Hello dear friends, since many friends on various lists want me to upload
something in Hindustani Classical Music, I thought I'd better give a brief
introduction to it before uploading any album. Apparently, this introduction is
meant for those friends, who need to be acquainted to Indian Classical Music.
Dear friends, there are 2 systems of Music in India--namely, the
South Indian or Karnatak Music and the North Indian or Hindustani Music. As is
obvious from the names, the Karnatak Music is popular in South Indian states,
such as Karnataka, Tamilnadu, Andhra Pradesh and Chennai., whereas the
Hindustani Music is prevalent in the rest of India, and even Pakistan. Although
both these systems of Music follow the same basic principles, still there is
quite a bit of difference between the two. Since my field is Hindustani Music,
I would basically talk about that only.
Friends, in Indian Music, the term Rhythm is synonical to 2 terms:
1. Lai: the continuous or definite speed of time.
2. Taal: the fixed circle which is meant to measure Lai and make it
interesting. for example, if you listen to the fixed Tic Tic sound of an old
fashioned clock, you may call it Lai. But you may not like to listen to it for
long. But when there is a circle of say four beats, and that circle is repeated
again and again, you would begin to like it. Now this circle is called Taal.
3. Matra: this is the basic unit to measure Lai. Roughly speaking, you may
call it Beat. Mostly, different taals are based on different number of Matras.
For example, Taal Kaharva is based on a circle of 8 Matras or beats, while
Dadra has 6 beats. The most popular taal of Indian Classical Music, the Teen
Taal has 16 beats.
Thus, in Indian Music, the continuous flow of equal Matras or beats
is called Lai, and a circle based on a particular number of beats is called
talls.
4. Shruti: Shruti is a minute pitch or a microtone, which the human ear
is capable of recognizing. Theoretically, there are 22 Shruties in Indian Scale
of notes.
5. Swara: the term Swara refers to the Musical Notes. Basically, these
notes are 7 in number. As we know, in Western Music these 7 notes are roughly
known as C, D, E, F, G, A and B. Similarly, in Indian Music, they are called
Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishaad. These 7 notes
are better known by there shorter names or nick names, such as Sa, Re, Ga, Ma,
Pa, Dha and Ni.
In Western Music, when a particular note changes its pitch slightly on
to lower side, it is called Flat Note. Likewise, when it attains slightly
higher pitch, it is called Sharp Note. The original pitch of a note is called
Natural Note. Likewise, in Indian Music, Natural Note is called Shuddha Swara,
Flat note is called Komal Swara and thee Sharp Note is called Teevra Swara.
Unlike Western Music, in Indian Music the notes Sa and Pa [C and G] can never
change their pitch, since they are regarded as the Basic Notes. The four notes
that can attain a Komal status are Re, Ga, Dha and Ni, [D, E, A and B].
Similarly, only the note Ma [F] is allowed to attain a slightly higher pitch in
order to attain Teevra Status.
6. Raag or Raga: when a group of 5 to 7 notes is governed by certain rules to
make it attractive and pleasing to the ears, it is called Raga in Indian Music.
In raga, notes are governed by a definite system, and you can make different
Musical compositions in the same Raga following that system. These compositions
would then be regarded as based on the same Raga. Following the same rules, you
can improvise freely in that particular Raga.
7. Composition: Indian Musical compositions are basically divided
in to 2 parts, out of wich the main part is called Sthaee, which is repeated
most frequently in the performance. The second part or the stanza is called
Antra.
8. Improvisation: Indian Music provides artists with utmost freedom
to improvise and show their creativity. Indian artists are even allowed to make
any desired changes in the traditional compositions. That is why they are not
required to follow any written notation while performing. To reproduce a
particular composition, they usually rely on their memory.
Indian Musical Improvisation is basically divided in to the following
parts:
[A] Alap: the slow improvisation of the notes of a raag is called Alap. It can
be either brief or detailed depending on the desire of the artist and the
performing time at his disposal.
[B] Behlava: Behlava means the small and spontaneous rhythmic pieces of
improvisation, after which the artist comes back to the basic composition in
the most artistic manner.
[C] Taan or Tora: the fast rhythmic improvisations are called Tans in
Vocal Music and Toras in Instrumental Music. They are generally performed in a
rhythmic pattern faster than the rythm of the main composition.
[D] Tihai: when one particular phrase is repeated 3 times in succession
and mostly ends up emphatically on Sum, [The first beat of the taal] then that
phrase is called Tihai.
Indian Raga performance generally starts with free Alaap [Without
any rhythm]. In shorter performances, after a brief Aalaap, the artist
generally starts the main composition, and goes on to decorate this composition
with Alaaps, Behlavas, Taans and Toras [Fast elaborations]. In shorter
performances, after brief Alaap the artist starts composition based on middle
or fast tempo, while in longer performances, after Alaap there is a slow tempo
composition before the faster one. In modern classical music, Instrumental
compositions are called Gats, while in Vocal Music, the most popular style of
compositions is called Khyaal. Ofcourse there are other types of compositions
also, but we shall discuss about those some other time.
The instrumental performances generally end up with very fast
improvisation called Jhala, while the vocal performances generally conclude
with a simple Tihai.
Well friends, that is all for now. I hope that through this short
introduction, you will find yourself more familiar with this type of Music,
although you have never listened to it before. Indian music is basically based
on expressions of the inner emotions and feelings of the artists, and that is
why listening to it does make sense even to a first time listener.
I hope I have made myself clear enough and did not sound too boring
either.
Do revert back with any queries.
Warm regards.
Yogesh.
e mail: yogesh.sharma...@gmail.com
Mobile: 09988293833.
Get numbers right this time, help the census with correct disability info!
