is Sa Re Ga Ma Pa Dha Ni Sa.

2. Komal Swara (Flat Notes):

• Definition: These are notes that are lowered by one semitone (half step) from their natural (Shuddha) position.

• Notes: Komal notes are Re (Rishabh), Ga (Gandhar), Dha (Dhaivat), and Ni (Nishad).

• Example: In the context of Raga Bhairav, the Re and Dha are sung as Komal (flat), making the scale Sa komal Re Ga Ma Pa komal Dha Ni Sa.

3. Tivra Swara (Sharp Notes):

• Definition: These are notes that are raised by one semitone (half step) from their natural (Shuddha) position.

• Notes: The only Tivra note is Ma (Madhyam).

• Example: In Raga Yaman, the Ma is sung as Tivra, making the scale Sa Re Ga Tivra Ma Pa Dha Ni Sa.

4. Achal Swara (Fixed Notes):

• Definition: These are notes that do not change their position in any raga.

• Notes: Sa (Shadja) and Pa (Pancham) are always Achal.

• Example: In any raga, Sa and Pa remain constant and unaltered.

5. Vikrit Swara (Altered Notes):

• Definition: These are notes that can be altered (either raised or lowered) depending on the raga.

• Notes: Re (Rishabh), Ga (Gandhar), Ma (Madhyam), Dha (Dhaivat), and Ni (Nishad) can all be Vikrit.

• Example: In Raga Yaman, Ma is Tivra (altered to a sharp note), while in Raga Bhairav, Re and Dha are Komal (altered to flat notes).

Understanding the Roles and Usage of Notes in Ragas:

1. Shuddha, Komal, and Tivra Notes in Practice:

   • Each raga uses a specific combination of these notes to create its unique identity.

   • For instance, Raga Bhupali uses only Shuddha notes: Sa Re Ga Pa Dha Sa.

2. Alankar (Ornaments):

   • Notes can be adorned with various ornaments to enhance the raga's beauty, such as Meend (glide), Gamak (oscillation), and Andolan (vibrato).

3. Vadi and Samvadi:

   • Vadi: The most prominent note in a raga.

   • Samvadi: The second most prominent note, often complementing the Vadi.

   • Example: In Raga Yaman, Ga (Gandhar) is the Vadi, and Ni (Nishad) is the Samvadi.

4. Usage in Performance:

   • During a performance, musicians will emphasize the Vadi and Samvadi notes and use specific phrases (Pakad) that highlight these notes to establish the raga’s mood.

Practical Application:

To fully grasp the types of notes, students should:

• Listen to Performances: Identify the different types of notes being used in various ragas.

• Practice Scales: Sing or play scales (Aroha and Avaroha) of different ragas to understand how the notes are utilized.

• Identify Patterns: Pay attention to the characteristic phrases (Pakad) and how they emphasize certain notes.

Conclusion:

Understanding the types of notes (Sur) in Indian classical music is crucial for appreciating and performing this rich musical tradition. By studying Shuddha, Komal, Tivra, Achal, and Vikrit notes, and their application in ragas, students can develop a deeper insight into the structure and expression of Indian classical music.

Types of Notes (Swar) in Indian Classical Music

In Indian classical music, notes (swar) are the basic units of melody. These notes are categorized based on their pitch and the way they are used within various ragas. The categories include Achal, Komal, Tivra, and Shuddha Swaras. Here is a detailed explanation of each:

1. Achal Swara (अचल स्वर) - Fixed Notes:

• Definition: Achal Swaras are notes that do not vary or change their pitch in any raga. They remain constant and are not altered.

• Notes: The Achal Swaras are Sa (Shadja) and Pa (Pancham).

• Characteristics:

  • Sa and Pa act as the foundational notes in any raga and provide stability.

  • They are not rendered as either flat (Komal) or sharp (Tivra).

2. Shuddha Swara (शुद्ध स्वर) - Pure Notes:

• Definition: Shuddha Swaras are the natural, unaltered notes in the scale.

• Notes: There are seven Shuddha Swaras in an octave: Sa (Shadja), Re (Rishabh), Ga (Gandhar), Ma (Madhyam), Pa (Pancham), Dha (Dhaivat), and Ni (Nishad).

• Characteristics:

  • They form the basic structure of the octave (Saptak).

  • Example Scale: Sa Re Ga Ma Pa Dha Ni Sa.

3. Komal Swara (कोमल स्वर) - Flat Notes:

• Definition: Komal Swaras are notes that are flattened by one semitone (half step) from their Shuddha position.

