Badhat
This term can be understood in three ways:
- as the transition from a slow tempo to a fast tempo
- as the gradual extemporaneous exposition of the Rāga (which is the most common interpretation)
- as the section of the Ālāpa with a medium-speed tempo, also known as Ḍagar kī Baḍhat
Bahutva
In certain Rāgas, specific notes are employed more frequently, and these notes are designated as Bahutva, signifying the predominance in that particular Rāga.
Typically, within a Rāga, the Aṁśa Svara holds prominence over the others. This isn't necessarily a matter of numerical frequency; rather, it is determined by the manner in which it is used, elevating its importance above the other notes.
The term in question conveys the idea of 'importance.' For instance, in a Yaman phrasing like 'ṆRG, RG, ṆR, ṆG, RS,' the tonic Sa appears only once, Re four times, and Ga and Ṇi three times each. While the numerical count might suggest Re as having Bahutva, and Sa, with its solitary occurrence, might seem insignificant, the reality is quite different. In this context, Ga assumes a pivotal role around which the entire composition unfolds. Therefore, in the musical context, Bahutva is more about qualitative significance than quantitative frequency.
Bhai
Courtesan, skilled dancer and/or singer. Historically, courtesans, alternatively referred to as "tawaifs," thrived as performers, enchanting the noble classes of the Indian subcontinent with their artistic prowess. These women played pivotal roles in courtly and ceremonial settings, frequently engaging as dancers and singers. Significantly, historical accounts indicate that a segment of these women willingly paid taxes, underscoring their esteemed status in society.
Baaj
Bāj refers to the style and technique employed in instrumental music. This term encompasses various styles such as Masīdkhānī Bāj, Razakhānī Bāj, Pūrvī Bāj, Imdādḵẖānī Bāj, among others.
The term itself encompasses several elements, including a method for expressing a Rāga through an instrument, adhering to specific rules. Without these established rules, the playing style cannot be precisely categorized within any particular Bāj or style. In such cases, the performance may be described as free-form, its appeal dependent on the musician's skills and personal talent. Such an approach does not align with any specific Gharānā and is generally considered outside the realm of 'classical.' Occasionally, the Bāj or style is alternatively known as Cāla or Calana.
The term 'Vādakī' denotes techniques for instrumental performance, paralleling the concept of 'Gāyakī,' which pertains to techniques for vocal performance.
Bamta
The term originates from Banṭana, which translates to 'distribution.' In the context of musical compositions, such as the words in a piece or the Bola in a Tarānā or a Gat, the process of 'distribution' involves rearranging them in a manner that introduces various alterations to the original rhythm of the composition. This practice primarily serves the purpose of improvisation within rhythmic structures. When it comes to the lyrics of a composition, it is common for them to lose their ability to convey a complete meaning. It is crucial to note that, except for Ṭhumrī, the literary quality of the text holds minimal significance in the classical tradition. The chosen words often serve to accentuate the rhythmic beauty of the composition. While Dhrupada allows only Bāṁṭas, in Khayal, both Bāṁṭas and Tānas can be employed.
Bandish
This term may appear in writing as Bandiś, Bandeja, or Bandish. In Hindi, it signifies 'well-composed music.' Typically, this term is reserved for compositions of exceptional beauty, often deserving the adjective Bandejī. Works by renowned musicians from the past, like Tānsen, Sadāraṅg, and Bahādur Sen, are categorized as Bandejī compositions. In everyday language, compositions that achieve elevated standards of aesthetic value, both melodically and rhythmically, are referred to as Bandejī compositions.
Barabara
A type of Laya or tempo is Barābara Laya, where each beat in the rhythmic cycle consists of only one note or one Bola. This is alternatively known as Madhya Laya or intermediate time, signifying an equal correlation between beats and tempo.
Bemamchaa
In percussions such as Mrdanga or Pakhāvaj, we speak of Bemaṁcā, when during a Paraṇa, the Sam does not appear as the audience would expect and a Tihāī is added immediately after passing the Sama in order to be able to reach it in the next cycle.
