Indian Music Theory

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Indian Music Theory:

Indian music is more than just the Bollywood movies sounds that have become so famous in the last 10 or 20 years and it is more than the uncomfortable stabs that many UK rock musicians made at it in the 1960. Indian music is a tradition that interlocks with Indian history and culture. It is a vibrant and rich medium and remains even in 2016 largely outside the keen of the typical latest westerner. Across the dominant centuries it has evolved into a complex system based on melody and rhythm.
Melody is perhaps the most important part of Indian music. A system of sweet ideas known as Raga drives melodic compositions. Each Raga can be thought of as a character with its own personality.
The raga became an integration part of spiritual practice and Indian culture. There were set of rags that were to be played at different times of the day and also unique ones for ceremonies. Further, they were generally used in prayer and meditation, sometime as chant. A lot of the time these scales were sun vocally, but they are played on a range of instruments as well.
indian-music-classic-theory

The Octave comprises 22 equal divisions known as Sruti. These may be gathered and re-grouped into 12 Swara which may be similar in the ways they move to the 12 semitones of European scales. Like those of European scales too, 7 are regarded as being primary while the other 5 the “sharps” and “flats” of the 7 primary Swaras. The 7 primary Swara are illustrated in Hindi script.
In the 1800, Chaturpandit Vishnu Narayan managed to make system called as the “That” to classify all the ragas. Unluckily, as useful as this system was, it still failed to account for many of the ragas. It is anyway the initial system in use today. There are also 2 other ways to classify rags.
In South India, the word for musical scale is mela. The Southern and Northern Indian music largely differs from each other in sound and in tools but may share the same scales. The application of these scales in terms of Indian music in common goes beyond this scope of this site but if you want to incorporate some of the wonderful sounds of these scales into your music then that is probably the remarkable usage for them.
Indian music is like Western music in many ways and extremely unlike it in many others. If you don’t have a background in music or need a refresher on Indian music theory, there are several best classics to ground you in music appreciation and music theory.

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Raag Sarparda Indian Music Theory

Raag Sarparda Indian Music Theory

The sweet melodies of Indian Musical Composition based on various Raags have always impressed and attracted the music lovers all over the world.In recent years many foreign students have traveled to Indian Sub-Continent to learn the semi classical and light music. The vast canvas of Indian music provides every shade and mood of musical requirement for all races and nations of the world that is why Indian music is heard and appreciated throughout the universe.

Raag Sarparada indian music theory

Today we shall learn about Raag Sarparda.

Raag Sarparada:

This raag is the Sumpuran (seven notes) raag of Bilawal Thaat. This raag has been accepted as a form of Bilawal.

The time to sing this raag is the first part of the day. According to some pandits Ga is the wadi note of this raag whereas some believe that Dha should be the wadi note.Sa and Pa are the Sumwadi note of this Raag which means that both notes can be used equally as sumwadi.

In Amrohi of this raag the tone of Bilawal must be revealed. The shape of Raag Bihag is also promised at some stage.

According to some pandits this raag has been formed with the combination of Raag Aieman, Aliya and Goond.

This raag has been invented by the Muslim singers(performers).

Arohi of Raag Sarparda:

Sa-Re-Ga-Ma-Dha-Pa-Dha-Ne-Sa(upper octave)

Amrohi of Raag Sarparda:

Sa(upper octave)-Ne-Dha-Pa-Ne-Dha-Pa-Dha-Pa-Dha-Pa-Ma-Ga-Ma-Re-Sa

Chaal of Raag Sarparda:

Sa-Re-Ga-Ma-Dha-Dha-Pa-Pa-Ma-Pa-Ma-Ga-Ga-Ma-Ga-Re-Sa-Ga-Ma-Dha-Pa

Ga-Re-Sa-Sa-Re-Ga-Ma-Re-Re-Sa-Dha-Pa-Dha-Ma-Ga-Ma-Pa-Ma-Ga-Re-Re-Sa-Sa-Re-Sa-Ne-sa-Pa-Dha-Ne-Sa-Ga-Re-Ga-Ma-Pa-Re-Sa

Ne-Dha-Ne-Sa(upper octaves)-Ne-Dha-Ne-Sa(upper note).Ne-Dha-Pa-Ma-Pa-Dha-Ne-Sa(upper octave)-Ne-Dha-Pa-Ma-Ga-Ga-Ma-Dha-Dha-Pa-Ma-Pa-Ma-Ga-Ma-Re-Sa.

