Halak Tana
This term refers to a type of Tāna commonly found in Indian classical music singing. This vocal technique involves producing ornamental phrases from the rear part of the throat.
Halka Taan
A type of Taan or Vistāra where the Svarapada (phrases) gradually decrease in length.
For example: GG RS RG RG - MM GR GM GM – PP MG MP – DD PM PD – NN DP – MM GR – GG – RR – S.
In this case, we have a combination like: 8+8+6+6+4+4+2+2+1.
If, for instance, this phrasing is used in a tintal madhyalaya, we would have a 20-matra phrase plus the final note to be dropped on the Sam or to be reintroduced on the Mukda.
Harmony
When two or more sounds blend simultaneously, harmony is already at play. This phenomenon exists in nature and manifests through the occurrence of harmonics. By examining the relationships among natural harmonics, we inherently grasp the relative connections between different notes. This awareness has persisted in all musical systems since ancient times. The Western, or Euro-cultured, exploration has given rise to the entire development of multi-voice systems, delving into the study of harmony and counterpoint, broadly speaking.
Concerning the Hindustani system, it's crucial to note that, aside from the impossibility of reasoning as in a tonal system, harmony is present even in the use of the Tanpurā, a chordophone dedicated to creating a drone. Here, the constant presence of the first, fifth, and octave is notable. In other instances, there may be the inclusion of the first, fourth (occasionally augmented), and octave. On very rare occasions, you might find the first, sixth, or seventh (sometimes diminished) and octave. While the Hindustani system is often labeled as modal, further Western-oriented studies are necessary to incorporate adjectives that can more accurately describe this reality.
Modal harmony is a musical concept that revolves around the harmonic relationships within a specific musical mode or scale. Unlike traditional Western tonal harmony, which is centered around a tonic and its related chords, modal harmony emphasizes the unique characteristics of different modes.
In modal harmony, the focus is on the intervals between the notes in a scale and the distinctive tonal color or mood associated with each mode. The modes, such as Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian, offer a diverse palette of sounds, each with its own set of intervals and emotional qualities.
One notable aspect of modal harmony is the avoidance of traditional functional chord progressions common in tonal music. Instead, modal compositions often explore the harmonic possibilities within a specific mode, allowing for a more flexible and less predictable harmonic language.
Modal harmony has a rich history, with modal music being prevalent in various cultures and musical traditions around the world. In Western classical music, modal elements were prominent in medieval and Renaissance compositions before the widespread adoption of tonality. Modal concepts also play a significant role in folk music traditions globally.
In contemporary music, modal harmony has experienced a resurgence, especially in genres such as jazz and certain forms of popular music. Jazz musicians, in particular, often explore modal improvisation, allowing for greater freedom and experimentation with harmonic structures.
Modal harmony encourages musicians to think beyond traditional tonal constraints, fostering creativity and innovation in composition and improvisation. It offers a unique sonic landscape, allowing for a diverse range of emotions and expressions, making it a valuable and adaptable tool in the musician's toolkit.
Hindustani Paddhati
The term Hindustāni Paddhati denotes the Hindustani musical system, prevalent in Northern India, distinguishing itself from the Carnatic style that emerged in the southern regions of the Indian subcontinent. In broad terms, the influence of Persian musical cultures, introduced during the Mughal dynasty, became a defining factor in the distinction between Hindustani and Carnatic genres. Notably, a considerable number of representatives of the Hindustāni Paddhati are musicians of the Islamic faith, seamlessly incorporating Hindu forms of the divine into their performances.
The introduction of certain sounds to Western audiences can be attributed to the Beatles, specifically George Harrison. However, prior to this, violinist Yehudi Menuhin and saxophonist John Coltrane had explored Indian music, particularly the Khayal style, as detailed later. These three musicians, representing the realms of Pop Music, classical music, and Jazz, respectively, were influenced by sitarist Pandit Ravi Shankar in their artistic productions.
A pioneering figure, French musicologist Alain Daniélou, had delved into the study of Indian music three decades earlier. While his approach was more theoretical than performative, his focus was primarily on the Dhrupad style, despite possessing a comprehensive collection of recordings, studies, and manuscripts covering various aspects of Indian music.
Notably, guitarist John McLaughlin is credited as perhaps the first to integrate different styles, introducing Rāga and Tala concepts into Jazz.
Defining the term Rāga poses challenges. It involves the "juxtaposition" of musical notes, adhering to specific rules that stimulate aesthetic enjoyment for the listener. This juxtaposition differs from compositional harmony due to the improvisational and soloistic nature of the music, coupled with the absence of harmony and counterpoint. Precise rules govern the creation of countless Rāgas, distinguishing masters and musicians based on their profound knowledge of these rules.
Key elements in describing a Rāga include its name, rules for ascending and descending movements, presence or absence of note alterations, relationships between tetrachords, "hierarchical" note relationships, numerical nature of the scale, progression of notes, exposure timing, and a distinctive short phrase for immediate recognition.
The term Tāla signifies the rhythmic cycle supporting Rāga exposition. Each Tāla is linked to a specific number of pulsations, introducing a fundamental aesthetic element in Indian music where the cycle's merging points coincide with the end and beginning of all variations to the theme.
North Indian music comprises four styles:
1. Dhrupad
2. Khayāl
3. Thumrī
4. Tappa
Dhrupad, with its name meaning "immovable," embodies a solemn and sober musical form. Originating in the 13th century, it generally consists of four stanzas and focuses on themes of moral rectitude and wisdom.
Khayāl, meaning "joking fantasy," is the most widespread style today. It evolved from Dhrupad, embracing more embellishments and expressive nuances. Three distinct styles within Khayāl are recognized, each marked by its unique characteristics.
The instrumental form of Khayāl involves both a purely instrumental and vocally influenced approach, known as gayaki, where instrumentalists emulate the singing style.
Thumrī, considered an evolution of Khayāl, is shorter in duration, emphasizing ornamentation, and influenced by the object treated in the text and the performer's mood.
Tāppā, born from Punjab's folk music, was elaborated to the levels of classical forms. Compositions known as Shaurī introduced various rhythmic and melodic ornaments.
In conclusion, beyond these classical genres, modern compositions known as Ādhunika Saṁgīta or modern music exist, encompassing film music and pop genres. The challenge lies in categorizing these forms within Western-defined terms that might not precisely capture their essence. Nevertheless, recognizing distinctions between classical and non-classical genres in the Hindu tradition underscores the diversity and richness of Indian musical expressions.
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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.