Bemanja
A type of Tihāī where the first Dhā falls on the Phāṁk, the second on the Prathama Tāla or thirteenth Mātrā and the third Dhā on the Sama. (see Tihāī)
Bhajan
A Bhajan is a devotional song with a religious or spiritual theme, commonly found in Indian religions and expressed in many language of the subcontinent. The term "bhajanam" (Sanskrit: भजनम्) signifies reverence and is derived from the root word "bhaj" (Sanskrit: भज्), meaning to revere, as exemplified in phrases like 'Bhaja Govindam' (Revere Govinda). Additionally, the term "bhajana" is associated with the concept of sharing.
The term 'bhajan' is also commonly used to denote a group event featuring one or more lead singers, accompanied by music, and sometimes incorporating dance. Typically, bhajans involve percussion instruments such as tabla, dholak and handheld small cymbals (kartals) are often used to maintain the beat. Bhajans can be performed in various settings, including temples, homes, open spaces under a tree, near a riverbank, or at historically significant locations.
Bhajans do not follow a prescribed form or set rules; they are usually lyrical and rooted in melodic ragas. This genre of music and arts originated during the Bhakti movement and is present in various traditions of Hinduism and Jainism. In Hinduism, Vaishnavism particularly embraces the practice of bhajans.
Typical subjects in bhajans include ideas from scriptures, legendary epics, the teachings of saints, and expressions of loving devotion to a deity.
Bhajans are often composed anonymously and shared as part of a musical and artistic tradition. Different genres such as Nirguni, Gorakhanathi, Vallabhapanthi, Ashtachhap, Madhura-bhakti, and the traditional South Indian form Sampradya Bhajan each have their own repertoire and singing methods.
Bhao
Hindi term deriving from the Sanskrit word Bhāva. The emotional content of a song that is expressed through the gestures of the performer is defined as Bhāo. Ṭhumrī style singers, dancers and actors often express the emotional sphere through Bhāo.
Bhakti
Bhakti, derived from Sanskrit (भक्ति) and Pali (bhatti), is a term commonly used in Indian religions, encompassing concepts such as "attachment, participation, fondness for, homage, faith, love, devotion, worship, and purity". Within Indian religious contexts, it can denote loving devotion towards a personal God (such as Krishna or Devi), a formless ultimate reality (like Nirguna Brahman or the Sikh God), or an enlightened being (like a Buddha, a bodhisattva, or a guru). Bhakti often manifests as a profoundly emotional devotion rooted in the relationship between a devotee and the object of their devotion.
The term has early appearances in texts such as the Buddhist Theragatha and, in ancient scriptures like the Shvetashvatara Upanishad, signifies participation, devotion, and love for any pursuit. In the Bhagavad Gita, it represents one of the paths towards spirituality and moksha, referred to as bhakti marga.
Bhakti concepts have inspired numerous texts and saint-poets in India, with the Bhagavata Purana being an example associated with the Bhakti movement in Hinduism. Bhakti is not confined to Hinduism and has also influenced other religions practiced in India. Nirguni bhakti, emphasizing devotion to the divine without attributes, is present in Sikhism and Hinduism. Beyond India, emotional devotion is observed in some Southeast Asian and East Asian Buddhist traditions.
The term also denotes a movement initiated by the Tamil Alvars and Nayanars, focusing on gods such as Vishnu (Vaishnavism), Shiva (Shaivism), and Devi (Shaktism) in the latter part of the 1st millennium CE.
Devotional elements akin to bhakti have been integral to various world religions throughout history. Devotional practices are evident in Christianity, Islam, Buddhism, and Judaism.
