Importance of Gamaka in Indian Classical Music



Importance of Gamaka in Indian Classical Music

This post is about the importance of GAMAKA, also known as gamak in Indian Classical Music

Importance of Gamaka

I think most of the readers must not have heard about this word, however the Indian classical music learners must have heard about it. This is actually the backbone of the Indian classical music. In fact this is Gamaka that differentiate our Indian music from the rest of the world. So lets learn about the importance of Gamaka, this would be very helpful for the Indian
classical music learners. So what is a Gamakas, this is actually a connector between two notes. So the notes are not taken
in a plan manner, but in a curved manner like waving notes, so when we do that it adds more life to the notes that are being sung by the performer, it brings out more life and essence to the ragas.

Now you would like to know what are the types of Gamakas in indian classical music, well carnatic music recognizes 15 different types of Gamakas but in the article we shall discuss only the most common 4 types of Gamakas that you can easily find and recognize in Indian classical music. The first type of gamakas is the sliding notes, that means you connect two or more notes

in a sliding manner. So instead of taking the notes plan you have to take it in a sliding manner. This can be applied in ascending or descending orders and this type of gamaka is called Jaaru, this can be found in carnatica music but you can also find it in
light music, like every syllabel sliding to the next. So remember there is no straight note at all. You need to master these sliding of notes from one to another. The next one is wavery gamakas, so we keep on waving the notes back and forth, like in raga shankara bharan, if you take the notes straight they would sound like western major scale, but if you make it wavery
they would sound like the requirement of the raga. This wavery technique is called kampitan in carnatica music. The third type is called Janatas swaras, that means taking the double notes, remember the note has to be taken with a push second time. Like sS, rR,,,,,this means the second note taken with push or force. The fourth type is known as the vibration gamaka

which is also known as spuritum in carnatic music. In this type this is almost like the double note, the second time note is taken by strong push,,but the only difference is that the notes are taken very quickly, like speedily, to give real rich texture and flavor to the Indian classical music but the learner has to take a proper training of these kinds of gamakas. In music
you will find a number of these kinds of gamakas. So next time when you practice any song, listen to it carefully and note whether it is a wavery, vibratory or the double pattern notes that have been taken by the performer.

I am sure that this article was useful in understanding the Importance of Gamaka in Indian Classical Music

Kindly share it across social networks using social buttons below this post, thanks for your visit

Relevant posts on Indian Music & different raags:

Explore our Indian Raags sections here

You can read more on this topic on Wiki

Useful product for music lovers:

Get your 2 FREE Isochiralâ„¢ Music Downloads

RAAG PAHADI TUTORIAL-Indian Classical Music



RAAG PAHADI TUTORIAL-Indian Classical Music:

This is a tutorial about “raag pahadi”. We will also discuss Raag Pahadi notes below.


RAAG PAHADI TUTORIAL-Indian Classical Music

It is believed that the origin of raag pahadi is Kashmir, kashmir is a land of mountains, so
perhaps this name has been taken keeping in mind the land of mountains and valleys. This raag
has been taken from Balawal thatt, its Arohi is (Sa Re Ga Pa Dha), and its Amrohi is
(Sa ne dha pa ma ga re sa), so you must have noticed that in Arohi there are only five notes
whereas in Amrohi there are all seven notes but it must be kept in mind that while taking
Amrohi we will slightly touch the notes (ne and ma) which means we will not stay longer
on these two notes. It’s wadi note is Pa, well you all must be knowing what is meant by wadi
note, the wadi note is the one which is used the most in this raag, its samwadi note(which
is used slightly less than the wadi note) is (sa). Its anowadi note (which means its is used
slightly less than the samwadi note) is (ga), while the amwadi (which is used the least or
not used altogether are (ne or ma). Many bollywood hit songs have been composed in the raag,
so I feel if the student can practice its Arohi and Amrohi perfectly then he would be able to play many
songs based on this raag. Its my suggestion to all that instead of only following the staff
notation (which is also important for the musicians) we must try to find the root of the
composition, that will certainly help in enhancing your musical knowledge about Indian
classical music. Mostly in this raag the note ma or F sharp is considered as the C note or
Sa note. I would suggest that this raag must be practiced in all three octaves to get the
more pleasant effect of the raag. There is one very famous song based on this raag which has
been sung by great singer Mohammad Rafi sahib (Chowdawin ka chand ho ya aftab ho). The
other famous hit song composed by great composer Naushad for film Dulari is (Suhani Raat
dhal chuki na jane tum kab aao gay) and another famous hit song (Chal ud ja re panchi) is
also based on this raag. One very old hit song (Agay bhe jane na tu pechay be jane na tu)
is based on this raag. So to get the exact and correct knowledge of this raag, the above
mentioned songs must be practiced and the formation of notes should be remembered.

