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VOCAL GRADE 4

Welcome to Grade 4

You are about to start the wonderful journey of learning to sing, a journey that is challenging, but rewarding and enjoyable! Whether you want to jam with a band or enjoy singing solo, this series of lessons will get you ready to perform with skill & confidence.

Grade 4 covers the following topics : 1) Guruvandana and Saraswati vandana 2) Gharanas in Indian Classical Music

3) Pandit Vishnu Narayan Bhatkhande

4) Tanpura

5) Lakshan Geet

6) Music & Psychology

7) Raag Bhairav

8) Chartaal

9) Raag Bihag

10) Raag and Time Theory

11) Raag Kafi

12) Taal Ektaal

13) Bada Khyal

14) Guessing a Raag

15) Alankar

Introduction

What will you learn?

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Harmonium /Synthesizer

Electronic Tabla / TablaApp

You can learn to sing without any of the above instruments also and by

tapping your feet, however you will get a lot more out of this series if you have a basic harmonium and a digital Tabla to practice.

Apart from this booklet for level 1, there will be video clippings shown to you for each topic in all the lessons. During practice at home, please follow the method shown in the clippings. Practice each lesson several times before meeting for the next lesson. A daily practice regime of a minimum of 15 minutes will suffice to start with. Practicing with the harmonium and the digital Tabla will certainly have an added advantage.

DigitalTablamachinesorTablasoftware’sareeasilyavailableandideallyshouldbeusedfor daily practice.

How to Practice At Home

What You Need

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Importance of Guruvandana :

The concept of Guru is as old as humanity itself. Primarily, the word Guru means a 'teacher' and as such it is a universal concept based on the idea of transmitting knowledge from a person, who knows something, to a student or a disciple. In an extended view, a Guru can also be a priest, a master, a school teacher, even a father or a mother. Guru does not mean a teacher imparting formal training but a person who contributes to the overall development and learning of an individual. The syllable ‘Gu’ means darkness & the syllable ‘Ru’means he who dispels it. Hence Guru is one, who has the power to dispel darkness.

Guru transforms his disciple through his presence and spiritual knowledge.

Musical knowledge cannot be attained completely by reading books. But for obtaining complete musical knowledge Guru’s presence is a must. Only when there is a strong bond between Guru and Shishya can musical knowledge be imparted. It is impossible to get any knowledge without a Guru. From the

GURUVANDANA & SARASWATI VANDANA

Guruvandana

Lesson 1

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Guru-Shishya tradition in the past, the Guru has been given the place of God, which continues till today. It is very important to pay homage to the Guru with a calm mind, to be able to absorb the knowledge given by the Guru with full concentration and dedication required especially for the art of music.

GururBrahma GururVishnu GururDevo Maheshwaraha| Guru Saakshaat ParaBrahma Tasmai Sri Gurave Namaha ||

Meaning of Shlok :

GururBrahma - Guru is the Creator (Brahma),

GururVishnu - Guru is the Preserver (Vishnu),

GururDevo Maheshwaraha - GuruDeva is Destroyer (Maheshwara)

Guru Saakshaat ParaBrahma - Guru is the absolute (singular) Lord himself

Tasmai Sri Gurave Namaha - Salutations to that Sri Guru

Meaning of Words :

Guru: Dispeller of Darkness/Teacher

Brahma: Creator; Personification of Creating Quality of God

Vishnu: Preserver; Personification of Preserving quality of God

Deva: God

Maheshwara: Destroyer; Personification of Destroying Quality of God

Saakshaat: Self/ Himself

ParaBrahma: He who is the highest Lord; Consciousness

Tasmai: To him/ To such

Sri: Holy, splendorous

Namaha: Salutations

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Importance of Saraswari Vandana :

Saraswati is the goddess of knowledge, music, art, speech, wisdom, and learning.[

She is the mother of the Vedas, and chants directed to her are called the 'Saraswati Vandana’ Vedic lessons also often begin & end with this. As she is believed to be the goddess of music and knowledge, it is important to grace her with the saraswati Vandana before embarking on any journey of knowledge.

Ya Kundendu Tusharahara Dhavala Ya Shubhra Vastravrita।

Ya Veena Varadanda Manditakara Ya Shveta Padmasana॥

Ya Brahmachyuta Shankara Prabhritibhir Devaih Sada Pujita।

Sa Mam Pattu Saravatee Bhagavatee Nihshesha Jadyapaha॥

Meaning of Saraswati Vandana :

Let us try to understand the meaning of the saraswati Vandana.

May Goddess Saraswati, who is fair like Jasmine colored moon and whose pure white garland is like frosty dew drops, who is wearing radiant white clothes and on whose beautiful palm and arm rests the Veena, whose throne

SARASWATI VANDANA

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is in the white lotus, and who is surrounded and respected by Gods including Lord Brahma, Lord Vishnu and Lord Mahesh, protect me. I plead her to totally remove my inertia and sluggishness.

Meaning of words :

Ya – Who; Kund – White Jasmine flower; Indu – moon; Tushar – frost, dew; Hara – Garland; Dhavala – White and pure; Shubhra – White and radiant; Vastra – Clothes; Avruta – adorned with; Veena – Veena; Var – beautiful; Danda – arm; Mandit – adorn; Kara – palm; Shwet – White; Padmasana – Lotus throne; Brahma – Brahma; Achyut – Lord Vishnu; Shankar – Lord Shankara; Prabhritibhi – beginning from; Devaih – by the lords; Sada – always; Vandita – respected; Sa – she(that); Mam – Me; Patu – protect; Saraswati – saraswati; Bhagavatee – Goddess; Nihshesha – without any remnant; Jadya – inertia; Apaha – remove;

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Gharanas in Indian classical music is an age old tradition and is based on the

Guru-Shishya Parampara. The master or Guru invents his/her own unique style

of singing which is passed down to the student’s generation after generation

& eventually results in the formation of a Gharana. In other words, a Gharana

refers to a particular style of singing.

