The quest for a language or a code to voice the complexities of Indian classical music has been an ongoing adventure which started in the early 20th century. Though the tradition of learning Indian music is ancient, it has largely been an oral tradition, where the student learns from Gurumukh ( the mouth of the teacher), there have many attempts to formalize this learning into a notation system, one that could explain the complexities of the art.

The notations used today were developed during the early 20th century and therefore are very young compared to the fully developed notation system for western music. The modern Indian music notation systems can be credited to two stalwarts: Pt. Vishnu Digambara Paluskar and Pt. Vishnu Narayana Bhatkhande.

This booklet is a result of the research for a project that aimed to understand notation systems, the working, the assets and the flaws and consequently an attempt to develop a system that can denote the abstract and subtle aspects of the art. This project aims to focus on understanding and visualizing the movement from one note to another which is the critical aspect of this kind of music.

This project aims to device simple visual solutions to represent some of the key aspects of this kind of music. This music is primarily improvisational and leans heavily on the artist's creative ability and imagination. But there are rules that the artist has to comply by, one such rule being that there is a specified scale which utilizes five, six or seven notes, the movements are pre-determined but the order of these movements is up to the performer. This art can be compared to having learnt the alphabet and words and its rules, but also having the freedom to form one's own sentences.

Saral Sur utilizes three keys or codes or visual devices, which become the visual language the improvisation is rendered in. The Raga Kalyan has been explained using these devices. The student is advised to listen the recommended audio matter while using this kit.

summary of post-graduate project

saral sur, 2010

designed by pradnya r dighe, student of london college of communication (ual), london, u.K.

visual device 01 : note + colour

Each note is allocated a colour. This exercise was done to identify the patterns in the improvisation. Color is among the strongest visual stimuli that our brains receive from the outside world. This visualization can be used to understand patterns of notes. It could also assist in understanding of the mood of the raga, depending on the colour scheme.

S r_ r g_ g M M΄ P d_ d n_ n S�

c c# d d# e f f# g g# a a# b c

examples of time of day

sunrise

S r_ r g_ g M M΄ P d_ d n_ n S�

examples of mood

romance

S r_ r g_ g M M΄ P d_ d n_ n S�

visual device 02 : arcs

Arcs are simple graphical devices to indicate movement, with movement being a critical aspect in this music. This experiment uses the arcs to showcase the transition from one note to another, thus illustrating the grace notes and the prescribed movement.

n. s r

g

movement

intended movement

intended movement with-in range

a p p l i c at i o n o f t h e d e v i c e

raga Yamanscale: seven notes - seven notes

ascent: n. , r, g, m’, d, n,s�

n. S r_ r g_ g M M΄ P d_ d n_ n S�

descent: s� , n, d, P, m’, g, r, s

S� n n_ d d_ P M΄ M g g_ r r_ S

improvisation: n. , rg, rgm’P

n. r g r g m' P

g m' d

~

g rn. r g m' d P

g m'd

visual device 03 : gradients

Gradients are another device that can be used to illustrate movements. The device can also be used to illustrate points of emphasis within the prescribed movement.

g

g rn.

movement

intended movement

intended movement with-in range

a p p l i c at i o n o f t h e d e v i c e

raga Yamanscale: seven notes - seven notes

ascent: n. , r, g, m’, d, n,s�

n. S r_ r g_ g M M΄ P d_ d n_ n S�

descent: s� , n, d, P, m’, g, r, s

S� n n_ d d_ P M΄ M g g_ r r_ S

improvisation: n. , rg, rgm’P

a p p l i c at i o n o f t h e n o tat i o n s y s t e m

raga Yaman - drut khYal, teen tala, 16 beats - saral sur notation

stahyi - first part of the composition

yeri ali piya

Pn

Pn

ye _ _ e _ _ ri

r s

P

aa _ _ a _ _ li

g r

pi _ _ i _ _ ya

bina ari

g g

bi _ _ i _ _ na

g m'

aa _ _ a _ _ ri

sakhi kalana pa

g m' g P

sa _ _ khi _ _ i ka _ _ la na _ _ pa

P P

rata mohe

m' d P P

ra _ _ ta mo _ _ he

n