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Level 1: Definitions:
Term Term Definition - description
saMgaIt Sangeet (Music) Vocal, Instrumental and Dance
svar Svar (Musical Notes)
Seven basic notes are: Sa (Shadja), Re (Rishabh), Ga (Gandhaar), Ma (Madhyam), Pa (Pancham), Dha (Dhaivat), Ni (Nishaad)
Acala svar Achal Svar Immovable notes : Sa and Re
cala svar Chal svar Movable notes : Re Ga Dha Ni move half a note below basic notes and become soft or Komal. Ma moves half note up and becomes sharp or Tivra.
Aaraoh Aaroha Ascending notes in a raag Avaraoh Avaroha Descending notes in a raag
saPtk maMd,` maQya, tar
Saptak (Octave) Mandra, Madhya,
Taar
Set of seven notes. Vocalists generally sing in three octaves: 1. Mandra (Lower), 2. Madhya (Middle), 3. Tar (Higher)
raga Raag The basic organization of the twleve musical notes in a composition, as per
specific rules. (1. Raag has at least five notes, 2. One note is a Sa, 3. Raag has to be entertaining)
jaatI AaoDva YaaDva saMpUNa-
Jaati (Type) Odav, Shaadav, Sampurna
Jati refers to the classification of musical compositions as per the number of notes used in ascending and descending notes (Aaroha and Avaroha).
Odav: Five notes; Shaadav: Six notes; Sampurna: Seven notes
vaadI Vaadi Most important note in a Raag saMvaadI Samvaadi Second most important note in a raag. Samvaadi has a dialogue with Vaadi.
tanapura
Taanpura Tanpura is a droning instrument that repeats the notes: Singers use it to stay in tune and create atmosphere.
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Pa Sa Sa Sa
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Taal: (1 Sam) (+ Kaal)
Teentaal: 8 (or 16) Beats (Maatraas)
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taka Dhin Dhin Dhaa
O O O O O O O O O O O O O O O O 1 3 + 7
Jhaptaal 10 Beats (Maatraas)
Dhee Naa Dhee Dhee Naa Tee Naa Dhee Dhee Naa
1 3 + 8
Ektaal: 12 Beats (Maatraas) (6 beats for fast or Drut Ektaal)
Dhin Dhin Dhaa Ge Ti Ri Ki Ta Tu Naa Kat Ta Dhaa Ge Ti Ri Ki Ta Dhee Naa
O O O O 1 5 + 9 11
Kehrwa 4 (or 8) Beats (Maatraas)
Dhaa Ge Na Ki Na Ka Dhin Na
O O O O O O O O 1 +
Dadra 6 Beats (Maatraas)
Dhaa Ge Naa Dhaa Tun Naa
1 +
Rupak 7 Beats (Maatraas)
Tee Tee Naa Dhee Naa Dhee Naa
+ 4 6
Chaartaal 12 Beats (Maatraas)
Dhaa Dhaa Din Taa Ki Ta Dhaa Din Taa Ki Ta Ta Ka Ga Di Ga Na
O O O O O O O O O O 1 + 5 + 9 11
For Chaartaal, a kaal at beat 3 is sometimes not utilized.
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Level 2: Definitions of following terms:Explain these terms by giving examples from ragas and taalas from the syllabus
saMgaIt Sangeet Music: Vocal, Instrumental, Dance qvanaI Dhvani Sound
naad Naad
Musical note: Aahat and Anaahat *** There are two types of Naad - "ahata" (that which is produced by striking, plucking etc) and "anahata" (that which is produced by itself or mystic sound that occurs spontaneously observed by Yogis). Depending upon the intensity of a seekers concentration and the level of his mental purity, Anahata Naad can be distinctly heard in deep meditation, paving the way for the seekers evolution to the highest level of consciousness. ***
svar Svara Note Sauqd svar Shuddha Svara Basic Notes
ivakRt svar (kaomala, tIva`) Vikruta Svara Altered notes vaija-t svar Varjit svara Unused note
saPtk Saptak Octave maola Mel Group of notes
AlaMkar (plaTa) Alankaar (Palataa) Arrangement of notes in a pattern
raga Raag
Combination of notes with following features - * Notes ( swaras) - There must be atleast 5 notes or a maximum of 7 notes (swaras) in a Raag. * Aaroh & Avaroh - Every Raag must have an Aaroh - ascending notes & an Avroh - descending movement of notes. * Vadi & Samvadi - Every raag must have Vaadi - most prominent & dominating note and Samvadi note - note that complement the dominating note. * Melodious, entertaining - A raag must be pleasant sounding and must be able to enchant the listener. * Key Note - The key not can never be missing in a Raag - ie, Sa or Shadaj
jaait (AaoDva YaaDva saMpUNa-) Jaati (Odav, Shadav, Sampurna)
Type of a raag:Odav: Five notes, Shadav: Six notes, Sampurna: Seven notes
vaadI Vaadi Main note saMvaadI Samvaadi Note that has a dialogue with Vaadi pkD Pakad Catch phrase
Aalaap Aalaap Slow improvisations, compositions with only
notes
tana Taan Faster improvisations, compositions with only
notes
svarmaailaka (sargama gaIt) Svarmaalika Composition with only notes, no lyrics laxaNa gaIt Lakshangeet A song containing all characteristics of a raag
sqaayaI Sthaayee Halting at a single note Asta[- AMtra Astai - Antaraa First few lines before Antaraa and First stanza
laya (ivalaMibat maQya d`ut) Laya (Vilambit, Madhya, Drut)
Tempo (Slow, Medium, Fast)
maata` Maatraa Beat tala Taal Beat Sequence
ivaBaaga Vibhaag Sub part sama Sam First beat of any Taal
KalaI , kala Khaali, Kaal First beat after half cycle of Taal dugauna Dugun Double tempo
zoka Thekaa Bols or compositions for a Tabla. Taal is an abstract form of Theka. Taal does not change but a taal can have more than one Theka.
Aavat-na Aavartan Cycle
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Level 3 : Basic knowledge of following:
]%tr BaartIya AaOr daxINa BaartIya (knaa-Tk ) saMgaIt pwtI
North Indian and South Indian (Karnatic style).
