RADHE RADHE AT MATHURA
N TAAL IS THE BASE OF ALL TAALS IN INDIAN MUSIC . IT HAS 16 MATRAS AND 4 DIVISIONS OF 4 MATRAS
EACH . THE TAALI IS ON 1 ST , 5 TH AND 13 TH MATRAS AND KHALI ON 9 TH MATRA . IT IS CALLED THE BASIC
OF ALL TAALS BECAUSE EVERY OTHER TAALS ARE THE FRACTION OF TEEN TAAL . IT IS EASY TO LEARN WIDELY USED IN BOTH LIGHT AND CLASSICAL MUSIC . SLOW AND MEDIUM AND FAST COMPOSITIONS ARE PLAYED AND SUNG IN THIS TAAL THE TAAL NOTATIONS IS AS FOLLOWS :
1 2 3 4
DHA DHIN DHIN DHA
X
5 6 7 8
DHA DHIN DHIN DHA
2
9 10 11 12
DHA TIN TIN TA
O
13 14 15 16
TA DHIN DHIN DHA
3
DHA
NAAD
THE BASIC OF ALL MUSIC IS SOUND . YET ALL SOUNDS ARE NOT USED IN MUSIC . ONLY THE SOUNDS THAT ARE MUSICAL AND ATTRACT THE EARS OF THE LISTENERS ARE USED IN MUSIC AND SUCH SOUNDS ARE CALLED ‘NAAD’ . WE CAN DEFINE NAAD AS :
THE SOUNDS WHICH ARE UNIFORM , PLEASANT AND CONTINUOUS PRODUCED BY REGULAR AND PERIOD VIBRATIONS AND ARE PLEASING TO EARS ARE CALLED NAAD .
NAAD HAS THREE CHARACTERISTICS :
PITCH : THIS IS THE CHARACTERISTICS OF NAAD IN WHICH HIGH NOTE CAN BE DISTINGUISHED FROM A LOW NOTE THE PITCH IS DEPENDENT ON FREQUENCY .
VOLUME OR LOUDNESS : IN THIS PROPERTY THE LOUD NOTE CAN BE DISTINGUISHED .
TIMBRE OR QUALITY : IN THIS CHARACTERISTICS TWO SOUNDS ARE EMITED BY TWO DIFFERENT INSTRUMENTS . THE QUALITY OF A MUSICAL SOUND DEPENDS ON WAVE FORM AND THE NUMBER AT SECONDARY TONES PRESENT IN IT ALONG WITH FUNDAMENTAL NOTE .
SHRUTI
AS DISCUSSED EARLIER NAAD IS THAT SOUND WHICH HAS A REGULAR VIBRATIONS AND PLEASING TO EARS .
IN MUSIC IT IS ESSENTIAL TO EXTRACT ONLY THOSE NAADS WHICH CAN CLEARLY HEARD AND DISTINGUISHED FROM EACH OTHER .THEREFORE , OUR MUSICOLOGISTS PUT 22 NAADS IN ONE OCTAVE AND NAMED IT AS ‘SHRUTI’ . THUS , WE CAN DEFINE SHRUTI AS THE MUSICAL SOUND OR NAAAD THAT CAN BE CLEARLY HEARD AND ARE DISTINGUISHED FROM OTHER . OUR NORTH INDIAN MUSIC HAS 22 NAADS . THE DISTRIBUTER IS AS FOLLOWS :
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
SA RE GA MA PA DHA NI
WE CAN SEE SA HAS 4 , RE HAS 3 , GA HAS 2 , MA AND PA 4 EACH , DHA HAS 3 AND NI HAS 2 .
RAAG YAMAN
THIS RAAG IS SUPPOSED TO HAVE INVOLVED FROM THAAT KALYAN . ALL THE SEVEN NOTES ARE USED IN THIS RAAG , THUS , MAKING ITS JATTI ‘SAMPOORAN SAMPOORAN’ . VADI SWAR IS GA AND SAMVADISWAR IS NI . THE TIME OF SINGING THIS RAAG IS EVENING . IT IS POPULAR AMONG NOT ONLY CLASSICAL MUSICIANS BUT ALSO LIGHT MUSIC LOVERS . MA IS TIWRI AND REST SWAR ARE SHUDH .
AROH : NI RE GA MA PA , DHA NI SA
AVROH : SA NI DHA PA MA , GA RE SA
PAKAD : NI RE GA , MA GA , RE GA RE , NI RE SA
ALANKAR
ALANKAR LITERALLY MEANS AN ORNAMENT OR A DECORATION . IT RESPECTIVELY MUSICAL PATTERNS IN SENSE THAT A GIVEN DESIGN IN PRESENT AS EMBOIDERY . THE TWO SIMPLE ALANKAR ARE AS FOLLOWS :
SA RE GA , RE GA MA , GA MA PA , MA PA DHA , PA DHA NI , DHA NI SA
SA SA , RE RE , GA GA , MA MA , PA PA , DHA DHA , NI NI , SA SA
AS IN DESENDING ORDER WE HAVE TO REVERSE THE ASENDING ORDER . FLANKER IS USED TO SINGED AND PLAYED BY STUDENTS AND MAKES CREATIVITY IN MINDES OF CHILDREN .
