Harmonium is a keyboard, and so these lessons apply equally to the harmonium as well as to the electronic synthesizer keyboard. The important difference is that you can - and do play the electronic keyboard with your LEFT hand also; but for harmonium, your left hand is used in pumpin the bellows to force air under pressure pressure into the inside of the harmonium. !n keyboard our left hand is used for chords. "n ordinary keyboard is sufficient to master all the lessons that will follow. !f you already ha#e a keyboard, you do not need to buy anythin else as of now. For solo performances, you can use a synthesizer keyboard or a ha rmonium, dependin upon your taste, con#enience and a#ailability. $armonium traditionally suits better for accompaniment durin performance of %hazals, Thumri, Thumri, !ndo &akistani classical music, and some other types types of !ndian music. For accompaniment to mo#ie sons, and all all #arieties of sons, the synthesizer keyboard keyboard is the preferred choice. 'eyboard offer a wide #ariety of instrument sounds. Types of keyboards are i#en below( Chordophones
Aerophones
•
)la#ichord
•
•
Electric piano
•
•
&iano
•
)la#inet
•
$arpsichord
Electrophones •
Electronic keyboard
$armonium
•
Electronic piano
•
&ipe oran
•
+usic workstation
•
*eed oran
•
ynthesizer
•
&ipe oran
•
ampler
"ccordion
!n a keyboard the instrument sound you choose is called a #oice. efore you play a son, choose a #oice that you like. &ractice selectin different #oices, and remember the settin settin for the ones you prefer. Look your keyboard owners manual to help you. /hen you play the sons you can use any sound you wish. The rhythm controls pro#ide pro#ide drum beats to play alon with. These rhythm beats beats are also called styles. The drum rhythms or kits kits can be chaned to suit the kind of son. !f you ha#e a keyboard equipped with floppy dri#e dri#e or flash usb media then you may copy rhythm styles in your keyboard which which can be played usin user style button. +elody keys are used to play the tune by riht hand. The chord keys are used to play alon with the melody melody with your left hand. )hords make the son sound full and harmonic. !f you do not know how to play chords then you may use auto chord accompaniment.
Learning Keyboard in Desi Style The article here is to teach you keyboard in 0esi tyle and in the end you will be able to play !ndian and &akistani raa based film sons. $armonium, keyboard and synthesizer keyboard are taken to mean the same thin, and are called simply the 1keyboard1. The notations are used to describe the keys on the keyboard( !n our lessons for con#enience, the reference note, called the tonic or the a, is assumed to be the first black key, indicated by the letter 11. !f you want to sin-alon music then you may assin any key as 1a1, accordin to your #oice scale. !n this article the finerin system of keyboard and harmonium is kept same so, that we will be able to play both instruments. +ost people who play harmonium find keyboard difficult due to different finer assinments. ome musicians use first white key as startin or reference note 2a3 but we will use first black key as our startin startin reference note for quick learnin..
'eyboard "nd )omputer +usic +usic can be defined as collection of small pieces pieces of reular sound played at predefined time inter#al. inter#al. !t is the small water droplets droplets that make the ocean, likewise likewise music is also also an ocean that is made up of small parts, itit is called a 4note5. 4note5. "n inenious collection collection of these notes played o#er a period of time results results in a melody melody which could could be a +ehdi +ehdi $assan or " . *ahman son. $ence both western and !ndian music has a set set of basic notes from from which they row, row, somethin like alphabets. alphabets. There is new concept e#ol#in called 4computer 4computer music5 music5 where a musician e6plores beyond the basic notes that are defined in music. !n cubase it is possible to e6plore beyond basics. Today almost all the keyboards keyboards are computerized and produce produce +!0! +!0! music. music. +!0! means musical instruments diital interface. +idi music is editable in computer or in +!0! keyboards and midi music can be produced with 78 indi#idual tracks of different
instruments. Let us see more on Notes. Notes. 49otes5 what are they: 9ote can be technically technically e6plained as a sound frequency. frequency. "ctually the the sound that is produced when you press a key on on musical keyboard keyboard is called as 49TE5. 49TE5. !t does not matter if you press the white key or the black key. Each key plays a predefined frequency. " frequency is number of cycles per second. The note ets its shape by the amount of time you hold down the key and release it. This is called the note lenth or duration. duration. $ence to make a 4tune5 or a 4melody5 or 4son5 you should play a bunch of these n otes at proper duration and lenth.