See below on page 4
naadkI tIna ivaSaoYatae^M : 1. CaoTa baDapna
Naadki teen visheshta: 1. Cchota badapan
Naad or tones three characteristics: 1. Small and big
2. }^Mcaa naIcaapna 2. Uncha neechapan 2. High and low 3. jaatI Aqavaa gauna 3. Jaati and Gun 3. Type and character
gaana ik`yaa Aqavaa vaNa-
sqaayaI AaraohI AvaraohI saMcaarI
Gaan kriya or varna
Sthayee, Aarohi, Avarohi, Sancharee
Procedure of Singing or Varna - four basic ways of organizing tones.
Sthayee, Aarohi, Avarohi, Sancharee Sthayee refers to halting at a single note, arohi to an upward movement, avarohi to a downward movement and sanchari is a mixed (upward and downward) movement.
QvanaI naad EautI svar kI vyaa#yaae^M tqaa ]namao AapsaI saMbaMQa
Definitions of Dhvani, Naad, Shruti, Svara and their relation
with each other
Definitions of sound, Vibrations, Sound interval between known notes or microtones, and Notes
svar ( Sauw AaOr ivakRt ) Swara (Shuddha, Vikruta) Notes (Basic, changed) saPtk Saptak Octave
Aaraoh , Avaraoh Aaroha, Avaroha Ascending, Descending janak AaOr janya raga Janak and Janya raag Parent and child raag
AMSa Ansha Vaadi Main note in a raag.
nyaasa Nyaasa Nyasa is the last note of a specific phrase of notes, which leads to its ending.
pUva-rMga AaOr ]%traMga Poorvaranga and Uttaraanga First half (Sa Re Ga Ma) and second half (Pa Dha Ni Sa) of an octave
pUva- raga , ]%tr raga Poorva-Uttar raag
All ragas are divided into two groups as Poorva Ragas and Uttar Ragas. Poorva Ragas are sung between 12 noon and 12 midnight, Uttar Ragas between midnight and 12 noon.
ragakI jaatI : Sauw raga Raagki jaati: Shuddha raag Raags type: Pure raag Cayaalaga raga Cchaayaalag raag Raag with a shadow of one other raag saMkINa- raga Sankeerna raag Mixture of several ragas vak` svar Vakra Svar Changed or odd note
maIMD Meend Meend is an unbroken flow of a musical progression, from higher to lower notes
kMpna Kampan
((Vibrato in western music) Here the note is articulated with a quiver so that instead of a steady or unwavering tone the note sounds tremulous or undulating, adding an emotional
dimension to it.
spSa- svar Sparsha swar, Kana svar
Grace note. Singer will touch a grace note very briefly and quickly proceed to the next note which is the real destination. Grace note is printed in small font and not counted in taal.
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gamak Gamak
A musical ornament that is a fast Andolan. There are many types of Gamak, some faster than others and/or "heavier" or more "full-bodied" than others. The word Gamak derives from the Sanskrit word Gaman meaning "to go". The reference here is to a movement away from true pitch and subsequent return to the true pitch. The supporting tone in a Gamak is farther away from the true note than it is in a vibrato or
Kampan.
GasaIT : vaaV bajaanaa saUT
Ghaseet (For instrumentals) Soot or Soonth (For vocalists)
This is a fast paced meend.
Ghaseet is a technique of plucking a note and then, within the resonance generated, gliding the other hand along the string over the frets (on the sitar) and along the steel plate (in the case of the sarode). A Ghaseet is fast paced and differs only in speed from other alankars in the Meend category. Ghaseets are often played in jod ang.
gaItko Avayava : sqaayaI, AMtra,, saMcaarI , AaBaaoga Geetke avayav: Sthaayee, Antaraa, Sanchaaree, Aabhog
Parts of a song: Sthaayee (First few lines), Antaraa (First stanza), Sanchaaree (Second
stanza), Aabhog (Last stanza)
gaItko p`kar : Qa`upd , Qamaar , #yaala ( ivalaMibat AaOr d`ut) , tranaa , Bajana
Geetke prakaar: Dhrupad, Dhamaar, Khyaal (Vilambit, Drut), Taraanaa, Bhajan
Types of songs: Dhrupad, Dhamaar, Khyaal (Vilambit, Drut), Taraanaa, Bhajan
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Some definitions:
http://www.culturalindia.net/indian-music/music-glossary.html
Achal - Achal Swaras are the fixed swaras of the seven musical notes. Sa and Pa are the achal swaras of the Indian
classical music.
Arohi - The term Arohi, also known as Arohana and Aroh, is used to define the ascending notes in a raga.
Avirbhav - Avirbhav is that technique of presenting the raga, in which the raga is noticeably expanded and
exhibited
Abhoga - The last stanza of a musical composition, especially in the Drupad music.
Alaap - Alaap is the free flow of the Raga, in which there are no words and no fixed rhythm. It is the purest from
of melody.
Andolan - Andolan refers to a slow alternation between the notes and shrutis that are next to each other.
Ang - The term 'Ang' refers to the root to which a particular raga belongs. For example, Tantrakari Ang
(instrumental style of music)
Alankar - Alankaras are those notes and features that differentiate one raga from the other.
Antar Gandhar - One of the variable forms of the third note 'Ga' of Indian Classical Music.
Antara - Antara is the second stanza of a musical composition that emphasizes the upper half of the octave-range.
Antya - Antya is the last section of a musical composition, after which the recital ends.
Anuvadi - Those notes of a raga that are neither highlighted nor downplayed are known as Anuvadi notes.
Asthai - Asthai is the first as well as the fundamental part of a composition, which is repeated during the entire
alaap.
Asthan - The octave region of a raga is known as its Asthan. For example, the lower octave region is known as the
Mandar Asthan.
Ati - The term Ati refers to an extreme in a raga. For example, Ati Vilambit Laya means extremely slow tempo.
Audava - Audava is a raga that has only five notes i.e. 'Paanch Swaras'.
Avarohi - The term Avarohi, also known as Avarohana and Avaroh, is used to define the descending melody in
music.
Bhajan - A devotional song eulogizing Indian Gods and Goddesses. Sung in light classical style, it is usually set to
6, 7 or 8 beat cycles.
Bol - The term 'Bol' refers to the words making up a vocal composition.
Carnatic - Ancient classical music of South India is known as Carnatic Music
Chakra - As per the Melakarta table of raga classification, Chakras are the twelve groups according to which the
ragas are categorized.
Chalan - Chalan is the makeup of a musical composition, which embodies the movement of a particular raga.
