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 Dravidian's having
their own. The art of music practiced 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.
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 --
1.Thaats or sequence of notes,
2.Jaatis or classification
3.``King" and ``Queen" relation of the notes, i.e. Vadi and Samvadi
4.The Ascent and Descent of the rag, i.e. Aroha and Avaroha
5.Important cluster of notes
6.Pitch
7.Speed.
Every Raga is derived from some Thaat or Scale.
Ragas are placed in three categories
1.Odava or pentatonic, a composition of five notes,
2.Shadava or hexatonic, a composition of six notes,
3.Sampoorna or heptatonic, a composition of seven notes,
Every Raga must have at least five notes, starting at Sa, one principal note, a second important note and a few helping notes.
The principal note, ``KING" is the note
on which the raga is built. It is emphasized in various ways, such as
stopping for some time on the note, or stressing it. The second
important note or the ``queen" corresponds to the ``King" as the fourth
or fifth note in relation to it.
The ascent and descent of the
notes in every raga is very important. Some ragas in the same scale
differ in ascent and descent. In every raga, there is an important cluster of notes by which the raga is identified.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. The speed is divided into three parts : Vilambit(slow), Madhya(Medium) and Drut(fast).
Another aspect of the ragas
is the appropriate distribution in time during the 24 hours of the day
for its performance, i.e. the time of the day denotes the raga sung a
particular time. Ragas are also allotted a particular time space in the
cycle of the day. These are divided into four types --
Sandi-prakash ragas or twilight ragas when the notes re and dha are used -- such as Raag Marwa, Purvi.
Midday and Midnight ragas which include the notes ga and ni (komal).
Ragas for the first quarter of the morning and night which include the notes re, ga, dha and ni(komal).
For the last quarter of the day and night, the reagas include the notes sa, ma and pa.
All the ragas are divided into two groups --
1.Poorva Ragas
2.Uttar Ragas.
The Poorva Ragas are sung between 12
noon and 12 midnight. The Uttar Ragas are sung between 12 midnight and
12 noon. The variations on the dominant or ``King" note help a person to
find out why certain ragas are being sung at certain times. This raga
classification is about 500 years old and has been adopted by Pandit V.
N. Bhatkhande in his textbooks on Hindustani music.
The beauty of the raga will not
be marred by the time of the day it is sung. It is the psychological
association with the time that goes with the mood of the raga. The
object of a raga is to express a certain emotional mood and sentiment
without any reference to time and season. For a student of classical
music, this classification may give an idea as to how to base his
reasons for the traditional usage of ragas.
Another division of ragas is
the classification of ragas under six principal ragas -- Hindol, Deepak,
Megh, Shree and Maulkauns. From these six ragas, other ragas are
derived. The first derivatives of the ragas are called raginis, and each
of the six ragas have five raginis under them. Further derivatives from
these ragas and raginis resulted in attaching to each principal raga 16
secondary derivatives known as upa-ragas and upa-raginis.
All the ragas are supposed to
have been derived from their thaats. Every raga has a fixed number of
komal(soft) or teevra(sharp) notes, from which the thaat can be
recognised. In other words, a certain arrangement of the 7 notes with
the change of shuddha, komal and teevra is called a thaat. There are
several opinions in this matter. According to Pandit V.N. Bhatkhande,
the 10 thaats used to classify the ragas are --
Bilaval -- with all shuddh or natural notes.
Khamaj -- with the ni note as komal.
Kafi -- with the ga and ni notes as komal.
Asavari -- with the ga, dha and ni notes as komal.
Bhairavi -- with the re, ga, dha and ni notes as komal.
Bhairav -- with the re and dha notes as komal.
Poorvi -- with the re and dha notes as komal and the ma note as teevra.
Todi -- with the re, ga and dha notes as komal and the ma note as teevra.
Marwa -- with the re note as komal and the ma note as teevra.
Yaman -- with the ma note as teevra only.
CLASSICAL AND FOLK MUSIC
Classical music is bound by
certain laws and restrictions having a definite standard and scale with
22 intervals. Folk music, on the other hand, has different forms
depending on the region it belongs to. With flexibility in its
expression, it is not bound by laws or any set pattern. Folk music has
its peculiar expressions and emotions and has established a tradition of
its own.
In classical music, emotions
are expressed through a particular raga, though the lyric or composition
has its own importance. Classical music can be effective if the
musician renders the raga in its various stages and moods. This is not
the case with folk music, where the musical notes have less value and
the poetic content has greater impact and rythm plays a very important
role. Songs and lyrics of folk music portray the common life of the
villagers.
