Sangeet

The threefold amalgamation of vocal music (gayaki), instrumental music (vadhya sangeet) and dance or gesticulation (nritya).

Two major systems of music - Uttari or Hindustani and Dakshini or Carnatic.

Aandolan, Dhvani & Naad

Everything we hear is a dhvani. Some are peaceful to hear, and are called Naad.

Back and forth vibrating movement of the strings of musical instruments is called Aandolan or Kampan. Aandolan leads to generation of Dhvani.

Naad

Sweet dhvanis created by proper, stable vibrations, that are fit to be used in sangeet.

There are three characteristics of Naad:

• Loudness and softness
• Frequency
• Timbre

Svara

12 prominent shrutis out of the 22.

Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat, Nishad, or simply as they're most commonly known, Sa, Re, Ga, Ma, Pa, Dha, Ni (Sargam).

Similar to sol-fa of western music, ie Do, Re, Mi, Fa, So, La, Ti

Dwadasa Swarasthanas in carnatic classical

• Shadjam - sa
• Suddha Rishabam - su ri
• Chatusruthi Rishabam - cha ri
• Sadharana Gandharam - sa ga
• Anthara Gandharam - an ga
• Suddha Madhyamam - su ma
• Prathi Madhyamm - pra ma

Dwadasa Swarasthanas in carnatic classical

• Panchamm - pa
• Suddha Dhaivatham - su dha
• Chatusruthi Dhaivatham - cha dha
• Kaisika Nishadhm - kai ni
• Kakali Nishadham - ka ni

Two types: Shuddh (Pure) or Vikrit (Distorted)

Vikrit: Komal (Flat) or Teevra (Sharp)

Chal svar: Re, Ga, Ma, Dha & Ni

Achal svar: Immutably fixed - Shadaj and Pancham

Saptak

Svaras are assembled to make scales, called saptak ("containing seven"). Frequency of svaras increases as we progress along the sequence.

The 7 shuddh notes repeat in the upper and lower direction. After Nishad, Shadaj of the next octave is encountered.

Three types:

• Mandra Saptak, or Lower Octave
• Madhya Saptak, or Middle Octave
• Taara Saptak, or Higher Octave

Thaat, or Mel

Specification as to which of the 12 svaras will be chosen to create a sequence of exactly 7 major svaras, from which Ragas are generated.

A Thaat isn't performed like a Raga in classical music. It doesn't have Vadi-Samvadi, Pakad, Aalap-Taan etc. It can just lead to the generation of Ragas.

The permutations of the various alternate forms of svaras give rise to numerous scales. A thaat is analogous to the western concept of "mode".

10 Thaats in Hindustani Classical:

1. Bilawal (Ionian)
Every svara is shuddh
2. Kalyan (Lydian)
Madhyam is teevra (sharp)
3. Khamaj (Mixolydian)
Nishad is komal (flat)
4. Aasavari (Aeolian)
Gandhar, Dhaivat & Nishad are komal
5. Kafi (Dorian)
Gandhar & Nishad are komal

10 Thaats in Hindustani Classical:

1. Bhairavi (Phrygian)
Rishabh, Gandhar, Dhaivat & Nishad are komal
2. Bhairav
Rishabh & Dhaivat are komal
3. Marwa
Rishabh is komal & Madhyam is teevra
4. Poorvi
Re, Ga are komal & Ma is teevra
5. Todi
Re, Ga, Dha are komal & Ma is teevra

Raga

Array of melodic structures and characteristics for improvisation according to specific rules.

Considered to have the ability to affect the emotions of the audience.

Raga characteristics

Notes or svaras of the raga

Thaat of the Raga

Modal structure

Jati of the Raga

Number of notes used.
5 - Audav, 6 - Shadav, 7 - Sampoorn

Aarohana-Avrohana

Descriptions of how the raga climbs and recedes the saptak

Raga characteristics

Significance of notes

• Vadi: The most prominent note
• Samvadi: Complementary, second-most prominent note
• Anuvadi: All the other notes in the raga
• Vivadi: Notes that technically aren't a part of the Raga's definition but are sometimes touched upon to increase its melodicity

Pakad, Mukhyang or Swarup

A short defining piece that characterizes the Raga and allows musicians to recognize it

Every raga has a base, aadhar svara, that is Shadaj, or Sa. It should also have an adhista svara, either Madhyam or Pancham, that divides the saptak into two parts:

Poorvang, which contains lower notes, and Uttarang, which contains the hight notes.

Not all svaras are always used in a raga. For example in Bhopali, Madhyam and Dhaivat are not played. These are called Vyarja svaras.

Raga and Time

In addition to the main characteristics of raga, there are some other less followed ones.

For instance, ragas have traditionally been attributed to particular times of the day.

Poorvang and Uttarang Ragas

Ragas with the Vadi falling in the lower half of the Saptak are called Poorvang Pradhan Ragas, and those with the Vadi in the upper half or Uttarang of the Saptak are called Uttarang Pradhan Ragas.

Poorvang Ragas are performed from midnight to 12 noon, whereas Uttarang Ragas are performed from 12 pm to midnight.

Aalap

Initial section of the Raga, where its svaras are played in vilambit laya.

Most prominent section for showing fine features like meend, kan, khatka, murki, gamak etc.

