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Sampurna-Sampurna | Yaman, Aheer-Bhairav |
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Sampurna-Sampurna Vakra | Puria-Dhanashri, Dev-Gandhar |
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Shadhav-Sampurna (Vakra) | Kausi-Kanada, Adana |
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Shadhav-Shadhav (Vakra) | Nayaki-Kanada, Gurjari-Todi |
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Audhav-Sampurna | Sindhura |
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Audhav-Shadhav (Vakra) | Shuddha-Sarang, Desi |
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Audhav-Audhav (Vakra) | Gunkali, Deshkar, Megh-Malhar |
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Surtar-Audhav Vakra | Gorakh-Kalyan |
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Audhav-Sampurna Vakra | Kamod, Basant, Khambavati |
Obviously there are notes in cases from sr.nos. 3 onwards in Aaroh or Avroh that are not employed in whole Raag. It is possible that a note not emplyed in Aaroh may be used in Avroh and vice-versa. In some cases the rendering becomes Vakra (with a turn around that note). This is indicated in Jati. e.g. Audhav-Sampurna Vakra and so on.
For the ease of understanding the Hindustani Classical Raagas are categorized here according to the timings these are rendered. Its an effort to show the rich, varied and ancient cultural heritage of Indian Music to the world. The 'Raag' and its rendering time (few melodies are seasonal also) has significance and Music Therapy is an age old therapy of healing, the references of which can be found at Shranang Deva's Sangeet Ratnakar (Musicologist, Ayurvedachrya from 12th century)
Raag Bhairav, Ramkali, Gauri, Lalat Pancham, Komal Rishabh Aasawari, Pancham, Hindol
Raag Jounpuri, Bibhas (Shuddha Dha), Deskar, Alhaiya Bilwal (Bilawal Types)
Sarang: Vrindavani Sarang, Gaud Sarang and other Sarang types like Madhmad, Samant, Lankadahan, Lachha
Bheempalasi, Madhuvanti, Multani, Dhanashree
Shree, Poorvi, Puriya Dhanashree, Sanjgiri, Marawa, Pooriya, Basant, Pooriya Kalyan
Bhoop, Chayanat, Kamod, Hameer, Kedar, Yaman, Nand, Jayat Kalyan, Shyam Kalyan (Kalyan Types)
Bihag (and Bihag derivatives like Bihagada, Savani), Durga, Gaudmalhar (Khamaj Thaat and seasonal), Tilakkamod, Des, Sorath,
Bageshree, Rageshree, Barawa, Bahar
Jayjaywanti (Paramel Praveshak or moving from Thaat Khamaj to Kafi), Jog
Kaunse: Malkaunse (Kaunse types like Chandrakaunse, Jogkaunse)
Rainy Season 'Malhar': Miya Malhar and Malhar types like Meera ki Malhar, Charaju ki Malhar, Des Malhar, Ramdasi Malhar, Dhuliya Malhar, Nat Malhar, Jayat Malhar
Kanada: (Nayaki, Rayasa, Darabari, Kafi Kanadada, Bageshree Kanada, Huseni Kanada)
Raag Bhairavi
Miya ki Todi, Gujari, Bahadduri, Khat, Lachari,
Lalat, Bhatiyar
Abhog - fourth part of a sung composition.
Acchal - that cannot be changed
Aditala - 8 matras tal.
Alankar - (hindustani) musical ornament resulting of note permutation
pattern
Alap - Intoductory movement with irregular pulse, unaccompanied and
without rhythm.
Ang - branch, part of a musical genre
Antara - second part of a composition
Aroh - ascending scale of a raga.
Aroha - see Aroh
Ati - extreme (slow, fast)
Atidrut - double of drut (fast) lay
Avaroh - descending scale of a raga
Bansuri - (hindustani) bamboo flute
Badhat - (hindustani) increasing of tempo
Bandish - (hindustani) vocal composition
Barsi - anniversary of the death of a musician or a saint, honoured with a
night of concerts
Bayan - left (bass) drum in a tabla
Been - (hindustani) plucked string instrument
Bhaitak - small audience concert, can define the specific music room where
it happens
Bhajan - (hindustani) devotional song linked to the Hindu Bhakti movement
Bhav - emotion
Bol - word, mainly expressed by percussion and string instruments,
singer can use them too
Carnatic music - Classical music from South India
Chakradar - short phrase repeated 9 times, falling on the sam.
Chalan - (hindustani) phrases depicting the basics of a raga
Chaturang - litt. four coulours, composition in four parts, including poem,
bols, sargam.