Western Music Notes Verses Indian !ndian classical music has < basic notes 2a *e %a +a &a 0ha 9i3, with fi#e interspersed half-notes, resultin resultin in a 7=-note scale. >nlike the 7=-note scale in /estern music, the base frequency of the scale is not fi6ed, and inter-tonal aps may also #ary. efore we can learn how to play scales chords and #arious proressions it is #ital that we learn the notes on keyboard or harmonium and how how they relate relate to each each other. The best way to describe the notes on the keyboard is by comparin them to the notes of the alphabets. The first se#en notes notes of the keyboard are 2 " - - ) - 0 -E - F - % 3. Each Each note differ with with each other in sound. 9otice that the se#en notes of keyboard repeat themsel#es o#er and o#er aain. The notes notes sounds the same but the pitch differs. For e6ample if you play play ) and mo#e to the riht until you find the ne6t ), you will notice that if you play them simultaneously, both notes sounds the same but one is hiher than the other. !t is a well-known fact that !ndian music is based on melody and /estern +usic on $armony. This does not mean that /estern +usic does not include melody. !n western music, the harmonizin effect of different instruments and #oices i#en to a certain melody plays the important role. !n a similar manner in !ndian music the melody has an upper hand. >sually, it is said and belie#ed that harmony doesn?t play a role in !ndian music. ut, to my way of understandin, harmony is equally important in !ndian classical music performance thouh, not the way it is used in western music. !n !ndian music the harmony effect is a steady continuous drone effect created usually by a @Taanpura?.
lease read care!ully" +iddle ) marks the center of the keyboard. "s you will notice the ) maAor is the easiest and simplest scale of the twel#e. !t consists all the white keys from any startin ) to the ne6t octa#e ). " standard semi professional music music keyboard has BC keys. Dou will see B sets of 7= keys. This 7= set of notes is technically called an octa#e. octa#e. /hy 7=, why not 7:, %ood question. The aim of this article is to keep itit simple; /estern is based on loarithmic di#ision. Dou can start start playin !ndian or &akistani son from any note and startin note will always become our reference note or a. *emainin notes will will be arraned accordin to thaat or scale of the son. !t is more more easy to start our $indi scale or thaat th from first black key. !n !n western music music also, fifth note from ) is as . !n !ndian music music 4a5 note is based on your reference note note or the key you selected for startin point as a. /e can further o in deep by playin son in raa of that particular thaat. !n the western music system the 4) note5 note5 itself does not chane and 4scales5 denotes the pitch chanes. /estern /estern music system has an 4absolute5 namin for for the keys whereas in !ndian the notation is 4relati#e. 4relati#e. 0esi music music ha#e combined both. !n the se#en tone-scale tone-scale the second, third, fourth, si6th, and se#enth notes can be sharp or flat, makin up the twel#e notes in the /estern scale. $owe#er, raas can specify microtonal chanes to this scale( a flatter second, a sharper se#enth, and so forth. Furthermore, such #ariations can occur between styles, performers or simply follow the mood of the performer. !n !ndian music there is no absolute pitch; instead, each performance simply picks a round note, and the other scale derees follow relati#e to the round note. 9ote( 4a5 does not 4map5 4map5 always onto 4)5. 4)5. !t could start at F and and still form a * % + & 0 9 scale in which which case the correspondin western notes also chane. &resently &resently you may relate the 4a5 of !ndian to 4)5 of /estern which is fortunately fortunately identical to each other . " scale is a set of < notes in a proper order and inter#als. Gust remember this, a scale is set o f < notes with predefined inter#als. The distance between each note is called as inter#al. inter#al. !t is true that scales and raas are not same. Dou will learn about raas raas in raa section of our book. "part from ha#in se#en different notes, there are not many similarities. There is a hue difference between a scale and raa in tonal quality or the sound density. *aa has many dimensions to it. First, First, it has an emotional o#ertone. Gust simply oin o#er a to a can be called as a maAor scale scale or )maA. Thouh the notes and inter#als are Aust the same. " raa can h a#e B or more notes with inter#als. This kind of reduction of notes
in a scale is called as modes in western classical music. E6perts belie#e proper trainin is required to play raas fluently. This comes by ood practice and understandin of note usae. " western trained first-rate musician will be able play a phrase of 7H8B note at a ood speed but will find it difficult to play raa without proper trainin. !t is the reason that western music is fast. !ndian music is melodic in nature while western music is harmonic in nature. )hords produce harmony. 9ow you will be ready to belie#e that it is not possible to play !ndian sons with o nly western trainin. 0esi tyle music lessons is the mi6ture of /estern I !ndian system.
Selection o! !irst note n the keyboard, the area throuh 9 is called a saptak or an octa#e. There are three octa#es( the +adh 2middle3, the +andar 2lower3, and the Taar 2hiherHupper3. The lower octa#e is situated to the left of the middle and is shown with a sin of apostrophe 2 3 on the left side of the note. The upper octa#e is situated to the riht of the middle octa#e and is shown with a sin of apostrophe 2 3 on the riht side of the note. "ain, this is clearly shown in the diaram. /hereas a note belonin to the middle octa#e has no sin of apostrophe 2 3 when represented on the paper; for e6ample, the & of the middle octa#e is represented simply as( &. The note belonin to the lower octa#e has an apostrophe to its LEFT. Thus, for e6ample, the & in the lower octa#e is represented as( &. The note belonin to the hiher octa#e has an apostrophe to its *!%$T. Thus, for e6ample, the & in the hiher octa#e is represented as( &. The 8 keys represent the notes in all three octa#es e... 7=6J8 K!n the followin diaram means lower octa#e note 2 left side of middle octa#e3 and means hiher octa#e note of harmonium or keyboard 2 riht side of middle octa#e3. The rule of achal, komal and ti#er will apply to all three diarams in this pae.