Bhava
Bhāva is a Sanskrit term denoting the mental transformation resulting from the perception of a feeling or emotion, commonly known as Rasa. To comprehend this process of mental change arising from emotion or feeling, it is essential to consider four elements:
1. Sthāyī Bhāva - This is the initial transformation in the mind triggered by an emotion or feeling. Sthāyī Bhāva is described as the enduring change that occurs in the mind when a specific feeling takes hold. Once the particular emotion fades away, the alteration within the mind also dissipates, returning it to a normal state. The term "Sthāyī" implies endurance, as this Bhāva's existence relies on the presence of the emotion.
2. Sañcārī Bhāva or Vyabhicārī Bhāva - This represents another state of the mind, which, although secondary, remains complementary to the first. What emanates from the first is termed Sañcārī Bhāva in relation to Sthāyī Bhāva.
3. Vibhāva - The elements contributing to a Bhāva are referred to as Vibhāva. These can include various factors like music, spring, war, fire, a pair of lovers, etc., essentially forming the context or ingredients of a particular emotional state.
4. Anubhāva - All actions that express Bhāva are termed Anubhāva. Examples of Anubhāva include actions such as playing with eyebrows, jumping, smiling, or winking.
Each Rasa, or aesthetic essence, possesses its Sthāyī Bhāva, Sañcārī Bhāva, Vibhāva, and Anubhāva. (Refer to Rasa for further details.)
Bhinna Giti
A way of singing where the notes are used through a fast and enchanting articulation of Gamaka Alaṁkāra.
Bidari
Bidārī, a Sanskrit term, refers to the act of dividing. According to classical texts, there are two types:
a) Gīta Bidārī - When a composition or poem is divided into metric units, it is known as Gīta Bidārī, where "Gīta" translates to composition and "Bidārī" means divided.
b) Pada Bidārī - This type involves a division into melodic phrases. Specifically, Pada Bidārī occurs when the final note is one of the following: Aṁśa Svara, the Vādī note, or its Saṁvādī, both the fourth and fifth of the Aṁśa Svara or Anuvādī, the major third or sixth, and also the Nyāsa Svara or final note. It is important to note that the Nyāsa Svara, in some cases, is one of the notes mentioned above.
When a division is made, the final note is termed Apanyāsa Svara. Notably, the Apanyāsa Svara may coincide with the Aṁśa Svara or its Saṁvādī, or its Anuvādī. Similarly, the Nyāsa Svara can also be found as Aṁśa, Saṁvādī, or Anuvādī Svara.
Any note, excluding the Vivādī or dissonant of the Aṁśa Svara, can conclude a division, becoming a Sanyāsa Svara in that particular case.
When a phrase is further divided into minor fractions, the final note, if not the Vivādī compared to the Aṁśa Svara, is called Vinyāsa Svara. For example, in the phrasing of the Rāga Yaman, where the Aṁśa Svara or Vādī Svara is Ga, and the final note or Nyāsa Svara is Sa, the following cases arise:
a) Pada Bidārī with the use of Aṁśa Svara ṆRG
b) Pada Bidārī with the use of the Saṁvādī of Aṁśa Svara mDN
c) Pada Bidārī with the use of the Anuvādī of Aṁśa Svara mGP
d) Pada Bidārī with the use of the Nyāsa Svara of Yaman ṆRS
In these cases, the Aṁśa Svara becomes Apanyāsa Svara in the first case, the Saṁvādī of Aṁśa Svara becomes Apanyāsa Svara in the second case, the Anuvādī in the third, and the Nyāsa Svara in the fourth becomes Apanyāsa.
The example for Sanyāsa Svara will be explained later. A note, if not the Vivādī or dissonant of the Aṁśa Svara, for example, Ga in Yaman, is defined as Sanyāsa Svara if it occurs as the final note. In the diatonic major scale, Dha is not Vivādī or dissonant with Ga, so Dha can be used as the final note. Therefore:
e) Pada Bidārī with the use of a note that is not Vivādī or dissonant of the Aṁśa Svara mND. It is worth noting that, in this case, both Ni and Dha are Saṁvādī Svara with respect to Ga (Vivādī in Yaman). However, since Ni is considered by most as the Saṁvādī Svara of Yaman, Dha is excluded from being considered Saṁvādī Svara of Yaman.