Chaturanga - see chaturang
Cheez - (hindustani) instrumental composition based on a poem (in opp. to
gat).
Chikari - rhythm strings on all plucked instrument.
Dagar - (hindustani) One of the 4 original ways of singing dhrupad.
Adopted name of the Rahimuddin Khan family in 1948
Dadra - (hindustani) rhythm of 6 beats, by extention thumri song using this
tal
Dargah - (hindustani) tomb of a muslim saint
Dayan - right (treeble) drum in a tabla
Dhamar - (hindustani) ancient form of composition sung on a 14 beats rhythm
(taal)
Dhrupad - (hindustani) from Dhruva Pad (fixed verse). Main hindustani
classical music genre. composition sung on a 12 or 10 beats
rhythm (taal)
Dhrupadya - (hindustani) dhrupad singer
Dhun - (hindustani) Bengali love song
Dilruba - (hindustani) bowed string instrument
Dha - see Dhaivat
Dhaivat - sixth note on the Indian scale.
Dholak - (qawwali) double sided drum
Drut lay - double of the middle tempo
Esraj - (hindustani) bowed string instrument
Gamak - (hindustani) heavy and repeated glissando
Gandhar - see Gohar
Gohar - (hindustani) from Gwalior. One of the 4 original ways of singing
dhrupad
Ga - see Gandhar
Ga - third note on the Indian scale.
Gat - instrumental compositio not based on a poem
Gayaki - style of singing Gharana, from family, branch of music.
Ghatam - (carnatic) percussion instrument made of a clay pot
Ghazal - (Persian) love song.
Guru - Teacher
Guru-Shishya Parampara - teacher to pupil teaching.
Holi - Spring festival
Hori - a dhamar composition sung for the Spring festival
Jarab - (hindustani) stroke on a plucked string instrument
Jawari - flat bridge
Jhala - third and last part an instrumental alap played on a fast tempo
Jod - see Jor
Jor - second part an instrumental alap.
Jugalbandi - (hindustani) duo of musicians.
Kan - (hindustani) grace note, essential to the form of the raga
Kathak -Classical hindustani dance style
Khali - less stressed beat of a rhythmic cycle
Khandar - (hindustani) One of the 4 original ways of singing dhrupad
Kharaj - lower octave. Also singing only the lowest note possible as a
exercise in Dhrupad
Khayal - see Khyal
Khyal - (hindustani) litt. imagination, thought in hindi. main hindustani
classical music genre
Kirtan - devotional song
Komal - attenuated note
Laggi - (hindustani) double tempo rhythmic pattern used in Thumri and
Dadra
Laya - see Lay
Lay - tempo, can be slow (vilambit), medium (madhya) fast (drut)
Layakari - improvisation on the rhythm, mostly by subdivision of it
Lehra - (Hindustani) recurring song of one cycle played for solo percussion
performance.
Ma - see Madhya
Madhya lay - Medium tempo
Madhya - fourth note on the Indian scale.
Mandra - (hindustani) bass
Matra - one beat in a tal
Mattatal - 9 beats rhythm
Meend - slow glisssando.
Mehfil - small audience concert (syn. bhaitak)
Mela - festival of music celebrated to honour a Hindu God or a saint
Mat - (hindustani) old classification for Indian mode
Matra - Measure of the duration of between two divisions of a rhytmic cycle
mind - see meend
Meerkhand - see Merukhand
Melakarta - classification system for the South Indian scales
Merukhand - composition made of specific notes' permutation in a mode,
used in alap to improvise.
Mridang - (hindustani) double sided drum used in Haveli Dhrupad, slightly
smaller than pakhawaj
Mridangam - (carnatic music) double sided drum
Mishra raga - mixed raga
Mukhda - (hindustani) small rhythmic phrase of 8 beats used by khyal
percussionists
Mukhada - see Mukhda
Nauhar, Nohar - (hindustani) One of the 4 original ways of singing dhrupad
Nishad, Ni - seventh note on the Indian scale.
Nyasa, Nyas - (hindustani) a fundamental note in a scale where the musician
should end its phrases, from a older classification system than
the vadi-samvadi system
Pa - see Pancham
Pachahin Ang - (Hindustani) Thumri school from Eastern Uttar Pradesh to
Delhi.
Pakhawaj - (hindustani) double sided drum used in Dhrupad
Pallavi - (Carnatic) first section of a composition
Pancham - fifth note on the Indian scale.