Explore Indian Raags here
Read about Indian Classical Music

If you found this post on RAAG PAHADI TUTORIAL-Indian Classical Music useful, kindly share it across social networks using the social icons below. Keep visiting our blog for more fun posts on Music.

INDIAN CLASSICAL MUSIC-RAAG BHARON



INDIAN CLASSICAL MUSIC – RAAG BHARON

Indian Classical Music - raag bahron indian ragaas

Raag bharon is one of the most popular and sweet raag in Indian classical Music. The name of the thatt of this raag
is also known as Bahron thatt. Seven notes are used in this raag, but remember that note
Re and Dha are komal (black)notes in this raag. This raag is also know as the jhank raag
of Bharon Thatt. All seven notes are used in Arohi and Amrohi therefore its jati is
samporan which means all seven notes are used in ascending and descending order. The
wadi note of this raag is dhawat (dha) and the samwadi note is Re. The effect of this raag
is very deep and sad, so many sad songs are composed in this raag. Dhurpat, dhamar and
tarana are sung in this raag. Arohi is Sa Re(black) Ga Ma Pa Dha(black) Ne Sa. Sa ne
dha(black) pa ma ga Re(black) sa. The pakar of this raag is Sa Ga ma pa dha(black).
Sur Malika satai would be like this, Ga ma Dha(black) pa dha(black) pa ma Ga ma re sa. ne
sa ga ma pa dha ne sa dha(black) sa ne dha(black) pa ga ma dha(black) pa. There is one
very popular rachna based on the pure suwar malik, that is Jago Jago hua swera. The best
example of this raag can be found in old hit indian movies Baiju bawara, the song is
Mohe bhol gaye samwariya. You can remember this song to remember the mood of raag bharon
and there is one more song based on the raag, Albela sajan from the film Hum dil de chukay
sanam. In the forthcoming articles we shall discuss about finding the identity of raags,
we should all know that each raag has its own identity by which we can find the raag,
there are musical phrases by which the identity of raag becomes easy.

To Understand Indian Classical Music and different raags, kindly keep on visiting our blog! Thanks for your interest in our blog. Kindly share this post using the social icons below!

Explore more fun posts on Indian Classical Music

Indian Raags

Explore Wikipedia for details on Music Theory

RAAG YAMAN KALYAN-Indian Classical Music



RAAG YAMAN KALYAN

Rag Yaman Kalyan is one of the most famous raags in Indian classical music. This raag has been abundantly used in many old and new Bollywood songs. All seven notes are used in this raag. There are many famous songs based on raag yaman . It is a very versatile raag, which means you will not only find classical pieces but also the semi classical pieces in this raag. You will also find light music pieces such as bhajan, Ghazals and many film songs such as ZARA SI AHAT HOTI HAI TOU DIL SOCHTA HAI, jAB DEEB CHALE ANA JAB SHAM DHALE ANA, CHANDAN SA BADAN, NAAM GUM JAYEGA, NIGAHAIN MILANE KO JEE CHATA HAI. The question must have risen in you mind that how was it known that these songs are based on raag yaman.

