INDIAN ART MUSIC Deepak Jamdhade Raut Sachin MUSIC

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INDIAN ART MUSIC Deepak Jamdhade Raut Sachin

INDIAN ART MUSIC Deepak Jamdhade Raut Sachin

MUSIC… A raga or raaga (IAST: rāga; also raag or ragam ; literally "coloring,

MUSIC… A raga or raaga (IAST: rāga; also raag or ragam ; literally "coloring, tingeing, dyeing") is akin to a melodic mode in Indian classical music. . Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.

MUSIC RAAG MARWA Raag Marwa (hexatonic) Raag Marwa is sung during the late afternoon

MUSIC RAAG MARWA Raag Marwa (hexatonic) Raag Marwa is sung during the late afternoon hours up to sunset. It is one of the major ragas in Hindustani classical music and is sung widely and taken very seriously. One of the interesting things about Raag Marwa is that it de-emphasizes the root note "sa. " Probably because of this, it is a somewhat unsettling raga, and mainly evokes dark moods of foreboding and anxiety. It can also portray compassion or resignation in the face of some inner struggle.

MUSICAL GENRES IN PRESENT DAY INDIA ART (“CLASSICAL”) NORTH INDIAN (“HINDUSTANI”) SOUTH INDIAN (“CARNATIC”)

MUSICAL GENRES IN PRESENT DAY INDIA ART (“CLASSICAL”) NORTH INDIAN (“HINDUSTANI”) SOUTH INDIAN (“CARNATIC”) ♣ Has religious/philosophic roots ♣ Has a highly formalised grammar, dictated by textual as well as oral tradition ♣ Has different genres (Vocal – Alap, Dhrupad/Dhamar, Khayal, Sadra, Thumri, Bhajan, Geet etc Instrumental – Alap, Masidkhani, Rajakhani, Firozkhani, Amirkhani Gat etc) ♣ Has different styles (called Geeti, Bani or Baaj) ♣ Has regional schools of presentation (currently called Gharanas) ♣ Has regional variations in choice of Ragas, Talas, etc. . NON - ART (“LIGHT/POPULAR”) TRIBAL FOLK THEATRE MUSIC CINEMA MUSIC PROVINCIAL RELIGIOUS OR PHILOSOPHIC “INDUSTRIAL” NON-INDIAN IMPORTS

RAAG BHAIRAV Raag Bhairav (heptatonic) Bhairav is another very important raga in the Hindustani

RAAG BHAIRAV Raag Bhairav (heptatonic) Bhairav is another very important raga in the Hindustani classical tradition. It is a morning raga, and solemn peacefulness is its ideal mood. It is very easy, however, for this scale to deteriorate from majestically peaceful to pathetically melodramatic, and artists must watch out for that. I think it was Pundit Vilayat Khan who once described Raag Bhairav as the music in the mind of Lord Shiva as he meditated in the Himalayas. That made an impression on me. Picture Shiva-the-terrible, absorbed in the deepest meditation in a dark cave in the Himalayas. Everything is still, except for the occasional dripping of a stalagtite. Then dawn breaks and the first rays of sunlight penetrate into the cave. Imagine the music in the mind of this man of terrifying passions at that time in his state of perfect peacefulness. And that, to me, is what Raag Bhairav should be

THE GAMUT OF NOTES 8. Sa – Shadja – Do – Tonic 7. Ni

THE GAMUT OF NOTES 8. Sa – Shadja – Do – Tonic 7. Ni – Nishada – Si/Ti – Leading Note ♭ 7. Ni – Komala Nishada 6. Dha – Dhaivata – Lah – Submediant ♭ 6. Dha – Komala Dhaivata 5. Pa – Panchama – Soh – Dominant # 4. Ma’ – Tivra/Kari Madhyama 4. Ma – Madhyama – Fah – Subdominant 3. Ga – Gandhara – Mi – Mediant ♭ 3. Ga – Komala Gandhara 2. Re – R’shabha – Re – Supertonic ♭ 2. Re – Komala R’shabha 1. Sa – Shadja – Do – Tonic

SOUND IN INDIAN ART MUSIC Static Note – Ornamented Note – Unembellished tones: Tones

SOUND IN INDIAN ART MUSIC Static Note – Ornamented Note – Unembellished tones: Tones embellished by different types of ornaments, such as Meend, Soot, Andolan, Gamak, Krintan, etc. : Used for teaching or analysing musical phenomena but not (except but rarely) in performance Used in performance

ORNAMENTS (“ALANKAR”) ⋆ Andolan – “oscillation” on a note ⋆ Gamak – fast Andolan.