Ma-Pa-Ne-Dha-Ne-Sa(upper octave)-Ne-Dha-Pa-Dha-Pa-Ne-Dha-Pa-Ma-Pa-Ne-Sa(upper octave)-Sa(upper octave)-Re(upper octave)-Ma-Pa-Ne-Dha-Ne-Dha-Ne-Dha-Pa-Dha-Pa.

Ma-Pa-Ne-Dha-Ne-Sa(upper octave)-Ne-Dha-Pa-Dha-Pa-Ne-Dha-Pa-Ma-Pa-Ma-Pa-Ne-Dha-Pa-Ma-Ga-Re-Sa.

Relevant Indian Ragas posts

Raag Alhaiya Bilawal-Indian Music Theory

Raag Hans Dhun-Indian Music Theory

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indian ragas, indian music theory, music theory, Raag Sarparda

Indian Music Theory-Raag Heem Indian Ragas

Indian Music Theory-Raag Heem Indian Ragas

Indian Music Theory-Raag Heem

It is said that music is the food of soul. There is no doubt about it. You must have seen that even the animals and birds enjoy music and dance on the rythm of its melody.
Music is one of the most healthy and populer hobby for all ages. It is worth metioning that all countries of the world have their own cutural values which they express through their folk songs. So we can say music is a strong medium to let other countries know about your culture.

Today we shall learn about raag Heem.

Raag Heem:

This is an awdo raag of Bilawal Thaat. The time to sing Raag Heem is in the evening.

The wadi Sur(note) of Raag Heem is Sa whereas the Sumwadi note is Pa. In Arohi of this raag Dha and Nee are right (not allowed) whereas In Amrohi Ne and Ga are virgit.

This raag is mostly played and sung in lower and middle octaves. According to some pandits the Raag has been made with the combination of Kalyan and Kamad.

Arohi of Raag Heem:

Pa-Dha-Pa-Sa-Re-Sa-Ga-Ha-Pa-Dha-Pa-Sa.

Amrohi of Raag Heem:

Sa(Upper octave)-Dha-Pa-Ga-Ha-Pa-Ga-Ma-Re-Sa

Chaal of Raag Heem

Pa (lower octave)-Dha(lower octave)-Pa(lower octave)-Sa-Sa-Sa-Re-Sa-Ga-Re-Sa(upper octave)-Ga-Ma-Pa-Ga-Ma-Re-Sa-Sa-Re-Sa-Ga-Ma-Pa-Dha-Pa-sa-Dha-Pa-Ga-Ma-Pa-Ga-Ma-Re-Sa-Dha-Dha-Pa-Dha-Pa-Dha-Pa-Sa-Re-Sa-Pa-Ga-Ma-Re-Sa.

Sa-Sa-Re-Sa-Re-Re-Pa-Dha-Pa-Ma-Ga-Re-Sa-Ga-Ma-Pa-Ga-Ma-Re-Sa.

Sa- Sa-Re-Sa-Re-RE-Pa-Dha-Pa-Ma-Ga-Ma-Re-Sa-Ga-Ma-Pa-Ga-Ma-Re-Sa.

