Taal: rhythmic cycle in Indian music
It likely originates from the term 'Taal,' signifying 'being established.'
Within the rhythmic realm of music encompassing vocals, instruments, and dance, Taal assumes a nearly identical significance, serving as the means 'through which' music is 'established' or regulated in time.
Time, being boundless, manifests musically when a segment of it is delineated through the arrangement of sounds—accented or unaccented, marked or light, fast or slow—gaining identity and form from the continuous flow of time. This delineated segment then transforms into musical time.
The potential rhythmic variations or beats, contingent upon the distinct characteristics of each Taal , are virtually limitless. However, every rhythmic cycle is associated with a specific number of Mātrā. The fundamental distinction between a Mātrā and a beat lies in the fact that the former is a regular time division interval, capable of being played or not, while the latter is the expression of the Mātrā through a stroke or sound object against another.
The presence of the Mātrā is more sensed than heard, whereas the beat is perceived through auditory reception.
Bola, the mnemonic syllables used to articulate the composition of the rhythmic cycle, are reintroduced to the instrument by the percussionist, highlighting the meeting point called Sama with a stronger accent and employing a much lighter stroke for its counterpart, Khālī, Viṣama, or Phāṁk (empty, though not truly empty). The expression of the latter is predominantly characterized by tonal lightness to distinguish it from other beats.
Regarding Tinatl as a reference, in the subdivision into bars, Sama, translating to 'together,' is denoted by an 'X,' while Khālī or empty is represented by a zero '0.' All other bars are indicated using a numerical sequence, where Atīta, or 'that which comes after the Sama,' is designated by the number '2,' and Anāgata, or 'when the Sama has not yet arrived,' is marked by the number '3.'
Talim
Tālīm is an Urdu term meaning 'lesson'.
Taan
This term originates from the root 'Tan,' meaning 'to be spread.' Consequently, anything that 'spreads' a Rāga is referred to as Tāna. In a metaphorical sense, this term can signify the act of composing extemporaneously, commonly known as Vistāra.
Classical texts identify two types of Tāna:
- Ṥuddha, where the notes are employed in a natural order, such as SGPD,
- Kūṭa, where any order that does not adhere to the natural sequence is used, for example, SPGD.
Various nomenclatures exist based on the number of notes utilized, including:
- Ārcika Tāna, utilizing a single note, where Ārcika stems from the enunciation of mantras employing a single tone,
- Two-note Gāthika, named after the Gāthā rhythm,
- Sāmika, deriving its name from the SāmaVeda, employing three tones,
- Svarātaras, originating from the intermediate section of a scale, specifically the fourth degree,
- Five-note Auḍuva,
- Six-note Ṣāḍavas,
- Seven-note Sampūrṇa.
Each seven-note scale can feature seven Mūrcchanā, one for each note, irrespective of whether the scale includes accidentals. Furthermore, various combinations following Ṥuddha or Kūṭa trends can be derived from each seven-note scale. These combinations are termed Prastāra. In the case of a seven-note scale, there are five thousand and forty Prastāras, and considering various Mūrcchanā, there are three million seventeen thousand nine hundred twenty-seven distinct combinations of seven notes with a Kūṭa trend. Notably, Prastāras for three and four notes include one for Ārcika Tāna, two for Gāthika, one hundred and twenty for Auḍuva, seven hundred and twenty for Ṣāḍavas, and as mentioned earlier, five thousand and forty for Sampūrṇa.
Sāmika Prastāra
SRG, RSG, SGR, GSR, RGS, GRS
Svarātara Prastāra
1.SRGM 2.RSGM 3.SGRM 4. RGSM 5.GSRM 6.GRSM
7.SRMG 8.RSMG 9.SMRG 10.MSRG 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
It is important to highlight that the first and last models are categorized as Ṥuddha, whereas all the others fall under the Kūṭa classification. The systematic arrangement of these combinations is compiled in a table known as Khaṇḍmeru or Mīḍkhaṇḍa.
In Khayal practice, two primary categories of Tāna are commonly observed:
1. Bola Tāna, where the emphasis lies on the enunciation of syllables in vocal Tāna or the prominence of Bola in instrumental Tāna, all while maintaining attention to the melody.
2. Svara Tāna, wherein the melody serves as the exclusive focal point of interest for the listener.
The potential for crafting patterns within Tāna is nearly limitless, often exhibiting diverse nomenclatures and structures across various schools.