raag yaman kalyan

No raag can be recognized only by the notes that are being used. No raag is recognised by its phrases, the way it is sung, in Indian classical music it is known as chalan, so with the help of the chalan you can find out which raag is it. So all the songs that I have mentioned above are based on the chalan of raag yaman. Now what is the chalaan for raag yaman by listening to which we can say yes this is raag yaman. So remember the best phrase or the chalan is Ne – Re- Ga (B – D- E), so if you listen to these songs carefully you will see this first phrase. Now the second phrase of raag yaman is the combination of Pa- Re, and these two notes are to be taken in the form of glide, they must not be sung separately but with a glide or curved voice from Pa to Re (G to D). This glide can easily be seen in the song Chandan sa badan, or jab deeb jale.and Gar yaad rahey. It is very important to know that all seven notes are used in this raag but Ma (F) is sharp note in it. Some people used F note plainly , but remember in that case the name of the raag would not remain Raag yaman but it would change to raag yaman Kaliyan. If you listen to most of the Bollywood songs, you will find that F sharp note is not used in most of the cases. So we can undoubtedly say those songs are not based on raag yaman but on raag yaman kalyan. The most classical example of this song is the Mohammad Rafi’s Hit song,( Abhi na jao chor kar). This was important to give flavor to the song of requesting mood, if F sharp had been used in place of F major the flavor would have been entirely different. If you sing this song with F sharp, it won’t sound nice and would present an odd flavor to the romantic song.

Explore Indian Raags here

If you found this post to be useful in understanding Raag Yaman Kalyan, kindly share it using social icons below. Thanks!

Read more on Raag Yaman

ALANKAR IN HINDUSTANI INDIAN CLASSICAL MUSIC



ALANKAR IN HINDUSTANI INDIAN CLASSICAL MUSIC


Many people have question in mind and want to know what exactly alankar means and how to perform Alankar in Indian Classical Music. Well we shall discuss this topic in length to make known to music lovers what it exactly means. Can you imagine what ornamentation means to Indian culture? without ornamentation the culture of different parts of India is hard to understand, in each Province of India there is different kinds of ornamentation. In my view the alankar is just like the ornamentation of Indian classical music. without which perhaps the Indian classical music is just like an empty vessel. In Indian classical music the word alankar is used to denote ornamentation, it can also be called as paltas(different forms of singing the combination of notes in aroha and amroha, which means ascending and descending of notes.



ALANKAR IN INDIAN CLASSICAL MUSIC

Read more below to understand the importance of Alankar in Indian Classical Music

These are taught to the students so that they can understand the distant and difference of various notes but today we are not referring to paltas as alankar but we are referring to alankar as ornamentation. This is special treatment given to a set of notes so that the melody looks beautiful and present specific identity. Well ornamentation is not just specific to Indian classical music but to general Indian music. The very first step that we learn in alankar is meend, which means a glide to other note in a kind of a curved manner. Like if you take plan note C, G, N you will just sing it as they are played on the instrument but in alankar you will have to sing them like the glide as it goes up and down without any break in it, I hope you understand.The good example of alankar can be found in the song sung by great Lata Mangeshkar, RISIK BALMAN. If you listen to this great song, you will understand how the alankar is performed. The next ornament is called khatka, which means to take notes with break, the best example is the song (MAIN TENU SAMJHAWAN KI). So the notes are taken with a little jerk or break, not planly. Khatkas are found in many Indian Bollywood songs. Now let me introduce you to the concept of Zamzam. It is a cluster of khatkas taken together. This is found in maharaster and punjabi folk songs in abundance. It is also a characteristic of tappa singing. It can also be termed as semi classical form of singing. The next is murki, it is nothing but a set of notes taken together quickly for example a very famous song of great Lata ji,,,,(baiyan na dharo balma) But in most of the cases the musician are not to take a lot of murkis because it may mess with the correct form of the raag. The next is called Andolan, which a slow isolation of notes it is used to give serious touch in raag or melody. For example Bollywood song sung by Mandey (poocho na kaisay main ne raain betai). A beautiful composition and perfect example of andolan. The last but not the least is called Gamak, which is very very important for Indian classical music. It is giving shadow to the notes or giving emphasis to the notes to make an effect. Karnatak music gives a lot of importance to the Gamak. It is kind of shaky emphasis to the notes. But point is to be noted that all forms of alankar that have been mentioned above are taken according to the situation, like in our daily life we use ornaments (heavy or light) according to the events that are going to take place. I hope this article must be useful for most of the music lovers.