A note that is not Vivādī or dissonant of the Aṁśa Svara could serve as the final note of small divisions of a phrasing or Pada. This applies when considering phrases of at least six notes, as dividing a phrase into three notes would be impractical.
f) Subdivisions of Pada Bidārī using a note that is not Vivādī or dissonant of the Aṁśa Svara: For example, consider a phrasing like mNDmDP, which, divided into two phrasings, becomes mND and mDP. In this case, both Dha and Pa are Vinyāsa Svara.
In summary:
(A) Vocal or instrumental music concludes on a Nyāsa Svara.
(B) Pada Bidārī concludes with an Apanyāsa Svara.
(C) A note that is not Vivādī or dissonant of the Aṁśa Svara, and not itself Apanyāsa Svara, can be a concluding note termed Sanyāsa Svara.
(D) The Vinyāsa Svara concludes a subdivision of a phrasing or Pada.
Bol or Vani
In instrumental music the different ways of producing a sound through percussion, plucking or beating are, in musical terminology, called Bol, designed to symbolize action. Each instrument has its own particular reference Bols. In most Indian stringed instruments the Bol alphabet is reduced to two terms:
(1) Inwards- which is called Saṁlekha in Saṁgītaratnākara and is represented by the syllable Ḍā.
(2) Outward- which is called Avalekha in Saṁgītaratnākara and is represented by the syllable Rā.
There is an exception to the rule in Sarod and in some cases in Esrāj, where the inward plucking is represented by the syllable Rā, while the outward plucking is represented by the syllable Ḍā.
In the Vīṇā the Bola are given inwards on the string dedicated to the melody and those on the Cikārī towards the outside. In practice in Vīṇā there is a particularity in the use of the fingers of the right hand, where the index finger striking inwards is represented by the syllable Ga, the middle finger striking inwards is represented by the syllable Ḍā, when they are used simultaneously -which happens rarely- the movement is called Rā. The Cikārī, on the other hand, are stimulated by the action of the little finger which is symbolized by the syllable Ra. In some cases, to give a duller effect to the strike on the main string, the ring finger without the plectrum or Mizrab is also used. The Bola for the Vīṇā of northern India are therefore three:
-Da
-Ga
-Rā.
From here various combinations derive such as Ghighi, Gheghe, Gheghāya, Drār, Ḍagara, Ghanā, etc.
In Rabāb, Sitār, Sarod and Esrāra there are only two syllables used:
-Da
-Rā
from here the various combinations have given rise to various rhythmic phrasings:
1.Ḍā
2.Rā
3.ḌāRā (where each stroke occupies the value of one beat or Mātrā)
4.Ḍere or Ḍiri (where each stroke occupies the value of half a beat or Mātrā)
5.Ḍrā
6.Raḍā
7.Dredā
8.Dredār
9.Ḍāḍār
10.Raḍār
11.Ḍārār
12.Raḍrā
13.Ḍāḍrā
In order to make it possible to perform the Bola relating to percussion, various phrases have been composed, here is an example:
Bola related to percussion Dhādhā terekete Dhāgeddhi Ghenenāg
Bola related to the instrument ḌāRā Ḍeredere Ḍārāḍḍā Raḍāḍār
In percussion the Bola alphabet used is much broader:
1.Ta
2.Da
3.Na
4.Tā
5.Ti
6.Nā
7.Nān
8.Tet
9.Te
10.Ṭe
11.Ḍe
12.Gen
13.Den
14.Dhen
15.Ga
16.Gha
17.Gā
18.Ghā
19.Gen
20.Ghe
21.Kat
22.Ka
23.Ke
24.Thu
25.Tun
26.Dhiṁgar
27.Dhāṁgar
28.Dhāgeddhi
29.Terkeṭ
30.Takiṭ
31.Krān
32.Kredhane
33.Dhumākeṭe
34.Jhāṁ
35. Gur
36.Thai
37.Tāṁu
38.Khur
39.Tittā
etc.