Listed below are potential reference models:
1 Āśā - A glissando between two notes where the interval is prolonged.
2 Bakrā - Applied in vocalization, where each note is individually articulated with a subdued voice to replicate the resonance resembling that of a goat.
3 Bal - GMPM GMPM RGŅS
4 Balsapāṭa - DNṠṘ ĠṘDĠ ṘṠND PMGR S
5 Bharat - SRGM RG GMP GMGR S
6 Biḍār - SRG ḌṆS PMG RSŅ GRS PḌŅ S. Unexpected. In its pure form S and P are omitted.
7 Bijalī - ṖṀṘĠ ṠNDP MGRS. It is a variety of Sapat but faster.
8 Bolatāna - Articulation of the lyrics in the sung text.
9 Caḍti - SRS GRG PDP Ṡ
10 Cakkara - SGRS RMGR GPMG MDPM
11 Chūṭ - ṠṘĠ SRG NDPM GRS
12 Dhaḍkā - SS RR GG MM PP DD N DP MG RS
13 Ḍolnā - ṠṠ DD NN PP DD MM PP GG MG RS
14 Gajatāna - SGR RMG GPM MDP. Performed at high speed.
15 Gamakī - G^^GRS N^^ND M^^M GRS.Using the Gamaka technique.
16 Ghis - Like the Suṁt but without the accent.
17 Guthāva - Ġ-ĠṘ ṠN, Ṙ- ṘṠ ND, N – ND PM, D – DP MG PM GR S
18 Halaka - Sung with the lower part of the throat
19 Halkā - ND PM GR S, DP MG RS PM GR S, MG RS, GR S, RS
20 Havāī - SR GM GR, MP DN DP, NṠ ṘĠ ṘṠ, ND PM GR S
21 Joḍ - SSRR SSGG RRGG RRSS
22 Kaḍkā - GG RG GG. MM GM MM, PP MP PP. DD PD DD, NN DN ŚŚ
23 Kadmā o anche Phulajhuḍī - ṠṘṠN DNṠṘ ṠN DNṠṘ ĠṘṠN DNDN ĠṘṠN
24 Kākī -Produce an effect similar to the cawing of a crow
25 Kampita - ĠĠĠĠ ṘṘṘṘ ṠṠṠṠ NNNN, Using the Gamaka technique.
26 Khaṭaka - SR GG RS, MM RG RS, PD PM RG RS
27 Khaṭkā - SR RG GM MP DN ŚN ND DP PM MG GR RS
28 Kheḍ - The omission of one or more notes due to error.
29 Huli - Using the vowels 'A' and 'O'
30 Koyel - S G -, G P -, P N -, N Ṡ-
31 Kūta - S R – R, G M – M, P D – D, N Ṡ - Ṡ
32 Laḍī - GR GM PM GR, GM PG MG PM GR, GM GR PM GR S
33 Laḍī-Lapeṭ - SRGM PMGR GMPM GR GMGR GRSṆ S
34 Laḍī-Phirat - GMGR MGR MGR GMGR DPMG RS
35 Laḍī-Sapāṭa - SRGS RGSR GMPM GRSṆ DPMG RS
36 Lapaka - SG RM GP MD PN DṠ
37 Lapeṭa - SR GM GR, GM PD PM, DN ṠṘ, ṠN, DN DP MP MG RG RS
38 Mār - SRGM RGMP GMPD MPDN. With slow and sinuous movements
39 Mīḍ - RGMP MGRSusing the glissando technique
40 Mīḍkhaṇḍī - DNṠṘ DṘNṠ NDṠṘ DNṘṠ DṘṠN ṘṠND
41 Miskī - Prodotto con voce smorzata
42 Miṭ - The arrangement of notes and syllables intertwined in a manner that causes them to lose their distinct identity.