Pandit - (hindu) learned person
Paran - (hindustani) Poem used by dhrupad percussionist in solo, can be
played and sung. Mixes pakhwaj bols and words
Purvi Ang - (Hindustani) Thumri school from East Uttar Pradesh, Bihar and
Bengal
Qawwali - (Hindustani) Indian Sufi Muslim musical concept sung in Dargah
Qayada - see Qayda
Qayda - (hindustani) rythmic composition used by khyal percussionist.
Ras - Sentiment, also rare for of poem
Rasa - see ras
Raga - mode, a specific scale in Indian music.
Rag - see Raga
Ragam - Raga in Carnatic music.
Ragamalika - garland of raga. Composition where one raga leads to another.
Re - see Rishab
Rela - (hindustani) rythmic improvisation used by percussionist in solo in 4 or
8 time the medium tempo
Ri - see Rishab
Rishab - second note on the Indian scale.
Rudraveena - (hindustani) plucked string instrument
Ryaz - (hindustani) practice
Sa - see Shadja
Sadra - (hindustani) 10 beats (jhaptal) dhrupad composition. Composed of
two parts and invented during the 19th century by the Delhi
Gharana singers
Sam - first beat of the tal. Samvadi important note after the vadi.
Sanchari - third part of a composition
Santoor - (hindustani) flat string instrument made of a wooden box
Sarangi - (hindustani) bowed string instrument
Saraswati veena - Carnatic plucked string instrument
Sargam - musical phrases sung with the name of the note sung, solfa
Sarod - hindustani plucked string instrument made of one piece of carved
wood
Shadja - first note on the Indian scale.
Shehenai, shehnai - litt. nai of the king. double reed wind instrument
Shloka - Sanskrit verse
Shruti - (litt. audible) microtone
Shuddha - flat note.
Sitar - hindustani plucked string instrument
Sthai - first part of a sung composition
Sthayi - see Sthai
Sur - drone accompaniment
Surbahar - (hindustani) bass plucked strings instrument of the Sitar family
Swar - a musical note on the Indian scale.
Swarmandal - (hindustani) drone strings instrument of the santur
Tabla - (hindustani) drum pair
Tal - the basic meter of all classical music in India from 3 to 501 beats
Taal - see Tal
Tala - see Tal
Tali - clap point of a rhythmic cycle
Talim - Traditional teaching of Indian classical music
Talmala - (hindustani) rhythmic composition including many tals to form a
structure of more than 100 beats
Tambura - plucked string instrument, drone and main accompaniement for
singer
tampura -see Tambura
Tan - (hindustani) litt. to stretch. A musical phrase composed a rapid
succes sion of notes.
Tana - see Tan
Tanam - (Carnatic) alap in medium tempo.
Tappa - (hindustani) folk songs of Punjabi camel drivers adapted in the
Bombay Gwalior Gharana.
Tar - (hindustani) treeble
Tara - see Tar
Tarana - (hindustani) Persian song adapted with bols instead of words.
Tintal, /Teentaal - 16 beats rhythm
Tivre - augmented note.
Thaat - classification system for the Indian scales, invented by Bhatkande
Theka - phrase of bols exposing the rhythmic cycle of a tal.
Tillana - (carnatic) Dance song.
Thumri - (hindustani) classical form of indian music linked to the danced
expression of desire and to the cult of Krishna
Tihai - short phrases played three times, ending on the first beat of the
rhythm cycle.
Toda - Fast runs and repeated note passages (instrumental music).
Tora - see Toda
Trivat - (hindustani) similar to tarana but composed with pakhawaj bols.
Tukhada - see Tukhda
Tukhda - (hindustani) small rhythmic phrase of 4 beats used by khyal
percussionist.
Ustad - (persian) Master
Utsav - festival of music
Vadi - The predominant note of the raga
Vichitra veena - hindustani plucked string instrument, of the family of the been
Vilambit - Slow lay
Vistar - Improvisation or elaboration of melodic or rhythmic ideas.
Vinyas - (hindustani) a note in a scale where the musician should not end or
stop, from a classification system older than the vadi-samvadi sytem
Vinyasa - see Vinyas
Edited by adi_0112 - 17 years ago
Twenty centuries ago, the essential role of music of India was deemed to be purely ritualistic. Music as entertainment is supposed to have evolved much later. Another part of Indian music is folk music. Indian classical music is said to have evolved out of the mixture of these. It is presumed that folk music existed long before the Aryans came to India, the Dravidians having their own. The art of music practised in India has a special significance, as it has developed from the ritualistic music in association with folk music and other musical expressions of neighbouring nations, developing into its own characteristic art. Matured through ''thought, experience and expression'', Indian classical music has become unique in the world.