Chautalaa - Chautalaa is the musical cycle that consists of fourteen beats.
Dadra Tal - Dadra Tal is the common cycle in the lighter forms of music, comprising of six or three beats.
Deepchandi Tal - Deepchandi Tal is the tabla composition with fourteen beats
Dhamar Tal - Dhamar Tal is the fourteen beat Tal that has a '5+2+3+4' vibhag pattern.
Dhaivata - Dhaivata is the sixth of the seven swaras or notes of the Indian classical scale.
Drut - Drut is the term denoting the fast tempo or speed of the Tal.
Ektal - Ektal is that Tal of the Indian classical music in which the 12 matras are divided into 6 vibhags, each of
them having two matras.
Gandhar - Gandhar is 'Ga', the third musical note of Indian Classical Music.
Gayaki - Gayaki is one of the several styles of singing.
Geet - Geet is the Indian term for a song or composition.
Ghazal - Ghazal is a poetic-cum-musical form of Hindustani light music, with Persian and Urdu poetic influences.
Grama - Gramas are the basic notes employed in musical tradition. Initially there were three gramas - Shadaja,
Madhyama and Gandhar.
Hindustani - Hindustani Classical Music is the form of Indian classical music that developed in northern parts of
India.
Jati - Jati refers to the classification of musical compositions as per the tones.
Jhaptal - Jhaptal is an Indian rhythmic form with a ten-beat cycle.
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Jhumra Tal - Jhumra Tal is a slow Indian rhythmic form of 14 (3+4+3+4) beats.
Kan - Kan is the grace note of a musical composition.
Keharwa Tal - Keharwa Tal is the one of the rhythms of the Indian classical music, which has an eight beat cycle.
Komal - The flat form of a note or swar in the classical music of India.
Kriti - Kriti is a format of a musical composition that characterizes the Carnatic form of music.
Lakshan - An introduction to the ragas is known as Lakshan. It comprises of a set of rules and principles.
Laya - Laya can be described as the tempo or speed of the Tal.
Madhya Saptak - The basic saptak, with middle octave region, is known as the Madhya Saptak.
Madhya Laya - Madhya Laya is the medium tempo or speed of the Tal.
Madhyama - Madhyama is 'Ma', the fourth musical note of Indian Classical Music.
Mandra - Mandra refers to the lower scale notes of the raga, written with dots underneath them.
Meend - Meend is an unbroken flow of a musical progression, from higher to lower notes.
Mela - Mela is the basic organization of the notes in aroha and avaroha melody.
Mishra - A Mishra melody is that melody which has features of more than one raga. "
Mridangam - Mridangam is a drumming instrument, used in the Carnatic music of South India.
'ada - The raga or musical notes in music are known as nada vibrations. There are basically two types of Nadas -
Ahata (struck) and Unahata (un-struck).
*** There are two types of Naad - "ahata" (that which is produced by striking, plucking etc) and "anahata" (that which is produced by itself or mystic sound that occurs spontaneously observed by Yogis). Depending upon the intensity of a seekers concentration and the level of his mental purity, Anahata Naad can be distinctly heard in deep meditation, paving the way for the seekers evolution to the highest level of consciousness. *** 'ada Brahma - The concept of Nada Brahma means that the whole universe was created from the energy of
sound.
'ataka - Nataka is the Hindi term used for defining a theater performance.
'yasa - Nyasa is the last note of a specific phrase of notes, which leads to its ending.
'ishadha - Nishadha is 'Ni', the seventh musical note of Indian Classical Music.
Pakad - Pakad is the catch phrase of note combinations, which normally comprises of five notes. It characterizes
the flow of a raga.
Panchama - Panchama is 'Pa', the fifth musical note of Indian Classical Music.
Pandit - Pandit is a term of respect, used to refer to the masters or scholars in the field of Indian Classical Music.
Poorvang - The lower region of an octave, from Sa to Ma (Sa Re Ga Ma) is known as the Poorvang.
Prati - The term Prati is used to define a sharp musical note i.e. a musical note that is higher in pitch by a semitone.
Raga - Raga is the basic organization of the thirteen musical notes in a composition, as per specific rules.
Ragini - Ragini is the feminine form of raga. It is usually described as a summary of the main theme of the melody.
Rasa - Rasa is the term used to define the emotional state or quality of the raga and ragini. There are nine rasas in
classical music.
Rasik - Rasik is name given to the composer of a Rasa.
Rishabha - Rishabha is 'Re', the second musical note of Indian Classical Music.
Rupak Tal - Rupak Tal is an Indian rhythmic form, which comprises of seven beats.
Sanchari - Sanchari is the third subsection of a musical composition that comprises of all the regions of the octave.
Sangeet - Sangeet is the Hindu term used to define music.
Sampooran - Sampooran ragas are those ragas that comprise of all the seven notes.
Samvadi - Samvadi is the second most important class into which the notes in the basic musical gamut are divided.
Sandhi Prakash - The ragas that are performed during the hours of twilight or dusk are called Sandhi Prakash
Ragas.
Saptak - Saptak means the set of seven swars or seven notes of the Indian Classical Music.
Sargam - Sargam is the term used to define the scale of notes used in the composition of music.
Shadaja - Shadaja is 'Sa', the first musical note of Indian Classical Music.
Shastra - Shastra is the treatise or text that explains the timeless rules and principles behind music.
Shaudava - Shaudava Raga is the raga that comprises of six notes in its ascending or descending movement.
Shruti - Shruti is the sound interval between recognized notes or swaras.
Shudha - The pure and natural notes or swaras are known as Shudha Swaras.
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Swara - Swaras are the musical notes of a composition.
Swaroop - The term Swaroop refers to the image of a raga.
Tabla - Tabla is a North Indian drum set, which comprises of the Dagga (bass drum) and the Tabla (Treble drum)
Tal - Tal is a predisposed arrangement of beats, in a certain tempo
Tan - An improvised vocal or instrumental musical phrase
Tanpura - String instrument used for drone; Tanpura means to fill the void behind the music; to complete or assist
a tan; a. k. a. Tamboora
Tar - Tar is a fast-paced musical and melodic amplification of vocal as well as instrumental classical music.
Tamboora - Tamboora is a musical instrument made from a gourd (Tumba). It is also known as Tanpura.