43 Mudi - Using the vowels 'A', 'I', 'U' and the diphthong 'AU'
44 Mūraka - ṠNṘṠ NDṠN DPND MGPM GRMG RSGR S
45 Mūrkī - ŚNŔŚ NŚ PMDP MP GRMG RG SṆRS ṆS
46 Nākī - Nasal sound production. It should be considered a flaw.
47 Paṭaka - S – R, R- G, G – M, M - P
48 Pālṭi - SRGM MGRS GMPD DPMG
49 Phandā - NN DP MG RS, ṠṠ NN DP MG RS, ĠĠṘṠ ND PM GR S
50 Phikrābandī - PM GP MG RG RM RG MP PM P MP. An unexpected combination of notes.
51 Phirkat - SR GM GR, GM PM GR, GM PD ND PM GR
52 Reraka - ṠN ND DP PM, Gamaka technique distinguishes it from Khaṭkā
53 Sapāṭa - ṠNDP MGRS ; ṖṀĠṘṠNDPMGRS ṆḌ
54 Sphurita S- S R--, R- R G –, G-G M --
55 Sumiṭa - Un altro nome del Miṭ
56 Suṁt - SP PMGR S. Like the Mīḍ but imitating the Āśā with a slightly prolonged glissando.
57 Suṁtkārī - ṠŔ ṠṠ ND PM GR S, passing the exhalation from the palate
58 Tākī -Expressed with the vowel 'e'
59 Tāṅgan - Which resembles the neighing of a horse
60 Ṭhoka - ĠĠ - Ġ – Ṙ Ṡ N, ṠṠ – Ṡ – N D P
61 Ulṭi - GM RG SR ṆS ḌṆ P̣Ḍ ṂḌ P̣
62 Upaja - PMGRS, RGMGRS
63 Uṭ - DD PP MGRS ṆS
64 Utarti - ṠNṠ DPD GRG S
65 Vartaniā - SRG RGM GMP MPD
66 Yugala Bandha - a. a variety of Bolatāna b. ṠNDP ṠNDP NDPM NDPM GRSṆ GRSṆ S
67 Zābḍā - Where the jaw swings considerably
68 Zamzamā - SRSR SGRG SRSR SMGM PPPP MMMM GGGG RR S
69 Zhapak - S R G M DPMG RS. Where the first part is slow and the second fast.
70 Zhar - PP GG DD MM GG NN DD PP GG RR SS RR GG
71 Zhaṭak - SR GM DPMG RS, P MGRS, N DPMGRṆS
72 Zhaṭkā - GGG GGG GGRS ṆS
Tappa
One of the four primary genres of Indian classical music, alongside Dhrupada, Khayal, and Ṭhumrī, it has its roots in the folk music of Punjab. Gholām Nabī of Ayodhyā played a crucial role in its evolution, embellishing it with various Alaṁkāra, Zamzamā, and Giṭkārī, thereby elevating its standards to those of other classical forms. This refinement is evident in the incorporation of diverse ornaments throughout the lyrical content.
The compositions attributed to the creative brilliance of Gholām Nabī are referred to as Shaurī. Some interpret this as a pseudonym for the author, while others believe it to be the name of his wife.
In Bengal, the accomplished Rāmanidhi Gupta (1741-1828) crafted Bengali Ṭappās, widely known as Nidhu Babu.
Tarana, Telena or Tillana
Vocal compositions that blend rhythm and melody and, as some believe, incorporate nonsensical terms. This genre of composition is valued for its rhythmic elegance, deliberately crafted without a semantic framework, aiming to treat the voice as an instrument and highlight the expressive potential of singing, even in the absence of meaningful lyrics.
The incorporation of dental and palatal sounds, contributing to the name Tarānā due to its onomatopoeic nature, enables the execution of rapid expositions. This style likely serves as the foundation for the instrumental Razakhānī style.
Taraparana
A rhythmic percussion composition known as Paraṇa, performed on string instruments (Tār meaning string).
For instance:
Percussion pattern: Kredhā - Ne Dheṭe Dheṭe Dhāge Trekeṭ Tunā Katā
String instrument pattern: Dredā - Rā Dere Dere Dārā Dredā Rādā Dārā
Taraf
Two separate terms:
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'Tarafha' signifies 'side.'
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'Tarafh' denotes 'to vibrate.'
These terms refer to the sympathetic strings typically positioned on the side of the soundboard. Operating on a physical principle, these strings vibrate without direct contact but are instead stimulated through sympathetic resonance.
The instruments equipped with this string system are termed Tarafhdār.
Examples include:
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Sitar
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Surbahar
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Vichitra Vina
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Sarangi
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Dilruba
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Esraj
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Sarod
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Mohan Veena
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and others.
Tarasaptak
The upper octave is commonly denoted by a dot placed above the notational letters representing the musical notes.
Three essential vocal ranges in the human body are identified, corresponding to the heart, the throat, and the head. These are respectively referred to as Mandra (low), Madhya (intermediate), and Tāra (high).
Consequently, the notes generated from the heart are labeled as Mandra, those emanating from the throat are termed Madhya, and the ones originating from the head are known as Tāra.
