Basics of Classical Music

About Notes-:j/_

There are following types of notes in the classical music:

• Natural Notes (z'4 :j/): ;f /] u d k w lg
• Flat Notes    -sf]dn :j/_M /] u w lg
• Sharp Notes  -ltj| :j/_M  d^. (written with dash on the head)
• Constant Notes -crn :j/_M ;f k

Flat notes and sharp notes are called deformed notes -ljs[t :j/_. Similarly constant notes ;f and k do not have any deformed notes so they are called constant notes.

About Octave-:fKts_

The group of seven notes ;f–if8h :j/, /]–Cife :j/, u–ufGwf/ :j/, d–dWod :j/, k–k~rd :j/,    w–w}jt :j/, lg–lgiffb :j/ is known as octave. There are altogether twelve notes in an octave including constant and deformed notes. There are three  octaves in music.

1.     Lower Octave-dG› ;Kts_M The notes in this octave are represented as under dotted. The sequence of notes is as: ;f. /]. /]. u. u. d. d^.. k. w. w. lg. lg.

2.     Middle Octave-dWo ;Kts_M The notes in this octave are represented as natural without any dot. The sequence of notes is as: ;f /] /] u u d d^. k w w lg lg

3.     Higher Octave -tf/ ;Kts_M The note in this octave are represented as dotted on the head. The sequence of notes is as: ;f+ /+] /]+ u+ u+ d+ d+^. k+ w+ w+ lg+ lg+

Aaroha-cf/f]x_M The ascending order of notes is known as aaroha : ;f /] u d k w lg ;f+

Avroha-cj/f]x_M The descending order of notes is known as avroha: ;f+ lg w k d u /] ;f

Alankars and Sargam

Literally to say alankar refers to ornament or decoration. So in music to say alankar means practice of notes arranged in some specific pattern which helps to understand and creating melody in music. Alankar is also known as “PALTAA”.

Similarly sargam refers to the singing of notes instead of singing words and musical composition by using various techniques and ornaments like “MEEND”, “GAMAK”, “KAN”, “KHATKA” etc. Obviously using sargam in compositions creates melody and uniqueness. Some examples of simple alankar and paltaas are given below:

1.     ;f /] u d k w lg ;f+

;f+ lg w k d u /] ;f

2.     ;f;f /]/] uu dd kk ww lglg ;f+;f+

;f+;f+ lglg ww kk dd uu /]/] ;f;f

3.     ;f/]Uf /]ud udk dkw kwlg wlg;f+

;f+lgw lgwk wkd kdu du/] u/];f

4.     ;f/]uu /]udd udkk dkww kwlglg wlg;f+;f+

;f+lgww lgwkk wkdd kduu du/]/] u/];f;f

5.     ;f/]ud /]udk udkw dkwlg kwlg;f+

;f+lgwk lgwkd wkdu kdu/] du/];f

6.     ;fu/];f /]du/] ukdu dwkd klgwk w;f+lgw lg/+];f+lg ;f+u+/]+;f+

;f+wlg;f+ lgkwlg wdkw kudk d/]ud u;f/]u /]lg=;f/] ;fw=lg=;f

7.     ;f/];f/]u /]u/]ud ududk dkdkw kwkwlg wlgwlg;f+

;f+lg;f+lgw lgwlgwk wkwkd kdkdu dudu/] u/]u/];f

8.     ;f/]udk /]udkw udklgw dkwlg;f+

;f+lgwkd lgwkdu wkdu/] kdu/];f

9.     ;f/]udkw /]udkwlg udkwlg;f+

;f+lgwkdu lgwkdu/] wkdu/];f

10. ;f/]Uf;f/]ud /]ud/]udk udkukdw dkwdkwlg kwlgkwlg;f+

;f+lgw;f+lgwk lgwklgwkd wkdwkdu kdukdu/] du/]du/];f

Music education is teacher oriented. One must learn in the presence of teachers only. In the Harmonium, if you are a practitioner of the Harmonium, above alankaars should be practiced from all 12 keys considering each of them as “Saa” in all ten thaats in proper timing (tfn). 