Thaat - Thaat is Pandit Bhatkande's classification of all the ragas into one of ten parent scales.
Thumri - Thumri is a form of 'light-classical' vocal music. It does not follow the tala and raga rules of music very
rigidly.
Tintal (Teental) - Tintal is an Indian rhythmic tal with sixteen beats, in four equal divisions.
Tirobhav - Tirobhav basically means the process of concealing a raga on a temporary basis.
Tivra - Tivra means the highest state (pitch) of the two notes, madhyama and nishad.
Uttarang - Uttarang is the higher tetra-chord of an octave, which comprises of Pa, Dha, Ni and Sa notes.
Vadi - Vadi is the note that holds the maximum importance in a raga.
Vakra - Vakra Raga is one of the four Janya Ragas and has swaras in a non-sequential order.
Varana - The four Varanas are the four basic ways, on the basis of which musical tones are organized.
The four Varnas, sthayi, arohi, avarohi, and sanchari were arrangements of notes in a particular sequence or four
kinds of movements among notes. Sthayi refers to halting at a single note, arohi to an upward movement, avarohi
to a downward movement and sanchari is a mixed (upward and downward) movement.
Varjit - Varjit note is the note that is deleted from the Arohi or Avarohi of its derivative Ragas.
Vikrit - Vikrit notes are the modified notes used in the raga.
Vilambit - The term Vilambit is used to denote the slow speed or tempo of the Tal.
Vivadi - Vivadi notes are those notes that are either not included in a raga or are used very rarely.
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Alankars : A Background
http://www.itcsra.org/alankar/alankar.html (Also click on the links at the bottom of the above page.)
http://www.itcsra.org/sra_glossary_index.html
In India, Alankar or Alankara means ornaments or adornments. In the context of Indian classical music, the application of an alankar is essentially to embellish or enhance the inherent beauty of the genre. The earliest reference to the term Alankar has been found in Bharatas Natyashastra written sometime between 200 BC and 200 AD. This treatise on dramaturgy mentions 33 types of Alankars. Subsequent musical treatises like Sharangdevs Sangeet Ratnakar in the thirteenth century and Ahobals Sangeet Parijat in the seventeenth century mention 63 and 68 types of Alankars respectively. The Shastras or ancient texts have categorized alankars into two broad groups Varnalankar and Shabdalankar. The former comprised the varna based alankars of earlier times. The four Varnas, sthayi, arohi, avarohi, and sanchari were arrangements of notes in a particular sequence or four kinds of movements among notes. Sthayi refers to halting at a single note, arohi to an upward movement, avarohi to a downward movement and sanchari is a mixed (upward and downward) movement. This classification of alankars related to the structural aspect of a raga. The latter classification, Shabdalankar, comprised the aesthetic aspect. It referred to the sound production technique utilised by either the human voice or on an instrument. Shabdalankar had a wide connotation and would actually include everything that a performer wove both melodically and rhythmically outside the periphery of the fixed composition. In other words, all the extempore variations that a performer created during a performance within the raga and tala limits could be termed as alankar, because these variations embellished and enhanced the beauty of the raga, the tala and the composition. But going by current performance practices, printed and audio material and the personal opinions of musicians and musicologists over the last 100 to 150 years, the definition and gamut of shabdalankars seems to have changed. Besides the raga, the tala and the bandish which are the fixed portions in a performance, the process of elaboration has been divided into several angas or stages. These stages comprise the alaap-vistaar , behelawa, bol-bant, sargams, taans, in vilambit laya and drut laya in case of khayal and Alaap, jod and gats in case of instrumental music. These may further vary from one gharana to another. Therefore, when we talk about alankars today, we specifically refer to embellishments to a swar or a note. In Indian music and especially in raga sangeet, staccato or straight isolated notes are almost unheard of. In instrumental music too, with the exception of some instruments, the notes are never static either. Each note has some link with its preceding or succeeding note. It is this extra note or grace note that lays the foundation of all alankars. The shrutis or microtones that are so important in raga sangeet demand this mobile nature of the swaras in Indian music. In the Shastras, a grace note has been referred to as alankarik swar. When a group or cluster of notes embellishes another swar, they form the alankarik pad. The alankars in practice today and those that have been earmarked for this page include both types. The alankars in common use today comprise Meend (varieties of glides linking two or more notes), Kan (grace note), Sparsh and Krintan (both dealing with grace notes - especially as applied in plucked stringed instruments), Andolan (a slow oscillation between adjacent notes and shrutis), Gamak (heavy forceful oscillations between adjacent and distant notes), Kampit (an oscillation or a vibrato on a single note), Gitkari or Khatka (cluster of notes embellishing a single note), Zamzama (addition of notes, with sharp gamaks) and Murki (a swift and subtle taan-like movement). A word of caution from our gurus, however : the definitions provided are widely accepted but not sacrosanct. Interpretations other than the ones given may also exist and like so much else in Raga Sangeet, definitions and illustrations may also vary from gharana to gharana. Alankars other than the ones featured may exist - we have selected those that are unique and comprehensible and commonly used by practicing musicians. And finally, our gurus advise that many of these alankars are raga and form-specific (to a khayal, thumri, instrumental music etc.) and their wrong or excessive application may mar an entire rendition or performance.
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Classification of Raagas: Thaat
http://www.hss.iitb.ac.in/courses/HS463/RagaMusic.pdf
Ragas can be classified using different criterias. For example, on basis of the number of notes used. Ragas that contain all 7 notes in ascent and descent are Sampurna, those with 6 notes are Shadav, those with 5 are Audav. All ragas are divided into two groups as Poorva Ragas and Uttar Ragas. Poorva Ragas are sung between 12 noon and 12 midnight, Uttar Ragas between midnight and 12 noon. Another division of ragas is the classification of ragas under five principal ragas : Hindol, Deepak, Megh, Shree and Maulkauns. From these five ragas, other ragas are derived. The first derivatives of the ragas are called raginis, and each of the _ve ragas have _ve raginis under them. These raga and raginis also have derivatives. this results in each principal raga having 16 secondary derivatives known as upa-raga and upa-raganis. An important way of Raga classification is the thaat system. A certain arrangement of the seven notes with the change of shuddha, komal and teevra is called a thaat. Every raga has a fixed number of komal or teevra notes, from which the thaat can be recognised. There are several opinions in this matter. According to Pandit V.N. Bhatkhande, the 10 thaat's used to classify ragas are: 1 Bilaval : All shuddh or natural notes. 2 Khamaj : With ni note as komal. 3 Kafi : With ga, ni as komal. 4 Asavari : With ga, dha, ni as komal. 5 Bhairavi : With re, ga, dha, ni as komal. 6 Bhairav : With re, dha as komal. 7 Poorvi : With re, dha as komal and ma as teevra. 8 Todi : With re, ga, dha as komal and ma as teevra. 9 Marwa : With re as komal and ma as teevra. 10 Yaman : With ma as teevra only.