THE ORIGINS OF INDIAN MUSIC
The origin of Indian music is said to be rooted in the Vedas. It is said that God Himself is musical sound, the sound which pervades the whole universe, i.e. Nadabrahma. The origins of Indian music are therefore considered divine. It is said that the musician has to cultivate an attitude of self-abandonment, in order to fuse with the Supreme Reality, Brahma.
Brahma is said to be the author of the four Vedas, of which the SamaVeda was chanted in definite musical patterns. Vedic hymns were sung in plain melody, using only 3 notes.
It took a long time for music to come to the form found in present-day India. The most important advance in music was made between the 14th and 18th centuries. During this period, the music sung in the north came in contact with Persian music and assimilated it, through the Pathans and the Mughals. It is then that two schools of music resulted, the Hindustani and the Carnatic. Hindustani music adopted a scale of Shudha Swara saptaka(octave of natural notes) and Carnatic music retained the traditional octave. During this period, different styles of classical compositions such as Dhrupad, Dhamar, Khayal,etc. were contributed to Hindustani music, along with many exquisite hymns, bhajans, kirtans, etc.
TRADITION OF MUSIC
The music of India is a pervasive influence in Indian life. It pervades the big and small events of Indian life, from child birth to death, religious rites and seasonal festivals. Originally, not all developments of music were reduced to writing. To keep their traditional integrity, they were imparted orally from teacher to pupil -- the Guru-Shishya tradition. In the past, there used to be a system of Gurukul Ashram where teachers imparted knowledge to deserving students.
SHRUTI AND SAPTAKA
The Indian musical scale is said to have evolved from 3 notes to a scale of 7 primary notes, on the basis of 22 intervals. A scale is divided into 22 shrutis or intervals, and these are the basis of the musical notes. The 7 notes of the scale are known to musicians as Sa, Ri, Ga, Ma, Pa, Dha and Ni. These 7 notes of the scale do not have equal intervals between them. A Saptak is a group of 7 notes, divided by the shrutis or intervals as follows -- Sa Re Ga Ma Pa Dha Ni 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 The first and fifth notes(Sa and Pa) do not alter their positions on this interval. The other 5 notes can change their positions in the interval, leading to different ragas. RAGA - THE SOUL OF CLASSICAL MUSIC The combination of several notes woven into a composition in a way which is pleasing to the ear is called a Raga. Each raga creates an atmosphere which is associated with feelings and sentiments. Any stray combination of notes cannot be called a Raga. Raga is the basis of classical music. A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave. A performer with sufficient training and knowledge alone can create the desired emotions, through the combination of shrutis and notes. There are a limited number of ragas in Hindustani music; as the use of a ''KING" note and a ''QUEEN" note restricts to a great extent, the creation of new ragas. The raga forms the backbone of Indian music, and the laws laid down for the ragas have to be carefully observed to preserve and safeguard their integrity. The following points are required in the construction of a Raga --
There are certain ragas which move in a certain pitch and if the pitch is changed, the raga fails to produce the mood and sentiment peculiar to it.
Marwa -- with the re note as komal and the ma note as teevra.
Simple and pleasant expression of the face and hand gestures. Thorough knowledge of tala theory and important talas. The Matra is the smallest unit of the tala. Tala is the most important aspect of classical music, and it can be considered to be the very basis or pulse of music. To appreciate the structure of simple and complicated divisions, the improvisations of Tala and its theory, one should listen to an accomplished solo drummer. A classical drum player requires at 8-10 years of methodical training and another 4-5 years of hard practice. |
SHRUTI AND SAPTAKA
The Indian musical scale is said to have evolved from 3 notes to a scale of 7 primary notes, on the basis of 22 intervals. A scale is divided into 22 shrutis or intervals, and these are the basis of the musical notes. The 7 notes of the scale are known to musicians as Sa, Ri [HUH!?!], Ga, Ma, Pa, Dha and Ni. These 7 notes of the scale do not have equal intervals between them. A Saptak is a group of 7 notes, divided by the shrutis or intervals as follows -- Sa Re Ga Ma Pa Dha Ni 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 The first and fifth notes(Sa and Pa) do not alter their positions on this interval. The other 5 notes can change their positions in the interval, leading to different ragas. |