Read more posts relevant to Alankar and Indian Raags

CONCEPT OF HARMONY IN INDIAN MUSIC

INDIAN CLASSICAL MUSIC ABOUT THATTS

INDIAN MUSIC VS WESTERN MUSIC

I hope that this post was useful in understanding Alankar in Indian Classical Music, kindly share this post using social icons below, thanks for visiting our blog!
Get info on Alankar in Indian Music Wiki

INDIAN AND WESTERN MUSIC CONCERT SETTING



INDIAN AND WESTERN MUSIC CONCERT SETTING

CONCERT SETTING IN INDIAN AND WESTERN MUSIC-Comparison between CONCERT SETTING IN INDIAN MUSIC & WESTERN MUSIC

In Indian music you will find that there are very few performers on stage rather few musicians are on stage with the singer who participate in one concert.. Most of the time there is one main artist and three or four accompanying musicians, this is because Indian music believes in melody, one tune at a time.. This melody is sung or performed by the main artist and the accompanying musicians just follow the main artist, this is customary in Indian music.. The main artist has all the liberty to improvise the melody as he wishes but following the raag that he is performing-

INDIAN AND WESTERN MUSIC - CONCERT SETTING IN INDIAN MUSIC

Now we will discuss and see the difference in Western Concert settings. In western music , there is a grand setting of musicians and it is like a very big orchestra, this is because the western music believes in harmony. Just one singer can’t perform harmony therefore they have to have many singers, who can perform harmony along-with the main artist. similarly they need to have many instruments to play different harmonies. So we can say there is not one specific artist in the performance. There are all artists who are participating and working like a team, so this is a team effort rather than the sole effort as in Indian concerts. Everybody has his own melody line to contribute in the harmony. Well this certainly doesn’t mean that there are no solo performances, when it comes to western classical music. The main artist follows the melody but the accompanying artists provide consonent to create a harmony. That’s why all the composition or the music is in written form and this leaves very little improvisation in western classical music. Till now we have discussed the tune aspects of Indian and western music. Now lets discuss how rhythm is interpreted in Indian music and how it is interpreted in western music. In Indian music the Rhythm (lai) is interpreted in the form of Taal, Taal is a rhythmic cycle, so in Indian music there are different numbers of rhythmic cycles , like 6 beats, 8 beats, 7 beats, 12 beats , 14 beats, 16 beats etc. in western music the rhythm is interpreted as time signature on the staff sheet, so this is a linear concept than a cyclical concept. So what you have is bars and beats in those bars. Very common time signature is 2 is to 4, which means there are two beats in each bar. then it is 4 by 4 which means there are 4 beats in one bar. so counting is like 1,2,3,4 etc then you have 3 is to 4, which means there are 3 beats in one bar.

Useful Relevant Posts about Indian Music

INDIAN MUSIC VS WESTERN MUSIC

CONCEPT OF HARMONY IN INDIAN MUSIC

If you like this post about INDIAN AND WESTERN MUSIC CONCERT SETTING, kindly share it across social sites using social buttons below this post. Thanks!
If you want to learn how to play piano, click here

INDIAN MUSIC VS WESTERN MUSIC



INDIAN MUSIC VS WESTERN MUSIC

Well there has been a lot of talk about the major difference in Indian and Western music, therefore I found it important to discuss Indian Music vs. Western Music. The people who are music lovers have asked this question over and over again. So today we will discuss about this very burning topic of main differences between the two types of music i.e Indian and western. The basic difference between these two types of music is Melody vs Harmony.

We must keep this fact in mind that Indian music is based on the concept of melody. Now what is the melody? well melody is a tune where one note follows the other so it becomes a kind of structure, to some of the people it might sound very complicated but believe me its very simple, if you hum a tune, play a tune or sing a tune its all called melody. so basically raag is a melody, so we can say Indian music is certainly based on melody but with western music its a little bit different.

INDIAN MUSIC VS WESTERN MUSIC1
Just as you have the concept of melody in Indian music, there is a concept of harmony in western music, Now what exactly is the difference between melody and harmony. Well melody is just one individual tune where harmony is layering of two or more tunes which will go hand in hand with each other that is they sound very good when they are played together or sung together for example is the first tune is taken from C major note, the second tune is taken from E note while the third tune is taken from the G note. So when all these tunes are played together they would create harmony and it sounds great and very pleasing to the ears. So if you are a music lover and want to visualize the concept of melody and a food lover too, then lets take it this way, melody is just like a simple burger, where as the harmony is just like having a burger which has multiple layers of cheese, salad and chicken or beef etc. So naturally you would prefer to go for the one which has more layers to enjoy the food rather than taking the simple bun. I hope you have understood the difference between the melody and harmony. How they make Indian music sound different from western music.