In the older times, everything, including art was pretty much localized.

People living in one particular region had no idea of what was happening in

another region. So the style of singing in a particular place remained confined

to that region & didn’t travel. As a result, all the Gharanas got their names

from the places they originated in.

1) Gwalior Gharana 2) Agra Gharana 3) Kirana Gharana 4) Bhendi Bazaar Gharana 5) Jaipur - Atrauli Gharana 6) Patiala/Punjab Gharana 7) Rampur-Sahaswan Gharana 8) Indore Gharana 9) Mewati Gharana

10) Sham Chaurasia Gharana

GHARANAS IN INDIAN CLASSICAL MUSIC

There are 10 major Gharanas in Hindustani classical music

Lesson 2

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1. Gwalior Gharana: This is one of the oldest Gharanas. It was started by Miya

Tansen. Some of the popular singers of this Gharana are Krishnarao shankar

Pandit & Raja Bhaiyya Poonchwale. Some of the contemporary artistes of this

Gharana are Meeta Pandit, Shashwati Mandal, Vasundhara Komkali etc.

The prominent features of this Gharana are as follows:

a) Singing in an open & loud voice

b) Khyals have a touch of Dhrupad style.

c) Taans are straight & 'Sapaat'.

d) Laykari in Boltaan

e) Extensive use of Gamak.

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2. Agra Gharana: This Gharana was founded by Haji Sujan Khan and Ustad

Ghaghe Khuda Baksh. Some of the popular singers of this Gharana are Faiyyaz

Khan, Khadim Hussain Khan and Zohrabai. Some of the contemporary artistes

of this Gharana are Waseem Ahmed Khan and Bharati Pratap.

The prominent features of this Gharana are as follows:

a) Aalap using the words 'Nom-Tom'.

b) Bandish occupies a special position in this Gharana & involves a lot of

Laykari within the Bandish.

c) Singing in an open & clear voice.

d) Specializes in Dhrupad-Dhamaar also alongwith Khyal.

e) Specializes in singing Boltaan as well as singing words without breaking

Them so that their meaning remains intact.

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3. Kirana Gharana: This is a very popular Gharana in terms of the artists that

it has produced and was founded by Ustad Bande Ali Khan who incidentally

also used to play the Rudra Veena.Some of the most popular singers of this

Gharana are Bhimsen Joshi, Firoz Dastur and Prabha Atre. Some of the

contemporary singers of this Gharana are Sumitra Guha and Sanhita Nanda.

The prominent features of this Gharana are as follows:

a) A special way of rendering the notes

b) More importance to Swar than words.

c) Aalap dominant singing.

d) Aalap is done by expanding the notes slowly one by one.

e) A touch of Thumri style to singing.

f) A touch of the style of playing string instruments to singing.

g) Extensive use of Meend and Gamak in Taan.

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Ashwini Bhide Deshpande

Raghunandan Panshikar

4. Bhendi Bazaar Gharana: This is one of the oldest Gharanas and was founded

by Chhajju Khan, Nazir Khan and Khadim Khan. The most famous singers of this

Gharana are Lata Mangeshkar, Manna Dey and Begum Akhtar.

Prominent features of this Gharana are as follows:

a) Use of 'Merukhand' system in Aalap.

5. Jaipur - Atrauli Gharana: This Gharana was started by Alladiya Khan in the

late 19th century. Some of the disciples of this Gharana are Ashwini Bhide

Deshpande, Raghunandan Panshikar, Shruti Sadolikar and Sanjay Dixit.

Manna Dey Lata Mangeshkar Begum Akhtar

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Ustad Ali Baksh

Ghulam Ali

Prominenet features of this Gharana are as follows:

a) Predominantly Khyal singing.

b) Unique Laykari.

c) Rich collection of Ragas.

d) Complex formations of Swar.

6. Patiala/Punjab Gharana: This Gharana was founded by Ustad Fateh Ali Khan

and Ustad Ali Baksh. Some of the famous singers of this Gharana are Ghulam

Ali and Shafqat Amanat Ali.

The prominent features of this Raag are:

a) Fast compositions & rhythm play in its compositions.

b) Extensive use of Alankarik Taan & Phirat Taan.

c) Known for its Chhota Khyal compositions.

d) Singing influenced by the ‘Tappa’ style.

e) Expertise in singing Taan.

f) Expertise in Thumri singing.

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7. Rampur-Sahaswan Gharana: This was founded by Ustad Inayat Hussain

Khan. Some of the famous disciples of this Gharana are Pt. Ganpat Rao, Arun

Bhaduri, Hariharan, Sonu Nigam and Shaan.

Some of the prominent features of this Gharana are:

a) The singing style is more Like Gwalior Gharana.

b) Features medium to slow tempo in singing.

c) Singing in a full-throated voice.

d) There is an intricate play of rhythm.

8. Indore Gharana: This Gharana was founded by Ustad Amir Khan. Some of

the prominent singers of this Gharana are Sultan Khan, Singh Bandhu and Pt.

Amarnath.

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Some of the special features of this Gharana are:

a) The singing style is a mix of singing legends like Abdul Wahid Khan, Aman Ali

Khan, Rajab Ali Khan and Abdul Karim Khan.

b) The tempo of the Bandish are slow & they focus on the development of the

Raag & melody.

c) There is a good use of ‘Tihai’ in the compositions of this Gharana.