About Thaat

The groups of seven notes which are used to build Raags are called Thaat. Thaats are called as the mother of raags. Thaat contains all 7 notes. Thaats are not to be sung, only raags derived from thaats are for singing. Thaats are named after popular raag of that that. For example Bhairavi Thaat is naed after its popoular raag Bhairavi.

All Raags are derived from the thaats. For example, raag Bhupali, Maru bihag, Nand, Kaamod etc. are from Thaat Yaman, raag Bihag, Durga, Hansdhwani etc. are derived from Thaat Bilawal, raag Pilu, Bageshri, Malhar etc. from Thaat Kaafi etc. Pandit B. N. Bhatkhande had derived 32 thaats but 10 thaats are commonly used nowadays which are given below:

1.     Thaat Bilawal : ;f /] u d k w lg ;f+ . ;f+ lg w k d u /] ;f

2.     Thaat Yaman : ;f /] u d^. k w lg ;f+ . ;f+ lg w k d^. u /] ;f

3.     Thaat Bhairavi: ;f /] u d k w lg ;f+ . ;f+ lg w k d u /] ;f

4.     Thaat Bhairav: ;f /] u d k w lg ;f+ . ;f+ lg w k d u /] ;f

5.     Thaat Kaafi: ;f /] u d k w lg ;f+ . ;f+ lg w k d u /] ;f

6.     Thaat Khamaj: ;f /] u k d w lg ;f+ . ;f+ lg w k d u /] ;f

7.     Thaat Asaavari: ;f /] u d k w lg ;f+ . ;f+ lg w k d u /] ;f

8.     Thaat Todi: ;f /] u d^. k w lg ;f+ . ;f+ lg w k d^. u /] ;f

9.     Thaat Purvi: ;f /] u d^. k w lg ;f+ . ;f+ lg w k d^. u /] ;f

10. Thaat Marva: ;f /] u d k w lg ;f+ . ;f+ lg w k d u /] ;f

About Taal(Beats)

Taal: Taal is the measurement used in the music. The time measurement which is used in music for singing, playing and dancing is called Taal. Taal is just like as the heart beat of music. Without rhythm or taal no any composition is expected. So timing of thythm is must.

Maatra: The basic unit or counting in which taal in measured in known as maatra. These are numbers.

Khanda: This is the grouping of maatras.

Theka(Bol): This is the combination of words/mnemonics used for taals when tabalaa or pakhaawaj is played.

Sam: This is the first beat of taal which denotd by symbol (X).

Taali(clap): During the beating, clapping must be done in some beats, which is known as taali. Clapping is done loudly in sam.

Khaali: Mostly the first beat after the “half the number of total beats” is known as khaali. Khaali is demonstrated by waving of hand. Khaali is denoted by symbol (0).  

Here are some examples of taals are presented which are commonly used:

Taal: Kahrwa ( Maatra: 8)
Khanda	1				2
Taali	X				0
Maatra	1	2	3	4	5	6	7	8
Bol(Theka)	Dhaa	Ge	Naa	Tin	Naa	Ka	Dhin	Naa

Taal: Dadra (Maatra:6)
Khanda	1			2
Taali	X			0
Maatra	1	2	3	4	5	6
Bol(Theka)	Dhaa	Dhin	Naa	Dhaa	Tin	Naa

Taal: Teen Taal (Maatra:16)
Khanda	1				2				3				4
Taali	X				2				0				4
Maatra	1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16
Bol(Theka)	Dhaa	Dhin	Dhin	Dhaa	Dhaa	Dhin	Dhin	Dhaa	Dhaa	Tin	Tin	Taa	Taa	Dhin	Dhin	Dhaa

Taal: Rupak (Maatra :7)
Khanda	1			2		3
Taali	X
Maatra	1	2	3	4	5	6	7
Bol(Theka)	Tin	Tin	Naa	Dhin	Naa	Dhin	Naa

Taal: Jhap Taal (Maatra:10)
Khanda	1		2			3		4
Taali	X		2			0		3
Maatra	1	2	3	4	5	6	7	8	9	10
Bol(Theka)	Dhin	Naa	Dhin	Dhin	Naa	Tin	Naa	Dhin	Dhin	Naa

About Raags

Bishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologist in the classical music. In classical music raags are the backbone. The raag comes from Sanskrit word which means to delight or to make happy or to satisfy.