Vocal Techniques (Indian music vs. Western Music)

Next lets move on to understand the vocal techniques used in two different forms of music. In Indian music the singer is supposed to sing in a very full throat-ed manner. Apart from this the singer is expected to sing in three octaves that is lower, middle and high octaves. He needs to be very fluent in all the three octaves. He should be able to sing in the range from the G of lower Octave to F or G note of the high or the 3rd octave. Technically speaking the singer is not allowed to use the false voice (which is not full throat-ed), specially in Indian classical music it is forbidden. The point is to be noted that false voice is mostly used in the 3rd or the high octave where the singer may find it difficult to cope with the high notes. It feels like a hollow kind of a voice which is strictly forbidden in Indian classical music. In western music there is a believe that each person has got a specific kind of voice. which means they have particular range where they are comfortable in singing. Some people have low pitched voice and some people have high pitched voice, so accordingly they have a specific territory in which they operate comfortably. They do not need to move all along the three octaves and hit the highest pitched notes or the lowest pitched notes. So there are four kinds of voice which are commonly known as Bass, Tener, Alto and superano. Generally Bass and Tener are the male voices, Alto and superano are female voices. In western music a lot of false voice or seto is used. In Indian music the note is applied plainly whereas in western music the ending note is usually used a vibrato , it is wavy vibration given to the note as u sustain it.

Exciting posts on our blog

CONCEPT OF HARMONY IN INDIAN MUSIC

Country Music Awards Vegas 2018

Learn to Play Piano
If you found this article useful on Indian vs. Western music, kindly share it using social icons below, thanks!

CONCEPT OF HARMONY IN INDIAN MUSIC



CONCEPT OF HARMONY IN INDIAN MUSIC

Most of you must be knowing that the use of harmony is very rare in Indian music. This is because in Indian music solo or duet singing is preferred to find the quality of the voice of the singer. This is customary in Indian music that the singer has to undergo special kind of training which is based on 10 Thatts of classical music. The question arises why is it important for the singers of the subcontinent of Indo-Pak to have learned these basic Thatts, it is because the compositions of Indian songs are based on thatts and raags which are extracted from the specific thatts. In harmony the solo or duet performances can not be judged properly. However, as a musician, I know that harmony is very much in practice and demand while composing the introduction and interludes during the songs. Various instruments such as Violin is most used to play the melody, 2nd and 3rd harmonies, this certainly enhances the mood of the song and leaves special effects on the listeners.

In western music the harmony seems to be the order of the day, it can be found in all forms of western music. There is no doubt that the instruments and the voices using the harmony seem to leave soothing pleasures of music to the listeners, specially in Christmas carols, the use of harmony is very much customary. No carol seems to be perfect without harmony. In my opinion every singer or the musician must have the knowledge of harmony, how it is sung, what best techniques can be used to further enhance it to make the Indian music rich and to be recognized internationally. This is the time when most of the Indian films are being exhibited all around the world and being appreciated and liked by millions of people, some new experiments should be applied to the primitive Indian music. In early times, even in Europe the music mostly consisted of melody only and very simple melodies were made and sung by the early people, mostly in the churches and cathedrals, to recite religious texts. these didn’t have huge amount of rhythm involved in them. Then as the time passed the composed thought of doing some experiments beyond the melodies of the songs, so they started adding other notes to the melodies and experimented different pitches and notes, and thats what we call harmony now a days. This actually gives the actual depth and color to the melody. For example if the melody starts from C note, we can change it into harmony by using the notes E and G, so when these three notes would play together it will take the form of harmony, so one note would play the melody while the other two notes would play 2nd and 3rd place.

I firmly believe that Indian composers should now do experiments on harmony, to give the primitive Indian music a new flavor and depth which is well renowned all over the world, I personally love harmony, it also sounds great if the singer is backed up by the instrument playing 2nd or 3rd.

Harmony in indian music

Some useful posts on our blog:

Country Music Awards Vegas 2018

INDIAN CLASSICAL MUSIC ABOUT THATTS

If you want to learn how to play piano click here

Kindly keep visiting our blog to know more about Music. I hope that this post was useful in terms of Harmony in Indian Music. Kindly share it across social networks using social buttons below, thanks for visiting our blog!