9. Mewati Gharana: This Gharana was foundrd by Ustad Ghagge Nazir Khan.

Some prominent singers of this Gharana are Pt. Jasraj, Pt. Abhyankar, Smt. Kala

Ramnath & Pt. Aravind Thatte.

Some features of this Gharana are as given below:

a) Singing is more Khyal based.

b) Compositions of this Gharana are influenced by the Sufi & Kirtankar styles.

c) Most of the songs have a spiritual element attached to it.

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10. Sham Chaurasia Gharana: This was founded by Chand Khan and Suraj

Khan. Some prominent singers of this Gharana are Nazakat and Salamat Ali

Khan.

Special features of this Gharana are:

a) This is the most modern Gharana of Indian classical music.

b) It is known for its vocal duets.

C) It’s a Gharana of Dhrupad singing which is highly influenced by the Khayal

style.

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Pandit Vishnu Narayan Bhatkhande was an Indian musicologist who was the

first one to formally & scientifically write down the subject of Hindustani

classical music. Before this, the art form was propagated for centuries mostly

through oral traditions.

Pt. Vishnu Narayan Bhatkhande was born on the 10th of August, 1860 at

Walkeshwar in Mumbai. While not a professional musician himself, his father

ensured that Bhatkhande & his siblings received an education in classical

music. After turning 15, Bhatkhande became a student of Sitar & subsequently

began studying Sanskrit texts that dealt with music theory. In 1884, he became

a member of Gaayan Uttejak Mandal, a music appreciation society in Bombay,

which broadened his experience of music performance & teaching. He studied

at the Mandal for 6 years and learned a variety of compositions in both Khayal

& Dhrupad forms. He graduated (B.A.) in 1886 & finished L.L.B. in1890 after

which he briefly pursued a career in criminal law.

PANDIT VISHNU NARAYAN BHATKHANDE

Lesson 3

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However, music was still a leisure activity for him until 1900 when his

wife died followed by the death of his daughter in 1903. After that, he gave up

his law practice & devoted himself entirely to music. He started his historical

musical journey in 1904 wherein he travelled extensively throughout India to

collect music related literature. He listened to all the stalwarts of his time &

created notations of their musical pieces which he later published in his book

series titled 'Hindustani Sangeet-Paddhati Kramik Pustak-Malika'. This series

has six volumes. For the theory, he came out with four volumes of 'Hindustani

Sangeet Paddhati' which were also translated to Hindi & called 'Bhatkhande

Sangeet Shastra'. He also wrote two books in Sanskrit called 'Lakshya Geet' &

'Abhinav Raag Manjari' that spoke about ancient music, its qualities & its

types.

He organized a large scale music conference in Baroda in 1916 which was

inaugurated by the Maharaja of Baroda. This conference witnessed serious

discussions on many fundamentals of music by the experts in the subject &

the proposal to establish an "All India Music Academy' was also approved. The

speeches of Bhatkhande ji during the course of this conference were published

in English in a book called 'A short historical survey of the music of upper India'.

Bhatkhande explained the Ragas in an easy to understand language &

composed several pieces (Bandish) which explained the grammar of the ragas.

He considered 'Bilawal' as his Shuddha Thaat & classified almost all the Ragas

into the 10 Thaat system that we know today. Before he came up with the

Thaat-Raag concept, the system of Raag-Ragini was followed. He borrowed the

idea of Lakshan Geet from the Carnatic music scholar Venkatamakhin. He is

also the inventor of the Bhatkhande notation system which is being widely

used by Indian musicologists the world over today.

He strived tirelessly to organize many music conferences & also establish

music schools. The 'Marris music college' at Lucknow, now known as

'Bhatkhande Sangeet Vidyapeeth' was established by him in 1926. The noble

purpose of its establishment was to liberate music from the monopoly of

Gharanas & make music education accessible to all. It was declared a deemed

university in 2000 & offers music education in vocal music, instrumental music,

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dance, musicology & research & applied music. Apart from the Bhatkhande

music institute, the 'Madhav Sangeet Mahavidyalay' at Baroda & the 'Music

College' of Baroda’ also require a special mention.

He passed away on the 19th of September, 1936. However his service in the field of music is incomparable & he will always be remembered for helping the students of musicsee Indian music in a different light.

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The 'Tanpura' or 'Tamboora' is an important string instrument in Indian

classical music. Classical singing sounds incomplete without the Tanpura. It

isn't possible to play a tune or a song on a Tanpura, but by plucking its strings,

the singer can create an atmosphere conducive to the Raag that he/she wants

to sing. One can either place it down horizontally or make it stand vertically in

order to play it.

A Tanpura dosen't have any frets. It has four strings. Starting from the

left, the first string is tuned to the Swar 'Pa' of the Madhya Saptak, the second

& third strings are tuned to the Swar 'Sa' of the Madhya Saptak & the fourth

string is tuned to the Swar 'Sa' of the Mandra Saptak. So the four strings of a

Tanpura keep resonating with these Swar continuously, one after the other. In

case of a Raag in which Pancham is not allowed (is a Varjit Swar), the first string

is tuned to 'Ma' & if there is a Raag that dosen't have 'Pa' & in which 'Ma' is

TANPURA

Lesson 4

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Teevra, then in that case, the first string is tuned to 'Ni' or 'Ga'.

The first three strings of the Tanpura are made of steel & the fourth

string is made of brass. Some people also make the first sring of aluminium or

copper to get a deep, heavy resonance. Also one can modify the number of

strings to five or six instead of four.The cicumference of the gourd (Tumba) of

a Tanpura is approx. 90 cms. & the total length of a Tanpura is approx. 150

cms. The Tanpura used by female singers is comparatively smaller in size.

