Pada
Among the various meanings of this Sanskrit term, the interpretation of 'word' or 'phrase' is under consideration. Similar to how literature employs various words to convey a concept, Padas are crafted to articulate the essence of a Rāga. For a Pada to fulfill this role, it must consist of a minimum of two notes and can extend up to a maximum of the seven available. Consequently, a concise phrasing like 'RG' or a more extended one such as 'ḾDNḾDP' can delineate Rāga Toḍi. In cases where small phrases may represent multiple Rāgas, one must await the Pada that exhibits the distinctive characteristics of the Rāga, as each Rāga has various phrasings that define its uniqueness.
Pada Bidari
Pada Bidari denotes the division into melodic phrases, specifically when the concluding 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's important to note that Nyāsa Svara, in some instances, is one of the mentioned notes.
When such a division occurs, the concluding note is termed Apanyāsa Svara. It's noteworthy that the Apanyāsa Svara may align with the Aṁśa Svara or its Saṁvādī or Anuvādī. Similarly, the Nyāsa Svara can be found as Aṁśa, Saṁvādī, or Anuvādī Svara.
Any note, excluding the Vivādī or dissonant of the Aṁśa Svara, can serve as a concluding note, becoming a Sanyāsa Svara in that specific case.
Upon further division of the phrase into minor fractions, if the final note is not the Vivādī concerning the Aṁśa Svara, it is termed Vinyāsa Svara. For instance:
In the phrasing of Rāga Yaman, where the Aṁśa Svara or Vādī Svara is Ga and the final note or Nyāsa Svara is Sa, we have:
(a) Pada Bidārī using Aṁśa Svara ṆRG
(b) Pada Bidārī using the Saṁvādī of Aṁśa Svara mDN
(c) Pada Bidārī using the Anuvādī of Aṁśa Svara mGP
(d) Pada Bidārī using the Nyāsa Svara of Yaman ṆRS
In this illustration, the Aṁśa Svara becomes Apanyāsa Svara in the first case, the Saṁvādī of Aṁśa Svara in the second case becomes Apanyāsa Svara, the third case becomes Anuvādī, and in the fourth case, the Nyāsa Svara becomes Apanyāsa.
Details on Sanyāsa Svara will be provided later. If a note, not the Vivādī or dissonant of the Aṁśa Svara, serves as the final note, for example, Ga in Yaman, it is termed Sanyāsa Svara. In the diatonic major scale, Dha is not Vivādī or dissonant with Ga, so Dha can be utilized as the final note. Hence:
(e) Pada Bidārī using a note that is not Vivādī or dissonant of the Aṁśa Svara mND. It's essential to note that in this specific case, both Ni and Dha serve as Saṁvādī Svara concerning Ga (Vivādī in Yaman), but since most consider Ni as the Saṁvādī Svara of Yaman, it is excluded that Dha is also regarded as Saṁvādī Svara of Yaman.
A note that is not Vivādī or dissonant of the Aṁśa Svara could become the final note of small divisions of a phrasing or Pada. This consideration applies when analyzing phrases consisting of at least six notes, as dividing a phrase into three notes would be nonsensical.
(f) Subdivisions of Pada Bidārī utilizing a note that is not Vivādī or dissonant of the Aṁśa Svara; for instance, consider a phrasing like mNDmDP, which, when divided into two phrases, becomes mND and mDP. In this case, both Dha and Pa function as Vinyāsa Svara.
In conclusion:
(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 or is not itself Apanyāsa Svara can serve as a concluding note, termed Sanyāsa Svara.
(D) Vinyāsa Svara concludes a subdivision of a phrasing or Pada.
Refer to Bidārī for more details.
Padala
The translation of Bols, which are mnemonic syllables used in Indian percussion, is manifested through the physical movements of the hands. These Bols, in turn, can be structured in harmony with the rhythm of a Sanskrit couplet or Ṥloka, referred to as Paḍāla.
Pakad
In addition to the guidelines governing the ascending and descending patterns of a scale and the interplay between various notes, most Ragas possess a distinctive musical phrase that serves to define them. The repetition of this specific phrasing accentuates the uniqueness of each Raga, facilitating its recognition. The Pakad, often synonymous with terms like mukhya ang and swarup, plays a crucial role in classifying Ragas. The term "Pakad" translates to 'grasp' in Hindi and is also referred to as the face of the Rāga.