Sa-Ga-Pa-Dha-Pa-Pa-Dha-Pa-Sa-Dha-Pa-Ga-Ma-Re-Dha-Dha-Pa-Dha-Pa-Pa-Sa-Pa-Ga-Ma-Sa-Re-Sa

Relevant Raag posts

Raag Alhaiya Bilawal-Indian Music Theory

Raag Hans Dhun-Indian Music Theory

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indian ragas, indian music theory, music theory, Raag Heem

Raag Alhaiya Bilawal-Indian Music Theory

Raag Alhaiya Bilawal-Indian Music Theory

raag alhaiya bilawal indian music theory

This raag is the khado -sampuran raag of Bilawal thaat. Ma is not allowed in Arohi whereas Amrohi is sampuran but Ga is not played in sequence in this raag.

Dha is wadi and ga is sumwadi note of this raag. Time to sing this raag is morning.

Arohi:

sa-re-sa-ga-re-ga-pa-dha-ne-dha-high octave sa

Amrohi:

high octave sa-ne-dha-pa-dha-ne-dha-pa-ga-ma-pa-ma-ga-re-high octave sa

Chaal of Alhaiya Bilawal:

pa-ne-dha-ne-high octave sa-dha-ne-dha-pa-ma-ga-ma-re-ga-ma-pa-ma-ga-re-sa

Ne (low octave)-sa-ga-ma-re-ga-pa-ne-dha-pa-ga-ma-pa-re-ne-dha-high octave sa-ne-dha-ne-dha-pa-ga-ma-re-ne-sa-ma-pa-ne-high octave sa re-ne-high octave sa-ne-dha-pa-ne-dha-ne-high octave sa ga ma re sa-re-ne-high octave sa-dha-high octave ne-dha-pa-dha-pa-ma-ga-ma-re-sa

high octave sa-dha-pa-dha-ne-pa-ma-ga-re-ga-pa-ne-high octave sa re sa-ne-dha-pa-ma-ga-re-sa

Relevant Raag Posts

Raag Jaldhar Kedara-Indian Music Theory

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Raag Hans Dhun-Indian Music Theory

Raag Hans Dhun-Indian music theory

Raag hans dhun is the Awodo Raag of Bilawal thaat. Ma and Dha are not allowed in this raag.

raag hans dhun indian music theory

Some pandits believe that it’s wadi note is Sa whereas some believe that Ga should be the wadi note of this raag.

Time to sing this raag is the first part of night. Nothing much has been written about this raag in Music Theory Books but this raag is still sung in Dhakan and Even today the Madrasi community sings this raag.

Arohi of raag Hans Dhun

Sa-re-ga-pa-ne-high octave sa

Amrohi

high octave sa-ne-pa-ga-re-sa

Chaal of raag hans Dhun:

sa-re-ga-sa-ga-pa-ga-re-ga-pa-ga-re-ga-pa-nepa-ga-pa-ga-re-ne (low octave)

sa-re-ga-re-pa-ga-pa-ne-pa-ga-re-ga-re-sa

ga-pa-ne-pa-ne-ne-high octave sa re sa-ne-high octave re sa- ne-pa-ne-pa-ga-re-ga-re-ne-pa-ga-re-high octave sa

pa-ne-pa-ga-pa-ne-high octave sa-re-high octave ga re sa -ne-high octave re sa -ne-pa-ne-pa-ga-re-ga-re-ne-pa-ga-re-high octave sa

pa-ne-pa-ga-pa-ne-high octave sa-re-ga-high octave re sa-ne-pa-ne-
high octave re sa-ne-ga-re-pa-ne-ne-high octave ga re-ne-high octave re sa sa re sa-re-high octave ga re sa-ne-pa-ne-high octave re-sa-ne

high octave sa sa re sa-ne-pa-ne-high octave sa-ne-pa-ga-pa-ga-re-pa-pa-sa-re-ga-re-ga-sa

low octave ne-re-ga-pa-ne-high octave re sa sa -ne-pa-ga-pa-ne-high octave re sa -ne-pa-ga-pa-ga-re-ne

Compositions in this raag are unique and different from other famous raags. In my opinion the music composers must use this raag very often to make it more popular and acquainted among the music lovers all around the world. I am sure the readers of this article and the previous ones will be getting benefited.

