Brief Overview Of The Music Theory



A brief overview of the music theory

Great Greek philosopher and mathematician Plato once said, “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.”
Music theory is the study of the theoretical elements of music. Music involves sound, pitch, melody, rhythm, notation and harmony. Music theory is the study of these elements of music. It is an act of contemplation of music.

Here is a brief overview of some elements of music:
overview of the music theory themusictheory

Pitch

Pitch is a subjective sensation. It is the level of a tone. The higher the frequency of vibration, the higher the pitch. Likewise the lower the frequency of vibration, the lower the pitch. The difference in frequency between two pitches is known as interval.

Rhythm

Rhythm is a strong, regular, repeated pattern of sound. It is created by the sequential arrangement of sounds and silences. Meter measures music in regular pulse groupings. Playing simultaneous rhythms in more than one time signature is called polymeter.

Melody

Melody is a prominent aspect in music. It is a rhythmically organized sequence of single tones so related to one another as to make up a particular phrase. Pitch, rhythm, duration and tempo are the basic elements of melody.

Chord

A chord is a group of notes (three or more) sounded together, as a basis of harmony. Chords are mostly used in popular music. Chord structure provides strength to the melody.

Timbre

Also known as tone color, timbre is the principal phenomenon that enables you to distinguish one musical instrument from another when both play at the same volume and pitch. It is determined by the envelop of the sound and the relative balance of overtones produced by a given instrument due to its construction.

Texture

Texture is one of the basic elements of music. It is the way the rhythmic, melodic and harmonic materials are combined in a composition. It is the overall sound of a composition.

Harmony

In music theory, harmony is the study of vertical sonorities in music. Harmony is analyzed through a Roman numeral system. Roman numerals are used to identify chords based on their scalar roots. In Western music of the Common Practice Era, harmonies are generally tertian.

Notation

Musical notation is the symbolic representation of music. There are many systems of music notation.
Music is a very interesting subject. Many great personalities like Aristotle, Shoenberg and Rameau were music theorists.

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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 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

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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

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Raag Hans Dhuni-Indian Music Theory



Raag Hans Dhuni-Indian music theory

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

raag hans dhuni 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 ‘Raag Hans Dhuni” and the previous ones will be getting benefited.

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Raag Jaldhar Kedara-Indian Music Theory

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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

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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

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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

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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.

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Raag Dev Gadi in terms of Indian Music Theory



Raag Dev Gadi in terms of Indian Music Theory

raag dev gadi indian music theory

Raag Dev Gadi is the Awodo – Sampuran Raag of Bilawal thaat. This can also be called a type of bilawal raag but it seems to have the style of Kalyan.

Wadi note in Dev Gadi is Sa and Samwadi is Pa. According to one school of thought Dha and Ga are not used in Amrohi. Some times the experienced performers also use black Ma or F sharp notes. There is one quality in Bilawal thaat raags that is Amrohi the shade of Bilawal is always prominent but if black Ma is used frequently in this raag, it becomes Aemni Bilawal.

In Raag Dev Gadi, black ne (komal) is used alongwith Dha then no doubt remains in the construction of Bilawal.

The experienced performer know the secret that the raag that are sung in the night have stress on Arohi whereas the raags that are performed in the day time have stress on the Amrohi notes. So we can say that in the first part of the night the stress is on purwang whereas stress shifts over to utarwang notes when Dawn is near or when morning is approaching.

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