It is essential to note, however, that not all Ragas have a definitive Pakad, and in numerous cases, variations exist. This category is somewhat arbitrary and has been introduced by contemporary musicologists, acknowledging the fluid and dynamic nature of Ragas, which may not adhere to fixed phrasings.
Pancham
The fifth swara of the scale, known as Pa or P in Sanskrit, signifies 'the fifth.' Within the Ṣaḍja Grāma, this fifth swara, also referred to as Pa, encompasses four Ṥrutīs: Kṣiti (or Kṣamā), Raktā, Sandīpinī, and Ālāpinī. Its natural form is found on the latter. When Madhyama acquires two Ṥrutīs, specifically Kṣiti and Raktā, aligning itself with the latter, Ma undergoes augmentation and is denoted as 'Kaḍi Ma' or 'ma.' This gives rise to Tivrā Madhyama, as per contemporary terminology, although it is more accurately considered Pa Komala or flat. However, this distinction does not occur precisely because both Pa and Sa are termed Acala Svara and cannot be altered. Pañcama, much like Ṣaḍja, is termed Svayambhū or self-emanated. This concept in the realm of music is known as Ṣaḍja-Pañcama Bhāva, with Pa serving as the principal consonant and Saṁvādī of the tonic.
Parana
In Saṁgītaratnākara, the term 'Tāla-Paraṇa' is employed to signify 'bridging the space within a Tāla.' Hence, when the concluding segment of a precomposed Ṭhekā is executed with improvised movements by the percussionist, this action is termed Paraṇa. It is also referred to as Tālaparaṇa or Ṭhekā-Paraṇa. In a broader context, anything played on percussion that does not fit into the Ṭhekā category can be characterized as Paraṇa.
Pardun
A tempo that is twice as fast, known as Pardūna, the speed is quadrupled compared to the original Laya. When two sounds are generated within a single beat, this action is termed Dūna, and its double, involving four sounds within one beat, is referred to as Pardūna.
Parkhada or Parkhaja
The deepest range within the lower octave, referred to as Mandra Saptak, is termed Parkhāda, where 'Par' signifies 'after' and 'Khāda' denotes the low octave.
Parmatha
When Laḍī and Laḍaguthāo are executed partially on the string designated for the melody and partly on the Cikārī, it is termed Paramāṭhā. It is important to note that this technique has become obsolete.
The term seems to have roots in the Sanskrit term Pratimaṇṭha; however, it does not carry the same significance as mentioned in the Saṁgītaratnākara.
(Refer to Ālāpa for additional details.)
Paat
The alphabet used by the Bols of percussion in Indian classical music.
1.Ta
2.Da
3.Na
4.Tā
5.Ti
6.Nā
7.Nān
8.Tet
9.Te
10.Ṭe
11.Ḍe
12.Ten
13.Den
14.Dhen
15.Ga
16.Gha
17.Gā
18.Ghā
19.Ge
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.Kredhāne
33.Dhumākeṭe
34.Jhāṁ
35.Gur
36.Thai
37.Tāṁu
38.Khur
39.Tittā
Peradi
A rhythmic alteration known as Perāḍī occurs when, within a rhythmic cycle of sixteen beats, ten and a half Bols are played, each having a value of 1 and 11/21 in relation to the value of an original beat.
Peskar
A modification of a Ṭhekā, the variation involves introducing different accents and executing Bola in various ways after the initial presentation. This variation includes both Khuli and Mudi Bola.
Phamk
The emphasized beat in a Tāla is referred to as 'Sama,' whereas the upbeat, unaccented beat is known as 'Phāṁk' or 'Kali.' When dividing the beats of a sixteen-beat rhythmic cycle into two equal parts of eight beats each, the interval representing Phāṁk (Kali) will be directly opposite the 'Sama.' Another term used to denote this accent is Viṣama.
Pharad
A term characterized by its onomatopoeic nature, it finds application in the Tablā as a form of Ṭukḍā concluding with the phrasing 'Katdherekeṭetāk Dhā.' Typically, it is executed at twice the speed of other Bols.
Pharasbandi
In percussion instruments like the Tablā, it serves as a type of Ṭukḍā employed as an introduction in solo or accompanying performances.