• Notes: Re (Rishabh), Ga (Gandhar), Dha (Dhaivat), and Ni (Nishad) can all be Komal.

• Characteristics:

  • They provide a softer and often more emotional sound to the raga.

  • Example: In Raga Bhairav, Re and Dha are sung as Komal (Sa komal Re Ga Ma Pa komal Dha Ni Sa).

4. Tivra Swara (तीव्र स्वर) - Sharp Notes:

• Definition: Tivra Swaras are notes that are sharpened by one semitone (half step) from their Shuddha position.

• Notes: The only Tivra note is Ma (Madhyam).

• Characteristics:

  • It adds a sharper, more intense sound to the raga.

  • Example: In Raga Yaman, Ma is sung as Tivra (Sa Re Ga Tivra Ma Pa Dha Ni Sa).

Practical Application in Ragas:

1. Achal Swara Usage:

   • Sa and Pa provide a base for other notes and are frequently used as points of reference in compositions and improvisations.

2. Shuddha Swara Usage:

   • They form the basic scale and are used in their natural pitch.

   • Ragas like Bilawal use only Shuddha Swaras (Sa Re Ga Ma Pa Dha Ni Sa).

3. Komal Swara Usage:

   • Used to create specific moods and emotions.

   • Ragas like Bhairav and Bhimpalasi use Komal notes to create their unique sound.

4. Tivra Swara Usage:

   • Adds a distinctive sharpness to the raga.

   • Ragas like Yaman and Marwa utilize the Tivra Ma for their characteristic phrases.

Example Ragas:

• Raga Bhairav:

  • Aroha: Sa komal Re Ga Ma Pa komal Dha Ni Sa

  • Avaroha: Sa Ni komal Dha Pa Ma Ga komal Re Sa

• Raga Yaman:

  • Aroha: Sa Re Ga Tivra Ma Pa Dha Ni Sa

  • Avaroha: Sa Ni Dha Pa Tivra Ma Ga Re Sa

Understanding Through Practice:

1. Listen to Recordings: Hear renditions of different ragas and identify the use of Achal, Shuddha, Komal, and Tivra Swaras.

2. Sing or Play Scales: Practice singing or playing the scales (Aroha and Avaroha) of different ragas to internalize the sound of each type of note.

3. Identify in Compositions: While listening to or performing a composition, identify which notes are Shuddha, Komal, or Tivra and how they contribute to the raga's mood.

Conclusion:

Understanding Achal, Komal, Tivra, and Shuddha Swaras is crucial for mastering Indian classical music. These notes are the building blocks of ragas and are essential for creating the unique emotional and tonal landscape of each raga. By studying and practicing these notes, musicians can develop a deeper appreciation and proficiency in Indian classical music.

CHAPTER 3

RAAG KE SWARON KE NAAM

VADI , SAMVADI & VIVAADI

In English, there are seven natural notes and five altered notes that make up a octave. We call it an octave because there are seven notes in it. However, if altered notes are present in a melody, then those notes become sharp. So when we sing the octave of seven notes, starting from the middle "Sa" to the high "Sa", which means from "Sa" to "Sa", we call that space an octave. In between these notes, every tone falls, so this is one octave. Now, within one octave, there are so many notes. Now every melody has six octaves.

It's not necessary that all seven notes are present in every melody because then there wouldn't be any room for innovation or different combinations. In a balanced way, all notes are either sung or sung less. Just like we all have different features but the same organs, similarly, in a melody, certain elements should be present, but according to variations and grammar, there are seven swaras in a complete octave. In a melody, the most important note is the "Vadi" note. It receives the most attention and is sung the most. You cannot skip this note. The second most important note is the "Samvaadi" note. You must give it equal importance; you can't avoid it. Both are important notes, and there's always a connection between the "Vadi" and "Samvaadi" notes. This connection is known as "Shadhaj-Pancham Bhaav." Similarly, if we sing with "Ma" as the reference, we call it "Sadhaj-Pancham Bhaav." It is very important to have a connection between the "Vadi" and "Samvaadi" notes, either with the fifth or the tonic note in between.

If we take the example of the Raag Bhupali, what is the "Vadi" note, and what is the "Samvaadi" note? The "Ga" and "Dha" are both "Vadi" and "Samvaadi" notes in this case. In every "Vadi" and "Samvaadi" pair, it's essential to have four or five notes between them to make it melodious. However, we cannot sing only the "Vadi" and "Samvaadi" notes; we need to include all the other notes according to the requirement and mood.

