Classical music terminologies at a glance - Page 4

The sources of similarity and dissimilarity between the raag :

Some times some raags sound almost similar but still there exists a little difference in them. These differences can be seen to be as follows :

1 Similar Thaat (scale) and melodic configuration :

Some times a raag is only separated from the other by means of stressing a particular note in one of them. For example the only difference between raag Hameer and raag Hameer Kalyaan is there is emphasis on shuddha Ni in Hamir Kalyan.

2 Similar melodic configuration but different Thaat

In some raags the melodic structure the mood they present is almost the same but one or two notes vary in their format i.e. are Komal or shuddha or teevra. For example in Aasaavari and Komal Rishabh Aasaavari only difference is the later uses Komal Re instead of Shuddha re. Hence the raags are considered totally different.

3 Identical Thaat (scale )but different melodic configuration

These raags are a challenge to the performer. As the scale remains the same and they are separated on the basis of the melodic configuration only. There are subtle differences made in the form of a meend, use of a certain musical phrase, emphasis on certain notes, etc. For example Raag Goud Saarang and Raag Chhayanut.

4. Partial similarity :

Here the chances of confusion are almost nill. This is the case of those raag that are derived from two different raag.Where one tetra chord is derived from one raag and the next from some other major raag. For example raag Ahir Bhairav is derived from Bhairav a major raag and Kafi . The resemblance to Kafi is limited to the lower tetrachord (poorvanga) only.

Alpatva (Insignificance) and Bahutva (Predominance)

Bahutva : This is shown in two ways

1 By  singing the note repeatedly which is termed as abbhyaas, and 

2 By singing the note for a longer time.This is called Aalanghan (lit. grasping)

Bahutva is related to Vaadi and Samvaadi of araag as well as other notes of the raag which are prominent in the presentation of that raag.

Alpatva : This is again done in two ways.

1 Anabbhyaas :  lack of repetition

2: Langhan : Only briefly touching the note.

For example in raag Bihaag The notes Ga and Ni are treated with alpatva as they are less emphasized.

Avirbhaav and Tirobhaav

As the musician employs different note combination in the development of a raag, there is an ever present danger that the audience may feel snatches of another raag.which uses similar note combinations.

When the raag being presented is clearly defined it's called as Aavirbhaav.

On the other hand when the raag is deliberately and cleverly concealed it's called as Tirobhav. This prevarication is used as an artistic devise.

This process of Avirbhaav and Tirobhaav, an almost sensual game of creating confusion and resolving it by clear statement of the raag makes the raag stand out more luminously.

The Jod Raag (Compound raag)

The basic principles in combining two raag is the constituent raags should complement each other. The emotional effect of  combining them should be pleasing and not emotionally disturbin, and not only for intellectual curiosity. There are at least two forms of Jod raag .

1 One raag is given predominance than the other. For example in raag Basant Bahaar Basant is considered the main raag to which raag Bahaar is combined.

2 Another way of combining is to use the notes of one raag and Chalan (melodic movement ) of the other. For instance in raag Megh Malhar, the notes belonging to Raag Saarang are used and the raag is sung in the manner employed by the Malhaar group.

There are three ways these raags are created

1. Combining the Aaroha of one raag and the avaroha of another.
2. To have each tetrachord composed of notes of different raag (either shuddha or Vikrit)
3. Use phrases from two or more raags and alternate between them.

The rules regarding formation of a Raag

1> The raag must belong to a thaat
2> It must be melodic in nature.
3> It comprises of a minimum five notes.
4> A raag must have Aaroh as well as Avaroh
5> Each raag has the note Sa present in it.
6>Each raag has either Ma and/or Pa. Both these notes together can not be absent from a raag.
7> Two forms of the same note such as Shuddha Ga and Komal Ga cannot follow each other in succession.(But there are exceptions to this rule. For example Raag Lalit takes Shuddha Ma and Teevra Ma one after the other.

 

The sources of similarity and dissimilarity between the raag :

Some times some raags sound almost similar but still there exists a little difference in them. These differences can be seen to be as follows :

1 Similar Thaat (scale) and melodic configuration :

Some times a raag is only separated from the other by means of stressing a particular note in one of them. For example the only difference between raag Hameer and raag Hameer Kalyaan is there is emphasis on shuddha Ni in Hamir Kalyan.

