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: [email protected]
Mobile: 09988293833.
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