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SWAR: There are 7 Shuddha Swars forming a Saptak.In western music, the first note of the higher Saptak is also included to make it an Octave. Sa, Re, Ga, Ma, Pa, Dha, Ni (Do, Re Mi, Fa, Sol, La, Ti, Do) There are other very important intermediate Swars as under- Komal R between Sa and Re, Komal G between Re and Ga, Teevra M between Ma and Pa, Komal D between Pa and Dha, and Komal N between Dha and Ni. In all it takes 12 successive notes to form "one repeat" of the scale. Only the frequency of C is a whole number, rest all are fractions. Following are (approximate except for Sa) frequency in Hertz of middle octave in C scale. Each note is roughly 1.06 times (Twelfth root of 2 =1.059463094359...) the preceding note. In Hindustani Classical Music, there are also intermediate Swars other than Shudh, Komal and Teevra Swars, e. g., Ati Komal Re and Anu Komal Re (I am not going into that). Sa = 256 Hertz = C Komal Re = 271 Hertz = C# (C-Sharp), Shudh Re = 287 Hz = D, Komal Ga = 304 Hertz = D#, Shudh Ga = 323 Hertz = E Shudh Ma = 342 Hertz = F Pa = 362 Hertz = F# Komal Dha = 384 Hertz = G Shudh Dha = 406 Hertz = G# Komal Ni = 431 Hertz = A Shudh Ni = 483 Hertz = Bb (B-Flat) Higher Sa = 512 Hertz = C To sing in tune the ratio of notes is to be kept perfect. The reference note 'Sa' can be 255 Hertz and a musical instrument can be tuned accurately to 255 Hertz. It will not be exact International 'C' Scale. Even with this shift, if all accompanying musical instruments can tuned but then the ratio step up from Sa to Re has to be maintained. You also have the liberty of taking any one of C, C#, D, D#, E, F, F#, G, G#, A, Bb as "Sa". You must feel comfortable with the Scale. OCTAVES : The frequency of note C is 256 Hertz in the middle octave. In the Higher octave C becomes 512 Hertz and further higher up it is 1024 and so on. The lowest audible frequency of human ear is typically 20 Hertz and the highest is 20,000 Hertz. The lowest audible C note is 32 Hertz, next 64, then 128 and so on, the highest audible C being 16384 Hertz. A human ear can hear and distinguish the notes of a maximum of 10 Octaves. SWARS AND NOTES: Swars and notes are the same. Sa, Re, Ga are swars or notes and corresponding English notes are Do, Re, Mi. "Sa" is the reference note, next note "Komal Re" is the frequency of "Sa" multiplied by "Twelfth root of 2". The frequency of "Sa" can be anything. If the scale is "C" then "Sa" becomes C. The tune of a song can be written in notations (I have just written the flat notes and not touched the intricate notes which should be mentioned while writing notations). e. g., Ye.........kya hu aa Ga.........Ma PaGa, which will be E..........F G E If the scale of the song is C. Some songs touch very high notes and some other touch very low notes.A vocalist will choose a lower scale for the former songs and higher scale for the latter ones.For the same song a singer with 'Baritone Voice (Low Pitch)' will choose a lower scale than another with 'Tenor Voice (High Pitch)'. RAGA Certain combination of notations form a mood, and that is Raga. it is not difficult. The thing that is difficult is the style of singing. 1. Dhrupad- Extremely difficult 2. Dhamar- Extremely difficult 3. Khayal- Very difficult 4. Tappa- Difficult 5. Thumri- Reasonably difficult 6. Ghazal- Somewhat difficult 7. Sugam Sangeet- Not much difficult etc. INDIAN CLASSICAL MUSIC: Indian Classical Music is broadly divided into two parts as under: 1. Hindustani Music and 2. Karnataka Music Hindustani Music is structured as under: In ancient scriptures there is a mention that in Vedic Period there were 6 Ragas and 36 Raginis. These covered the basic emotions that change with temperament (Nava Ras) and time (6 Hritus and Samay, time of the day). In course of time new Ragas were evolved by great musicians. Tansen was foremost amongst them, who created Miya-ki Todi, Miya-ki-Malhar etc. All Ragas are derived from THHATs which are ten in all and never increased over the time. These are just structures. These are- Bilawal : All Shudh Swars Kalyan: Only M is Teevra, rest all Shudh Khamaj: Only G Komal, rest all Shudh Bhairav: R and D Komal, rest all Shudh Purvi: R and D Komal, M Teevra, rest all Shudh Marwa: Without Pa, Sa seldom used, Komal R, M Teevra, Ga, Dha and Ni Shudh Kafi: G and D Komal rest all Shudh Aasaavari: G, D and N Komal, rest all Shudh Bhairavi: R, G, D and Ni Komal, rest all Shudh Todi: R, G and D Komal, M Teevra, Ni Shudh Most of Ragas are derived from one Thhat and not combination of Thhats. A Raga has following distinct features. 