It’s difficult to say when the Tanpura began to be used but before the advent

of the Tanpura, singers primarily used a single stringed instrument for support

while singing.In the olden times, it used to be called the 'Ghosha' or an

'Ektantri Veena'.In contemporary times, it’s known as the 'Iktara' or ‘Ektara’.

Tanpura is a member of the Veena family & is extremely popular in today's

times. Although we also have the box Tanpura/electronic Tanpura today, still

the importance of the traditional Tanpura hasn’t diminished.

Sira/Greeva : The uppermost part of a Tanpura is called Sira, Shir or Greeva.

This part may also be called the Mukh or Mastak & the Khoonti are present on

this part of the Tanpura.

Khoonti : A Khoonti is a wooden peg which has the string of the Tanpura

wound around it. There are four Khoonti on the Tanpura. One can tighten or

loosen the string by turning the Khoonti. The Khoonti may be made of ebony,

wood of Acacia Catechu (Khair), rosewood or the wood of the walnut tree.

Taargahan : Towards the Khoonti, on the length/neck of the Tanpura, there

are two strips made out of stag horn. The first one is called a 'Taargahan'. This

strip has small holes in it through which the strings are passes & then wound

around the Khoonti.

Atee/Meru : The second strip is called the Atee or Meru and the strings are

Parts of the Tanpura

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made to pass over this strip.

Daand : The long neck like part attached to the Toomba is called the Daand.

This is made of the Spanish cedar wood or rosewood & is kept hollow from the

inside. The Khoonti are attached on this part of the Tanpura.

Gulu/Gul : The part where the Toomba & Daand are connected, is called the

Gul or Gulu.

Ghudach/Ghodi/bridge : This part is made of camel bone, stag horn, ebony,

Khair or rosewood. This is approx, four inches long & two inches wide. The

strings of the Tanpura sit on the Ghudach & remain steady.

Tabli/Tabakdi : The wooden front part of the Toomba (soundboard) is called

the Tabli in northern India & Tabakdi in Maharashtra. The Ghudach is situated

on this part of the Tanpura & this helps the sound to resonate inside the

Toomba.

Soot/Jeeva/Jawari : In between the Ghudach & the strings, is a small length

of thread. By moving this thread forward or backward, you can find a definite

point where the sound produced by or the Tanpura, resonates or echoes the

most. This in Hindi is called ‘Jawari khulna’.

Tumba : The bottom part of the Tanpura which is round & flat on the front

side is called the Tumba or Tumbi. This part is hollow thereby helping the

sound to echo. Tumba is a fruit of the gourd family & is grown extensively at

Pandharpur in Maharashtra. Tumba is also imported from Zanzibar in Africa.

The Tumba is needed to make instruments likethe Ektara, Sitar & Veena.

However, in southern India, Tumba is made of wood.

Manka/Moti : The beads through which the strings are passed are called

‘Manka’. One can fine tune the strings by moving the Manka up or down. They

are usually made of bone, glass or plastic.

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Langot : There is a nail like part at the bottom of the Tumba that is called a

Langot.This is the part in which the strings are knotted and then pulled straight

up to the Khoonti.

Tumba

Daand

Atee/Meru

Taargahan

Sira/Greeva

Khunti

Taar

Manka/Moti

Ghudach/Ghodi/Bridge

Gulu/Gul

Tabli/Tabakdi

Soot/Jeeva/Jawari

Langot

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Lakshan Geet is a Raag based song in which the lyrics describe the features of

that particular Raag, like the Thaat, Jaati, Vaadi-Samvaadi etc. In other words,

it is the raag Parichay of a Raag in the form of a song.A Lakshangeet has two

parts-Sthayi and Antara. A Lakshan Geet is extremely helpful for students to

remember the Raag Parichay of the Raag. The main purpose of a Lakshan Geet

is to teach the basic features of a Raag to a student who has just begun

learning the Raag and is generally not a part of performances. Once you learn

& memorize the Lakshan Geet, you will never ever forget the Raag.

Given below is a Lakshan Geet of Raag Bilawal :

Sthayi

Tab Kahat Bilawal Bhed Chatur Jab

Mel Milawat Shuddha Suran Ko

Praat Samay Nit Pratham Prahar

Antara

Dhaivat Vadi Ga Samvadi

Asht Bhed Sab Gaay Madhur

LAKSHAN GEET

Raag Bilawal Lakshangeet Lyrics

Lesson 5

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Sthayi

Antara

Raag Bilawal Lakshangeet

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In this lesson we are going to try to understand how listening to music can have psychological benefits.Listening to music can be entertaining & some research suggests that it might even make you healthier. Music can be a source of pleasure & contentment as well as have many other psychological benefits. Music can relax the mind, energize the body & even help people manage pain better.

Music can influence your thoughts, feelings &behavior. This is evident when

you feel pumped up while listening to your favorite fast paced song or when

you are moved to tears by an emotional song. It’s been scientifically proven

that music has the power to impact moods & even inspire actions.

The psychological effects of music can be powerful & wide ranging. Music

therapy is sometimes used to promote emotional health, help patients cope

with stress & boost psychological well - being. Not just that, your taste in music

can even help understand the aspects of your personalitybetter.

a) Music can improve intellectual performance - According to research,

background music or music played while you are focused on another activity,

for e.g. studying, can improve your intellectual performance. It helps increase

your memory as well as the processing speed of your brain. So the next time

you are preparing for your exam, consider turning on a little music in the

background.

b) Music can reduce stress - Music can help reduce or manage stress.