AN APPRECIATION OF THE INTRICACIES OF RAGAS AND CLASSICAL MUSIC
The art of appreciation and
listening of classical music requires a special approach. In this
context, the requirements are love of music and sympathy towards the
artist. The people having initial background knowledge of ragas, notes,
shrutis and taals are classified as ideal listeners.
The common listener has a
general liking for music and has to cultivate and develop patience in
listening to classical music. Such a listener may not appreciate the
imaginative approach of the performer. To understand and appreciate a
raga, one should know, understand and feel the inner meaning of the
shrutis and how these create a desired effect on the mind and heart.
Basically one has to be initiated into the art of listening to classical
music.
The responsibility of a classical
musician lies in the mode of his presentation to the listener, in his
capacity to make 'perfect' and 'common' listeners understand and
appreciate classical music. The classical musician should have the zeal
as a missionary to create the true spirit and essence of classical
music, so that he can help in the growth of an appreciative audience.
VOCAL MUSIC AND DIFFERENT STYLES OF SINGING
One distinguishing characteristic
of Indian Music is the relationship of each swara(note) with the
Shadja(tonic) which determines the placing of the swaras and the
expression of each swara in the saptak(scale). Hence the constant
playing of the drone is necessary. A singer is always accompanied by an
instrument called ``Tanpura" which is tuned to suit his key note. It
should be suitable for his voice, to suit one and a half octave above
the tonic and one octave below. This range of his voice should be used
effortlessly.
In sketching the outline of the
raga, he improvises on the ascending and descending notes, observed the
prescribed relation of ``King" and ``Queen" and the important group of
notes which characterises the particular raga. After the Alap, he starts
the actual raga, accompanied by the Tabla. 2. The Antara or the second
half of the song, going upto the higher Sa and returning back. 3.
Sancharee or using both halves of the song and complete octave with the
ascent and descent. 4. Aabhog or the mixture of the above three,
covering the three octaves.
In singing, the musician
improvises the song with alap, or an improvisation of notes is slow
tempo. The alap proceeds leisurely, without being particular about the
time measure, but laden more with the emotional content of the raga.
Then he starts the ``boltaan", an improvisation of notes in medium or
fast tempo, with the wordings of the song with particular emphasis on
rythmic variations as the aim. The third is ``sargam", the improvisation
of notes with short names, and these are produced in various rythmic
patterns with suitable combination. The last is ``taans", an
improvisation of notes taken in slow, medium and fast tempo.
The main characterstic of classical
music is the scope of systematic improvisation in the building up of
the raga. An improvisation of the raga means a succession of musical
sounds denoting the fertility of genius. A master musician always brings
out startling new combinations. Every musician is supposed to
improvise, but real improvisation is supposed to weave new patterns into
the framework of a raga.
A great stress is laid on voice
culture through a regular and systematic training. The following are
some important rules for the vocalists to be observed --
1.Highly trained and melodious voice, with perfect control.
2.A thorough knowledge of most of the ragas, the techniques and all the types of compositions.
3.Simple and pleasant expression of the face and hand gestures.
4.Thorough knowledge of tala theory and important talas.
5.Possession of a perfect tone,
perfectly in tune, in relation to the notes used in his singing and a
perfect understanding and a practice of the use of shrutis.
In Hindustani, there are 10
main forms of styles of singing and compositions -- Dhrupad, Dhamar,
Hori, Khayal, Tappa, Chaturang, Ragasagar, Tarana, Sargam and Thumri.
The Dhrupad style is supposed to be the oldest. In this style, we find
the gravity and stability of notes, improvisations of Alap, peculiar
variations of rythmic patterns not found in any other styles. There are
four forms of Dhrupad singing -- Daagar Bani, Khandaar Bani, Nauhar Bani
and Gauhar Bani.
Khayal is an extempore
development and improvisation of the typical composition sung in
different ragas with alap, boltaan and taans. Khayals are of two
varieties -- Vilambit(slow tempoed) and Drut(fast tempoed). They are
sung in different talas.
Tappa is another style of song
composition, which has short and modulated graceful taans: a sort of
ornamental chain of small cluster of notes.
Ragasagar consists of different
parts of musical passages in different ragas, as one song composition.
These compositions have 8 to 12 different ragas and the lyrics indicate
the change of the ragas. The peculiarity of this style depends on how
smoothly the musical passages change along with the change of ragas.