Phirat
For some, it serves as another term for 'Firkat,' while for others, it is an alternative to 'Palṭi,' a form of Tāna.
Prakara Bheda
Various forms exist within Indian classical music, categorized as Anibaddha and Nibaddha. The former represents a musical form entirely devoid of rhythmic constraints, such as Tāla or any metrical structure, akin to the initial segment of the Ālāpa. In contrast, the latter is intricately connected to rhythm and Tāla, where these elements play a pivotal role. Examples of this category include songs, Tarānā, Gat, Saragam, and more. The Ālāpa itself encompasses both forms, united by the Joḍ.
In the expansive realm of Indian sub-continental music, the concept of Gharānā introduces a fascinating dimension. Within Gharānās, Rāgas with identical names may exhibit significant variations. Field theorists have highlighted the challenge of cataloging all these variations comprehensively. This work, drawing from Bimalakanta Roychaudhuri's "The Dictionary of Hindustani Classical Music," presents a list indicating the number of existing varieties within the same Rāga and another list categorizing Rāgas belonging to the same group, including mixed Rāgas. For further exploration, the Hindustani Rāga Index, compiled by Patrick Moutal, proves to be an insightful guide.
List 1: Number of Varieties of the Same Rāga Present in Different Gharānās:
1 Āḍambarīkānhaḍā 2
2 Āśā 2
3 Āsāvarī 2
4 Bādahaṁsa Sāraṅga 4
5 Bāgeśrī 2
6 Bahādurī Toḍī 2
7 Barvā 2
8 Basavarā 2
9 Bhavasākha 2
10 Bhīma 2
11 Bhinna Ṣaḍja 2
12 Bhūpāla Toḍī 2
13 Bihāga 2
14 Bihāgaḍā 2
15 Cañcalasasamalhāra 2
16 Candrakauśa 2
17 Chāyātoḍī 2
18 Citragaurī2
19 Darbārīkānhaḍā 2
20 Deśagauḍa 2
21 Deśakāra 2
22 Devagiri Bilāvala 5
23 Dhanāśrī 2
24 Dhavālaśrī 2
25 Dhuliyā Sāraṅga 2
26 Dipaka 2
27 Durgā 2
28 Gāndhārītoḍī 2
29 Gauḍamalhāra 2
30 Gaurī 6
31 Gorakha Kalyāṇa 4
32 Guṇakrī 2
33 Haridāsī Malhāra 2
34 Hema 2
35 Hindola 2
36 Jaṅglā 3
37 Jayajaya Bilāvala 2
38 Jayanta Bihāga 2
39 Jayet 4
40 Jayet Kalyāṇa 2
41 Zilaf 2
42 Jogiyā 2
43 Kāfī 2
44 Kaukubha Bilāvala 2
45 Khamāj 2
46 Khaṭ 2
47 Kṣema Kalyāṇa 2
48 Lācārī Toḍī 5
49 Laṅkādahana Sāraṅga 4
50 Madhumādhavī Sāraṅga 5
51 Malaśrī 2
52 Māligaurā 3
53 Māṁjha 2
54 Māṅgala Bhairava 3
55 Māru 2
56 Māru Kedāra 2
57 Meghamalhāra 2
58 Miyān Kī Sāraṅga 5
59 Nārāyaṇī 2
60 Nāyakī Kānhaḍā 4
61 Nīlāmbarī 2
62 Pahāḍī 2
63 Palāśrī 2
64 Pañcama 7
65 Paṭamañjarī 3
66 Firozkhānī Toḍī 2
67 Pilū 2
68 Prabhātabhairava 3
69 Pratāpalaṅkeśvara 2
70 Pūravī 2
71 Pūrvā 2
72 Rāmakalī 4
73 Sāmanta Sāraṅga 2
74 Ṥaṅkarā Aruṇa 2
75 Ṥaṅkarābharaṇa 2
76 Ṥaṅkarākaraṇa 2
77 Sāvanī 2
78 Sāverī 2
79 Ṥivmata Bhairava 2
80 Sohanī 3
81 Ṥuddha Kauśa 2
82 Ṥuddha Malhāra 2
83 Ṥuddha Sāraṅga 2
84 Ṥuklabilāvala 2
85 Sūradāsī Malhāra 2
86 Surāṭī Kānhaḍā 2
87 Ṥyāma Kalyāṇa 3
88 Tilaka Kāmoda 3
89 Triveṇī 2
90 Varāṭi o Vararī 2
91 Vasanta 6
92 Vibhāsa 4
93 Vṛndāvanī Sāraṅga 2
94 Yamana 4
List 2. Different Rāgas belonging to the same category.