SWARMALIKA
IT IS SIMPLY A COMPOSITION OF NOTES OF SOME PARTICULAR ‘RAGA’ COMPOSED BY THE PRACTICAL ARTISTS OF THE MEDIAWEL AND MODERN TIME .
THE ’SWARMALIKA’ ARE VERY USEFUL FOR THE BEGINNERS , BECAUSE THEY HELP THEM IN REMEMBERING THE TUNE OF THE ‘RAGA’ AND LEADS THEM TO PROPER INTONATION , WHICH IS THE MOST IMPORTANT AND DIFFICULT POINT IN THE PRACTICE OF THIS ART .
CHALSWAR AND ACHALSWAR
IN HINDUSTANI MUSIC WE HAVE SEVEN NOTES AS FOLLOWS : SA , RE , GA , MA , PA , DHA , NI
WE ALSO HAVE VIRKIT NOTES AS FOLLOWS : KOMAL RE , KOMAL GA , TIVRI MA , KOMAL DHA , KOMAL NI THESE NOTES ARE CALLED ‘CHALSWAR’ .
IN HINDUSTANI MUSIC WE HAVE FIVE VIRKIT NOTES AS FOLLOWS : RE , GA , DHA , TIVRI MA ONLY SA AND PA ARE STATIONARY NOTES THESE ARE ‘ACHALSWAR’ WHICH MEANS CANNOT MOVE FROM THEIR FIXED POSITION .
SAPTAK
SATPAK MEANS THE SET OF SEVEN NOTES AS FOLLOWS : SA , RE , GA , MA , PA , DHA , NI , SA .
FROM SA TO NI WE HAVE ONE SAPTAK OR OCTAVE IN HINDUSTANI MUSIC WE CAN HAVE MANY ‘SAPTAKS’ . BUT IN PRACTICALLY SINGING WE CAN HAVE ONLY THREE SAPTAKS
MANDHA SAPTAK : THIS IS THE LOWEST SAPTAK . IT IS BELOW THE MADHYA SAPTAK . IT CAN BE DENOTED BY PUTTING DOTS BELOW IT . THE NOTATIONS IS AS FOLLOWS :
SA , RE , GA , MA , PA , DHA , NI ,
. . . . . . . .
MADHYA SAPTAK : THIS IS THE MIDDLE SAPTAK . IT CANNOT BE DENOTED .
TAAR SAPTAK : THIS IS HIGH SAPTAK . THIS CAN BE DENOTED BY PUTTING THE DOTS ABOVE . THE NOTATIONS IS AS FOLLOWS :
. . . . . . . .
SA , RE , GA , MA , PA , DHA , NI
SHORT QUESTION ANSWERS
1.WHO IS THE WRITER OF OUR NATIONAL ANTHEM ?
2.WRITE THE NAME OF A FAMOUS TABLA PLAYER ?
3.WHO IS THE WRITER OF ST.STEPHENS SCHOOL ANTHEM ?
4.WRITE THE NAME OF FAMOUS VOCAL CLASSICAL ARTIST ?
5.HOW MANY TALLIS ARE THERE IN TEEN TAAL ?
6.HOW MANY TALLIS ARE THERE IN KEHAR TAAL ?
7.WRITE THE NAME OF A FAMOUS SITAR ARTIST ?
8.HOW MANY DIVISIONS ARE THERE IN TEEN TAAL ?
9.WRITE TWO ALANKAR IN BHARAV THAAT ?
10.HOW MANY SHRUTIS ARE THERE IN OUR NORTH INDIAN MUSIC
11.WRITE THE NAME OF A FAMOUS SAROD PLAYER ?
12.HOW MANY SWARS ARE THERE IN AN OCTAVE ?
13.ALL THE SHUDH NOTES ARE USED IN WHICH RAAG ?
ANSWERS :
1.RABINDRANATH TAGORE
2.USTAD ZAKIR HUSSAIN
3.GEOFF AMANHEM
4.PANDIT BHEMSEN JHOSI
5.TEEN
6.ONE
7.PANDIT RAVI SHANKAR
8.FOUR
9.AROH : SA SA , RE RE , GA GA , MA MA , PA PA , DHA DHA , NI NI , SA SA. ——— —————
AVROH : SA SA , NI NI , DHA DHA , PA PA , MA MA , GA GA , RE RE , SA SA. ———— —
—
AROH : SA RE GA , RE GA MA , GA MA PA , MA PA DHA , PA DHA NI , DH—A NI S—A . ——
—— ———
AVROH : SA NI DHA , NI DHA PA , DHA PA MA , PA MA GA , MA GA RE , GA RE ——SA —— ——
—- —-
10.TWENTY TWO
11.USTAD AMJAD ALI KHAN
12.TWELVE
13.RAAG BILWAL