Tauryatrika
The three divisions of music encompassing vocal, instrumental, and dance include:
1. Aupapattika, denoting theory. This term is derived from "Upapatti," signifying origin.
2. Kriyāsiddha, representing practice, where "Kriyā" refers to 'work,' and "Siddha" implies 'perfected.'
Tayaf, Tavayafh or Tawaif
A Persian-derived term that signifies 'a dancing girl,' often proficient in singing Ṭhumrī or Ghazal alongside her dance performances.
Traditionally, these girls were employed to entertain guests during religious or social ceremonies. In colloquial terms, they are commonly referred to as Bāī.
Thapiya
Distinctive term denoting the rhythmic pattern for the Pakhawaj, Dholak, or Mrdanga.
Thaat
An abstraction with a rather modern essence, likely invented to meet the academic needs of Western mindset. When seven notes are articulated following the natural ascending order, it is referred to as an octave, Ṭhāṭa, Krama, Mela, or scale. The descending movement is simply named Avaroha. Considering the existence of twelve semitones and the requirement of seven of these to create a Ṭhāṭa, Vyaṅkatamukhī's Caturdaṇḍiprakāśikā indicates the presence of seventy-two different scales. Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe later selected ten of these with the intention of classifying approximately one hundred ninety-five principal Rāga in the Hindustani music system. However, many musicians do not agree with this classification. Currently, the major scale is identified with the Bilāvala Ṭhāṭa: SRGMPDN. Each Ṭhāṭa is named after a Rāga that utilizes those specific notes, and beneath each one, a certain number of Rāga are grouped, often having nothing in common except for the presence of the same notes. Following is the description proposed by Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe:
1. Kalyāṇa SRGmPDN
2. Bilāvala SRGMPDN
3. Khamāj SRGMPDn
4. Bhairava SrGMPdN
5. Pūrvī SrGmPdN
6. Mārwa SrGmPDN
7. Kāfī SRgMPDn
8. Āsāvarī SRgMPdn
9. Bhairavī SrgMPdn
10. Toḍī SrgmPdN
The number of Rāga can only be considered approximate and relative solely to the research conducted by Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe. Considering this classification, we have:
1. Scale utilizing the augmented fourth degree
2. Natural scale
3. Scale utilizing the diminished seventh degree
4. Scale utilizing the diminished second and sixth degrees
5. Scale utilizing the diminished second and sixth degrees and the augmented fourth degree
6. Scale utilizing the diminished second and augmented fourth degrees
7. Scale utilizing the diminished third and seventh degrees
8. Scale utilizing the diminished third, sixth, and seventh degrees
9. Scale utilizing the diminished second, third, sixth, and seventh degrees
10. Scale utilizing the diminished second, third, sixth, and seventh degrees, and the augmented fourth degree
It is evident that these scales have been associated with the names of certain Rāga for mnemonic purposes.
To this classification, a system of three groups Auḍuva, Ṣāḍava, and Sampūrṇa, called Jati, is added, referring to the use of five, six, and seven notes, respectively. According to Hindustani musicology, the use of at least five notes is essential to define any Rāga melody. The exception to the rule is the Rāga Mālaśrī, which uses only four notes. Rāga that gives names to the reference scales are called Melakartā (the lord of scales), Janaka Rāga (father of Rāga), and Āśraya Rāga (which provides refuge to Rāga). However, it must be noted that this is mere academic speculation; in reality, there are often no relationships between Rāga belonging to the same Ṭhāṭa. Furthermore, each scale loses its character once it is expressed through a Rāga.
In the Western system, there are seven scales derived from the major scale.
The first is the natural major scale corresponding to the Bilāvala Ṭhāṭa. In the Western system, it is called the Ionian scale, with half-tone intervals placed between the III and IV degrees and between the VII and VIII degrees. Taking the note C as the tonic, this will be called the C Ionian scale.
Shifting the tonic up by one degree yields the Dorian scale with half-tone intervals placed between the II and III degrees and between the VI and VII, corresponding to the Kāfī Ṭhāṭa. It should be emphasized that the resulting scale becomes the D Dorian scale, but what matters to us in this case are the tonal relationships within the scale.
Moving the tonic up by two degrees yields the Phrygian scale with half-tone intervals placed between the I and II and between the V and VI degrees, corresponding to the Bhairava Ṭhāṭa. In this case, the resulting scale will be the E Phrygian scale.
