Indian Music Theory Learning



Indian Music Theory Learning:

indian music theory1

Most of the people are interested to know about the Indian or Eastern Music. Not much has been written about it so people still have the thirst to know about it. I thought I must share my knowledge about it.
Indian Writers use the word “Naik” for the person who has the knowledge of primitive (old) and modern music.
He must be able to know the principle of creating “Raag” (in Indian music specific notes are used in the
formation of Raags and then tunes or Melodies are composed based on “Raags”).
Present methods of Indian Music:

“Alaap” – This is a very common word for people who know very little about Indian music, however for the
knowledge, international music students, it is described as under:-

In “Alaap” few meaningless words such as Aaa, Naa, Nay, Ray, Ree etc. are used.
The actual purpose of “Alaap” is to show the formation of “Raag”. No rhythm is played with the “Alaap”. It is
to highlight the notes that are to be used in the melody to be followed later.
Dhurpat:

Dhurpat is considered to be the best and simplest way of singing. Usually historical events and praise of
native brave heroes is sung in this style. No complicated formations are used in this. The melody is always in
fast rhythm.

Khyal:

This is a very popular style of singing in Indian music. It comprises of many beautiful formation of notes in
all three Octaves i.e. base, middle and high. The subject of Khyal is always romantic Dhurpat, in which simple
singing is encouraged, was not found to be appropriate for romantic melodies.
Tappa:

Earlier the villagers who lived in the sub-continent of Indian punjab province used to sing Tappa. This kind
of style is purely based on native folk songs wich the shepherds and the farmers used. The native village
girls, used to sing Tappas while they were working in the fields.

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Indian Music and the West (Clarendon Paperbacks) Amazon

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