MUSIC & PSYCHOLOGY

Let us look at some of the benefits of music in detail

Lesson 6

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Meditative music can soothe the mind & help you relax.

As a part of an experiment, participants were subjected to different

conditions (including listening to music) before being exposed to a stressor &

were later given a psychological stress test. According to the results, listening

to music had an impact on the human stress response system. Those who had

listened to music recovered more quickly following a stressor.

c) Music can help manage pain - Research suggests that patients who listen to

music everyday experience a significant reduction in pain. In fact listening to

music before, during or even after surgery, helps lower pain levels & gives

better outcomes. Music listeners also require less medication to manage their

pain. Hence music therapy can be an important tool in the treatment of

chronic as well as post-surgical pain.

d) Music may help you sleep better - Insomnia is a serious problem that

affects people of all age groups. While there are many treatments available for

this problem, research shows that listening to relaxing classical music can be a

safe, effective & affordable remedy for insomnia & it also leads to better sleep

quality.

e) Music helps to get motivated - Researchers have found that listening to fast

paced music motivates people to work harder. For e.g., one can find it easier

to exercise while listening to music.

f) Music can improve your mood – Music can make you happier. It can help

you achieve a better mood & make you more self-aware. One can boost moods

& levels of happiness by listening to positive music.

After looking at all this, we can confidently say that music can certainly

inspire& entertain but at the same time, has a powerful psychological effect

that can improve your health &well-being. So instead of thinking of music as

pure entertainment, consider some of its major physical & mental benefits &

try to incorporate it into your everyday life.

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Thaat – Bhairav Jaati – Sampoorna – Sampoorna VadiSwar – Dhaivat ‘D’ SamvadiSwar - Rishabh ‘Re’ Swar – Komal Re, KomalDha, rest all Shuddha VarjitSwar (forbidden notes) – None GaayanSamay – Pratahkaal

Aroh – s R g m p D n su Avaroh – su n D p m g R s Pakad – g m D s p, m p g m gR s s

DrutBandish – Teentaal

Sthayi

Shambhunaath Shiv Naam Pukaro

Prabhu Kare Kalyan Tumharo

Antara

Jo Koi Naam Bhaje Mann Mein Hi

PayeSadaSukhSumiran Mein Hi

Aaye jo Sharan Tumharo

RAAG BHAIRAV

Lesson 7

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Sthayi

Antara

Raag Bhairav ChhotaKhyal (Teentaal)

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Sargam : From 9thMatra

1. s R R s g m p D p m g m g R s - From 1stMatra

2. @pD @psu @-n D @mp @gm @gR s 3. @gm @pD @sun @Dp m @@mp @Dn su 4. @RR s @gm p @@Dn su @guRu su ( @sun @Dp m @gm D )3 -

Taan : From 1stMatra

1. @sm @gR @gR @snl @Dln @sR @gR s 2. @Dp @mp @gm @@pD @sun @Dp @mg @Rs 3. @sR @gm @pD @pm @gm @pD @sun su 4. @sR @gm @pD @pm @gm @pD @nsu @Dn @suRu @guRu @sun @Dp @@mD @pm @gR s ( @susu @nD @pm @DD @pm @gm @gR s )3

Song in Raag Bhairav :

1- Mohe bhoolgaye sanwariyan

2- Jago mohan pyare

3- Hanse tim tim

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Description of Chartaal

Thah, Dugun and Chaugun of Chartaal

A song based on Chartaal

Brief description of Chartaal

Matra – 12

Vibhag (divisions) – 6 (of 2 Matra each)

Taali – 4 (on 1st, 5th, 9th and 11th Matra)

Khaali – 2 ( on 3rd and 7th Matra)

Thaah

Dugun

Chaugun

CHARTAAL

Lesson 8

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Chartaal is also called Chautaal. It is played exclusively along with ‘Dhrupad’

which falls under the classical genre of Indian music. Dhrupad singing was rampant before the invention of ‘Khyal’. Even though Khyal singing gained more popularity over the years, Dhrupad style of singing still is and will always be an integral part of Indian classical music even today. Given below is a Dhrupad in Raag Bhoopali :

Sthayi

Aaye Raghuveer Dheer

Ayodhya Nagar Ko

Lankapati Hanan Kiyo

Raaj Diyo Bibhishan Ko

Antara

Sinhasan Par Baithe

SeetaRamchandra Bharat

Shatrughan Chanvar Jhoola

Aage Hanumat Veer

Lyrics

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Sthayi

Antara

Raag Bhupali Dhrupad (Chartaal)

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Thaat – Bilawal Jaati – Audav – Sampoorna Vadi Swar – Gandhar ‘G’ Samvadi Swar – Nishad ‘Ni’ Swar – Both Shuddha and Teevra Madhyam are used Varjit Swar (forbidden notes) – ‘Re’ and ‘Dha’ in Aroh Gaayan Samay – Second Prahar of Night

Aroh – nl s g m p n su Avaroh – su n d p M p g m g r s Pakad – p M g m g r s

Chhotakhyal – Teentaal(Drut)

Sthayi

Jhanan Jhanan Tori Baaje Payaliya Latak Chalat Tori Chaal Mohaniya

Antara

Nain Baseri Saanwari Surat Lipatat Dadhi Makhan Mukh Bainya

RAAG BIHAG

Lesson 9

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Sthayi

Antara

Raag Bihag Chhota Khyal (Teentaal)