2 Similar melodic configuration but different Thaat

In some raags the melodic structure the mood they present is almost the same but one or two notes vary in their format i.e. are Komal or shuddha or teevra. For example in Aasaavari and Komal Rishabh Aasaavari only difference is the later uses Komal Re instead of Shuddha re. Hence the raags are considered totally different.

3 Identical Thaat (scale )but different melodic configuration

These raags are a challenge to the performer. As the scale remains the same and they are separated on the basis of the melodic configuration only. There are subtle differences made in the form of a meend, use of a certain musical phrase, emphasis on certain notes, etc. For example Raag Goud Saarang and Raag Chhayanut.

4. Partial similarity :

Here the chances of confusion are almost nill. This is the case of those raag that are derived from two different raag.Where one tetra chord is derived from one raag and the next from some other major raag. For example raag Ahir Bhairav is derived from Bhairav a major raag and Kafi . The resemblance to Kafi is limited to the lower tetrachord (poorvanga) only.

Alpatva (Insignificance) and Bahutva (Predominance)

Bahutva : This is shown in two ways

1 By  singing the note repeatedly which is termed as abbhyaas, and 

2 By singing the note for a longer time.This is called Aalanghan (lit. grasping)

Bahutva is related to Vaadi and Samvaadi of araag as well as other notes of the raag which are prominent in the presentation of that raag.

Alpatva : This is again done in two ways.

1 Anabbhyaas :  lack of repetition

2: Langhan : Only briefly touching the note.

For example in raag Bihaag The notes Ga and Ni are treated with alpatva as they are less emphasized.

Avirbhaav and Tirobhaav

As the musician employs different note combination in the development of a raag, there is an ever present danger that the audience may feel snatches of another raag.which uses similar note combinations.

When the raag being presented is clearly defined it's called as Aavirbhaav.

On the other hand when the raag is deliberately and cleverly concealed it's called as Tirobhav. This prevarication is used as an artistic devise.

This process of Avirbhaav and Tirobhaav, an almost sensual game of creating confusion and resolving it by clear statement of the raag makes the raag stand out more luminously.

The Jod Raag (Compound raag)

The basic principles in combining two raag is the constituent raags should complement each other. The emotional effect of  combining them should be pleasing and not emotionally disturbin, and not only for intellectual curiosity. There are at least two forms of Jod raag .

1 One raag is given predominance than the other. For example in raag Basant Bahaar Basant is considered the main raag to which raag Bahaar is combined.

2 Another way of combining is to use the notes of one raag and Chalan (melodic movement ) of the other. For instance in raag Megh Malhar, the notes belonging to Raag Saarang are used and the raag is sung in the manner employed by the Malhaar group.

There are three ways these raags are created

1. Combining the Aaroha of one raag and the avaroha of another.
2. To have each tetrachord composed of notes of different raag (either shuddha or Vikrit)
3. Use phrases from two or more raags and alternate between them.

Origin of raag names

In respect of certain raags we see the names of Hindu deities such as Kedaar, Bhairav, Gouri, Durga.

Some raags such as Ahiri, Asaavari, Gurjari indicate the link to certain tribes having similar names and might have risen out of tribal melodies.

Some names refer to certain places. For example Malwa, Jounpuri, Pahari. These raags may have had their origins in the folk tunes of those regions.

The fourth group bear the names of their creators. Raags such as Miya ki Malhar , Miya ki Todi are attributed to Miya Taansen. Whereas the Raag Bilaskhani Todi is said to have been created by his son Bilaskhan. The raag Darbaari Kanada is supposed to been derived from the Karnatic version of Kanada.

Besides the old raags few new raags have also been formed.

The general schema of Raag Presentation

The following is the sequence in which various components of a raag are presented in a mehefil (concert)

Alternative 1 1 Alaap a) Vilambit alaap presented in sections from low notes to high b) Maddhya alaap divided in to similar sections. c) Drut alaap divided in to similar sections 2. Composition set to taal a> Sthaayi b> Antaraa 3. Bol Baant 4. Repetition of the full composition once.