A thaat is named after the popular raga of that thaat. For example, bhairavi is a popular raga and the thaat of the raga bhairavi is named after the raga. Girish Girish Sahani, Amol Deshmukh and Rohit Bassi Concept of RagaRohit Bassi Concept
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Thaat
http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html According to Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the twentieth century, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi; if one were to pick a raga at random, it should be possible to find that it is based on one or the other of these thaats. For instance, the ragas Shree and Puriya Dhanashri are based on the Poorvi thaat, Malkauns on the Bhairavi, and Darbari Kanada on the Asavari thaat. It is important to point out that Bhatkande's thaat-raga theory is hardly infallible, but it is nevertheless an important classificatory device with which to order, and make sense of, a bewildering array of ragas; and it is also a useful tool in the dissemination of the music to students. It is worth noting that almost all the thaats mentioned above are also ragas; and yet a thaat is a very different musical entity from a raga, and in this difference may lie, crucially, a definition of what a raga is or is not. A thaat is a musical scale, conceived of as a Western musical scale might be, with the seven notes presented in their order of ascent (arohan). For instance, Asavari is presented, and notated, as Sa Re Ga (flat or komal) Ma Pa Dha (flat) Ni (flat) in ascent, or arohan. This is, however, only the skeletal musical structure of the raga Asavari, an abstraction that is to be found nowhere but on the printed page or inside a textbook; the raga Asavari, in reality, and in exposition, is a very different thing. It goes straight from Re to Ma, and comes down to touch Ga, as it ascends; having touched Ni later, it returns to Pa, and, touching the upper Sa, returns to Dha and Pa again and again. Arohan and avarohan are, thus, inextricably and inseparably intermingled in the structure of this raga. The raga, then, is not a musical scale in the Western sense; it is a characteristic arrangement or progression of notes whose full potential and complexity can be realised only in exposition, and not upon the printed page. A condensed version of this characteristic arrangement of notes, peculiar to each raga, may be called the pakad, by which a listener hears the phrase Sa Re Ga Ma Pa Ga, none of these notes being flat or sharp. Repeated in a recital, they will know that they are listening to the raga Gaud Sarang. Two ragas may have identical notes and yet be very different ragas; for example, two ragas mentioned earlier, Shree and Puriya Dhanashri, have exactly the same notes, but are unmistakably different in structure and temperament. The first can be identified by its continual exploration of the relationship of the note Re to the note Paa; while the repetition of the phrase Ma Re Ga Re Ma Ga, a phrase that would be inadmissible in the first raga, is an enduring feature of the latter. Certain arrangements of notes, then, are opposite to particular ragas and taboo to all others. A simple and abstract knowledge, thus of the notes of a raga or the thaat on which it is based, is hardly enough to ensure a true familiarity or engagement with the raga, although it may serve as a convenient starting point. Thaat familiarity can only come from a constant exposure to, and critical engagement, with raga's exposition. For further information pertinent to the definition of a raga, please refer to the glossary. Amit Chaudhuri http://www.it
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http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html
Thaat Kaafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the
ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The
derivative ragas out of this structure are grouped under the broad head of Kafi Thaat
Ragas belonging to Thaat Kaafi
Mian Malhar , Bhimpalasi Barwa Patdeep Brindavani Sarang Chandrakauns Surdasi Malhar
Shahana Kafi Piloo Ramdasi Malhar Bahar Abhogi Shuddha Sarang Bageshri Megh
Jog Nayaki Kanhada Dhaani
Thaat Khamaj
Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all
seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and
shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of
this structure are grouped under the broad head of Khamaj Thaat.
Ragas belonging to thaat Khamaj are listed to the right side.
Thaat Kalyan
Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes,
five of them in the ascent and seven of them in the descent. It uses tivra (sharp)
Madhyam and all other notes are shuddha (full). The derivative ragas out of this
structure are grouped under the broad head of Kalyan Thaat.
Ragas belonging to thaat Kalyan are listed to the left side.
Desh
Rageshri
Gaud Malhar
Tilak Kamod
Khamaj
Jayjaiwanti
Jog
Gara
Jhinjhoti
Tilang
Gorakh Kalyan
Sorat
Kalavati
Saraswati
Gawati
Shuddha Kalyan
Yaman
Hameer
Hindol
Bhupali
Kamod
Chhayanat
Shyam Kalyan
Nand
Kedar
Gaud Sarang
Yaman Kalyan
Chandni Kedar
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Thaat Aasaavaree
Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven
notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are
komal (flat) and the other notes are shuddha (full). The derivative ragas out of this
structure are grouped under the broad head of Asavari Thaat.
Ragas belonging to thaat Aasaavaree are listed to the left side.
Thaat Todee
Raga Todi belongs to Todi Thaat. It is a morning Raga, and uses all seven notes in the
ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra
while Nishad is Shuddha. The derivative ragas out of this structure are grouped under
the broad head of Todi Thaat.
Ragas belonging to thaat Todee are listed here.
Thaat Bhairavi
Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is
the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the
ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal
(flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are
grouped under the broad head of Bhairavi Thaat.
Ragas belonging to thaat Bhairavee are listed here.
Thaat Poorvi
Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at
dusk, that is the time when the day ends. It uses all seven notes in the ascent and the
descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra
while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure
are grouped under the broad head of Poorvi Thaat.
Ragas belonging to thaat Poorvi are listed here.
Jaunpuri
Desi
Dev Gandhar
Asavari
Adana
Darbari Kanhada
Kaunsi Kanhada
Multani
Todi
Gurjari Todi
Lilavati
Madhuvanti
Bilaskhani Todi
Bhupal Todi
Bhairavi
Malkauns
Komal Rishabh
Asavari
Lalit
Paraj
Basant
Puriya Dhanashri
Shree
Poorvi
Lakshmi Kalyan
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Thaat Bhairav
Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven
notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other
notes are shuddha (full). The derivative ragas out of this structure are grouped under the
broad head of Bhairav Thaat.