In the Saṁgītaratnākara the Bola of percussion are named Pāṭa, deriving from the name Pāṭaha percussion to which the paternity of all other percussion instruments is attributed.
In general, what is called Bola for instruments is called Vāṅī in singing, for example:
1.Tā
2.Nā
3.Dim
4.Tum
5.Nātā
6.Dāni
7.Dere
8.Dṛm
9.Num
10.Ālālum
11.Ali
12.Tele
13.Odāni
14.Oder
15.Dernā
16.Neri
These Vāṅīs are often used in the Ālāpa and Tarānā, just as the percussion Bola are sometimes sung. These syllables do not carry with them any meaning except in their rhythmic aspect, they are often preferred to underline the melodic-rhythmic aesthetics of the exposition and not otherwise distract the audience. For some, however, they are of doxological derivation.
My online music lessons are the perfect way to learn to sing, or improve the vocal techniques already acquired, or to start playing your favorite instrument or progress in your musical path through an alternative teaching method to Western teaching.
BASIC
Start your musical journey with a free,
no-obligation, one-hour introductory music lesson
STANDARD
Gain basic skills with the 10-hour music lesson package
+1 hour Free
PREMIUM
20 hours of advanced music lessons to improve your skills and learn new techniques.
The goal of my Indian classical music courses is to teach you the basics of this wonderful art form. You will learn about the various Ragas, or modal scales, the Talas or rhythmic cycles, and the vocal and instrumental techniques used for improvisation in Indian classical music.
What makes my approach to teaching indian classical music so distinctive?
My teaching system is obviously unique and different from others and I think that learning music following the traditional Indian approach is the most effective method regardless of genre: pop, jazz, world fusion, electronic, whatever musical style you if you are interested, I guarantee that thanks to the Indian perspective, you will have an edge over all the other musicians.
What will you learn?
During my lessons I use a variety of techniques and exercises to learn to improvise and compose. What you will learn in my Indian classical music courses will be based on the concepts of modal scale and rhythmic cycle, i.e. Raga and Tala. You will also learn vocal and instrumental techniques which, although based on Indian musical theory, also find application in the Western musical system.
Will the course suit you?
My courses are aimed to all musicians of all levels, beginners, intermediate and advanced, offering different study materials and techniques from the usual Western standards. All those who want to learn to play Indian classical music are welcome and no previous knowledge or experience is necessary to get started.
I can not wait to get to know you!
Contact me now! The first lesson is FREE!
%2018th-19th%20centuries%20b.jpg)
The main instruments of Indian Classical Music
The Sitar is the icon of Indian Classical music. The structure and tonal quality of this instrument is the result of several years of hard work and dedication of both the musicians and the master luthiers.
Goṭu Vādyama is a modified and developed form of Ektantri Veena, appeared on the scene of the Carnatic music system about hundred fifty years ago, it can be considered the Vichitra Veena of South India.
The name Rudra Vina, often written Rudra Veena, first appears in Nārada's Saṃgīta Makaranda between the fourteenth and fifteenth centuries and is supposed to be a derivation of the Kinnarī Vīṇā.
The Taus, the Dilruba and the Esraj are North Indian bowed instruments, all three with hybrid characteristics of the Sitar, such as long necks, fingerboard and metal strings, and of the Sāraṅgī such as the crafted soundboard Leather.
The Saraswati Veena, is very different from the Vīṇā of northern India. In fact, the arrangement of the main strings and cikari, the posture and the sound production techniques remain the same.
The Vichitra Vina, often written Vichitra Veena, saw its splendor towards the beginning of the twentieth century but many indications lead us to think that it is a developed and modified version of a very ancient instrument.
The Surabahar, often written Surbahar, was created, according to tradition, by Gholām Mohammad Khān, disciple of Piyār Khān and Omrāo Khān. Much larger than the Sitār, it is used, both in the Dhrupad and in the Khayal.