1 Aaroha: The pattern followed from lowest to highest note of an octave. 2 Avaroha: The pattern followed from highest to lowest note of an octave. 3.Vaadi Swar: The most important Note (Swar), which comes most often. 4.Samvaadi Swar: The next important Note (Swar), which comes quite often. 5.Vivadi Swar: The Swar that doesn't fall into the Raga but used for beautification. e. g., Shudh Ga in Raga Shiv Ranjani (Used in Song "Mere Naina sawan Bhado"). 6. Pakar: A Typical Combination of Notes that is used to make the Raga evident (The listener will make out definitely, which Raga is being sung or played from "Pakar"). ------------------------------------------------ SONGS : A complete song has four parts- Sthaayi, Antaraa, Sanchaari and Aabhog Normally a song sung in that order. Most of the songs have two parts "Sthaayi and Antaraa", Some songs, though rare, have one or both of the other two parts as well. Sanchari and/or Aabhog are normally followed by another antaraa first Example: Sthayi (Lower Notes), e. g., "Dil aaj shayar hai" followed by Antara (Higher Notes), e. g., "Aake zaraa dekhto teri khatir" Sanchari (Lowermost Notes), e. g., "None" and Aabhog (Higher Notes, Lower than Antara), e. g., "Ye pyar hamne kiyaa jis tarahse uskaana koi jawaab" Antara (Higher Notes), e. g., "Ye pyar koi khilona nahi hai" Second Example: Sthayi (Lower Notes), e. g., "Kaun aayaa mere manke dwaare payalki jhankaar liye" followed by Antara (Higher Notes), e. g., "Aankh na jaane......Jo pardesike ghar aayi ek anokhaa pyaar liye" Sanchari (Lowermost Notes), e. g., "ikpal sochu meri aasha roop badal kar aayi"Antara (Higher Notes), e. g., "Paagal manwaa sochke dubaa sapnokaa sansaar liye" Aabhog (Higher Notes, Lower than Antara), e. g., "None" THIS SONG CAN ALSO BE INTERPRETED AS UNDER: Sthayi (Lower Notes), e. g., "Kaun aayaa mere manke dwaare payalki jhankaar liye" followed by Sanchari (Lowermost Notes), e. g., "Aankh na jaane dil pehchaane suratiyaa......" Antara (Higher Notes), e. g., "Paagal manwaa sochke dubaa sapnokaa sansaar liye" Aabhog (Higher Notes, Lower than Antara), e. g., "ikpal sochu meri aasha roop badal kar aayi" Antara (Higher Notes), e. g., "Jo pardesike ghar aayi ek anokhaa pyaar liye" Third Example: Sthayi (Lower Notes), e. g., "O sajnaa" followed by Antara (Higher Notes), e. g., "tumko pukaare mere man kaa papiharaa" Sanchari (Lowermost Notes), e. g., "Aise rimjhim milo sajan" and Aabhog (Higher Notes, Lower than Antara), e. g., "None" The Song "Kehta hai Joker" is in eight beats. Convention for Notes: Sa=Sa, Shudh Re = Re, Shudh Ga = Ga, Shudh Ma = Ma, Pa = Pa, Shudh Dha = Dha, Shudh Ni = Ni. Komal Re = R, Komal Ga = G, Teevra Ma = M, Komal Dha = D, Komal Ni = N. Middle octave = No Signs, Higher Octave = Sa*, Re*, Ga* etc., Lower Octave = Ni?, Dha?, Pa?, etc. In C Scale, Sa = C, Re = D, Ga = E, Ma = F, Pa = G, Dha = A, Ni = B. Komal R = C#, Komal G = D#, Teevra M = F#, Komal D = G#, Komal N = Bb (# = Sharp and b = Flat). - = No Sound, » = Continuation of sound in the same note. C, D, E, F are Absolute Frequencies or Pitches. ---------------------------------------------------------------------------- ---- Beats 1 2 3 4 5 6 7 8 Words -- -- -- -- -- Keh ta hai Notes -- -- -- -- -- Sa G Ma Pitch -- -- -- -- -- C D# F ---------------------------------------------------------------------------- ---- Beats 1 2 3 4 5 6 7 8 Words Jo o ka r -- Sa ra za Notes Pa Pa Pa Pa -- Pa D N Pitch G G G G -- G G# Bb ---------------------------------------------------------------------------- ---- Beats 1 2 3 4 5 6 7 8 Words ma a na a -- Aa dhi ha Notes DN D Pa Ma -- Ma Ma Pa Pitch G#Bb G# G F -- F F G ---------------------------------------------------------------------------- ---- Beats 1 2 3 4 5 6 7 8 Words qe e qa ta a Aa dha fa Notes D » MaPa Pa MaG G Ma G Pitch G# » FG G FD# D# F D# ---------------------------------------------------------------------------- ---- Beats 1 2 3 4 5 6 7 8 Words saa -a na -- -- Notes RG -R Sa -- -- Pitch C#D# -C# C -- -- ---------------------------------------------------------------------------- ---- |
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