Classical music terminologies at a glance - Page 3

I came upon a site where there is a lot of information and simple explanation on classical music, its terminologies and its applications.

An Indian  music teacher from Dubai took pains in simplifying the classical music to reach out to as many people as possible and created this wonderful site..In his own words" I was always painfully aware of the lack of understanding that Indian Classical Music enjoys. This is a small contribution towards improving the understanding of Indian Classical Music. The followings site focuses mainly on the vocal aspect."

http://satrangimusic.netfirms.com/index.htm

The following articles are the simplified version as presented by him person in the website  mentioned above

 

Saptak (scale)

The table below explains the concept of the scale for Indian classical Music.Saptak can start from any note as Sa(The first note ).

In the table below shows the different scales that can be used. Saphed means White and Kali means Black . The next part are equivalent numbers in Hindi).

Indian name Of the Scale	Western Scale
Saphed Ek (White One)	C
Kali Ek (Black One)	C Sharp
Saphed Don (White two)	D
Kali Don (Black two)	DSharp
Saphed Teen(White Three)	E
Saphed Chaar(White Four)	F
Kali Teen (Black Three)	F Sharp
Saphed Pach(White Five)	G
Kali Chaar (Black Four)	G Sharp
Saphed Chhe (White Six)	A
Kali paach (Black Five)	A Sharp
Saphed Saat (White 7)	B

To view the image of the saptak as on the piano/harmonium, click here.

Some  Terms regarding the Swar (Notes )

Shudhha, Achal, Komal, and Teevra Swar

Achala Swar : The notes Sa and Pa are fixed on the scale .They are referred to as Achal swara (immovable).

Vikrut Swar :The other notes are Vikrut (Movable)

Komal Swar : In Vikrut swaras the notes Re, Ga , Dha, Ni can be moved below there shuddha place on the scale. They are called komal (Soft or Flat). These are shown by a small horizontal line below the note.

Teevra Swar : Only one swar Ma can become vikrut by going one note above the shuddha Ma. It is called teevra (Sharp). It is shown by a small vertical line above the note.

Saptak (Register)

In Indian Classical music 3 saptaks (Octaves) are usually utilized.

Saptak : When the set of seven notes is played in the order it is called a Saptak (i.e. Sa , Re, Ga, Ma, Pa, Dha, Ni)

Maddhya Saptak : The normal tone of human voice, which is neither high nor low. It is called  Maddhya Saptak (Middle Octave). This has got no symbol in the notation system

Taar Saptak : The one higher than Maddhya Saptak is Taar saptak (High). The notes are high and sharp.This shown by a dot above the note. Two dots above the note imply a note of an octave higher than the Taar Saptak i.e. Ati Taar Saptak.

Mandra Saptak :The one below the Maddhya Saptak is called Mandra saptak(Low). Notes of this octave are sung or played in a low deep tone. This comprises of the saptak which is below the lower Sa of the Maddhya Saptak. Notes of this saptak are indicated by a dot below.

It's possible in case of stringed instruments such as Sitar to go to the octave lower than the Mandra saptak. It's known as the Ati Mandra Saptak. The notes of this saptak are indicated by two dots below.

In the saptak (scale) the Sa gets repeated after the Ni. The Frequency of the second Sa is twice the frequency of the first Sa. The second Sa is termed as Taar Shadja. From this Taar Shadja the same saptak gets repeated (But this time at twice the frequency of the respective swar. It's then called taar Saptak.)

The Drone

Since the Indian Classical music is modal music based on relations between a fixed sound, the tonic and the successive notes. The tonic needs to be heard continuously.The sustained accompaniment of the tonic allows the performer to check his/ her voice to avoid dissonance.This constant tonic is provided by the instrument Taanpura . It has four or sometimes 5/6 strings . The drone is accomplished (explained for a four string taanpura) by playing

      .    .                        .     .
Pa, Sa, Sa, Sa or Ma, Sa, Sa, Sa ( If a particular raag does not include Pa but has Ma)

Some times it is set to

         .    .                     .    .     
Dha Sa, Sa, Sa or Ni, Sa, Sa, Sa if the raag has prominence of Dha or Ni.