Relevant Raag Posts:

Raag Jaldhar Kedara-Indian Music Theory

Raag Durga notes and notation-Indian music theory

Raag Jaldhar Kedara-Indian Music Theory

Raag Jaldhar Kedara-Indian Music Theory

raag jaldhar kedara indian music theory

Raag Jaldhar Kedara is the Khado (six notes) raag of Bilawal thaat. Ga is not allowed in this raag. This raag is the combination of Jaldhar and Kedara. Black Ma is not allowed in this raag. It’s wadi note is pa and re is the sumwadi note. Point to be noted is that in Kedara Re is weak in purwang whereas Ne and Dha are weak in Utarwang. In Kedara these notes are not weak at all.

Arohi:

sa-re-sa-ma-re-ma-ma-pa-ne-dha-ne-dha-high octave sa

Amrohi:

high octave Sa-ne-dha-pa-ma-ma-dha-pa-ma-re-sa

Chaal of Raag Jaldhar Kedara:

ma-ma-pa-dha-pa-ma-re-sa-sa-re-sa-ma-re-ma-ma-pa-dha-pa-ma-ne-dha-pa-ma-ma-re-sa-re-sa-sa-ma-ma-re-sa-ma-re-sa-ma-pa-dha-pa-ma-pa-ne-dha-high octave sa-ne-dha-pa-ma-dha-pa-ma-dha-pa-ma-high octave sa-ne-dha-pa-dha-pa-ma-re-sa

ma-ma-pa-high octave sa-ne-dha-ne-dha-pa-ma-pa-high octave sa re sa-ne-dha-pa-dha-pa-ma-dha-pa-ma-re-sa

pa-dha-pa-ne-dha- high octave sa re sa ma ma re sa-ne-dha-ne-dha-pa-pa-dha-pa-ma-re-ma-re-sa

Relevant Raag Posts

Raag Durga notes and notation-Indian music theory

Raag Dhurpat Nut Bilawali-Indian Music theory

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raag kedara, raag kedar notes, raag kedar notation, indian music theory, music theory

Raag Durga notes and notation-Indian music theory

Raag Durga notes and notation-Indian music theory

Raag Durga is the Awodo (5 notes) raag of Bilawal thaat. Ga and Ne are not allowed in this raag.

raag durga notes indian music theory

Ma is the wadi note of this raag. It resembles a little bit with Sud Malar. Time to sing this raag according to pandits is afternoon.

Due to the absence of Ga, it resembles Suratt but remember Re and Dha are not played in the Arohi of Suratt, whereas these are played in this raag. Beside this Ne is present in Suratt but it is not allowed in this raag, this factor separates raag Durga from Suratt.

The harmony of Re and Pa makes it sound like Malar. The formation of Raag remain intact by using Ma frequently and the listeners enjoy it.

Because Ne is not present in this raag therefore it is separated from Sarang as well.

Chaal of raag durga:

pa-ma-pa-dha-ma-ma-re-pa-dha-ma-re-sa

sa-dha-sa-re-pa-dha-ma-pa-ma-pa-high octave dha -ma-re-sa-sa-re-sa

pa-ma-re-sa-dha-dha-ma-re-pa-dha-ma-re-pa-ma-sa-re-sa-sa-dha-sa-ma-pa-dha-pa-ma-high octave sa-dha-ma-re-pa-dha-ma-pa-ma-re-dha-ma-re-sa-pa-ma-pa-dha-ma

ma-ma-pa-high octave sa-re-high octave ma re sa – pa-dha-ma-ma-pa- high octave sa re re -dha- high octave sa re re-dha- high octave sa-ma-pa-high octave sa – ma-pa high octave sa-pa-dha-dha-ma-pa-ma-pa-dha-ma-re-ma-sa-re-ma-sa-re-sa

Relevant Raag posts:

Raag Dhurpat Nut Bilawali-Indian Music theory

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Raag Dhurpat Nut Bilawali-Indian Music theory

Raag Dhurpat Nut Bilawali & Maloha-Indian Music theory

raag maloha

Raag Dhurpat Nut Bilawali originates from Bilawal thaat. Ma is the wadi note of this raag.