Gat - Sthayi & Antara

Gat or Bandish is a fixed melodic composition in the svaras of the specific raga, set to rhythm.

The initial phrase of the Gat is called Sthayi. The first body or block is called the Antara.

Taan

Improvisation of very rapid melodic passages.

Tihai

A phrase that is played 3 times, usually to conclude a taan or section.

Sometimes used to distort the listeners' perception of time, only to reveal the consistent underlying cycle at the sam.

Jhala

Fast-paced conclusion of the raga.

Fundamentals of Taal

Taal is the Indian system of rhythm. Rhythm existed many centuries before the word raga was ever used.

Concepts

Tali

Pattern of clapping

Khali

Wave of hands (muted beat)

Vibhaag (Ang)

Sections demarcated by Talis

Matra

Divisible individual beats

Bol

Mnemonic symbol for each stroke of the percussion instrument

Theka

Pattern of Bols and Vibhaags that define the Taal

Laya

Tempo

• (Ati) Vilambit (Slow)
• Madhya Laya (Medium)
• (Ati) Drut Laya (Fast)

Avartan

Basic cycle

Sama

Beginning of the avartana

Behag

• Thaat: Bilawal
• Aaroh: ,N S G m P N S'
• Avroh: S' N D P, M P G m G R S
• Pakad: P M G m G R S ,N ,P ,N S G m G
• Mukhya Svara: Vadi - G, Samvadi - N
• Time: First prahar of night
• Similar Raga: Yaman/Kalyan

Famous songs based on Raga Behag

Yaman / Kalyani

• Thaat: Kalyan (Aashraya Raga)
• Aaroh: ,N R G M D N S'
• Avroh: S' N D P M G R S
• Pakad: ,N ,D ,N R G R, P R G R, ,N R S
• Mukhya Svara: Vadi - G, Samvadi - N
• Time: First prahar of night
• Similar Raga: Hameer

Famous songs based on Raga Kalyan

Khamaj

• Thaat: Khamaj (Aashraya Raga)
• Aaroh: S G m P D N S'
• Avroh: S' n D P m G R S
• Pakad: n D, m P D m G, P m G R S
• Mukhya Svara: Vadi - G, Samvadi - N
• Time: Second prahar of night
• Similar Raga: Tilang

Famous songs based on Raga Khamaj

Mohana / Bhopali

• Thaat: Kalyan
• Aaroh: S R G P D S'
• Avroh: S' D P G R S
• Pakad: P G R G S R ,D S
• Mukhya Svara: Vadi - G, Samvadi - D
• Time: First prahar of night
• Similar Raga: Deshkar

Famous songs based on Raga Mohana / Bhopali

Thodi (Carnatic) / Bhairavi

• Thaat: Bhairavi (Aashraya Raga)
• Aaroh: S r g m P d n S'
• Avroh: S' n d P m g r S
• Pakad: m g r g, S r S, ,d ,n S
• Mukhya Svara: Vadi - m/P, Samvadi - S
• Time: Early morning
• Similar Raga: Bilaskhani Todi

Famous songs based on Raga Bhairavi

Mayamalvagowla / Bhairav

• Thaat: Bhairav (Aashraya Raga)
• Aaroh: S r G m P d N S'
• Avroh: S' N d P m G r S
• Pakad: G m d P, G m G r S
• Mukhya Svara: Vadi - d, Samvadi - r
• Time: Early morning
• Similar Raga: Kalingada

Famous songs based on Raga Bhairav

Nata Bhairavi / Aasavari

• Thaat: Aasavari (Aashraya Raga)
• Aaroh: S R m P d S'
• Avroh: S' n d P m g R S
• Pakad: m P d m P, g R S
• Mukhya Svara: Vadi - d, Samvadi - g
• Time: Second prahar of day
• Similar Raga: Jaunpuri

Famous songs based on Raga Aasavari

Desh

• Thaat: Khamaj
• Aaroh: ,N S R m P N S'
• Avroh: S' n D P, D m G R, G ,N S
• Pakad: m P D, m G R G ,N S
• Mukhya Svara: Vadi - R, Samvadi - P
• Time: Second prahar of night
• Similar Raga: Tilak Kamod

Famous songs based on Raga Desh

Kharaharapriya / Kafi

• Thaat: Kafi (Aashraya Raga)
• Aaroh: S R g m P D n S'
• Avroh: S' n D P m g R S
• Pakad: R P m P g R m m P
• Mukhya Svara: Vadi - P, Samvadi - R
• Time: Midnight
• Similar Raga: Sindhura

Famous songs based on Raga Kafi

Bageshri

• Thaat: Kafi
• Aaroh: ,n S g m D n S'
• Avroh: S' n D, m P D g, m g R S
• Pakad: ,D ,n S m, D n D m, m P D g m g R S
• Mukhya Svara: Vadi - m, Samvadi - S
• Time: Second prahar of night
• Similar Raga: Bheempalasi

Famous songs based on Raga Bageshri

Bheempalasi

• Thaat: Kafi
• Aaroh: ,n S g m P n S'
• Avroh: S' n D P, m P g m, g R S
• Pakad: ,n S m P g m g R S
• Mukhya Svara: Vadi - m, Samvadi - S
• Time: Third prahar of day
• Similar Raga: Bageshri

Famous songs based on Raga Bheempalasi