 

 

Edited by adi_0112 - 17 years ago

Thaat (Classification of Raags)

The set of seven notes or scale which can produce a raag is called a thaat.The system of classification for the raags in different groups. Each group is called a thaat.There are again several systems of classification of the raag. Presently in Hindustani Classical Music the 10 thaat classification of raags is prevalent.

There are certain rules for these Thats or scales.

1. A Thaat must have seven notes out of the twelve notes [Seven Shuddha, Four komal (Re, Ga, Dha , Ni), one teevra (Ma) ], placed in an ascending order. Both the forms of the notes can be used.

2. Thaat  has only an Aaroha.

3. Thaats are not sung but the raags produced from the Thaats are sung.

4. Thaats are named after the popular raag of that Thaat. For example Bhairavi is a popular raag and the thaat of the raag Bhairavi is named after the raag.

Following 10 Thaats are widely accepted now.
( Bhatkhande system)

Name of Thaat	Swar	Komal(Flat)/ Teevra(Sharp)
Bilaval	Sa, Re , Ga, Ma, Pa. Dha, Ni	All shuddha swar
Khamaj	Sa, Re , Ga, Ma, Pa. Dha, Ni	Ni Komal
Kalyan	|       Sa, Re , Ga, Ma, Pa. Dha, Ni	Ma Teevra
Bhairav	Sa, Re , Ga, Ma, Pa. Dha, Ni	Re, Dha Komal
Kaafi	Sa, Re , Ga, Ma, Pa. Dha, Ni	Ga, Ni Komal
Maarvaa	|       Sa, Re , Ga, Ma, Pa. Dha, Ni	Re Komal , Ma Teevra
Asaavaree	Sa, Re , Ga, Ma, Pa. Dha, Ni	Ga, Dha, Ni Komal
Poorvi	|       Sa, Re , Ga, Ma, Pa. Dha, Ni	Ma teevra, Re, Dha Komal
Todi	|         Sa, Re , Ga, Ma, Pa. Dha, Ni	Ma teevra, Re, ,Ga, Dha Komal
Bhairavi	Sa, Re , Ga, Ma, Pa. Dha, Ni	Re, Ga, Dha, Ni  Komal

 

Raag In it's today's form

In today's Indian classical music Raag is the backbone. The word raag comes from Sanskrit word "Ranj" which means to delight to make happy and to satisfy. Here it's necessary to clarify that not all raags project a happy mood. The raag can produce various moods such as Shant (serenity), Shrungaar (erotic), Bhakti (devotion to God), Veer (gallantry, bravery, aggressive)

Raag is neither a scale, nor a mode. It is, however, a scientific, precise, subtle, and aesthetic melodic form with its own peculiar ascending and descending movement which consists of either a full octave, or a series of six or five notes. An omission of a jarring or dissonant note, or an emphasis on a particular note, or the slide from one note to another, and the use of microtones along with other subtleties, distinguish one raag from the other.

Raag has its own principal mood such as tranquillity, devotion, eroticism, loneliness, pathos, heroism, etc. Each raag is associated, according to its mood, with a particular time of the day, night or a season. Improvisation is an essential feature of Indian music, depending upon the imagination and the creativity of an artist; a great artist can communicate and instill in his listener the mood of the raag.

Each melodic structure of raag has something akin to a distinct personality subject to a prevailing mood. Early Indian writers on music, carried this idea further and endowed the raags with the status of minor divinities, with names derived from various sources, often indicating the origin or associations of the individual raags. In theoretical works on music each raag was described in a short verse formula, which enabled the artiest to visualize its essential personality during meditation prior to the performance.

Some Terms Regarding the Raag

There are 3 Raag Bhed (Types of Raag )

1> Shuddha Raag : The raag in which even if any notes  that are not present in it are used, it's nature and form does not change.

2> Chhayalag Raag : The raag in which if any notes are taken that are not present in it, it's nature and form changes.

3> Sankeerna raag :The raag in which there is a combination of two or more raags.

Terms describing the properties of a Raag

Vaadi ,Samvadi,  Anuvaadi and Vivadi swar

Vaadi : The most prominent note of the raag which gets emphasized in the raag and used very often.