I Bahār
1Aḍāṇā
2 Bāgeśrī
3 Bhairava
4 Bhairavī
5 Hindola
6 Jaunapurī
7 Lalita
8 Mālakauśa
9 Sohanī
10 Ṥuddha
11 Sūhā
II Bhairava
1 Ādi
2Ahīra
3 Ānanda
4 Auḍuva
5 Bangālī
6 Bilāskhānī
7 Kallinātha
8 Komala
9 Māṅgala
10 Naubadkhānī
11 Palāśrī
12 Pañcamukhī
13 Prabhāta
14 Ṣāḍava
15 Sāmanta
16 Sarasvatī
17 Ṥivamata
18 Śrī
19 Ṥuddha
20 Ṭaṁka
21 Vairāgī
22 Vasanta
23 Viṣṇu
III Bhairavī
1 Ānanda
.2 Āśā
3 Kasaulī
4 Kauśī
5 Palāśrī
6 Sāmanta
7 Sindhu
8Sindhurā
9 Sohana
10 Ṥuddha
11 Toḍī
IV Bihāga
1 Deva
2 Hema
3 Jayanta
4 Komala
5 Mālava
6 Māru
7 Naṭa
8 Paṭa
9 Rainī
10 Ṥuddha
V Bilāvala
1 Ahīrī
2 Ahīrī Bhairava
3 Alhaiyā
4 Auḍuva
5 Auḍuva Devagiri
6 Bangālī
7 Devagiri
8 Haṁsa
9 Hema
10 Jayajaya
11 Kṣema
12 Kukubha
13 Lacchāsākha
14 Māru
15 Mudrā
16 Mudrika
17 Naṭa
18 Sarpardā
19 Ṥuddha
20 Ṥukla
21 Vibhāsa
22 Yamanī
VI Gaurī
1 Citra
2 Lalitā
3 Mālīgaurā
4 Māravā
5 Ṥuddha
6 Ṭaṁkī
VII Jhiṁjhiṭa (Jhiṁjhoṭī)
1 Deva
2 Gārā
3Kasaulī
4 Lūma
5 Nūrapurī
6 Pahāḍī
7 Ṥuddha
VIII Kalyāṅa
1 Bhoga
2 Bhūp
3 Bilāskhānī
4 Candra
5 Chāyā
6 Dīpaka
7 Gorakha
8 Guṇa
9 Hamīra
10 Hema
11 Jaita
12 Kāmoda
13 Kedāra
14 Kṣema
15 Myān Kī
16 Pūrvā
17 Pyāra
18 Rainī
19 Ravi
20 Ṥaṅkara
21 Sāvanī
22 Ṥuddha
23 Ṥyāma
24 Yamana
IX Kāmoda
1 Gopī
2 Hema
3 Karuṇa
4 Śrī
5 Ṥuddha
X Kānhaḍā
1 Āḍambarī
2 Bāgeśrī
3 Bhūpa
4 Bilāskhānī
5 Candramukhī
6 Darbārī
7 Daulatī
8 Devaśākha
9 Husaynī
10 Jayantī
11 Kauśika
12 Khamājī
13 Kolāhala
14 Mudrā Kī
15 Nāgadhavani
16 Naubadkhānī
17 Nāyakī
18 Palāśrī
19 Pañcamukhī
20 Sindūrā
21 Ṥuddha
22 Sughrāī
23 Sūhā
24 Sūhā-Sughrāī
25 Surathī
26 Vāsantī
XIKauśa
1 Bhava
2 Candra
3 Māla
4 Māṅgala
5 Rava
6 Ṥuddha
7 Sūrya
XII Kedāra
1 Cāṁdnī
2 Jaladhara
3 Komala
4 Maluhā
5 Manohara
6 Māru
7 Sāvanī
8 Ṥuddha
XIII Khamāj
1 Ahaṁ
2 Gārā
3Hamīra
4 Jhiṁjhiṭa (Jhiṁjhoṭī)
5 Lūma
6 Ṥuddha
7 Tilaṁga
XIV Malhāra
1 Aruṇa
2 Bilāsī
3 Cañcalasasa
4 Carjū Kī
5 Deśa
6 Dhuṁdhi Kī
7 Dhuriyā
8 Gauḍa
9 Hā-Hā-Hū-Hū
10 Haridāsi
11 Jāja
12 Jayajayantī
13 Kāmoda
14 Madanamañjarī
15 Mathurādāsakī
16 Megha
17 Mīrābāī Kī
18 Myān Kī
19 Naṭa
20 Naubadkhānī
21 Purānī
22 Rāmadāsī
23 Rūpamañjarī
24 Sat Kī
25 Sohana
26 Ṥuddha
27 Sūradāsī
28 Suraṭha
XV Naṭa
1 Bṛhannaṭa
2 Chāyā
3 Gauḍa
4 Kāmoda
5 Kedāra
6 Naṭakindra
