Dagar Vani
This genre likely developed in a region of India known as Ḍāgara. It is characterized by its poetic richness and intricate embellishments in contrast to the earlier Gauḍa Vāṅī. Various Alaṁkāra, including Mīḍ, Āśa, and Zamzamā, are employed extensively in this style. The predominant Rasas or emotions conveyed by this style are Śānta (peaceful), Karuṇa (pathos), and Madura (sweet or charming).
Dakshina Bharatiya
South Indian music system also known as Carnatic.
Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in South Indian languages, represents a musical system closely associated with South India. This region includes the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala, and Tamil Nadu. Rooted in ancient Hindu texts and traditions, particularly the Samaveda, Carnatic music is one of the two primary subgenres of Indian classical music. The other subgenre, Hindustani music, emerged distinctly due to Persian or Islamic influences from Northern India. Carnatic music places a primary emphasis on vocal performance, with most compositions designed for singing. Even when played on instruments, these compositions are intended to be performed in the gāyaki (singing) style.
Despite stylistic distinctions, both Carnatic and Hindustani music share fundamental elements such as śruti (relative musical pitch), svara (musical sound of a single note), rāga (melodic mode or formulæ), and tala (rhythmic cycles), forming the basis for improvisation and composition in both traditions. While improvisation is integral, Carnatic music primarily involves sung compositions, particularly the kriti (or kirtanam) form developed between the 14th and 20th centuries by composers like Purandara Dasa, Kanaka Dasa, and the Trinity of Carnatic music. Teaching and learning Carnatic music typically revolve around compositions. In its later developmental stage, Telugu prominently contributes to the evolution of Carnatic music. Most Carnatic compositions are in Telugu and Sanskrit, with some also in Tamil and Kannada.
Carnatic music is typically performed by a small ensemble of musicians, featuring a principal performer (usually a vocalist), melodic accompaniment (typically a violin), rhythmic accompaniment (commonly a mridangam), and a tambura, providing a continuous drone throughout the performance. Other instruments often used in performances include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena.
Damkham
A term formed by combining "Kham," signifying 'clap,' and "Dam," meaning 'restriction.' In the context of rhythm, which involves both accented and unaccented beats, the Mātras corresponding to a pause are labeled as Dam, while all the others are designated as Kham.
Daurha
In the Dhrupad tradition of the Mallik Gharana, this term refers to Layakari in Dhergun. This involves accelerating the speed of the melodic line by 1 and ½, while the rhythmic cycle remains consistent. Conversely, the reverse can occur, where the melody maintains its base speed, and the percussionist enhances the speed of the impromptu composition by 1 and ½.
Desi Sangeet
Regional music. In general all those styles that do not fall within the scope of classical music. In fact, this category includes folk music, pop music and film music, also known as Bollywood music. The kīrtana remain ambiguous to classify given that today they meet those criteria that would make them fall within the classical genre. In classical texts, however, a distinction is made exclusively between doxological music called Mārga Saṁgita and the other genres that fell into the Deśī Saṁgīta category.
Indian folk music is exceptionally diverse, reflecting the vast cultural variety across the nation. Sung in numerous languages and dialects, it resonates throughout India and has been exported worldwide due to migration.
Tamang Selo
Tamang Selo, a musical genre of the Tamang people, is widely cherished among the Nepali-speaking community in India and globally. Typically accompanied by traditional instruments like Damphu, Madal, and Tungna, modern instruments have found a place in contemporary compositions. Selo compositions range from lively and catchy to slow and melodious, expressing emotions like love, sorrow, and everyday stories.
Renowned as the pioneer of Nepali Folk songs and Tamang Selo, Hira Devi Waiba, recorded the first-ever Tamang Selo, "Chura ta Hoina Astura." Even after her passing in 2011, her iconic songs were re-recorded by her son Satya Aditya Waiba (producer) and Navneet Aditya Waiba (singer) in the album "Ama Lai Shraddhanjali" (Tribute to Mother).
Bhavageethe
Bhavageethe, translating to 'emotion poetry,' combines expressionist poetry with light music. This genre, popular in Karnataka and Maharashtra, draws from the works of poets like Kuvempu and D.R. Bendre. Notable performers include P. Kalinga Rao, Mysore Ananthaswamy, and Archana Udupa.
Bhangra and Giddha
Bhangra, a dance-oriented folk music of Punjab, and its female counterpart, Giddha, showcase the rich musical traditions of the region.
Lavani
Lavani, a popular folk form in Maharashtra, features traditional songs performed by female artists. Associated with the dance form Tamasha, Lavani involves various performers like the dancer (Tamasha Bai), helping dancer (Maavshi), drummer (Dholki vaala), and flute player (Baasuri Vaala).
Dandiya
Dandiya, a dance-oriented folk music, finds popularity in Western India, especially during Navaratri festivals. It has a rhythmic style derived from traditional music accompanying the Dandiya dance.
Jhumair and Domkach
Jhumair and Domkach represent Nagpuri folk music, featuring instruments like Dhol, Mandar, Bansi, Nagara, Dhak, Shehnai, Khartal, and Narsinga.