Ragas belonging to thaat Bhairav are listed to the right.
Thaat Marwa
Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses
six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra (sharp)
Madhyam and Komal (flat) Rishabh. All other notes are Shuddha (full). The derivative
ragas out of this structure are grouped under the broad head of Marwa Thaat.
Ragas belonging to thaat Marwa are listed to the right.
Thaat Bilaaval
Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven
notes in the ascending and descending order. All notes are shuddha (full). The derivative
ragas out of this structure are grouped under the broad head of Bilawal Thaat.
Ragas belonging to thaat Bilaaval are listed to the right.
Nat Bhairav
Kalingada
Ahir-Bhairav
Jogia
Ramkali
Bhairav
Vibhas
Gauri
Gunkali
Bhatiyar
Bhankar
Vibhas
Sohini
Puriya
Puriya Kalyan
Marwa
Lalit
Kaushik Dhwani
Durga
Hemkalyan
Nat Bihag
Bihagada
Hamsadhwani
Deshkar
Shankara
Alahiya-Bilawal
Bihag
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http://agsaworld.com/main/?p=45
Principles of Indian Classical Music
(As stated by Vishnu 'arayana Bhaat Khande)
1. Bilawal is a Shuddha Saptak or Thaat (The basic (natural) scale) 2. Raags are divided into 3 main categories i.e. Audava (5 swaras), Shadav (6 swaras) and Sampurna (7
swaras) which are called jaties.
3. A Raag must have at least 5 or more musical notes out of total 7. (including Komal and Tivra). 4. Expansion of the 3 main Jaties form 9 total Jaties based upon the number of swaras used in Aroh and
Avaroh of the Raag. The 9 Jaties are: Audava-Audava (5-5), Audava-Shadava (5-6), Audava-Sampurna (5-
7), Shadava-Audava (6-5), Shadava-Shadava (6-6), Shadava-Sampurna (6-7), Sampurna-Audava (7-5),
Sampurna- Shadava (7-6), Sampurna-Sampurna (7-7) ..
5. he raag is categorized under some Thaat and has Aroh, Avaroh, Vadi, Samvadi, Time of singing, rasa etc. 6. Samvadi is either fourth or fifth to the Vadi swara. If Vadi is in the first half of the scale (Purvang/East)
then Samvadi will be in the second part (Uttarang/West) and vice versa.
7. By reversing (changing) the Vadi swara from purvang to uttarang of the scale, can change the raag and its time of singing.
8. Melody of the raag may be increased by using Vivadi swara but it is not advisable to the students. 9. Vadi swara is the deciding note that the particular Raag is Poorva-Raag or an Uttara-Raag. 10. To fix the time of Raags, is based on 3 categories shown below: Raags with 1. Komal Re Dha; 2. Shuddha
Re Dha and 3. Komal Ga Ni.
11. Ma is called adhav-darshak swara and it decides that the Raag is to be sung at the time of day or night. 12. Where the swara Komal Ga Ni are present, the Raag will be sung in the afternoon or mid-night. 13. Sandhi-prakash raags are normally followed by the raags with Re, Ma, Dha, Ni shudha. 14. Shadaja, Madhyam and Pancham are the important swaras in the raags of third prahar of day or night. 15. Tivra Madhyam is mainly present in the night time raags and rarely in the day time raags. 16. Sa, Ma and Pa swaras are accepted as a part of purvang and also the uttarang of the scale (Saptak). So the
raags with the Vadi swara from these notes can be performed at any time and they are called Sarav-Kalik-
Raag.
17. Ma and Pa altogether can not be absent from a raag. 18. Shadaja swara is always present in each raag or Shadaja can not be a Varjit swara of a raag. 19. Both forms of a swara in a raag can not be performed after one another but exception is there as in Raag
Lalit.
20. The beauty of the Raag can be enhanced by performing at the time defined. 21. Tivra Madhyam and Komal Nishadh together in a raag are found very rare. 22. The raags with both Madhyam are similar in nature. Their Aroh differs but the Avaroh is quite similar.
Entrance of the Antras in these Raags is also similar.
23. The raags of first prahar of the night with both Madhyams, Shuddha Ma is present in Aroh and Avaroh but Tivra Ma is utilized in Avaroh only and the Thaat with Tivra Madhyam is used for this type of Raga
instead of thaat with Shudha Madhyam.
24. The rule in raags of first prahar of night, Nishadh in Aroh and Gandhar in Avaroh are used as Vakra-Swara. Normally Nishadh is the weak in Avaroh.
25. In Indian classical music Raag is more important than Taal but in Karnataka-Music it is opposite. Here the Taal more important than Raag.
26. The special characteristic of Poorva-raags is in their Aroh and the Uttar-raags in Avaroh. 27. Each thaat can produce Poorva-Raag and Uttar-Raag. 28. In Gambhir-Prakriti (serious natured) raags, Sa Ma and Pa are the most important swaras and mostly they
are more effective in the Mandra-Saptak (lower octave) but in Kshudra-raags (light-mood/Thumri-ang
raags) this is absent.
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29. Karun and Shant rasa is present in Sandhi-Prakash-Raag, Shrungar and Hasya in raags with Re Ga Dha shudha and raags with Komal Ga, Ni bring into play Veer and Raudra Rasa.
30. Par-Male-Praveshak raags (with the character of two thaats) are rendered at the time of entering from one thaat Raags to another thaat Raags.
31. Sandhi-Prakash Raags are sung at the time of sunrise and sunset and they are followed by the Raags with Re Ga Dha shudha or raags with Ga Ni Komal.
32. The raags with Komal Nishadh as in Raag Kafi and Khamaj normally Shuddha Nishadh is also practiced in their Aroh.
33. A group of two, three or four notes may be called Taan but not Raag. 34. The swaras (notes) in a raag can be used as less, more or equal and less doesnt mean prohibited. 35. Sa, Ma and Pa swaras are prominent in the Raags sung after twelve in the morning and night. 36. Swara Re and Dha are either absent or insignificant in the Aroh of afternoon raags but Ga and Ni are at its
bursting magnificence.