Alternative 2 1. Avachar : A brief outline of the raag usually in aakaar. 2.Bandish : a) Sthaayi b) Antaraa 3 Alaap : in the form of badhat using the words of the bandish and broken in to sections . a) Using the bols of the sthaayi b) Using the bols of the antaraa. (After each section the mukhada is repeated) 4. Bol Baant and Layakaari 5. Taans 6. End with tihai( repeating part of the cheez thrice and coming to the sum)

 

The Notation System

There exist two notation systems. One developed by Pt. Paluskar which is a little more elaborate and for the same reason intricate and difficult to use.

Here we will be reviewing the other system which was developed by Pt. Bhatkhande. This is  more easy to use. Throughout the site, we will be following this system of notation.

Shuddha Swar(Normal Notes)- No symbol for shuddha swar.
Example -- Sa, Re, Ga, Ma

Komal Swar( Flat Notes) -- Shown by a small horizontal line underneath.
Example -- Re, Ga, Dha, Ni,

                                                                |
Teevra Swar(Sharp Notes) -- That is Ma shown by a small vertical line on the top.

Mandra Saptak Swar (Lower Octave Note) -- Shown by a dot below.
Example Ni, Dha, Pa, Ma
               .    .      .   .

Maddhya Saptak -- Has no sign.  
example - Pa, Ma

Taar Saptak Swar (Higher Octave Note) -- Shown by a dot above.
              .   
Example Sa

                               

A dash - (hifen)-- Used for lengthening the note. One dash corresponds to one beat when the playing or singing with the taal.

Avagraha -- Shown by "S " . It's used for having pauses in the words.
Example - Go SSS vinda S

Chandra -- Shown by half moon. Any number of notes can be inside the half moon to indicate that they are to be rendered in 1 beat.
Example -- SaReGaMa  
                         

Kan Swar (Grace Note) -- Writen above the note to the left top in small letter size.

Meend -- Continuing sound from one note to the other.

Example                   
                                  Ma Ni     

^{Notes in bracket --Equal to a short phrase of three or four. It's sung very fast so that the notes blend and sound as one note. The order for these notes is one note after -the note in bracket-the note after-the note in bracket.
Example-- (Sa)- ReSaNiiSa}

^{Symbols related to rhythm}

^{Division of beats is marked by a bar between the beats
Khand.--Each interval between the bars is called khand.
Sum (The first beat)-- Shown by a cross. below the beat.
Khali - Usually the beat in the middle of the taal. Marked by 0 below the beat
Taali - Starting of each Khand other than Sum and Khaali is shown by Taali. Sum is taken as the first taali. The next taalis are numbered and shown hence from 2 onwards.}
Example --The name of the taal below is Tritaal. The words are called Bol of the taal. For, when played on the Tablaa , each bol actually sounds as it is pronounced.

Dha Dhin Dhin Dha | Dha Dhin  Dhin  Dha
X                                 2                                             

Dha  Tin  Tin  Ta |Ta    Dhin  Dhin  Dha| 
0                            3

Example of a composition with a notation and with the taal (This particular composition is set to Taal Tritaal)
Sa Ma Ga  - |Ma Ga Ma Pa    | -   - Ga  Ma  |Sa   Dha Ni Pa|                 
(Notation of the words of composition)
                                        
gi   ri   dha S | ri     S   S    Mo | Ri  S    S   raa | kho  laa S    j |                  
(words of composition)

X                    2                           0                      3                                         (Indications of the Taal)
                                                                        

40 Principles of Hindustaani Classical Music
(According to Pt. Bhatkhande)

The principles of Indian classical music are well explained by these 40 principles put together by Pandit Bhatkhande.