ORNAMENTS (“ALANKAR”) ⋆ Andolan – “oscillation” on a note ⋆ Gamak – fast Andolan. Gamak may range from the heavy and guttural to the light and almost superficial. Again, Gamak may be of varying speeds ⋆ Sparsha Svara, Kan or Krintan – grace note (acciaccatura) ⋆ Meend – glissando ⋆ Soot or Aansh – fast Meend from one note to another distant note ⋆ Mürki – akin to mordent ⋆ Khatka – akin to turn ⋆ Kampan – vibrato

ELEMENTS OF MUSIC Melody – notes sounded successively Harmony – notes sounded simultaneously Rhythm

ELEMENTS OF MUSIC Melody – notes sounded successively Harmony – notes sounded simultaneously Rhythm – pulses in time Dynamics – intensity (volume) Timbre – tone colour

ORGANISING NOTES Melodic Organisation: Harmonic organisation: According to the principles codified by the system

ORGANISING NOTES Melodic Organisation: Harmonic organisation: According to the principles codified by the system of - RAGAs - TALAs and - performance practice Against a fixed system of static notes sounded continuously but softly in the background and in unintended counterpoint, from an imitating accompanist

R A G A v a melodic concept capable of intense emotional communication and

R A G A v a melodic concept capable of intense emotional communication and comprising: -a given set of notes, ascending and descending - characteristic microtones - characteristic phrases -relative importance of the notes - characteristic ornaments or lack thereof -the general speed to be adopted -the register to be used (low or high pitch) - an accepted time of performance

ORGANISING TIME – TEMPO (LAYA, GATI) Tempo (Laya) Slow (Vilambita) Medium (Maddhya) Medium Slow

ORGANISING TIME – TEMPO (LAYA, GATI) Tempo (Laya) Slow (Vilambita) Medium (Maddhya) Medium Slow (Maddhya Vilambita) Fast (Druta) Medium Fast (Maddhya Druta) Slow (Vilambita) Very Slow (Ati Vilambita) Fast (Druta) “Linear” (Tala-Heena) “Cyclic” (Tala-Yukta) Very Fast (Ati Druta)

T A L A Tala → the cyclic organisation of periodic beats (Matra) =

T A L A Tala → the cyclic organisation of periodic beats (Matra) = an endlessly repeated series of ordered rhythmic syllables in time Rhythmic syllables → Names of sounds on percussion instruments (Dha, Na, Dhin, Thum, Kat, Tita, Tirakita, Ghe, Dhita, etc. ) A Tala has: Cycles – each cycle is called an “Avartana” Divisions into bars, which may be equal or unequal Accent points, which may be “beaten” (“Tali”) or “unbeaten” (“Khali”) A primary accent point (“Sama”) – the point of rhythmic resolution A vocal enunciation of the ordered rhythmic syllables in an Avartana, called “Theka”

THEKA TALA MATRA Kaharva 4 Dhage Nati Naka Dhin | | Dadra 6 Dha

THEKA TALA MATRA Kaharva 4 Dhage Nati Naka Dhin | | Dadra 6 Dha Tin Na | Ta Dhin Na | | Roopak 7 Tin Na | Dhin Na | | Jhaptal 10 Dhin Na | Tin Na | Dhin Na | | Ektal 12 Dhin | Dhage Tite | Thum Na | Kat Ta | Dhage Tite | Dhin Dha | | Jhoomra 14 Deepchandi 14 Dha Dhin - | Na Tin - | Dha Dhin - | | Adachoutal 14 Dhin Tite | Dhin Na | Thum Na | Kat Ta | Tite Dhin | Na Dhin | Dhin Na | | Trital 16 Dha Dhin Dha | Dha Tin Ta | Tita Dhin Dha || Dha –Dha Tirakita | Dhin Dhage Tirakita | Ta –Ta Tirakita | Dhin Dhage Tirakita | | … and many more, including fractional Matras (e. g. Jhampak Tala of 8½ Matras)

RHYTHMIC IMPROVISATION (“LAYAKARI”) ↠ Dügün – double speed ↠Tigün – triple speed ↠Choügün –

RHYTHMIC IMPROVISATION (“LAYAKARI”) ↠ Dügün – double speed ↠Tigün – triple speed ↠Choügün – quadruple speed ↠Panch, Chhey, Sat, Ath, Naü, etc gün – respectively 5, 6, 7, 8, 9 etc times the original speed ↠Aad – 3/2 times the original speed ↠Aad ka Ülta – 2/3 times the original speed ↠Küad – two viewpoints: 5/4 or 9/4 times the original speed ↠Küad ka Ülta – 4/5 or 4/9 times the original speed ↠Biyad – there are several varieties of this: 7/4 or 27/8 (“Küad of Aad” = 9/4 of 3/2) times the original speed, etc. ↠Biyad ka Ülta – 4/7 or 8/27 times the original speed ↠Paun – 3/4 times the original speed ↠Paun ka Ülta – 4/3 times the original speed

PERFORMANCE PRACTICE Hindustani Recital Vocal “Classical” Instrumental “Light. Classical” Dhrupad & Dhamar Thumri Khayal

PERFORMANCE PRACTICE Hindustani Recital Vocal “Classical” Instrumental “Light. Classical” Dhrupad & Dhamar Thumri Khayal Bhajan Tarana Ghazal Percussion Melodic Instrument “Classical” Gayaki Ang Dhrupad Ang Khayal Ang “Light. Classical” Dhun

KHAYAL RECITAL ※ Auchār-Ālāp ※ Vilambit (Bada) Khayāl - Vistār (Badhat) ⇨ Sthāyi, Antarā

KHAYAL RECITAL ※ Auchār-Ālāp ※ Vilambit (Bada) Khayāl - Vistār (Badhat) ⇨ Sthāyi, Antarā - Behlāvā - Tān ※ Drut (Chhotā) Khayāl ⇨ developed similarly as above