37. The raags with Sa, Ma or Pa as Vadi Swara are of serious (Gambhir) in nature. 38. In the morning raags Komal Re Dha are prominent and sunset time raags have the prominence of Shuddha
Dha and Ni.
39. .NSrG combination of swaras immediately indication towards the Sandhi-Prakash (daybreak or twilight) raags.
40. Poorva raags are highly structured in their Aroh and Uttar raags are more elaborate in Avaroh.
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http://www.ragaculture.com/carnatic_music.html The art music of the four southern provinces of Andhra Pradesh, Tamil Nadu, Kerala and Karnataka. This music was formalised gradually over the last four hundred years or so, during which period many south Indian musicologists went to north India and studied with north Indian masters, thereafter returning to south India and successively modifying the existing music. This explains why there is no Dhrupad in south Indian music, as also why many Raga names in Carnatic music bear the Sanskrit names mentioned in north Indian Texts like Sangita Ratnakara (a 13th century text written by the Kashmiri musicologist Sharngadeva who, fleeing Muslim onslaught, settled in central India.) Hindustani (North Indian) Music
- Continuity back to Vedic times (6,000 BC) - Codified in a large number of ancient and medieval music treatises - Developed independently of folk music, albeit occasionally importing folk or regional elements, metamorphosing them suitably - Raga based music, hence almost entirely (99%) improvised - Capable of intense expression in very slow speeds - Vast range of ornaments, particularly during slow passages. Subtle use of microtones in slow passages - Steady, long-held notes, mostly approached and/or quitted by ornaments or little ornamental phrases - Gradual building up of tempo from very slow to very fast - Convention of time and season - Clear enunciation of rhythmic cycle by percussion accompanist (in dominant present day forms like Khayal, Sadra, Thumri, Bhajan etc.) - True to Hindu traditions: so-called Persian influences fully integrated within its essential and ancient grammatical format developed by Hindu scholars known as Gandharvas. There was an attempt at Islamisation when Amir Khusrau (12/13 century AC) forcibly imported some Persian rules. However, these Islamic influences were purged and the music firmly brought back to its Hindu roots by the great musician-musicologist Tansen (16 century AC). The one major change brought about by Amir Khusrau that remains today is the fixing of the tonic and the dominant (Sa and Pa) without assigning sharp or flat variations to them, the provision of flattened versions alone for the supertonic, mediant, submediant and leading notes (Re, Ga, Dha and Ni) and the provision of a sharpened version alone to the subdominant (Ma). The great Muslim musicians - from Sultan Hussain Sharki, Wajid Ali Shah, Haddu Khan, Hassu Khan, Bade Gulam Ali Khan, Abdul Karim Khan, Alladia Khan, Amir Khan, Nissar Hussain Khan, etc. down to present day exponents - had/have their own unique style of performance known to and recognised by the qualified listener as the Muslim style (as opposed to the Hindu style), but the music in all essential respects strictly adheres to the grammatical tradition codified by the Gandharvas. The "Muslim style" of performance came into being because the early Muslim musicians in India could not learn formally from Hindu scholars and so they (the Muslim musicians) imbibed the music by careful listening and analysing it as best as they could. Also, unlike Hindu musicians for whom the introspective and spiritual element of the music was paramount, Muslims musicians performed primarily to please their patron and receive material rewards: so they concentrated more on the virtuositic and entertaining elements in the music.
Carnatic (South Indian) Music
- Of more recent origin - Codified in many texts written by musicologists, the influential ones among whom studied in North India and thereafter returned to South India to fashion Carnatic music out of the prevalent regional musical forms to be found in South India. In fact, many south Indian Ragas are rooted in north Indian ragas, such as "Baggisvari" (from Bageshri), "Begada" (from Bihagada) and many more. - Composition based music, hence very little improvisation, which usually occurs only in the Alapana and in the Kalpana Svaras towards the end. The main composition ("Kriti") or Varnam or Pallavi is fixed. - A fairly quick tempo from the start, so lacks the intensity, introspection, microtones and several ornaments found in Hindustani music - Notes are not held for long and are mostly quitted by a characteristic oscillation using indeterminate pitch - Constant and fairly fast tempo throughout - No convention of time or season - Percussion accompanist does not enunciate rhythmic cycle clearly, so a second percussionist and/or a timekeeper showing and/or clapping out beats (in which the audience joins) is necessary. Often, there is a main percussionist (Mridangam), a side percussionist (Ghatam or Jew's Harp) and a timekeeper in addition. - Contrary to advocated argument, has Muslim influences: witness Raga names like "Hejjujji" etc. In fact, the southern part of India, called Deccan (from the Sanskrit word "Dakshina" meaning south), was Islamised many centuries ago. Even before the first influence of Islam across land in north India (the Arab invasion of Sindh occurred in 712 AC), there was a steady trade route across the Arabian sea from Arabia to the western coast of south India. The first village in the whole of India to convert to Islam was Kangalore, near Mangalore, in south India. Hyderabad and its sister city Secundrabad, in south India, were great Islamic centres from medieval times. There were many more such centres, all having a strong influence on south Indian culture.
Genres of Hindustani Classical Music:
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http://www.schoolofindianmusic.com/ivm.htm
Vocal form of music is the strongest and the most dominant component of Indian music. Vocal music was
considered to be a major part of Natya Shastra historically too. There are several old and new genres of Indian Vocal music such as:
Dhruvpad (Dhrupad)
Dhruvpad is the oldest style of North Indian classical music and it was very popular during the times of
Tansen. Since it originated in King's court, by nature it is either devotional or depictive of King's glory. It is
traditionally accompanied with Pakhawaj (an ancient Mridang), and has four characteristic components
namely - Sthaee, Antaraa, Sanchari, Abhog. Dhruvpad is mostly sung in Chautal, Jhampa, Teevra, Brahma,
Rudra and other ancient classical Taals. Taans are not used in Dhruvpad but Boltaans and tempo variations such as Dugun, Chaugun etc. are inherent.
Dhamaar
Dhamaar is similar to Dhruvpad, but romantic in nature rather than devotional. Its form is identical to
Dhruvpad but it was traditionally employed to sing stories about Lord Krishna and his romantic adventures
with Gopis, especially during the festival of Holi. It is traditionally sung in Dhamaar Taal of 14 beats, hence
the name. Like Dhruvpad it also has Boltaans and tempo variations such as Dugun, Chaugun etc. and needs
a lot of knowledge and expertise to be sung properly. For this reason it is also known as Hori and has
evolved into a lighter version which is very popular form of folk singing in North India.