The Tampura is a fundamental instrument of Indian classical music, present in both the northern and southern systems. The function of this chordophone is to provide a sound in the background, that acts as a drone for improvisation.
In Arabic the term rebab indicates a bowed instrument; in fact the two half-moon inlets that characterize the shape of the Rabab's sound box suggest that it was only later converted into a direct pluck instrument.
The Svaramandala is a chordophone used by singers for accompaniment. Kallinatha in his commentary on Śārṅgadeva's Saṅgīta Ratnākara coincides the matakokilavīṇā of Bharata Muni's time with the Svaramaṇḍala,
The Sanṭoor is a dulcimer that has only recently entered Indian classical music scene. It is considered one of the most important developments of the twentieth century in Indian Classical music.
The transverse flute used in Indian classical music, is capable of reproducing all the delicate movements, ornamentations and nuances of the human voice. This instrument finds references in many sacred texts.
Among the main contributions of Indian instrumental technology, both in terms of production quantity and timbre quality, bifacial convex diaphragms occupy a place of primary importance in Indian Classical Music.
In the folk and tribal music of different regions of India, various types of stringed instruments are found with a very varied tradition. In the Rajasthani tradition there are more than ten types of Sāraṅgī.
This name derives from two sanskrit terms "pakshe vadya", or from the Persian "pakh awaz" which means soft sounding. The pakahwaj became the main percussion in the north, while the mridangam assumed centrality in the south.
The term Sarod, of Persian origin, means "song" or "melody". All hypotheses regarding the origin of the Sarod, are based on many assumptions and inferences. The general opinion is that it is a developed version of the Rabab,
One of the oldest and most widespread percussion instruments are the timpani, with a conical-shaped body, the skin of which is often struck with beaters modeled in an arched shape or simply straight, with a knobbed head.
The terms Shahana, Shahanay or Shennay identify the zurna, a wooden aerophone typical of Persian musical culture. In Iran we can still find various styles of this instrument which vary both in size and in the quality of wood used.
Tabla are the percussion instruments that best represent Indian musical culture. This instrument, used mainly in the Hindustani style, accompanies singing, instrumental music and dance.
The khol is the most used percussion in the north-eastern region of India, often linked to the Vaishnava cult of Bengal and Assam, it is also often called mridang since the body is made of terracotta (mrit means clay).
Probably in the past the pakhavaj and the mridangam presented much fewer differences and are in fact to be associated with a single archetype, but they developed over the centuries within two different styles,
Frame drums are very popular in India and the simplicity of manufacturing these instruments has facilitated their diffusion. They are in fact a thin strip of iron or wood bent into a circular shape with the two ends joined on which a membrane is applied.
The sound production techniques and the structure are identical to the shennay, the differences are mostly related to the dimensions and some small details. The double reed is fixed on a metal support which fits onto the wooden body.
The violin, which in India is also called Behalā, as we know, is one of the first Western instruments to have been introduced, more than a century and a half ago, into Indian music by Baluswamy Dikshitar (1786-1858), a great music scholar caranatica.
The Suraśṛṁgāra, often written Sursingar in many respects similar to the Surabahar, is a reinterpretation of the Rabab created in Benares under the supervision of Zafar Khān.
The moorchang, is a typical example of a universal instrument. In Italy it is a popular instrument called the wind chime or marranzano and although it takes on different forms, it is used all over the world.
The tavil belongs to the folk music tradition of South India, and is often played with a wind ensemble called periya melam. This percussion has a barrel shape with a single-layered stem, obtained from a single cylindrical block of wood.
Frame drums are very popular in India and the simplicity of manufacturing these instruments has facilitated their diffusion. They are in fact a thin strip of iron or wood bent into a circular shape.
The term bhanda vadya is used to indicate all terracotta percussion instruments with a spherical body, practically real vases of various shapes and sizes.
The term "Mohan veena" can denote one of two distinct plucked string instruments utilized in Indian classical music, particularly in Hindustani classical music, which is traditionally associated with the northern regions of the Indian subcontinent.