7 Naṭakurañjikā
8 Naṭanārāyaṇa
9 Ṥuddha
XVI Rāmakalī
1 Komala
2 Paraja
3 Ṥuddha
XVII Ṥaṅkarā
1 Aruṇa
2 Bharaṇa
3 Karaṇa
4 Ṥuddha
5 Ṥudhaṁkarā
6 Varaṇa
7 Yamana
XVIII Sāraṅga
1 Baḍaṁsa
2 Bhīma
3 Dhuliyā
4 Gauḍa
5 Gaurahāra
6 Laṅkādahana
7 Luma
8 Madhumādhavī
9 Māru
10 Myān Kī
11 Raktahaṁsa
12 Sāmanta
13 Sāraṅgī
14 Sarpa
15 Ṥuddha
16 Ṥukla
17 Suraṭhī
18 Suta
19 Vṛndāvanī
XIX Toḍī
1 Adāraṅgī
2 Ahīrī
3 Aañjanī
4 Āsāvarī
5 Bahādurī
6 Bhūpāla
7 Bilāskhānī
8 Chāyā
9 Chāyālī
10 Darbārī
11 Deśī
12 Devagāndhāra
13 Firozkhānī
14 Gāndhārī
15 Gāndrikā
16 Gurjarī
17 Jaunapurī
18 Kāfī
19 Khaṭa
20 Komala Deśī
21 Lācārī
22 Lakṣmī
23 Mārgī
24 Myān Kī
25 Prabhātapaṭa
26 Rāma
27 Ṥuddha
28 Turkī
29 Varārī
XX Vasanta
1 Gopī
2 Lalita
3 Pañcama
4Paraja
5 Śrī
6 Ṥuddha
7 Basantabahār
8 Basantabhairava
9 Basantamukhārī
10 Basantanārāyaṇī
Pramana Sruti
Both Bharata and Śārṅagadeva discuss the concept of Pramāṇa Ṥrutī for determining the perceptible value of a Ṥrutī to the human ear.
In the Ṣaḍja Grāma, the fifth degree, Pañcama, encompasses four Ṥrutīs—Kṣiti (Kṣamā), Raktā, Sandīpinī, and Ālāpinī—being naturally situated on the latter. Pa serves as the primary consonant and functions as the Saṁvādī of the tonic. Positioned at a distance of thirteen Ṥrutīs from Ṣaḍja, Pa, and the other consonant, Madhyama, maintains a gap of nine Ṥrutīs from Ṣaḍja.
Examining the Saṁvādī of the second degree, Ṛṣabha, it aligns with Dhaivata, the sixth tone, separated by thirteen Ṥrutīs in both Grāmas. However, when considering the distance of nine Ṥrutīs from the second tone, there is an absence of a note.
Conversely, within the Madhyama Grāma, Pañcama resides on its third Ṥrutī, Sandīpinī, becoming the Saṁvādī of the second degree, Ṛṣabha, positioned at a distance of nine Ṥrutīs from the latter.
Dhaivata, located at a distance of thirteen Ṥrutīs, mirrors its role in the Ṣaḍja Grāma. In both Grāmas, Dhaivata emerges as the Saṁvādī of Ṛṣabha, although in the Madhyama Grāma, it manifests as a note of four Ṥrutīs, having acquired Ālāpinī from Pañcama.
Pañcama, acting as the Saṁvādī of Ṣaḍja in the Ṣaḍja Grāma, undergoes a microtone reduction to serve as the Saṁvādī of Ṛṣabha in the Madhyama Grāma.