In purwang it resembles raag nut and a bit of raag gond.

In Amrohi it resembles Bilawal. It is very important to keep on stressing on Ma, because it resembles Bilawal therefore it becomes important to keep on revealing Ma over and over again.

The harmony of Re and Dha leaves pleasant music effect to the listeners.

Time to sing raag dhurpat nut bilawal is first part of the noon.

Arohi of this raag is as follows:

sa-sa-ga-ma-ga-ma-pa-ma-dha-ne-high octave sa

Amrohi:

high octave Sa-Ne-dha-ne-pa-ma-ga-ma-re-sa

Chaal of Nut Bilawali:

sa-ga-ga-ma-pama-ma-pa-pa-ma-ga-ga-ma-pa-pa-dha-pa-ma-ga-ma-re-sa.

indian music theory raga nut bilawali

sa-ga-ga-ma-ma-ma-pa-pa-ma-ga-ma-re-ma-ma-pa-ne-dha-pa-ma-ga-ma-re-pa-pa-ma-ga-re-sa

sa-ga-ga-ga-ma-pa-dha-pa-ma-ga-ma-re-sa-ga-ma-ne-dha-pa-ma-ga-ma-ga-ma-re-ga-ma-dha-ne-dha-pa-ne-dha-pa-ma-ga-ma-re-ga-ma-pa-ma-ga-re-sa

Raag Maloha:

Raag maloha is the khado-Sampuran raag of Bilawal thaat. In Arohi of this raag dha is not allowed whereas the Amrohi of this raag is sumpuran in fact this raag has been made with the combination of raag Kamod and raag Kidara. The time to sing this raag is the first part of the night. It has been mentioned in the previous articles that stress remains on Sa-Ma- and Pa in Kidara but in Maloha not much stress is given to these notes.

when it is sung in middle octave with fast rhythm it feels great to the listeners.

In this raag sa is wadi note and pa is sumwadi note. If this raag is sung with the harmony of Ne and Sa it separates this raag from Kidara.

Arohi:

(low octave ma-pa-ne)

sa-re-sa-ga-ma

(high octave pa-ne-sa)

Amrohi:

(high octave sa)-ne-dha-pa-ma-ga-ma-re-sa

Chaal of Maloha:

Sa-(low octave ne-dha-pa-ma) – pa- (low octave ne)-sa-sa-re-(low octave ne)-(high octave sa)-(low octave pa-ne)-sa-ga-ma-re-sa-ga-ma-pa-ma-ga-ma-re-sa-re-ne-sa-ga-ma-dha-pa-ga-ma-re-re-sa

Relevant Indian Raag posts

Raag Shukla Bilawal-Indian Music Theory

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indian music theory raga

Raag Shukla Bilawal-Indian Music Theory

Raag Shukla Bilawal-Indian Music Theory:

raag shukla bilawal indian music theory

Raag Shukla Bilawal is the sumpuran raag of bilawal thaat, this is also known as one of the kinds of raag Bilawal.

Time to sing this raag is in the morning. In this raag wadi sur (note) is Ma and Sumwadi note is Sa.

In Arohi of this raag, Re is weak or we can say it is less used. Because this is the raag of utarwang therefore Amrohi notes provide more soothing musical effects to the ears of the listeners. The harmony of Dha and Ma feels great. So we can say special Taan is originated by the combination of these two notes.