We need all the other notes along with the "Vadi" and "Samvaadi" notes. Apart from them, the notes are called "Anuvaadi" notes. To enhance the beauty of the "Vadi" and "Samvaadi" notes, we add "Anuvaadi" notes. You can create your own patterns and remember your raag series. "Vivaadi" notes are the ones that are forbidden, but experienced artists sometimes incorporate them into their singing. However, students are not allowed to sing "Vivaadi" notes.

CHAPTER 4

MANDRA, MADHYA & TARSAPTAK

The range from the 'Sa' of the middle octave (Madhya Saptak) to the 'Sa' of the higher octave (Taar Saptak) is what we call a Saptak. As I mentioned earlier, a Saptak is completed when you reach the higher 'Sa' (Taar Saptak Sa). To feel complete, we sing 'Sa Re Ga Ma Pa Dha Ni Sa'. Even though the higher 'Sa' (upper 'Sa') is considered a second 'Sa', it is still counted within the same octave because it is the same note, just written differently.

There is also another form, which is the 'Mandra Saptak Sa'. As I am explaining, 'Mandra' refers to the lower octave, 'Madhya' means the middle octave, and 'Taar' refers to the higher octave.

• 'Madhya' means middle, like when we talk in a middle pitch.

• When we speak in a slightly lower tone, it is 'Mandra'.

• A slightly higher tone is 'Taar Saptak'.

The lower octave is the 'Mandra Saptak', the middle octave is the 'Madhya Saptak', and the higher octave is the 'Taar Saptak'. Each comes with different tonal qualities.

The higher notes are produced from above your head; the vibrations are consciously felt in the head. Singing regularly is very important so that you can develop an understanding of the notes.

These are the varieties of Mandra, Madhya, and Taar Saptak.

Just as in a Saptak we see the notes Sa Re Ga Ma Pa Dha Ni Sa, and we have also seen the concept of Vadi Swar in a raga, the Saptak is divided into two parts for better organization. The Saptak is divided into two parts to better organize it, just like India is one country but divided into different states like Gujarat, Maharashtra, etc., for better administration. Although the states are different, they are all part of the same country, just like different foods on the same plate. Similarly, the Saptak is divided into two parts: Purvang and Uttarang.

How do we divide the seven notes into two parts?

• The first part is Sa Re Ga Ma Pa

• The second part is Ma Pa Dha Ni Sa

You can see that Ma and Pa are used in both parts, similar to how borders of different states can overlap.

Now, the Vadi Swar of a raga determines the character of the raga based on which part of the Saptak it is in. For example, in the raga Bhupali, the Vadi Swar is Gandhar (Ga), which is in the Purvang part of the Saptak. Hence, Bhupali is considered a Purvang Vadi raga. Similarly, if the Vadi Swar of a raga is in the Uttarang part, that raga is considered Uttarang Pradhan.

In this way, the part of the Saptak in which the Vadi Swar of a raga falls helps decide the nature of the raga. This division is not mandatory, meaning it is not compulsory to always sing in the middle (Madhya) or lower (Mandra) octaves, but singing more in the Madhya and Mandra octaves helps create the atmosphere of the raga. These are not strict rules but rather steps to enhance our raga singing or playing.

CHAPTER 5

RAAG CHALAN

We have seen which notes are used in a raga and all its details. Now, let's understand the structure and grammar of a raga, which includes its Aroha (ascent) and Avaroha (descent). To show which notes are included in a raga, the Aroha and Avaroha are sung.

Aroha refers to the ascending order of notes from Sa to the upper Sa, similar to climbing a mountain. Avaroha refers to the descending order of notes from the upper Sa to the lower Sa.

For example, in the raga Bhupali, the notes Ma and Ni are omitted. Therefore, its Aroha is: Sa Re Ga Pa Dha Sa, and its Avaroha is: Sa Dha Pa Ga Re Sa.

The Pakad of a raga refers to a distinctive phrase or sequence of notes that helps identify the raga. It's like the main signature of the raga, making it recognizable through its specific grammar and identity.

The Pakad, along with the Aroha and Avaroha, helps us understand the Chalan (movement) of the raga. It also helps identify the Vadi (most important note) and Samvadi (second most important note) and the main characteristics of the raga.

For example, in the raga Bhupali, the Pakad is: Pa Ga Dha Pa Ga Re Ga Re Sa. The most frequently sung note in this raga, which is Ga, indicates the Vadi Swar.

