by Sameer Kotasthane
(512)940 4935
North Indian or Hindustani Classical music is an ancient form of music that has distinct spiritual overtones. This is a subtle form of music as compared to modern western music. The concepts of melody and rhythm serve as the foundation for classical music. Melody is captured in the Raga and rhythmic foundation in the Taal.
Raga, in Sanskrit language, is defined as “the act of coloring” (the mind in this context). Several moods or ‘Rasas’ could be depicted through a Raga – any feeling or passion, such as love, affection, sorrow or sympathy. In music, these Rasas apply to the impressions of melodic sounds on both the artist(s) and listener(s).
Ragas should not be mistaken as modes that one hears in the music of the Middle and Far Eastern countries, nor be understood to be a scale, melody per se, a composition, or a key. Although a raga covers five to seven notes in an octave and has a defined ascending and descending scale, it is the subtle difference in the order of notes, an omission of a note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that distinguish one raga from another. Every Raga has a unique “chalan “- or certain note patterns characteristic of the raga; a principle important note (vadi); the sympathetic note (samavadi); and its main feature known as “pakad” (catch phrase), the cluster of a few notes by which a raga is immediately recognized.
Raga Sangeet projects an artist’s inner spirit. As much as ninety percent of Indian music may be improvised. Because so much depends on understanding the soul of a Raga and nuances of vocal art, the relationship between an artist and Guru is a cornerstone of this ancient tradition. Every student requires individual attention to bring him or her to the moment of artistic mastery. The unique aura of a Raga is its spiritual quality and manner of expression – and this cannot be learned from any book. Only after many years of “taleem” (dedicated practice and discipline) under the Guru’s guidance is the artist ready to breathe life into a Raga.
There is unique intricacy and rhythmic sophistication in Indian music. There are Taals ranging from a 3 beat cycle to 108 beats within a cycle! The most popular Taals are those which have 5, 6, 7, 8, 10, 12, 14, and 16 beats in each cycle.
The division in a Taal, and the stress on the first beat (called sum), are the most important rhythmic factors. While two Taals may have the same number of beats, they differ in their division and accents. For example, “Dhamar Taal” has a 14 beat cycle divided 5+2+5+2. Another Taal, “Ada Chautal” has the same number of beats, but is divided 2+4+4+4.
Indian music concerts are not merely venues of entertainment but also workshops where music is being created and revitalized by the mutual responses of the artist and listener. In a concert, the listener is actively involved in the performance, though indirectly. His open and conspicuous appreciation on the spot through approving words, nodding of the head and hand movements, inspires, encourages the artist to improvise more. This continuous dialogue between a sensitive performer and a discerning listener has immensely influenced the development of Indian music over the centuries.
It must be remembered that Indian classical music does not remain only at the level of entertainment. It is often attributed a divine origin because of its meditative nature and cannot be easily divorced from its spiritual importance. It acts as a vital force in building up the spiritual and emotional character of a person. By its nature, Indian music makes a person concentrate and meditate. This is true not only for the performer, but also for the listener. Thus, Indian classical music demands a different attitude from the listener. It calls for patience and concentration as the artiste unfolds the Raga-roop slowly, subtly like a flower. In such a solemn setting, the performer and the listener together embark on a voyage on the path of music which leads to new forms of creativity and divinity.
Shruti: The smallest possible distance between audio frequencies that is distinguishable
to the human ear. There are 22 Shrutis in an octave
Swara: Seven Notes: Sa (Shadja), Re (Rishabh), Ga (Gandhaar), Ma (Madhyam), Pa
(Pancham), Dha (Dhaivat) and Ni (Nishaad).
Shuddha & Vikrit Swaras: Vikrit swaras consist of komal & teevra notes. Kana Sur, Meend, khatka, taan, etc. are distinguishing features of Indian classical music
Alap: Some types of Alap are Aakar, nom-tom alap, bol-alap
Taan: Some types of Taans are Gamak, Sapaat, aakar & bol Taan
Khayaal: A slow tempo composition; influenced by Mughal culture
Tarana: Inspired by instrumental music – uses nom-tom bols instead of words
Natyasangeet: Musical performance in drama/theatre
Thumri: Light music form that uses romantic themes
Tappa: Light music form that has lots of small, fast Taans
Dadra: Light music form similar to Thumri sung in Taal Dadra