The style of this raag is vikar which means it is not played in sequence therefore at certain point it resembles Gorsarang. Some performers also use komal (flat B) Ne which looks marvellous. Remember this note is to be used as Dev Gadi i.e. note is not allowed in the raag.

Raag Shukla Bilawa 3

Arohi of Shukla Bilawal:

Sa-ga-ma-ma-pa-pa-dha-pa-dha-ne-sa (high octave)

Amrohi of Shukla Bilawal:

Sa (high octave)-ne-dha-pa-dha-ne-dha-pa-ma-ga-re-ma-re-sa (high octave)

Chaal of Shukla Bilawal:

Sa-ga-ma-ma-re-pa-ma-ga-ma-re-pa-ma-ga-re-sa.

Ne (low octave)-sa-ga-ma-re-pa-dha-ma-ma-pa-Dha (high octave)-ne-dha-pa-ma-ma-re-pa-dha-ma-ga-re-sa

sa-ga-ma-pa-ne-(high octave) sa-re-sa-sa,
ma-ma-ma-re-pa-dha-ma-ma-re-pa-ma-ga-re-ga-pa-ma-ga-re-sa

Ma-ga-ma-ne-dha-pa-ma-pa-ma-ma-ga-re-sa-ga-re-sa-ga-ma-ma-ga-ma-pa-ne-high octave sa-re-sa, ne-dha-pa-ma-ma-pa-ga-re-ga-ma-pa-dha-ne-dha-pa-dha-ma-ma-ga-re-pa-re-ga-re-sa

Relevant Raag Posts:

Raag Nut bhairav-Indian Music Theory

Raag Dev Gadi in terms of Indian Music Theory

Raag Maand in Indian Music Theory

Raag Shukla Bilawal 2

Raag Nut bhairav-Indian Music Theory

Raag Nut bhairav-Indian Music Theory

Raag Nut bhairav indian music theory

Raag Nut is the Khado – Awodo Raag of Bilawal Thaat. Ma is the wadi Sur (note) in this Raag and Ma is the note on which the composition in this Raag must finish.

According to some Pandits this is the raag of bhairav which means in this raag of bhairav which means in this raag the songs related to bravery and courage are composed.

Amrohi is played without Dha and Ga whereas all the notes are used in Arohi.

The time to sing this raag is the second part of the night. Some Garanth also describe that Ga must be komal (Black note) in this raag but this is against the customs of music being followed now-a-days.

Some pandits say this raag is a mixture of Chaya and Aliyan.

This is to be noted that stress remains on poorwang in this raag.

In Amrohi Dha and Ga are not allowed therefore it can not be raag bilawal. Because Ma is the wadi note in this raag therefore it separates itself from chaya and Kamode. It also separates itself from shaan kalyan because Sa is wadi sur in Shaan kalyan. Whereas Ma is wadi sur of this raag.

The Chaal of Nut is as follows:-

sa-ma-ga-ma-ma-pa-pa-ma-ga-ma-sa-re-sa.

sa-re-sa-ga-ma-pa-ma-ga-ma-dha-ne-pa-ma-pa-ma-ga-ma-sa-re-sa

pa-ma-ga-ma-pa-ne-sa (high octave)-ne-dha-ne-pa.
(high octave sa-re-ga-ma-re-re-sa-sa)-dha-ne-pa-ma-pa-ma-ga-ma-sa-re-sa.

Pa-dha (low octave)-sa (high octave)-ne-(high octave sa-re-sa-sa-re-ga-ma-re-re-sa-sa)-ne-dha-ne-pa-ma-pa-ma-ga-ma-sa (high octave)-dha-ne-pa-ga-ma-pa-sa-re-sa.

This raag is very unique. Melody and composition in this raag are easy to perform.

Related Raag posts

Raag Dev Gadi in terms of Indian Music Theory

Raag Maand in Indian Music Theory

Raag Pahadi amrohi arohi in terms of Indian Music

Raag Deshkar-Indian Classical Music Theory