Pandavani
Pandavani, a folk singing style, narrates tales from the ancient epic Mahabharata with musical accompaniment, often portraying Bhima as the hero. This form of folk theatre is popular in Chhattisgarh and neighboring tribal areas.
Bauls
Bauls of Bengal, influenced by Hindu tantric and Sufi sects, play music using instruments like khamak, ektara, and dotara. Known for their mystical approach, Bauls seek the internal ideal, "Maner Manush."
Bhatiali
Bhatiali, cultivated by oarsmen and fishermen in erstwhile Bengal, features songs sung during the Ebb phase or those originating from the Bhati area. Prominent singer Nirmalendu Chowdhury contributed significantly to this genre.
Bihu
Bihu songs, celebrated during the Assamese new year and other occasions, showcase themes like love, nature, and daily life. Bihu music employs instruments like dhol, pepa, gogona, and toka, reflecting Oriental influences.
Garba
Garba songs, sung in honor of Hindu goddesses and gods during Navratri, add a festive touch to the celebrations.
Dollu Kunita
Dollu Kunita, a group dance from North Karnataka, involves 16 dancers wearing drums who perform rhythmic beats. The dance is led by a cymbal player, creating varied patterns.
Kolata/Kolattam
Kolata/Kolattam, a traditional folk dance in Andhra Pradesh, Karnataka, and Tamil Nadu, involves men and women dancing together with colored sticks.
Telangana's Janapadha Geyalu
Telangana's folk music, part of the Telangana movement, features prominent singers like Gaddar, Belli Lalitha, and Deshapati Srinivas.
Uttarakhandi Music
Uttarakhandi folk music, rooted in nature and cultural traditions, reflects the Himalayan way of life. Instruments like dhol, damoun, and turri accompany songs in languages like Kumaoni and Garhwali.
Veeragase
Veeragase, a vigorous dance form from Karnataka, draws inspiration from Hindu mythology, featuring intense and energy-sapping movements.
Naatupura Paatu
Naatupura Paatu, Tamil folk music, encompasses Gramathisai (village folk music) and Gana (city folk music), showcasing a rich cultural tapestry.
Indian folk music, with its diverse styles and regional flavors, continues to be a vibrant expression of the country's cultural mosaic.
Dha
Mnemo-technical term of the Tabla and Pakhawaj which in particular indicates in the Tintal the Sama and the Tali where the musician and the accompanist meet.
Dhaivata
Dhaivata is the sixth grade in the Indian musical scale, is frequently represented as Dha or D. It encompasses three microtones, namely Ramyā, Rohinī, and Madantī. The Ṥuddha Dhaivata is situated on the Ramyā Ṥrutī, although, in rare instances, and particularly in more modern contexts, it may be considered in the Madantī Ṥrutī.
Dhamar
Dhamāra Tāla, a distinctive Tāla variety, lends its name directly to a composed Dhrupada when utilized. Typically, these Dhrupadas exhibit a light nature, often centered around themes of love.
In instances where the text pertains to the Holi holiday, these compositions are referred to as Horī. Dhamāras frequently incorporate the Nauhāra Vāṅī and various Alaṁkāras, which are often restricted in traditional Dhrupadas.
Originating in a time predating the existence of the Khayal style, the Dhamāra served to alleviate the audience from the seriousness associated with Dhrupada. This form became so popular that it continues to be recognized as Dhamāra, attributed to a specific rhythmic cycle. Dhamar is a tala employed in Hindustani classical music, associated with the dhrupad style, and typically performed on the pakhawaj or tabla.
The Dhamar taal consists of 14 beats (matras) organized asymmetrically into a 5-2-3-4 pattern.
The theka or syllabic pattern of the dhamar tala is:
.png)
Dhatu
The structural components of a musical composition are referred to as Dhātu. Typically, a composition consists of four or five Dhātus, although lighter compositions may have only two.
The five paragraphs or Dhātus are as follows:
1. Udgrāha: The opening paragraph or first stanza, known as Udgrāha Dhātu.
2. Melāpaka: The paragraph connecting the opening with the Dhruva.
3. Dhruva: The paragraph or a portion thereof repeated after the musician's improvisation. According to classical texts, Melāpaka and Ābhoga paragraphs can be omitted, but never the Dhruva Dhātu.
4. Ābhoga: The last paragraph or stanza containing the author's name.
5. Antara or Antarā: The paragraph between the Dhruva and Ābhoga, resembling the Tuka Aṁśa, Kali, or Caraṇa used today.
While the Dhruva is akin to the Sthāyī Tuka, Antara and Ābhoga are similar to their contemporary forms. The Melāpaka Dhātu shares similarities with the Sañcārī Tuka, combining Udgrāha and Dhruva, and influencing Sthāyī and Antara Tuka by merging both.
Though Udgrāha, mentioned in classical texts, is now obsolete, parallels can be drawn with what is perceived as a prelude, akin to the introduction of Rāgas known as Aucār Ālāpa.
In modern compositions, an additional paragraph is often included within a Gat or composition, known as Māṁjhā or Māṁjā. Formally part of the Sthāyī, it is introduced between the initial and final paragraphs.