1> The Shuddha Saptak (The basic scale) is taken as Bilaval That.
2>. All the raags are divided based on the number of notes in the Aaroha and Avaroha as odav
( Raag of 5 Notes), Shadav (raag of 6 notes), Sampoorna (Raag of 7 notes)
3>. A raag cannot have less than 5 or more than 7 notes (out of 12 notes including Komal and teevra)
4>. The combination of Odav, Shadav, Sampoorna in the aaroha or aavaroha make 9 types of raag based on the number of notes in it.
5.> Each raag is based on a thaat, and has Aaroh, Avaroh, Vaadi, Samvaadi, samay, ras, thaat.
6>. A samvaadi is always fourth or fifth from the vaadi. If vaadi is in the poorvanga samvaadi will be in the uttarang and vice versa.
7>. By changing the vaadi swar a morning raag can be changed into an evening raag.
8>. To enhance the beauty of the raag a vivaadi note can be used very rarely.
9>. Each raag has a vaadi. The raag is identified as a poorva raag or uttar raag based on the vaadi  note.
10>.Raags can be classified into 3 categories :   
a) Raag with Komal Re, Komal Dha    
b) Raags with Shuddha Re, Shuddha Dha   
c) Raags with Komal Ga, Komal Ni.. Normally in the Pratah kaalin sandhi prakash raag, Re and Dha are never absent. And in Sayam kaalin sandhi prakash raag Ga and Ni are normally not absent.
11>. Ma indicates whether the Raag will be sung at day time or at night.
12>. The raags with Komal Ga ,Ni are performed at afternoon or at mid night.
13>. After the Sandhiprakaash raag mainly raags with Re, Ma, Dha, Ni shuddha are performed.
14. Sa, Ma, Pa are the important notes in raags of 3 rd prahar of day and the night.
15. Teevra Ma is found mainly in Raags of the night. It's found rarely in the day time raags.
16. The vaadi is one of the notes-- Sa, Ma, Pa, in raags that can be sung at all the times.
17. Ma, and Pa can not be simultaneously absent from a raag.
18. Each raag must consist of the note Sa.
19. No two forms of the same note are taken one after the other in a raag. There are exceptions such as Raag Lalit  though, to this rule.
20. The raag's beauty is enhanced more if sung at the designated time .
21. Teevra Ma and Komal Ni come together very few times.
22. The raags in which both the Ma appear are similar in nature. The aaroha is different but the avaroha is quite similar.
23.In the raags sung at 1st prahar of the night, and which have both the Ma, Shuddha Ma is taken in both aaroha as well as the avaroh but Teevra Ma is taken mainly in aaroh.
24. In raags of 1st prahar of the night aarohi Ni and Avarohi Ga are Vakra. Ni in the avaroha is not emphasized.
25. In Indian classical music as opposed to the Karnatak classical music, the swar is more important than the Taal.
26. The poorv raag show their special characteristics in the aaroha , where as the uttar raag show their special characteristics in the avaroh.
27. Each thaat can produce poorva and uttar raags.
28. In the raags of the serious, calm nature Sa , Ma , Pa seem to have a prominent place.They are more effective in the Mandra Saptak. Whereas in the raags of  light mood, this is not found to be so.
29. While entering from one thaat into another thaat, Para Mel Praveshak raags (raags on the border of the two thaats) are rendered.
30. The sequence normally followed is sandhi Prakash Raag then raags with Re Dha shuddha then the raags with Ga , Ni  komal.
31.  Sandhi Prakash Raag invoke Karun , Shant ras. The raags with Re, Ga , Dha shuddha invoke Shrungaar and Hassya ras. The raags with Komal Ga, Ni invoke Veer, Roudra Ras.
32.The raags which have Komal Ni normally have Shuddha Ni in the aaroha. For example Kaphi and Khamaj.
33. When two to four notes are together they cannot be called a raag . They can at best be called a taan.
34. In raag notes can be prominent , or insignificant (insignificant does not mean absent though).
35. After twelve at night and twelve in the morning Sa, Ma, Pa start assuming importance gradually.
36. In the raags sung in the afternoon,Aaroha either does not consist of Re and Dha or they are insignificant. In these Raags Ga and Ni really shine with full glory.
37. The raags with Sa, ma, Pa as Vaadi are of serious nature.
38. In the dawn time raags Komal Re and Komal Dha are predominant and dusk time raags have the prominence of Shuddha Dha and Shuddha Ni.
39. The combination NiSa ReGa immediately establishes Dawn - Dusk time raag.
40. Poorva raags are more elaborate in the aaroha and uttar raags are more elaborate in the avaroh.

Wow that's extensive! Great job compiling all this information. I'll be sure to read it... at my leisure. 😃

This is exactly what I've been looking for as I'm interested in learning, but have never had the opportunity. Thanks for saving me the effort Adi! 😉

^{Notes in bracket --Equal to a short phrase of three or four. It's sung very fast so that the notes blend and sound as one note. The order for these notes is one note after -the note in bracket-the note after-the note in bracket.
Example-- (Sa)- ReSaNiiSa}

^{Is this the equivalent of a "trill" in piano music?}

Edited by T. - 17 years ago

Great job Adi you need to make this sticky or referenceable...... 😊