Tarana is a style consisting of peculiar syllables woven into rythmical patterns as a song, and it is usually sung in faster tempo.
Chaturang denotes four colours or a composition of a song in four parts: Fast Khayal, Tarana, Sargam and a ``Paran" of Tabla or Pakhwaj.
Thumri is supposed to be a
romantic and erotic style of singing; the song compositions are mostly
of love, separation and devotion. They are usually sung in slower tempo,
giving more importance to the lyrics with short alaps.
Hori compositions
are based mostly on the description of the spring season: of colour
throwing, based on the Radha-Krishna episodes. Horis are of two
varieties -- ``Pakki Hori" and ``Kacchi Hori". ``Pakki Hori" is very
dignified, sung in Dhamar style, while ``Kacchi Hori" is sung in
Deepchandi Tala, in which fast taans are used.
The laws governing the performance of
vocal and instrumental music are much the same. There are 2 modes of
training for instrumental, one which is purely instrumental, and the
other who first receive training in vocal music.
The Gharana or family is a
school of a particular style of singing or playing instruments, or a
traditionally characteristic individual style. The birth of Gharanas
must have taken place in the 18th century with the idea of preserving
the tradition of music and the musical compositions. A Gharana has got a
particular discipline, system and style. The character and style of
traditionally disciplined music of a gharana remains with one generation
only, and in due course one of the brilliant pupils adds his own
individual contribution and creates a new style of singing.
In the case of the
instrumentalists, we may divide Gharana into 2 categories. The first is
the traditional disciplined style giving more stress on the ``JHOD-ALAP"
and exploring all possibilities in this direction, plus the gat and a
perfect layakari. The second gives less importance to the ``JHOD-JHALA",
but lays more stress on the gat and the perfect layakari.
TALA -- RYTHMICAL GROUPINGS OF BEATS
There is a perfect balance in
the universe. This balance is the essence of Tala and therefore Tala is
in classical music is an important factor. The Tala is the theory of
time measure. It has the same principle in Hindustani and Carnatic
music, though the names and styles differ. The musical time is divided
into simple and complicated metres. When accompanying the dance, vocal
and instrumental music, the Tala maintains the balance which is the most
essential function of music. Tala is independent of the music it
accompanies: it has its own divisions. It moves in bars, and each beat
in it is divided into the smallest fraction.
Rythm has three aspects: Tala,
Laya and Matra. Tala is a complete cycle of Metrical phrasecomposed of a
fixed number of beats. There are over a 100 Talas, but only 30 Talas
are known and only about 10-12 are used.
The Laya is the tempo, which keeps uniformity of time span and it has 3 divisions -- Vilambit, Madhya and Drut.
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.
GLOSSARY
- AABHOG One of the four parts of a song.
- ALAP Elaboration of a melody without accompaniments
- ANTARA The second half of a song based on the higher notes of the scale
- AROHA The ascending order of notes
- AVAROHA The descending order of notes
- BOLTAAN Use of words in the improvisation of notes in medium or fast tempo
- CHATURANG - A style of Hindustani music composition
- DHAMAR A style of composition in 14 beats of a Tala
- DHRUPAD A style of composition in 12 beats of a Tala
- DRUT Fast Tempo of the music
- GAT A fixed composition of instrumental music
- GURU Traditional teacher or preceptor
- HORI A musical form of composition mostly sung in the spring festival
- JATI Model Scale
- KHAYAL Composition in Hindustani music, usually in a slow tempo, in which the artist uses a great deal of improvisation
- LAYA Tempo
- MATRA One beat of the rythm
- NADA Sound
- ODAVA Pentatonic mode emphasizing any five notes
- POORVA RAGAS Ragas sung between the hours of 12 midnight and 12 noon
- RAGA Combination of notes which conveys a definite emotion
- RASA The flavour to be realized in the aethistic emotion
- SAMPOORNA All the seven notes
- SANDHI PRAKASH Twilight
- SARGAM Presentation of a melody in actual notes
- SHADAVA Sexatonic mode emphasizing any six notes
- SHISHYA Pupil
- SHRUTI Musical interval
- SHUDDHA SWARA A pure note
- SAPTAK An octave of natural notes
- TALA Time measure of rythmic beat
- TAAN Improvisations of notes in medium and fast tempo
- THAAT A scale or mould out of which a group of ragas originate
- VILAMBIT Slow tempo
Article derived from a book titled "Sargam - An Introduction
to Indian Classical Music" by B. Chaitanya Deva.
to Indian Classical Music" by B. Chaitanya Deva.
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