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Sargam

From 1st Matra

5. Nl s g m p M g m

6. g m @pM @gm g @-r @snl s

7. @gm @pn @-d p @Mp @gm g @rs

From 9th Matra

8. @@pM @gm p @gm @pn @-d @pM @gm @psu @-n @sugu @rus @-n @dp @Mp @gm

Taan

From 1st Matra

5. @snl @sg @mp @gm @pM @gm @gr s

6. @@gm @pM @pd @Mp @gm @pn @dp @Mp

7. @pn @susu @nd @pp @gm @dp @mg @rs

From 9th Matra

8. @pM @gm @pn @sun @pn @sugu @mugu @rusu ( @nsu @nd @pM @gm @dp @mg @rs @nls )3

Song based on Raag Bihag 1. Tere Sur Aur Mere Geet

2. Tere Pyar me Dildar

3. Zindagi ke Safar Mein

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Lesson 10

In this lesson we will learn about the classification of Raag based on their

Gaayan Samay. There are broadly 3 factors which decide when a particular

Raag should be sung/played:

classification based on the Vaadi Swar

Komal Re Dha (Sandhiprakash Raag) Raag, Shuddha Re Dha Raag, Komal Ga Ni

Raag

Adhvadarshak Swar

In Indian classical music, there is a definite time slot alloted to every Raag.

The scholars of music have studied the Swar of every Raag in detail and tried

to find out which time the Raag has the maximum impact/effect on the

listeners. Genereally, any Raag can be sung/played at any time but if done at

its prescribed time, the Ras of the Raag manifests in the best possible way.

Also the Raag sounds the most attractive if sung/played at its designated time.

The designated time allotted to a Raag is thus called its 'Gaayan Samay'.

RAAG AND TIME THEORY

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If we divide the 24 hours of a day into time intervals(Prahar) of 3 hours each,

we get 8 Prahar in a day. These are listed below :

1 First Prahar of the Day Morning 7 to 10 (7am to 10am)

2 Second Prahar of the Day

Morning 10 to 1 (10am to 1pm)

3 Third Prahar of the Day Afteroon 1 to 4 (1pm to 4pm)

4 Fourth Prahar of the Day

Afternoon 4 to Evening 7

(4pm to 7pm)

5 First Prahar of the Night

Evening 7 to Night 10 (7pm to 10pm)

6 Second Prahar of the Night

Night 10 to Midnight 1

(10pm to 1am)

7 Third Prahar of the Night

Midnight 1 to Early Morning 4

(1am to 4am)

8 Fourth Prahar of the Night

Early Morning 4 to Morning 7

(4am to 7am)

If we include Taar Sa in a Saptak, then the total number of Swar becomes

eight - SRGMPDNṠ. If we further divide these into two equal parts then we get

'S R G M' as the 'Poorvang' (prior half) of the Saptak and 'P D N Ṡ' AS THE

'Uttarang' (latter half) of the Saptak. If the Vaadi Swar of a Raag is from the

Poorvang of the Saptak, then that Raag is called a Poorvangvaadi Raag and if

the Vaadi Swar of a Raag is from the Uttarang of the Saptak then that Raag is

called an Uttarangvaadi Raag.

Poorvangvaadi Raag are sung/played from 12 P.M. to 12 A.M. (Prahar of the

day) and Uttarangvaadi Raag are sung/played from 12 P.M. to 12 A.M. (Prahar

of the night). So the Vaadi Swar of a Raag helps to determine whether the Raag

should be sung during the day or during the night.

Let us look at an example. We know that the Vaadi Swar of Raag Bhoopali is

Classification based on Vaadi Swar

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‘Ga’. Hence it is a Poorvangvaadi Raag. Which means it should be sung

sometime between 12 P.M. and 12A.M. So in compliance with this theory, the

Gaayan Samay of Raag Bhoopali is first Prahar of the night which is around 7

P.M. to 10 P.M.

A few more examples are stated underneath :

Raag Vadi Swar Gayan Samay Bilawal Dha First Prahar of the Day

Bhimpalas Dha Third Prahar of the Day

Classification based on the Swar of a Raag :

Depending on the types of Swar (Shuddha/Vikrit) used in Raag, they can be

classified into three types:

Raag with Komal Re Dha : These Raag are called ‘Sandhiprakash Raag’.

However ‘Ga’ should be Shuddha in Raag of this category else it will fall in the

category of Komal Ga Ni Raag. Sandhiprakash means that time when the day

meets the night and when the night meets the day. Sandhiprakash occurs

twice in a period of 24 hours – dawn and dusk. Here the Swar Madhyam plays

an important role in deciding whether the Sandhiprakash Raag will be sung at

dawn or at dusk. If Madhyam is Shuddha, then the Sandhiprakash Raag will be

sung at dawn and if it is Teevra, then the Sandhiprakash Raag will be sung at

dusk. For e.g., in Raag Bhairav, ‘Ma’ is Shuddha. So it will be sung at dawn

whereas in Raag Poorvi, ‘Ma, is Teevra. So it will be sung at dusk.

Raag with Shuddha Re Dha : The Sandhiprakash Raag are followed by the

Shuddha Re Dha raag. These Raag are usually from Kalyan, Bilawal and Khamaj

Thaat. So the Gayan Samay of the Raag of this category will be around 7 P.M.

to 10 and then from 7 A.M. to 10 A.M. ‘Ga’ should be Shuddha in this category

of Raag. Here too, Madhyam Swar plays a pivotal role in deciding whether the

Raag is a morning Raag or an evening Raag. If ‘Ma’ is Shuddha in a Raag of this

category, then it will be sung in the morning. For e.g. Raag Bilawal etc. and if

‘Ma’ is Teevra in a Raag of this category, then it will be sung in the evening.