By understanding these elements, we can identify and differentiate ragas effective

Key Concepts in Indian Classical Music:

1. Raga (राग):

   • A raga is a framework for musical composition in Indian classical music, characterized by a specific set of notes, motifs, and a unique mood or emotion (rasa). Each raga is distinguished by its specific rules for how the notes can be used and the characteristic phrases that define its identity.

2. Aroha (आरोह):

   • Definition: The Aroha is the ascending scale of a raga, describing the order in which the notes are played or sung in an upward sequence.

   • Example: In the raga Bhupali, the Aroha is: Sa Re Ga Pa Dha Sa.

3. Avaroha (अवरोह):

   • Definition: The Avaroha is the descending scale of a raga, detailing the order in which the notes are played or sung in a downward sequence.

   • Example: In the raga Bhupali, the Avaroha is: Sa Dha Pa Ga Re Sa.

4. Pakad (पकड़):

   • Definition: The Pakad is a distinctive melodic phrase that captures the essence of the raga. It is a recognizable motif that makes the raga easily identifiable.

   • Example: In the raga Bhupali, the Pakad is: Pa Ga Dha Pa Ga Re Ga Re Sa.

5. Chalan (चलन):

   • Definition: The Chalan refers to the characteristic movement of a raga, including typical note patterns and the way phrases are constructed. It encompasses the Aroha, Avaroha, and Pakad and shows how the notes flow within the raga.

   • Example: The Chalan of raga Bhupali would involve typical phrases such as: Sa Re Ga, Pa Ga, Dha Pa, Ga Re Sa.

Additional Key Elements:

1. Vadi (वादी):

   • Definition: The Vadi is the most important and prominent note in a raga. It is often emphasized and used frequently.

   • Example: In the raga Bhupali, the Vadi is Ga (Gandhar).

2. Samvadi (संवादी):

   • Definition: The Samvadi is the second most important note in a raga, often harmonizing with the Vadi.

   • Example: In the raga Bhupali, the Samvadi is Dha (Dhaivat).

3. Rasa (रस):

   • Definition: The emotional essence or mood conveyed by a raga. Each raga is designed to evoke a specific feeling or atmosphere.

   • Example: Raga Bhupali often evokes a feeling of devotion and serenity.

4. Jati (जाति):

   • Definition: The classification of a raga based on the number of notes in the Aroha and Avaroha. There are three main types:

     • Audava (औडव): Five notes

     • Shadava (षडव): Six notes

     • Sampoorna (सम्पूर्ण): Seven notes

5. Vakrata (वक्रता):

   • Definition: The use of notes in a non-linear fashion, where the raga may take a zigzag path (vakra gati) instead of a straight ascent or descent.

   • Example: In some ragas, phrases might move like Sa Re Ma Ga Pa instead of the straightforward Sa Re Ga Ma Pa.

Practical Application:

Understanding these elements helps performers and listeners alike to identify and appreciate the unique characteristics of each raga. For example, in a performance of raga Bhupali:

• The musician would start with an Alap (slow, improvisational introduction) to establish the raga's mood, using the Aroha and Avaroha.

• The Pakad would be frequently highlighted to reinforce the raga's identity.

• The Vadi and Samvadi would be emphasized to bring out the raga's main notes.

• The Chalan would guide the overall movement and development of the raga throughout the performance.

By mastering these concepts, musicians can effectively convey the essence of each raga, creating a rich and emotionally resonant experience for the audience.

Bandish (बंधिश)

• Definition: A Bandish is a fixed, melodic composition in a raga. It is typically set to a specific rhythm (tala) and serves as a framework for improvisation and elaboration.

• Role: It is the foundation of a performance in which the musician explores the raga through various improvisational techniques.

Components of a Bandish

1. Sthayi (स्थायी):

   • Definition: The Sthayi is the first section of a Bandish and serves as the main theme. It is typically sung in the lower and middle octaves.

   • Role: The Sthayi sets the mood and introduces the key phrases of the raga. It is the part of the composition to which the singer frequently returns after exploring other sections.

   • Example: In a Bandish, the Sthayi might be: "Pa Ga Re Sa, Sa Ni Dha Pa."

2. Antara (अंतरा):

   • Definition: The Antara is the second section of a Bandish and usually moves to the higher octave. It contrasts with the Sthayi and provides a sense of progression.

   • Role: The Antara explores the higher notes and expands the melodic range of the composition.

   • Example: An Antara might be: "Ga Ma Pa Dha Ni Sa, Sa Re Ga Ma."

3. Abhogi (अभोगी):

   • Definition: Abhogi can be a term used to describe a specific raga or sometimes an additional section in longer compositions.

