Raag Aiman-Understanding the basics of Indian Music Theory

Raag Aiman-Understanding the basics of Indian Music Theory:

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Aiman is the first Raag of Kalyan Thaat. Its time to sing is evening, which means it leaves its maximum effect when sung in the evening.

Some Pandits (Hindu Priests) say this raags’ origin is Persia (Iran). It came into sub-continent of India from Iran.

It is worth for Alaap (as we described earlier sing meaningless words or to be humming). All seven notes are used in this Raag, so no problem is encountered while singing this raag. Its composition in faster rhythms makes the listeners enjoy its soft effect. Its specific Taan is (Ma-Re-Ga-Re-Sa). By now you have known these notes Ma (F) – Re (D) – Ga (E) – Re (D) – Sa (G).

This Taan will not be played in any other raag.

The raags that evolve from this Thaat are of three kinds. In first kind the Madham (F) not is not used, in second kind only one F note (white) is used whereas in third kind both F notes i.e. Major and (F sharp note) are used. In the 3rd kind the listeners feel as it has the shade of Bilawal, but this part remains mostly hidden.

In Kalyan Thaat the raags that are sung in the evening or early part of night have stress on Poorwang (First four notes) whereas in the later part of the night the stress is on the “Utarwang” or the second part of the octave i.e. Pa-Dha-Nee Gr G-A-B notes.

It is a simple method that the notes of Gandhar (E note) and —- (B note) become Komal (Black) at midnight, gradually these black notes vanish as the morning (dawn approaches). At dawn the note of F or Madham also become weaker or used less.

For the International students, I have mentioned below a simple melody of Raag Aiman, which they can play and learn for their knowledge. I have used Indian names of notes, which of course the students must have learnt by now:-

Sa-Re-Sa, Sa-Re-Ga, Re-ga, Nee-Re-ga, Re-sa

 

 

Indian music theory explained in terms of Ghazals Qawali and notes

Indian music theory explained in terms of Ghazals Qawali and notes:

Ghazals:

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Ghazal is one of the most popular style of singing. It has special importance in Indian music. It’s origin is believed to be the Mughal Dynesty. The emperors and queens were very fond of this performing art. Well! the subject of Ghazal is always romantic, but now-a-days there is no binding, the performers may choose any other related subject too for ghazal. There have been many famous Ghazal singers in the Indian sub-continent. Special gathering, are arranged in the evenings till mid-night to listen to the Ghazal singers. One of the most popular ghazal singers in Indian History is “Jagjit Singh”.
Qawali:

In this form of singing the subject mostly relates to the divine and spiritual personalities that have influenced the masses of people by their spiritual teaching for the spread of religions.

In Qawali many artists take part, but there is always one lead singer. The specialty of this kind of singing is that rhythm is very loud that magically hypnotizes the listeners.

This point is to be noted that there is no nation in the world that has bot been influenced by music. Though they all have their own style and in some cases primitive musical instruments but one thing is for sure that music has international presence.

The names of notes in Indian Music:

In order to acquire knowledge about Indian music, it is important to know the names of musical notes. They are mentioned below:
C (Kharj) – D (Rakkab) – E (Gandhar)
F (Madham) – G (Pancham) – A (Dehwat)
B (Nikhad)

 

More simple names of the notes are mentioned below:-

c (Saa)
d (Raay)
e (Gaa)
f (Maa)
g (Paa)
A (Dhaa)
B (Nee)
Hope you enjoyed this post and that it has helped people all around the world to better understand the indian music theory.