Samvaadi : The second most important note of the raag. It used lesser than the vaadi but more than the other notes of the raag. This is the fourth or fifth note from the Vaadi.

Anuvaadi : The other notes of the raag (other than Vaadi and Samvaadi)

Vivadi : The meaning of vivadi is "one which produces dissonance".Which is not present in the raag. But still a vivadi swara is used in a raag by able singers  in such a way that it enhances the beauty of the raag. This is done very rarely.
For example some times in the raag "Yaman" Shuddha Madhyam is used in between two Gandhar (Ga)

Aaroha : Ascend of the notes. Here each note is higher than the preceding note.
Example : Sa, Re, Ga, Ma, Pa, Dha, Ni   

Avaroha : Descend of the notes Example : Ni, Dha, Pa, Ma, Ga, Re, Sa

Pakad : A small group of notes which describe the unique features of the raag.

Jaati : Gives the number of notes in Aaroh as well as the Avaroha of the raag. Odav has 5 notes. Shadav has 6 notes and Sampoorna has 7 notes. Thus there are 9 jaati based on Odav, Shadav, Sampoorna in Aaroha and Avaroha.(i.e. making combinations of either odav or shadav or sampoorna in aaroha and odav or shadav or sampoorna in avaroha.

Thaat : The system of classification for the raags in different groups. The set of seven notes or scale which can produce a raag. Presently in Hindustani Classical Music 10 thaat classification of raags have been adopted. For more information on Thaat click here

Samay : Each Raag has a specific time at which it an be performed. This is so as those notes are supposed to be more effective at that particular time. For an image of samay chakra (time cycle) click here.

Ras : The emotion each raag invokes. The notes the raag has influence the Ras the raag will invoke.

Musical terms regarding a presentation of a raag  in vocal style

Sthaaee : The first part of the composition. Mainly develops in the the lower and the middle octave.

Antaraa : Second part of the composition. Develops in the middle or higher note.

Mukhadaa: The first line of the composition.

gr8 post!!'
but i think i always wanted to learn how to play tablas rather than learning to sing but always interested in listening to it....this thread just helped in understanding stuff better!

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Alaap

The gradual exposition of Raag emphasizing Vaadi, Samvaadi and other salient features of the raag in a slow tempo is known as Alaap.

The word alaap means a dialog  or conversation. Alaap is a dialog  between the musician and the raag. Alaap reflects the depth, the temperament, creativity and training of the musician.

In alaap, the musician improvises each note gradually. Beginning with the lower octave and in a slow tempo and techniques like kana swar and meend etc.The alaap is sung in the beginning of the raag at the time of a performance.This is also known as the Vistaar. When the musician starts rendering a Bada Khayal/ Chotaa Khayaal (song ) the tablaa or any other percussion instrument joins. Aalaap is used again with the composition, this time with the rhythm as well. This alaap is slightly faster and and rhythmic.

Some times the words of the song are also improvised with notes. This is known as Bol Alaap.

Alaap  is usually sung in Aakaar i.e. without pronouncing any syllables only using the sound "aa" of the vowel. Sometimes syllables like teri, Nom, Tom are also used for singing the alaap.

 

Taan

To improvise and to expand weaving together the notes in a fast tempo is a taan. Taans are very technical and show the training, practice and dexterity in weaving complicated patterns of the notes with variations in the rhythm. Taans also are sung in Akaar. Speed is an important factor of the taan.

Some important types of the taan

Bol Taan : Taan can also be sung by utilizing the words of the Cheez (Composition). This is a difficult type of a taan as in this correct pronunciation, the beauty of the words, meaning of the composition, every thing has to be taken in to consideration.

Shuddha/ Sapat (Straight )Taan : The notes are placed in an order in one or more octaves.

Koot Taan : The notes do not remain in order. It's complicated in nature.

Mishra Taan : Combination of the above two taans.

Gamak Taan : Gamak is a technique by which a force is added to notes and each note is repeated atleast twice.