Khayal
Khayal means a thought or an imagination in Farsi and Urdu. Musically speaking, Khayal means an
imaginative elaboration of a Raag while being within its confines. Since this form of singing originated in
quiet environment of small Mehfils as opposed to King's court, Khayals are characteristically sung softly and
involve romantic compositions. Taans and Alaaps are employed frequently and abundantly in its rendition. It
is sung in two basic tempos, Vilambit (slow) and Drut (fast). Those sung in slow tempo are called Bada or
Vilambit Khayal and the ones sung in fast tempo are known as Drut or Chhota Khayal. Most common Taals used for singing Khayals are Teentaal, Ektaal, Jhaptaal and Adachautal.
Tarana
Tarana is a form of Khayal. It only differs from Khayal in that it doesn't have lyrics and is sung based on
meaningless syllables such as Ta, Na, Da, Re, Dim etc. It is mostly sung in Madhya (middle) and Drut (fast)
laya (tempo) and characteristically becomes faster and faster as the composition progresses. Taans and Boltaans are very common in Tarana.
Sargam-Geet (Swarmalika)
A composition comprising Swar (notes) of a Raag and bound in a Taal is called Sargam-Geet. Lyrics are absent and the chief objective is to become familiar with the notes of a Raag.
Lakshangeet
A descriptive song listing the properties of a Raag, such as its Vaadi, Samvadi swar, Jaati, Recital time etc., composed using the same Raag that it describes is called Lakshangeet of that Raag.
Tirvat
Tirvat may be considered as a version of Tarana since its form and rendition are almost identical to Tarana except that it is sung to the bols of Mridang. Since it is difficult to master, it is less popular than Tarana.
Chaturang
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A composition that comprises all the four basics namely Khayal, Tarana, Sargam and Tirvat in same order is
known as Chaturang (Chatur means four and Ang means part, thus, four parts). First part has lyrics followed
by Tarana bols followed by Sargam of the Raag and the composition ends with Tirvat.
Thumari
Thumari is a semi-classical form of Vocal music. It is considered semi-calssical since it does not remain loyal
to one single Raag. It is a form of singing which gives prime importance to expressiveness rather than the
lyrics or purity of Raag. It is also considered semi-classical since it does not use classical Taals often but
rather the lighter versions such as Addha Tritaal, Keherva and Deepchandi. Its origin is considered to be in
court of the famous Nawab Asifuddaula of Lucknow by a Punjabi singer named Miyan Shauri. Thumari singing
is known for its variations, improvisations and experimentations with the structure of Raag in a bid to achieve
the best possible expression. Probably this is why musicologists do not consider it a respectable form of singing.
Tappa
Tappa is Punjab's version of singing Khayals but with a faster tempo and more interesting Taals rather than
the classical Taals. Tappa compositions are characteristically very catchy and employ a lot of short but melodious Taans. It is considered to be the fore runner to Thumari style of singing.
Hori
Hori is a light classical form of singing Dhamaar. When Dhamaar is sung in lighter Taals rather than Dhamaar
itself, the resulting composition is known as Hori. This is traditionally sung during the festival of Holi and
describes the celebrations of Lord Krishna. Just like Dhamaar, use of tempo variations such as Dugun and
Chaugun with Boltaans is very common in Hori.
Kajari
Kajari is the name given to songs sung in North India describing the rainy season. Since this season saw
many brides waiting for their grooms to come back home, traditionally Kajari has also become associated with songs of separation. Its nature is romantic.
Chaiti
Chait is a month in Hindu calendar synonymous to March-April. Hence, the name Chaiti is given to traditional
songs sung during spring in North India. This form of singing is very old and typically describes episodes from life of Lord Ram. Its lyrics are mostly Bhojpuri or Poorvi.
Dadra
Dadra is a lighter and easier version of Thumari. It is mostly sung in Madhya (medium) and Drut (fast) Lay
(tempo), in Taals such as Dadra, Keherva or Roopak.
Bhajan
Devotional songs written in pure Devnaagari language and sung predominantly in Taals of 8 beats are known
as Bhajans. This Taal is so typical that it is known as Bhajan Theka. Bhajans can be composed in pure Raags
or in variations or combinations of Raags. Contemporary Bhajans are sung in almost all Taals including Dadra, Roopak, Deepchandi or even Teentaal.
Keertan/Dhun
These are devotional songs sung in praise of Gods such as Ram and Krishna. These have typically one or two
line lyrics which are sung by a group of devotees in a repetitive composition that gains tempo as it
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progresses. Traditionally Keertans are accompanied with percussion instruments such as Kartal, Jhaanjhar, Manjeera or even mere claps. Membranous percussion instruments such as Tabla or Dholak are optional.
Ghazal
Ghazals are melodious recitations of Urdu or Farsi poems. Since Ghazal singing originated from poems, lyrics
are of supreme importance and the composition and its rendition are merely employed to embellish the lyrics.
For this reason a good command on language is essential along with a profound understanding of music in order to sing Ghazals, so that the singer can do justice to the lyrics.
Geet
Literally, Geet means song. The term Geet is used to denote a verse in Hindi which is not Bhajan, Keertan or
any other classical form of Hindi verse or poetry. The songs from movies fall into this genre. There is no hard
and fast rule for composition of Geet and the composer and singer have full liberty for all kinds of
improvisations and experimentations. Geet may or may not be based on a Raag. It is the lightest version of Indian Vocal music.
Kawwali/Qawwali
Qawwali is a form of spiritual singing originated by Sufis in the 12th century. Typically the Qawwali starts
with simple lyrics sung in a melodious composition and as it progresses the singer or Qawwal strives to find
deeper meaning of the lyrics by improvising the compositions. When sung perfectly the singer and the
listener both go in trance. Its nature has been devotional traditionally but contemporary Qawwalis are often romantic.
Lok-Sangeet (Folk Music)
Rural and traditional communities throughout India have evolved with their own regional customs and
festivals which are celebrated with Folk music unique to that community. It is almost impossible to identify
all kinds of Folk music in India however, some of the more popular specimens are Banna, Virha, Chandaini,
Sohar, Jhoomar, Savani, Lavani, Barahmasi, Maand, Gauri, Janeoo, Bhaat, Pandvani, Suaa etc.