Moving the tonic up by three degrees yields the Lydian scale with half-tone intervals placed between the IV and V and between the VII and VIII degrees, corresponding to the Kalyāṇa Ṭhāṭa. In this case, the resulting scale will be the F Lydian scale.
Moving the tonic up by four degrees yields the Mixolydian scale with half-tone intervals placed between the III and IV and between the VI and VII degrees, corresponding to the Khamāj Ṭhāṭa. In this case, the resulting scale will be the G Mixolydian scale.
Moving the tonic up by five degrees yields the Aeolian scale with half-tone intervals placed between the II and III and between the V and VI degrees, which has no corresponding scale in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system. In this case, the resulting scale will be the A Aeolian scale.
Moving the tonic up by six degrees yields the Locrian scale with half-tone intervals placed between the I and II and between the VI and V degrees, corresponding to the Māravā Ṭhāṭa. In this case, the resulting scale will be the B Locrian scale.
With this system, each major scale can generate a series of new scales that, while retaining the same notes, assume their autonomy in relation to the degree that gradually takes on the role of the tonic of each scale. Thus, all Dorian scales, for example, will be equal to each other, having the same constitution and note distances. This holds true for all modal scales in the Western system and is evident in the Western system since the tonic is relative.
If, instead, we choose the melodic minor scale as the starting point:
The first is the melodic minor scale, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system, with half-tone intervals placed between the II and III degrees and between the VII and VIII degrees.
Shifting the tonic up by one degree yields the Dorian minor scale with a lowered second degree, with half-tone intervals placed between the I and II degrees and between the VI and VII, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system.
Moving the tonic up by two degrees yields the Lydian augmented scale with half-tone intervals placed between the V and VI and between the VII and VIII degrees, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system.
Moving the tonic up by three degrees yields the Lydian dominant or Mixolydian scale with an augmented fourth degree, with half-tone intervals placed between the IV and V and between the VI and VII degrees, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system.
Moving the tonic up by four degrees yields the Mixolydian scale with a diminished sixth degree or Hindu, with half-tone intervals placed between the III and IV and between the V and VI degrees, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system.
Moving the tonic up by five degrees yields the Locrian scale with a diminished third degree, with half-tone intervals placed between the II and III and between the IV and V degrees, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system.
Moving the tonic up by six degrees yields the Super Locrian scale with half-tone intervals placed between the I and II and between the III and IV degrees, which has no correspondences in Paṇditjī Viṣṇunārāyaṇa Bhātakhaṇḍe's system.
It should be noted that the Ṭhāṭa Āsāvarī, Pūravī, Bhairavī, and Toḍī do not have corresponding modal scales in the Western system.
The term Thaat also indicates the frets of a fretted string instrument.
Theka
The term's literal significance is 'support.'
Within the musical domain, it denotes a percussion composition that distinctly portrays the rhythm, known as Chanda, along with the beats or Mātrā and the Tāla, representing the rhythmic cycle.
The strikes, delineated through Bola's mnemonic techniques, are emphasized to characterize the Tāla's nature.
Compositions accompanied by percussion heavily rely on the Ṭhekā, which is alternated with extemporaneous creations.
Thumri
A concise composition of profound aesthetic significance, the Ṭhumrī constitutes one of the four primary forms of Indian classical music, alongside Dhrupada, Ṭappā, and Khayal. While it is considered an evolution from Khayal, and Khayal itself is seen as an evolution from Dhrupada, such theories should be approached with caution.
In comparison to Khayal, Ṭhumrī is shorter in duration and exhibits a substantial presence of ornamentation in the interplay of notes. Another distinctive feature of this form is its mode of exposition, often influenced by the subject matter of the lyrics and the mood of the vocalist or musician.
Throughout the years, three principal schools or Gharanas of Ṭhumrī have emerged:
1. The Lucknow Gharana, established by Wāzid Alī Shāh
2. The Benares Gharana, with uncertain origins but popularized by singer Muizuddin Khān around the turn of the nineteenth and twentieth centuries
3. The Punjabi Gharana, which integrates the Lucknow style with the traditional folk music of Punjab.
Among these, the Benares school is known for its solemnity and sobriety, rarely blending multiple Rāga and using notes without excessive ornamentation, allowing their purity to shine through and deeply resonate with the listener, evoking a sense of serenity.
Conversely, the Lucknow school explores lighter themes, rich in ornamental expressiveness, where each note appears as a cluster of embellishments. This style incorporates a significant use of Alaṁkāra, and the tempo is faster compared to the Benares style.