Also there are many other types of taan called Ladant taan, zatkaa taan Gitkari taan, Jabde ki taan, Sarok Taan, Halak Taan, Palat taan

Although the terms can be explained the raag is a tonal complex. The listener has to listen to several pieces of the raag in order to recognize the raag. Each raag is presented differently depending upon the Gharana of the artist, the artist's own nature, and his/her mood at that time, also on the form he/she chooses to perform the raag in i.e. whether it's a khayal, a Dhrupad, Thummri, Bhajan etc.
The presentation is also different in case of vocal and instrumental music. This is why a Indian Classical Music can only be learnt properly by listening and repetition.

The Raag Time Cycle

In Hindustani classical music, each raag is rendered only at a specific time. The time of the raag depends on the vaadi swar and the anuvadi swars . This is so as each raag with it's particular swar is more effective if performed at a particular time. It is supposed to enhance the ras (mood) of the raag that the artiste is responsible for evoking.

But,some raags are seasonal in nature. For example raags that belong to the Malhar category can be sung at any time during the mansoon season. The traditional associations with respect to the season are - Monsoon - Raag Megh, Autumn - Raag Bhairav, Winter - Raag Malkouns, Spring - Raag Hindol.

For an image of Raag time cycle (Raag Samay Chakra)
click here
The 24 hours of a day are divided into 2 parts 
1> From 12 P. M. to 12 A.M.--This is called Poorva Bhaag and raags sung in this period are called poorva raags.
2> From 12 A.M. to 12 P.M.--This is called Uttar Bhaag and the raags in this period are called uttar raags.

The part of the saptak(octave) from Sa to Ma (sa re ga ma ) is called poorvang (earlier part) of a raag and from Ma to taar saptak Sa (pa dha ni sa) is called uttarang (later part) of the raag.

Poorvang Vaadi raag : The raags in which the vaadi swar lies in the poorvang are called poorvang vaadi raag. These raags are rendered in the poorva bhag of the day i.e. 12 A. M. to 12 P.M.

Uttarang Vaadi raag: The raags in which the vaadi swar lies in the poorvang are called poorvang vaadi raag. These raags are sung in the poorva bhaag of the day i.e. 12 P. M. to 12 A.M.
So if we know a vaadi swar of the raag we can estimate the time the raag will be rendered.
The raags in Hindustani classical music are divided in to 3 categories taking into account their swar (notes)--whether komal or teevra and samay(time)

1 : Raags with Komal Re and Komal Dha :

The sandhi prakaash  (dawn and dusk time) raag:
These again falls into 2 categories

a : pratah kaalin sandhi prakaash raag : raags sung at dawn
b: saayam  kaalin sandhi prakaash raag : raags sung at dusk

In sandhiprakaash raags ma plays very important role.
Most of pratah kaalin sandhi prakaash raags (dawn time) take the shuddha ma
Ex . raag Bhairav
Most of the sayam kaalin sanhdi prakaash raags(dusk time) take  teevra ma.
Ex : raag Maarva
Also, in most of the sandhiprakaash raags, Re is komal and Ga, Ni are shuddha. Dha can be komal or shuddha.

2 : Raags with shuddha re and shuddha dha:

The time at which these raags are rendered is after the sanhdi prakaash raags. They belong  mainly to Kalyan, Bilaval, Khamaaj thaat.
After the pratah kaalin sandhiprakaash raags the influence of shuddha Re and shuddha Dha starts rising. Hence the raags of this category are rendered from morning 7.00 to morning 10.00 and from evening 7.00 to evening 10.00
In this category Ga is essentially shuddha.
In the morning 7.00 to 10.00 category shuddha ma is prominent Ex.: Bilaval, Deskaar, Todi
In evening 7.00 to 10.00 category teevra ma is prominent Ex.: Yaman, Shuddha Kalyan, Bhoopali

3 : Raags with komal Ga and Komal Ni :

These raags are sung after the shuddha Re and shuddha Dha raags. They are sung from morning 10.00 to afternoon 4.00 eg. : Aasaavari, Jounpoori and night 10.00 to dawn 4.00 eg. : Bageshree, Jayjayvanti, Malkouns
In these raags Ga will surely be komal , the Re and Dha can be shuddha or komal.

Importance of Ma (Maddhyam) with regard to the time of the raag.