Dhrupad
Dhrupad, derived from the terms 'Dhruva,' meaning immovable or fixed, and 'Pada,' meaning text or word, refers to a form of musical composition. 'Dhruva Pada,' translating to immovable text, is used for literary compositions dealing with attributes and prayers to God, and is now commonly known as 'Dhrupada.' The exact origins of this musical form are unclear, with some attributing it to Nāyaka Gopāla and Baijū Bārvā, while others credit Mānsingh of Gwālior (1486-1526) with its introduction.
Miyān Tānsen's compositions remain archetypal in the Dhrupada tradition. Though some lineages occasionally mention Nāyaka Gopāla and Baijū Bārvā, Miyān Tānsen and his lineage, which has evolved in three directions, are widely acknowledged. The direct school, Rabābī Gharānā, focuses on Dhrupada composition in Gauḍa, Gauḍahāra, or Gobarahāra Vāṅī.
Miyān Tānsen's daughter's lineage, known as Binkār Gharānā, employs the Ḍāgara, Nauhāra, and Khaṇḍāra Vāṅī. These are the two primary lineages stemming from Miyān Tānsen. Additionally, Miyān Tānsen's son, Sūrat Sen, founded the Seniyā Gharānā in Jaipur, recognized today as the Jaipur Gharānā.
Typically, Dhrupada comprises four stanzas or sections—Sthāyī, Antara, Sañcārī, and Ābhoga. These compositions exhibit a solemn character, often addressing themes of moral rectitude and wisdom. The use of slow rhythmic cycles and the scarcity of light or fast rhythms contribute to the somber nature of Dhrupada compositions.
The contents of these compositions vary, with some exploring emotional activities of the God Kṛṣna and others delving into philosophical themes. Regarding the use of various Tālas, compositions employing Dhamāra Tāla are termed Dhamāra, those using Jhāṁptāla are Sādarā, and those containing themes related to God Kṛṣna during spring holidays are called Horī. Occasionally, Ṭappās also incorporate themes akin to Horīs, but the latter specifically denote Dhrupada compositions in Dhamāra Tāla.
The term Dhrupad is also used to identify a genre within Hindustani classical music, holds the distinction of being the oldest known major vocal style associated with this tradition. It is deeply rooted in the rich cultural tapestry of the Indian subcontinent and shares connections with Haveli Sangeet of Pushtimarg Sampradaya and the South Indian Carnatic tradition.
The historical lineage of Dhrupad is associated with prominent figures such as Swami Haridas, Surdas, Govind Swami, Asht Sakha of Haveli Sangeet, and later, Tansen and Baiju Bawara. When Dhrupad compositions center around Bhagwan Shri Vishnu or his incarnations, they are specifically termed Vishnupad.
In its contemporary form, Dhrupad is performed by a solo singer or a small ensemble accompanied by the pakhavaj. The Rudra Veena, surbahar, and sursringar are traditional instruments used in Dhrupad, known for their deep bass register and long sustain.
Dhrupad's diverse stylistic variants, or "banis," include Gauri (Gauhar), Khandar, Nauhar, and Dagar. Each bani is tentatively linked to five singing styles known from the 15th century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani. The Dagar family, known for the Dagar Gharana, is one of the most well-known gharanas within the Dhrupad tradition.
Beyond concert performances, Dhrupad continues to be sung in temples, displaying variations such as the use of bells, finger cymbals, and the mrdang drum. The gharanas associated with Dhrupad, including Dagar, Bishnupur, Darbhanga, Dumraon, and Bettiah, have contributed to its rich legacy, with notable artists preserving and propagating this ancient musical form.
Dhuna
A melody that deviates from the established rules of a Raga, relying on the artist's free improvisation, is termed as Dhuna. In instrumental music, it is common to incorporate elements from folk, Thumri, or Tappa styles. Dhunas often derive their names from a specific Rāga or a reference Ṭhāṭa, with frequent associations with Kāfī, Bhairavi, or Khamaj. Occasionally, Dhunas may adopt nuances from multiple Rāgas instead of adhering to a single one.
Dhurana
An element among the ten Svara-Lakṣanas within the Dagar tradition, it signifies the method of blending notes in an ascending sequence. In this approach, the volume of a note is reduced in consecutive pairs, enhancing the intensity of the preceding one. The corresponding technique executed in a descending sequence is referred to as Murana.
Dhuya
Alternative name for Dhruva. The first line of a composition that is repeated continuously, on which most of the rhythmic-melodic variations are built. Sometimes the Sthāyī also takes the name of Dhuyā.
Dhvani
This term indicates the sound and in particular the musical note.
Drut Laya
A fast tempo in musical compositions, this term is relative as it is twice the Madhya Laya or intermediate tempo, and correspondingly, four times the speed of the Vilambit Laya or slow tempo.
Dugun
The second degree of speed in an extemporaneous composition. The rhythmic-melodic variations that present two notes or two beats for each Matra.
Dumni
Women who traditionally derived support through performances solely dedicated to a female audience were known as Dumnī, setting them apart from women who entertained a male audience.
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.