Post on 04-Jun-2021
transcript
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 GHARANAS IN INDIAN CLASSICAL MUSIC
PANDIT VISHNU NARAYAN BHATKHANDE
TANPURA
LAKSHAN GEET
MUSIC & PSYCHOLOGY
RAAG BHAIRAV
CHARTAAL
RAAG BIHAG
RAAG AND TIME THEORY
RAAG KAFI
Introduction
What will you learn?
Grade 4
Harmonium / Synthesizer
Electronic Tabla / Tabla App
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.
Digital Tabla machines or Tabla software’s are easily available and ideally should be used for daily practice.
How to Practice At Home
What You Need
Lesson 1
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 olden 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.
GHARANAS IN INDIAN CLASSICAL MUSIC
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.
There are 10 major Gharanas in Hindustani classical music
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.
3. Kirana Gharana : This ia a very popular Gharana in terms of the artistes
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.
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.
Begum Akhtar Manna Dey Lata Mangeshkar
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.
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.
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.
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.
Lesson 2
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
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, 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 music see Indian music in a different light.
Lesson 3
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 Teevra, then in that case, the first string is tuned to
'Ni' or 'Ga'.
TANPURA
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 thr 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.
Parts of the Tanpura
Atee/Meru : The second strip is called the Atee or Meru and the strings are
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 like the 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.
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.
Lesson 4
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
Sthayi
Antara
Raag Bhupali Lakshangeet
Lesson 5
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, enegize 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 favourite 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
personality better.
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.
Meditative music can soothe the mind & help you relax.
MUSIC & PSYCHOLOGY
Let us look at some of the benefits of music in detail
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.
Lesson 6 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
Sthayi
Antara
Raag Bhairav ChhotaKhyal (Teentaal)
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
4- Meri veena tum bin roye
Lesson 7
Description of Chartaal
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
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
Seeta Ramchandra Bharat
Shatrughan Chanvar Jhoola
Aage Hanumat Veer
Lyrics
Sthayi
Antara
Raag Bhupali Dhrupad (Chartaal)
Lesson 8 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
Sthayi
Antara
Raag Bihag Chhota Khyal (Teentaal)
Lesson 9
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'.
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)
RAAG AND TIME THEORY
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 ‘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 whish
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
Classification based on Vaadi Swar
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.
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.
Lesson 10 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
Sthayi
Antara
Raag Kafi Chhotakhyal (Teentaal)
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