The Punjab style, in addition to its regional characteristics, stands out for its unexpected combinations of notes.
A distinct genre within Ṭhumrī is the Lācāva Ṭhumrī, often portraying the heroine's sacrificial attitude, with 'Lācāva' signifying 'the act of bending.' Love-themed songs frequently fall into this genre.
Ṭhumrī also serves as the name for a specific Rāga and Tāla.
Tihai
The Hindi term, meaning 'one third,' is derived from the expression 'Tin Tihāī,' signifying 'three thirds creating a unity.'
The concluding part of a musical phrasing, formed by the three segments of a Tihāī, always concludes on the Sama or on the Mukra.
This rhythmic structure generates an anticipation in the listener, fulfilled by consistently concluding on the first beat of the rhythmic cycle.
There are four categories of Tihāī:
1. Plutātiyugala of 13 Mātrās, embedded in a Cautāla, commences and concludes on Sama.
Dheredhere Kat | Dhā Katā | Katā Dheredhere| Kat Dhā | Katā Katā | Dheredhere Kat | Dhā (X)
In this example, the primary phrase is 'DheredhereKatDhā,' while 'KatāKatā' is regarded as a connecting phrase.
2. Atiyugala of 11 Mātrās, embedded in a Cautāla, initiates from the third Mātrā and concludes on the Sama.
Dheredhere Kat | Dhā Katā | Dheredhere Kat| Dhā Katā | Dheredhere Kat | Dhā (X)
In this case, the main phrase remains 'DheredhereKatDhā,' with a single 'Katā' serving as the connecting phrase.
3. Yugala of 9 Mātrās, embedded in a Cautāla, begins from the fifth Mātrā and concludes on the Sama.
Dheredhere Kat | Dhā Dheredhere | Kat Dhā | Dheredhere Kat | Dhā (X)
Here, the main phrase remains 'DheredhereKatDhā,' while the connecting phrase 'Katā' is omitted.
4. Ghāṭiyugala of 7 Mātrās, embedded in a Cautāla, starts from the seventh Mātrā and concludes on the Sama.
Dheredhere Kat | Dheredhere Kat | Dheredhere Kat | Dhā (X)
In this instance, the main phrase remains 'DheredhereKat,' and the Bola 'Dhā' concludes the Tihāī on Sama.
Each Tihāī can be repeated three, nine, or twenty-seven times and is referred to as Cakradāra.
Tip
Informal manner of describing the high register. It likely originates from the Sanskrit term 'Ṭīpa,' denoting the practice of playing a flute by selectively uncovering the hole near the mouth support to produce the Sa of the higher octave.
Tivra-Komala Svara
The tones situated midway between the natural note and its corresponding flat note.
In modern interpretation, only Tīvra Komala Ga and Tīvra Komala Ni are employed, for instance, in the Rāga Bhīmapalāśrī.
Tivra Svara
Modification of the sharp note, specifically pertaining to Ma, although some also use these terms to describe the natural notes Re, Ga, Dha, and Ni.
Toda
When Bols with specific rhythmic-compositional significance are employed in Tāna, they are referred to as Toḍā.
In the 'shudda' Tāna, the Bols hold no significance and do not inherently draw any particular attention, in contrast to the case of Toḍā.
Toḍā is utilized in both Gat for melodic instruments and in percussion instruments such as Tablā but is never employed in vocal performances.
Tripalli
A Ṭukḍā or a Gat for percussion that incorporates three distinct rhythmic variations within the composition,
Trivati
A diverse set of compositions including a minimum of three out of the four elements of a Caturaṅga.
Tuk
It denotes a "section," akin to the concept of a movement in European classical music.
In Dhrupada, there exist four (occasionally five) melodic lines or stanzas:
1. Sthayī,
2. Antarā,
3. Sancārī,
4. Abhoga.
For some, it serves as a synonym for Sañcārī.
In Khayal and various other musical forms, typically only the first two stanzas, Sthāyī and Antarā, are employed. However, instrumentalists from the first half of the 1900s introduced an intermediate stanza referred to as Māṁjā or Māṁjhā, which assumes the nature of the Sañcārī.
Tukda
A segment.
A rhythmic or melodic phrase crafted as a segment of a Tāla, or in simpler terms, a set of beats arranged within a cycle.
A Ṭukḍā, whether in percussion or instrumental context, should feature uncomplicated Bols and conclude with a Khuli Bols; for some, it may culminate with a Tihāī.
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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.