For e.g. Raag Yaman/Bihag etc.

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Raag with Komal Ga Ni : These Raag are usually sung after the Shuddha Re

Dha Raag. So these are sung around 10 A.M. to 4 P.M. and 10 P.M. to 4 A.M.

The Raag of this category will always have ‘Ga’ Komal (e.g. Raag Kaafi)

irrespective of whether ‘Re’ ang ‘Dha’ are Shuddha or Komal. Some of the Raag

in this category are Asavari, Jaunpuri (daytime) and Jayjaywanti, Malkauns

(nightime).

Adhvadarshak Swar Madhyam : As explained earlier, in Hindustani classical

music, the Swar Madhyam, plays an important role in deciding the Gaayan

Samay of a Raag. It acts as a path finder for deciding at what time a particular

Raag should be sung/played. ‘Adhva’ means path. Hence ‘Adhvadarshak’

means the one who shows the path or direction. The morning Raag will have

a prominent Shuddha Ma and the evening Raga will show the prominence of

Teevra Ma.

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Thaat – Kafi Jaati – Sampoorna – Sampoorna Vadi Swar – Pancham ‘P’ Samvadi Swar – Shadaj ‘S’ Swar - Komal Ga, Komal Ni and rest are all Shuddha Swar Varjit Swar (forbidden notes) – None Gaayan Samay – Second Prahar of Night Vivadi Swar – Shuddha Nishad ‘N’

Aroh – s r G m p d N su Avaroh – su N d p m G r s

Pakad – s r G m p, p m G r, m G r s Drut Bandish – Teentaal

Sthayi

Aaj Khelo Shyam Sang Hori Re

Aaj Rang Bhari Gaagar Kesar Ki

Antara

Kunwar Kanhaiya Sang Sakhi Radhe

Rang Bhari Jori Sohat Ri

RAAG KAFI

Lesson 11

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Sthayi

Antara

Raag Kafi Chhotakhyal (Teentaal)

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Sargam : From first Matra

1. p - m p G r s - 2. N d @pd @mp G r @Gm p 3. @mp d @Nsu ru @Guru @suN @dN su From 9th Matra

4. p @mp @Gm @rG s @mG @rNl s ( @mp @dN su @Nd @-p @mp @Gr m )3

Taan : From 1st Matra

1. @sr @Gm @pm @Gm @pd @pm @Gr s 2. @mp @Gm @pm @Gm @Nd @pm @Gr s 3. @pd @Nsu @Guru @suN @dp @mG @rr s From 9th Matra

4. @sr @Gm @pm @Gm @pd @Nd @pd @Nsu ( @Gur @suN @dp @mp @suN @dp @mG @rs )3

Songs based on Kafi Raag

1- Ghayal Hiraniya 2- Pyar bhare do sharmile nain 3- Jalte hain jiske liye

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Lesson 12

Description of Ektaal

Dugun and Chaugun of Ektaal

A song based on Ektaal

Brief description of Ektaal :

Matra – 12

Vibhag (devisions) – 6 (of 2-2 Matra)

Taali – 4 (on 1st, 5th, 9th and 11th Matra)

Khaali – 2 ( on 3rd and 7th Matra)

Thaah

Dugun

TAAL EKTAAL

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Chaugun

Songs based on Ektaal :

1. Ketaki gulab juhi 2. Manmohana bade jhoothe 3. Tori jay jay kartara 4. Jago re prabhat aya 5. Pawan deewani 6. Ja main tose naahi bolu

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Lesson 13

A Bada Khyal is typically sung in Vilambit (slow) Laya (tempo). Some of the commonly used Taal for Khyal are Ektaal, Teentaal, Jhoomra and aada Chartaal. These Taal are played in Vilambit Laya for Bada Khyal. Badakhyal is also called ‘Mothakhyal’

In a Khyal performance, The Bada Khyal is sung for the bigger part. The speed gradually increases as the performance progresses. The song (Bandish) of a Bada Khyal is mostly preceded by improvised Aalap to show the basic structure of the Raag & is not in rhythm.

Even once the Bandish starts, the emphasis is on Aalap, starting with the Mandra Saptak and then going on to the Madhya and Taar Saptak. The Aalap are mostly unmetered though beginners can start with metered Aalap. As a Bada Khyal performance progresses, more and more Taan are sung.

A Bada Khyal is always followed by a Chhota Khyal/Tarana of the same Raag to conclude a Khyal performance.

Let us now look at a Bada Khyal in Raag Yaman :

Sthayi

Mero mann Baandh Lino Re In Jogiya Ke Saath

Antara

Sadarang Kyu Na Rahu In Jogiya Ke Saath

BADA KHYAL

Badakhyal

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Sthayi

Antara

Alap

1- @snl ##-dl n ##-r s $- #dlnl #r @-n $@dlnl @Mldl #n @-r s 2- #@nlr g $ @-r @nlr #@nlg - #@rg M @gM @rg @-p #@-r s

Yaman Badakhyal (Ektaal)

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3- $gMdn su ##dn ru ##guru su $$Mdnsu #nd ##sun M ##rg g ##Mg p #rs

Taan

*nlrgMdnsundpMgrsnlr *gMdpMdpMnlrgrggrs *gMdnrusundgMdnsundp *MdnndndpMdpMggrs *ggrsnndpgugurusunndp ( *gMdnMdnsunndpMgrs )3

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Lesson 14

There are more than a thousand Raag in Indian classical music. Some of the Raag that we know very well can be identified with the help of the Swar used in that Raag. Some Raag that we don't know as well as the others in terms of the Swar used but we remember its tune. Hence, we can guess a Raag or the Raag on which a particular song is based in these two easy ways.