   • Role: When referring to a section in a composition, Abhogi often serves as a transition or bridge between other sections.

   • Note: Abhogi as a raga is different and characterized by its specific notes and structure (e.g., Sa Re Ma Pa Dha Sa).

4. Sanchari (संचारी):

   • Definition: The Sanchari is an optional, often more elaborative section found in some longer forms of classical music compositions such as Dhrupad. It usually follows the Antara.

   • Role: It further elaborates on the raga, often with more complex and extended phrases.

   • Note: Sanchari is more common in certain styles like Dhrupad, and less so in Khayal, where the primary focus remains on Sthayi and Antara.

Practical Application

In a typical performance, a musician might structure their rendition of a Bandish as follows:

• Introduction (Alap): A slow, non-rhythmic introduction to the raga.

• Sthayi: Establishes the main theme and key phrases. The singer might sing: "Pa Ga Re Sa, Sa Ni Dha Pa."

• Antara: Expands to the higher octave, providing contrast. For instance: "Ga Ma Pa Dha Ni Sa, Sa Re Ga Ma."

• Improvisation: The artist returns to the Sthayi and Antara, elaborating with improvisations like Taans (fast melodic runs) or Bol Bants (rhythmic variations of the lyrics).

• Conclusion: Often revisits the Sthayi to bring the performance full circle.

By understanding and utilizing these components, musicians create a rich and dynamic performance, effectively showcasing the depth and beauty of the raga.

HOW TO USE THE WORKBOOK

Step-by-Step Guide:

1. Introduction to the Workbook:

• Purpose: The workbook serves as a reference guide to familiarize yourself with the essential terms in Indian classical music.

• Structure: It is organized alphabetically, making it easy to look up specific terms. Each term is accompanied by a detailed explanation, examples, and sometimes illustrations or musical notations.

2. Reading the Glossary:

• Start with Familiar Terms: Begin by reading through terms you are already somewhat familiar with. This will help build confidence and provide a context for learning new terms.

• Use Examples and Notations: Pay attention to the examples and musical notations provided. Try to correlate these with what you have learned or heard in practice.

3. Key Sections to Focus On:

• Raga (राग): Understand the definition and components of a raga, including Aroha, Avaroha, Pakad, Chalan, Vadi, and Samvadi.

• Tala (ताल): Study the different rhythmic cycles, their structures, and how they are applied in compositions.

• Bandish (बंधिश): Learn about the fixed compositions in a raga and their sections like Sthayi and Antara.

4. Interactive Learning:

• Practice Alongside Reading: While reading about terms like Aroha and Avaroha, practice singing or playing these scales on your instrument.

• Identify Terms in Music Pieces: Listen to recordings of classical music and try to identify the terms you’ve learned. For example, identify the Vadi and Samvadi in a raga performance.

5. Utilize Additional Resources:

• Audio and Video Supplements: Use online resources such as YouTube videos and recordings by renowned musicians to hear examples of terms in context.

• Attend Live Performances: If possible, attend live performances and take notes on the terminology used by the performers.

6. Regular Review and Practice:

• Consistent Revision: Regularly review the glossary to reinforce your understanding. Repetition is key to retention.

• Group Discussions: Engage in discussions with peers to exchange knowledge and clarify doubts.

7. Application of Knowledge:

• Composition and Improvisation: Apply the terms in your own compositions and improvisations. For instance, create a short bandish using the structure of Sthayi and Antara.

• Teaching Others: Try to explain the terms to a fellow student or a non-musician. Teaching is a great way to deepen your own understanding.

Practical Session:

Example Exercise:

• Term: Raga Bhupali

  • Aroha: Sa Re Ga Pa Dha Sa

  • Avaroha: Sa Dha Pa Ga Re Sa

  • Pakad: Pa Ga Dha Pa Ga Re Ga Re Sa

  • Vadi: Ga

  • Samvadi: Dha

• Activity: Sing or play the Aroha and Avaroha of Raga Bhupali. Identify the Pakad and practice improvising within this raga.

Discussion:

• Questions: What mood does Raga Bhupali evoke? How does the omission of Ma and Ni affect its character?

• Feedback: Share your rendition with the class and receive constructive feedback.

Conclusion:

By following this structured approach, you will be able to effectively use the 'Glossary of Terms in Indian Classical Music' to enhance your theoretical and practical knowledge. Regular practice and application of these terms will deepen your appreciation and proficiency in Indian classical music.

Feel free to ask questions and share your experiences as we go along. Happy learning!