Characteristics of Raag

-The raags must be pleasing.

- A raag should be capable of being classified into one of the thaat.

- A raag must contain at least 5 notes and maximum 7 notes.

- “Saa” has to be present as the reference note always.

- Both “Ma” (the fourth) and “Pa” ( the fifth) cannot be omitted simultaneously.

- So a raag must have following notes:-

    - Saa

    - One of the Re or Ga or both

    - One of the Ma or Pa or both (one must present)

    -One of the Dha or Ni or both

Classification of Raag

There are several ways in which a raag can be classified. The classification may be based on:-

-Numbers of notes.

-Time of performance

-Tempo of movements

-Grammar or syntax

-Nature of the movements, etc.

Vaadi Swar (The sonant note): This is the king of the notes occurring in raag. The note which frequently or mostly used in raag, known as vaadi swar and is stressed the most in the raag.

Samvadi Swar (The sub sonant note): It has been given importance next to the vaadi swar.

Anuvadi Swar (The assonant note): There are some notes occurring in raag, apart from vaadi and samvadi, which is called anuvadi swar.

Vivadi Swar (The dissonant note): The notes which do not occur in the raag are called vivadi swar. If mistakenly used, it destroys all flavor of raag. But in some cases vivadi notes are used to add extra flavor in the raag.

Jaati(Category) of a raag

A raag may be classified on the basis of number or notes present in it. Thus we have three types of raag:

1.     Audav: having 5 notes.

2.     Shadav: having 6 notes.

3.     Sapoorna: having 7 notes.

Depending upon the number of notes in the aaroha and avaroha, following nine theoretical classes can be derived:

1.     Audav-Audav: having 5 notes in aaroha and 5 notes in avaroha.

2.     Audav-Shadav: having 5 notes in aaroha and 6 notes in avaroha.

3.     Audav-Sampoorna: having 5 notes in aaroha and 7 notes in avaroha.

4.     Shadav-Audav: having 6 notes in aaroha and 5 notes in avaroha.

5.     Shadav-Shadav: having 6 notes in aaroha and 6 notes in avaroha.

6.     Shadav-Sampoorna: having 6 notes in aaroha and 7 notes in avaroha.

7.     Sampoorna-Audav: having 7 notes in aaroha and 5 notes in avaroha.

8.     Sampoorna-Shadav: having 7 notes in aaroha and 6 notes in avaroha.

9.     Sampoorna-Sampoorna: having 7 notes in aaroha and 7 notes in avaroha.

Time Theory of raag: According to the tome theory of raag, a raag can be performed only at a particular time assigned to it out of 24 hours in a day or in some cases, a particular season of the year is assigned. Time wise raags are divided into

-         Morning raag,

-         Midninght raag.

-         Midday raag.

-         Twilight raag.

-         Nigh raag.

There are two exceptional cases: when learning from gurus and on the order of the king, any raag any time can be performed.

Rasa (World of Emotion): Rasa is Sanskrit word which means entering into the world of emotion through art. A musician feels it when they enter the realm of their raga and the listener enjoys rasa. There are eight types of rasa:

1.     Karun Rasa: Sadness, pathos

2.     Shringar Rasa: Love, joy

3.     Vira Rasa: Heroism, valor

4.     Hasya Rasa: Laughter, comedy

5.     Raudra Rasa: Anger

6.     Bhayankar Rasa: Fear

7.     Vibhatsa: Disgust

8.     Adbhut: Surprise

Sources also claim in the tenth century a ninth rasa of shanta (Peace) and Lajja (shy) have been included.

Taan: Taan refers to the singing or playing the notes of ragas in fast tempo specially in bandishes.

Number of Raag

We’ve nine combinations of raag and a total of possible 484 raags in one thaat that is total or 4840 raag in ten thaats as given below:

Sampoorna-Sampoorna: 1

Sampoorna-Shadav: 6

Sampoorna-Audav: 15

Shadav-Sampoorna: 6

Shadav-Shadav: 36

Shadav-Audav: 90

Audav-Sampoorna: 15

Audav-Shavad: 90

Audav-Audav: 225

To be continued...