Hindustani Classical Music Basics Session – 2 : Hindustani Classical Music Basics Session – 2 Presented by:
Divya Nandyala
SWAR Music School
Princeton, NJ, USA
www.swarmusicschool.com
Agenda : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 2 Agenda Indian Classical Music: (5 mins)
Hindustani and Carnatic
Dhwani, Naad, Shruti and Swar (10 mins)
Swar : Shudh swar and Vikrit swar (5 Mins)
Thaat system and generation of Raag (10 Mins)
Attributes of Raag (10 Mins)
Thaat
Jaati
Vaadi swar
Samvaadi swar
Samay
Q & A (5 Mins)
Indian Classical Music : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 3 Indian Classical Music Two main sub-genres of Indian classical music that have evolved from ancient Hindu traditions
Hindustani Classical
This music is commonly associated with the northern part of the Indian subcontinent including Pakistan and Bangladesh
The origins of Hindustani classical trace back 3000 years. It went continuous change and has seen many different influences shape it to its current day form
It consists of many Taals and Ten Thaats that all raags are derived from
Carnatic Classical
This music is commonly associated with the southern part of the Indian subcontinent
The main emphasis in Carnatic music is on vocals
There are 7 taals and 72 fundamental ragas. All other ragas are considered to have originated from these
Spirituality is the prominent content of Carnatic music
Dhwani, Naad, Shruti and Swar : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 4 Dhwani, Naad, Shruti and Swar Dhwani – Any Sound is called Dhwani in Hindi. It is of two types: Useful to music and Noise
Naad – The useful sound that can create melodious sound is called Naad
Shruti – The Naad is further split into 22 Shrutis (micro-tones). Human ear can differentiate or grasp only 22 microtones out of the infinite that exist in an Octave.
Swar – 12 Swar are chosen out of these 22 Shruti
Swar : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 5 Swar Swar are of two types: Shudh and Vikrit
Shudh – Natural swar and denoted by their respective Symbol such as Re, Ga, Dha
Vikrit – Literally mean abnormal. Komal (Re, Ga, Dha, Ni) and Tivra swar (Ma) fall under this category.
Komal swar are denoted by an underline under the Shudh swar symbol (Re) |
Tivra is denoted by a vertical line on top of the swar (Ma)
Thaat System : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 6 Thaat System Pt. Vishnu Bhatkhande came up with the Thaat system for Raag Classification.
Virtual Concept based on combination of the 7 notes
Thaats are not sung but only used for Raag Classification
Broadly, all 12 notes (natural, flat and sharp) are used in various combinations to derive the ten Thaats
Thaats : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 7 Thaats
Attributes of Raag : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 8 Attributes of Raag Thaat – Group for Classification
Ten Thaats exist – provided in Appendix
Jaati – No. of notes in Aroha and Avaroha
Audav (5 notes)
Shadav (6 notes)
Sampurna (7 notes)
Total 9 combinations possible
Vaadi swar – Most important swar in Raag
Defines whether Raag is Poorvang Prathan or Uttarang Prathan
Samvaadi swar – Second most Important Swar in Raag
Samay – The time for the raag.
Depends on the Vaadi swar
Q & A : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 9 Q & A Contact information
Web: www.swarmusicschool.com
Email: swarmusicschool@gmail.com
Phone: 609-3-SWAR-10
Appendix : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 10 Appendix Comparison of Indian and Western Notes
Hindustani Notation formats – Paluskar and Bhatkhande
Comparison of Indian and Western Notes : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 11 Comparison of Indian and Western Notes
Notation Formats : Apr 26th, 2011 All Copyrights Reserved by SWAR Music School 12 Notation Formats