Normally , in the morning time raags shuddha Ma is prominent. In the raags with Komal Re and Komal Dha if shuddha Maddhyam is prominent then they are called Pratah Kaalin Sandhi Prakash raag.
In the evening raags teevra Madhyam is prominent. Thus in the evening with the raags such as Poorvi, Shree, Multaani, teevra Maddhyam comes into use which goes on till the 2nd prahar of the night. At that time with raags such as Bihaag, shuddha Madhyam starts getting prominence.

In the Pratah Kaleen Sandhi Prakash Raag the raags with the shuddha Madhyam ( Raag - Bhairav, Kalingada)  come first followed by raags with both the Maddhyam although Shuddha Maddhyam is prominent. (raag - Ramkali, Lalit)

After this is the time to sing raags with Shuddha Re and Shuddha Dha.. In these also Shuddha Maddhyam is prominent.( Raag Bilaval)

Then comes the time for Komal Gandhar raags. In this both the maddhyams are used. In some of them shuddha Maddhyam assumes prominence whereas in others teevra Maddhyam assumes prominence.

 

Difference between Raag and a Thaat

1. Thaats or scales  are produced from 12 swar -Shuddha, Komal, Teevra. Raags belong to the thaats.
2 .There must be seven notes in a thaat The raag must have minimum five notes.
3. In the thaat the seven notes have to be in order but in the raag the notes can be in any order.
4. Thaat has only Aaroha (Ascending notes). The raag must have Aaroha (ascending notes) as well as the Avaroha (descending notes).
5. It is not necessary for a thaat to be melodious as the thaats are not sung but the raag has to be melodious.
6. Thaats do not express a sentiment. A raag must express a mood.
7. Thaats do not have a Vaadi or Samvaadi. A raag has to have a Vaadi and a Samvaadi.
8. Thaats are named after a popular raag belonging to that Thaat.

Musical terms related to
ornamental melodic presentation

To make the raag rendering more beautiful and varied following ornamental patterns are used.

Alankar : Alankar literally means ornaments or adorations. Specific melodic presentation in succession in which a pattern is followed is called Alankar. For example : "SaReGa, ReGa Ma, GaMaPa, MaPaDha, PaDhaNi ". This phrase is a part of an alankar in which three notes in succession are used at each time.

Gamak: These are many ways of ornamenting the notes. In the ancient books fifteen types of gamaks are found. They are Kampita - shake, Andolita - swing, Aaghaat- strike, Valit - vipple, Tribhinna - threefold, Gumphita - threaded, Plavitaa - flowing, Mishrit - mixed, Kurula - spiral , Sphurita- pulsating, Tirip - flurry, Leen - absorbing, Mudrita - imprint, Ullhasit - happy, Naamita - obeisance.

Many of these gamaks are still in use in Karnatak music under different names. In the North Indian music of today vibrating the notes with force is now called Gamaka. This is an important technique in Dhrupad and often in Bada Khayal singing.. Many of the gamaks are used in Hindustani Classical music under different names and identities.

Kan or Sparsh Swar : The grace notes make the main notes sound sweeter. Grace notes are written slightly above the main note.

Murki : It's a short taan of three or four notes.It's sung very fast.

Khatkaa: Two or more notes sung with a jerk.

Meend : Stretching or lengthening the sound from one note to another. This technique maintains the continuity of the sound. Meend  brings a continuos flow, softness and continuity.

Raag and Ras (emotion)

Each raag invokes a certain mood. For instance the raag Darbaari Kanada is regal and dignified and majestic in it's appearance.. The melodies of this raag tend to be sung in the lower register, tempo is slow and the melodic phrases are complex.

All these effects can be explained by the ancient theory of Ras and Bhav.The Ras can be said as the experience and the Bhav the expression.

In the Bharat Natya Shastra eight sentiments are mentioned.
Shringaar (romantic/erotic), Veer (heroic),  Hassya (comic),  Karuna (pathos), Roudra (wrathful), Bhayanak (terrifying), Bibhatsa (odious ), Adbhut (wondrous). Later on, another ras Shant (peaceful, calm)was added.

It also mentions the different notes to produce different moods such as

Ma -humorous, Pa-Erotic, Sa - Heroic, Re - wrathful and so on.