Playing both scales simultaneously would reveal the distinctiveness between the two Pañcamas, illustrating the frequency difference known as the Pramāṇa Ṥrutī—an audible microtonal value to the human ear.
Prastara
This term refers to the permutation of musical notes through all possible combinations.
Given the existence of seven fundamental notes, there are mathematically five thousand and forty (5040) different combinations that can be derived from this process.
This procedure is known as Prastāra, and each of these resulting combinations is referred to as Tāna.
However, if only six notes are taken into consideration, the potential combinations reduce to seven hundred and twenty (720).
For a group of five notes, there are one hundred and twenty (120) variations.
A group of four notes produces twenty-four (24) combinations.
A group of three notes can be arranged in six (6) different ways.
In the case of a group of two notes, only two (2) combinations are possible.
Clearly, with just a single note, there is only one possibility.
For example:
Sāmika Prastāra 3 notes:
- SRG, RSG, SGR, GSR, RGS, GRS
Svarātara Prastāra 4 notes:
1. SRGM
2. RSGM
3. SGRM
4. RGSM
5. GSRM
6. GRSM
7. SRMG
8. RSMG
9. SMRG
10. MSR
11. RMSG
12. MRSG
13. SGMR
14. GSMR
15. SMGR
16. MSGR
17. GMSR
18. MGSR
19. RGMS
20. GRMS
21. RMGS
22. MRGS
23. GMRS
24. MGRS
Prastāra 5 notes 120 combinations:
1.SRGMP 7.SRMGP 13.SGMRP 19.RGMSP
2.RSGMP 8.RSMGP 14.GSMRP 20.GRMSP
3.SGRMP 9.SMRGP 15.SMGRP 21.RMGSP
4. RGSMP 10.MSRGP 16.MSGRP 22.MRGSP
5.GSRMP 11.RMSGP 17.GMSRP 23.GMRSP
6.GRSMP 12.MRSGP 18.MGSRP 24.MGRSP
25.SRGPM 31.SRPGM 37.SGPRM 43.RGPSM
26.RSGPM 32.RSPGM 38.GSPRM 44.GRPSM
27.SGRPM 33.SPRGM 39.SPGRM 45.RPGSM
28. RGSPM 34.PSRGM 40.PSGRM 46.PRGSM
29.GSRPM 35.RPSGM 41.GPSRM 47.GPRSM
30.GRSPM 36.PRSGM 42.PGSRM 48.PGRSM
49.SRMPG 55.SRPMG 61.SMPRG 67.RMPSG
50.RSMPG 56.RSPMG 62.MSPRG 68.MRPSG
51.SMRPG 57.SPRMG 63.SPMRG 69.RPMSG
52. RMSPG 58.PSRMG 64.PSMRG 70.PRMSG
53.MSRPG 59.RPSMG 65.MPSRG 71.MPRSG
54.MRSPG 60.PRSMG 66.PMSRG 72.PMRSG
73.SGMPR 79.SGPMR 85.SMPGR 91.GMPSR
74.GSMPR 80.GSPMR 86.MSPGR 92.MGPSR
75.SMGPR 81.SPGMR 87.SPMGR 93.GPMSR
76. GMSPR 82.PSGMR 88.PSMGR 94.PGMSR
77.MSGPR 83.GPSMR 89.MPSGR 95.MPGSR
78.MGSPR 84.PGSMR 90.PMSGR 96.PMGSR
97.RGMPS 103.RGPMS 109.RMPGS 115.GMPRS
98.GRMPS 104.GRPMS 110.MRPGS 116.MGPRS
99.RMGPS 105.RPGMS 111.RPMGS 117.GPMRS
100. GMRPS 106.PRGMS 112.PRMGS 118.PGMRS
101.MRGPS 107.GPRMS 113.MPRGS 119.MPGRS
102.MGRPS 108.PGRMS 114.PMRGS 120.PMGRS
Purvanga
In the musical scale of Indian classical music, there are two recognized tetrachords: a lower tetrachord known as Purvamga and an upper tetrachord known as Uttaranga.
The lower tetrachord, Purvamga, serves as the foundation for the development of certain Ragas, with a focus on this section of the scale.
Refer to Ang for more information.
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+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!
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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.