It’s important to know here that a song in light music or semi classical music may or may not be completely or purely in a particular Raag. Most of the times it can be based on a certain Raag. Sometimes the Sthayi of a song can be based on a particular Raag but the Antara may stray from the Raag. So it’s appropriate to say that a song is BASED on a particular Raag (if at all it is).

It’s very natural or instinctive for students of music to want to guess the Raag being presented in a concert or the Raag on which a film song/Bhajan/Ghazal etc., is based.

For this reason we thought it would be a good idea to tell you about two easy ways, that we've mentioned earlier, in which you can guess a Raag. Let us look at them in a little detail :

1) We begin with identifying the 'Sa' of a song. This step is easier in while trying to guess the Raag in a classical concert because there is a constant 'Nyas' on 'Sa' and you can also very prominently hear the 'Sa' from the Tanpura. However, this can get a little challenging in the case of a light song. But in many a light songs, the Sthayi may end on 'Sa'. After this, we try to find out the notes used in the song with relation to the 'Sa' we found.

GUESSING A RAAG

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We are listing below a few songs that you've learnt previously whose Sthayi ends on 'Sa' :

1) Jyoti kalash chhalke 2) Chandan sa badan 3) Tora mann darpan kehlaye 4) Mere humsafar mere humsafar 5) Damadam mast kalandar

For example, in the song 'Jab Deep Jale Aana', the second line - 'Jab Shaam Dhale Aana' ends on 'Sa'. With the help of this finding, we can know that Teevra Madhyam is being used in this song and also the swar Samooh - N R G M P is also being used often. These findings make it easier to guess that this song is based on Raag Yaman.

2) The second way to guess the Raag of a song is to compare its tune to the tune of a Raag or a Bandish that we’ve learnt in the Raag. This can help us to make a good guess about which Raag a particular song might be based on. We can also hum the Lakshan Geet of a Raag in order to recall a Raag. Even if we are not able to guess the Raag instantly, by humming the tune and comparing it with the tunes of Raag from memory, we can and we will be able to identify the Raag sooner or later.

Again if we take the example of ‘Jab Deep Jale Aana’, its tune resembles the tune of “Gareeb Nawaz’ which is the Chhota Khyal/Bandish of Raag Yaman that we’ve learnt earlier.

Now let us look at a few groups of Swar and try to identify their Raag :

1) srs, gmrgp, dpmgmrs. 2) snlDlnls, gmmg, RgmpDDp, mgRRs 3) nlrgMp, pMrg, gMdnsundp, Mgrgrs. 4) grgp, gpdsudpg, gpgrs. 5) sgmp, Ndp, dnsuNdp, mgrs

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6) gpmg mrgp dnsundp, dnsugurusu 7) nlsgmp, pMgmg gmpndp 8) gmpnsu, pnsugurusu, sundp, Mpgmg 9) srGmp, pdNsuNdp, pmGrs 10) rmpdNsu, suNdp, GurusuNsuNdp mGrs 11) srsdl srg, pgdp, gpdsu 12) gmDDp mpgmDnsu, suRnsuDp, mgmRs 13) snldlnrs, grMg, rgMp Mdp, Mgrs 14) nlsgmpNdp, gmpnsu, surusuNdp

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Lesson 15

When we think of music, the first two things that come to our mind are - 'Sur' & 'Taal' or 'Laya'. In order for a musician to improve in these two aspects, practice of 'Alankaar' is extremelt helpful, rather 'Alankar' prove to be indispensable in this regard. Singing Alankaar with challenging Swar combinations can help our understanding and rendering of 'Sur' whereas singing them in different 'Laya' will improve our rhythm sense. For all these reasons, we have thought it would be a good idea to dedicate a lesson to singing 'Alankaar' in a variety of 'Laya'. To make it simpler for everyone, we have taken a few 'Alankaar'

That we've already learnt in the previous grades. So let us begin.......

1) srg rgm gmp mpd pdn dnsu sund ndp dpm pmg mgr grs

2) srsrg rgrgm gmgmp mpmpd pdpdn dndnsu sunsund ndndp dpdpm pmpmg mgmgr grgrs

3) srgm rgmp gmpd mpdn pdnsu sundp ndpm dpmg pmgr mgrs

4) sgrs rmgr gpmg mdpm pndp dsund nrusun sugurusu sudnsu npdn dmpd pgmp mrgm gsrg rnlsr sdlnls

5) sg rm gp md pn dsu sud np dm pg mr gs

ALANKAR

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Aroh: srg rgm gmp mpd pdn dnsu Avroh: sund ndp dpm pmg mgr grs

Thaah

Dugun

Chaugun

Taal Dadra

Alankar 1

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Aroh: srsrg rgrgm gmgmp mpmpd pdpdn dndnsu Avroh: sunsund ndndp dpdpm pmpmg mgmgr grgrs

Thaah

Dugun

Chaugun

Alankar 2

Taal Jhaptaal

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Aroh: srgm rgmp gmpd mpdn pdnsu Avroh: sundp ndpm dpmg pmgr mgrs

Thaah

Dugun

Chaugun

Alankar 3

Taal Keherwa

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Aroh: sgrs rmgr gpmg mdpm pndp dsund nrusun sugurusu Avroh: sudnsu npdn dmpd pgmp mrgm gsrg rnlsr sdlnls

Thaah

Dugun

Chaugun

Alankar 4

Taal Keherwa

Alankar 4

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Aroh: sg rm gp md pn dsu Avroh: sud np dm pg mr gs

Thaah

Dugun

Chaugun

Taal keherwa

Alankar 5