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

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 Sarparda 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

If you like this post on Raag Sarparda, kindly share it as sharing is caring. Thanks for your visit to our blog! Keep visiting our blog for more exciting fun posts on music.

Useful recommended Products on the topic:

Classical Indian Music for Healing and Meditation

you must have reached this post searching for:
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

you must have reached this post searching for:
indian ragas, indian music theory, music theory, Raag Heem

Raag Sankra Bharan-Indian Music Theory



Raag Sankra Bharan


Essential elements of Indian music theory

Raag Sankra Bharan indian music theory

Raag Sankra Bharan is the raag of Bilawal Thaat. According to one school of thought it is the Khado (six notes) Raag where Ma is virgit that means Ma is not allowed in this Raag. Some people believe that it is an Awodo Raag (five notes) and Re and Ma are not allowed.

time to sing this raag is Afternoon and early evening. This raag resembles with Raag Bahag.

Some people believe Ga is the wadi note of this raag whereas some are of the opinion that Sa is the the wadi note of this raag. In this raag the utarwang notes look fabulous when played, therefore some believe it’s time to sing is morning.

Now-a-days it is not in practice, if you sing this raag on the pattern of Awodo (5 notes) then it will resemble Malsiri but remember Dha is not played in Malsiri but in Sankra Bharan Dha is imminently used thus to separate it from the above mentioned Raag Malsiri.

Arohi of Raag Sankra Bharan:

Sa-Re-Ga-Pa-Ne-Dha-Sa

Amrohi:

Sa-ne-dha-pa-ga-ne-dha-pa-ga-ne-dha-pa-ga-re-sa

Chaal of Sankara Bharan:

Ne-Sa-pa-ga-sa-ne-sa-pa-ne-sa-ga-sa-ga-pa-ne-ne-pa-ga-pa-ga-pa-ga-sa

sa-ga-pa-ga-pa-ne-pa-ga-pa-ne-dha-pa-ga-pa-ne-ne-ga-pa-ga-sa

sa,ga,pa-ga,sa-ga-pa-sa,ne-pa, ne-ne-ga-pa-ne-dha-pa-sa-ne-dha-pa-ga-pa-ga-sa-pa-pa-sa-sa-ga-pa-ga-sa-sa-ne-pa-ne-dha-sa-ga-ga-ne-ne-dha-pa-ga-pa-ga-sa.

This raag is easy to learn as all the white notes are being used in its formation. Therefore with little effort the students can know the melody of this raag. The composition of this raag is easy to perform.

Useful Relevant posts:

Raag Bilawal Thaat and notes-Indian Music Theory

Raag Jeet Kalyan & Chander Kanth-Indian Music Theory

Aimani Bilawal Indian Ragas or raags-Indian Music Theory



Aimani Bilawal Indian Ragas or raags-Indian Music Theory

Aimani Bilawal is the sampuran raag of Kalyan Thaat. This is also a kind of Bilawal but the shade of Bilawal is very distinct in this raag.

raga sawani indian music theory

Both Ma notes (F and F sharp) are allowed in this raag. The time to sing Aemani Bilawal is early morning.

Sa is wadi whereas pa is sumwadi in Aemani Bilawal. While playing Arohi F sharp note or ma (komal) is used and that makes it distinct to show the color of Aiman.

the students must remember that in Bilawal Ne is vikar note which means Ne is not played in sequence. But in Aimani Bilawal Ne is not vikar but played in sequence.

Infact this Raagni is the combination of Raag Aiman and Raag Bilawal.

The Arohi and Amrohi of this Raagani is mentioned below:-

Arohi:

SA-RE-GA-MA-GA-MA-PA-DHA-NE-DHA-SA

Amrohi:

SA-NE-DHA-PA-MA-GA-MA-RE-SA

Taan is as under:-

SA-RE-GA, RE-SA,NE-SA,PA-DHA-NE-DA-GA-RE, GA-MA-PA, MA-GA-MA, RE-SA

Sawani Kalyan (raga sawani):

Sawani Kalyan is the khado (six notes) raag of Kalyan thaat. The ma (F) note is virgit (not allowed) neither in Arohi nor in Amrohi. Note Ne (B) is durbal (weak) in Arohi.

Sa is the wadi note whereas Pa is Samwadi note in this Raag. This is the most modern kind of Kalyan and it has been invented by the famous Muslim Ustads (teachers).

This raag becomes prominent in middle octave. Students must remember that Sawani Kalyan is sung on lower and middle octaves.

This raag is also accompanied by fast rhythm which separates from Aiman Kalyan and Bhopali. Arohi is below:-

Arohi:

SA-NE-DHA-NE-DHA-PA, SA-RE-SA-GA-PA-DHA-SA.

Amrohi:

SA-NE-DHA-NE-DHA-PA-GA-RE-SA-DHA

Relevant posts

Malsiri Raag-Indian Music Theory

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

Recommended Products:

Coolbeat Audiobooks
Award Winning Coolbeat Audiobooks Publishes Cool And Off-beat Downloadable MP3 Audiobooks For All Ages

you must have reached this post searching for the below:
raga sawani, indian ragas, indian music theory, music theory,thaat,kalyan