$irst White Key As %ur Sa
Diagram 1
$ourth &lac' Key Selected As %ur Sa
Diagram
Lower cta#e or +andar aptak
r
*
m + &
d
0
n
9
9ote 9umbers
7
=
B
8
<
C
7M 77
+iddle cta#e or +adh aptak 9ote 9umbers
7
r =
*
B
m + 8
& <
d C
0
n 9 7M 77
$iher cta#e or Taar aptak 9ote 9umbers
7
r =
*
B
m + & 8 <
d C
0
n 9 7M 77
$irst &lac' Key Selected As %ur Sa
Diagram 2 There may be fi#e saptak in a keyboard. The saptak to the left of the keyboard is for playin chords and to the e6treme riht is one more taar saptak but with #ery sharp #oice. /e can also play melody in chords saptak but the sound of melody will show base sound. The chords saptak and e6tra taar saptak to the riht side is not perfect for playin melody. !n a complete saptak there are 7= notes which are se#en white keys and fi#e black keys. o, in a harmonium mostly there are three saptak and 8 keys but in a professional keyboard there are four to fi#e saptak and BC-8M keys. !t should be noted that in both instruments while playin sons you will usually deal with three saptak. !n keyboards you will also use chords saptak which is located to the e6treme left of keyboard. !n keyboards or harmonium most of the sons bein from madh or middle saptak.
To summarize: Achal or (yme S)ar" These notes are notated as and & 2the swar without saathi swar3 Komal or $lat S)ar" These notes are notated as r, ,m, d, n I are shown in small letters. *i#er or Sharp S)ar" These notes are noted as *,%,+,0,9 and shown in capital letters. Achal+ Komal+ *i#er S)ar" y combinin achal, komal and ti#er swar we et 7= notes of a complete saptak. r * % m + & d 0 n 9
"chal swar a and &a are also shown in capital letters. "ll notes belon to madh-saptak by default and ha#e no sin of apostrophe. 9otes of +andar saptak are preceded by 2 3 sin of apostrophe, and notes of Taar-saptak are succeeded by 2 3 sin apostrophe. Lastly, a comma 2 , 3 represents a pause between notes. !t is important that you learn achal, komal and ti#er system of 7= music notes of any saptak.
Note:
This arranement is also for keyboard in which you use your both hands but you use riht hand in playin harmonium.
"s mentioned earlier in Fi 7, we ha#e assumed the first white key to be the a 23, for con#enience. ut from now we will use black key as our first startin point for a 23. Dou will find that there are sets of black keys on the keyboard. Each set of those black keys is made up of = N black keys. The first white key is that white key which lies immediately to the left of the first black key. ince there are se#eral sets of black keys, there will also be se#eral 1first white1 keys. !n a saptak there are total 7= keys which consists of black keys and se#en white keys as mentioned below(
Dou are oin to use only your riht hand to play melody on harmoniumHkeyboard. The riht hand finers are numbered as follows( The thumb is numbered 7 The inde6 finer is = The middle finer is The rin finer is B The little finer is numbered .
Fingers: !n western system there are 7= scales while in desi system there are ten thaat. " thaat is the ascendin and descendin mo#ements from * % + & 0 9 , and back that is, 9 0 & + % * . "ll the C notes are always included, in that order, in a or thaat. !n these lessons thaat uses only 1 first black1 key as startin point, that is, natural, /e will always fi6 our first note from first black key in madh saptak which is easier for saram practice and playin sons. aram means se#en notes in ascendin and descendin order. For a complete saram we also include Cth note of t he ne6t saptak which is a.
Know Your Swars !n music there are se#en notes in a @ur? which are a, *e, %a, +a, &a, 0ha, 9i There are twel#e swar in one saptak because fi#e swar also ha#e their saathi swar. nly two swar are called achal swar 2fi6ed swars3 because they do not ha#e any saathi swars. The "chal swars are a and &a.
The following five tiver swar have their saathi swars 7. =. . B. .
*e %a +a 0ha 9i
a and &a are not included in the abo#e mentioned fi#e swar. The reason is this that their saathi swars do not e6ist. These swar are called achal swar. These achal swar are not komal nor ti#er. To with capital lettesr as i#en below(
distinuish komal and ti#er we will write
komal swar with the small letters and ti#er swar
List of Komal Saathi Swar of Re, Ga, Ma, Dha, Ni Komal Swars are shown in small letters. 'omal *e 'omal %a 'omal +a 'omal 0ha 'omal 0ha
-----------------------------------------
r m d n
List of Tiver Saathi Swar of Re, Ga, Ma, Dha, Ni Tiver Swars are shown in a!ital letters. Ti#er Ti#er Ti#er Ti#er Ti#er
*e %a +a 0ha 9i
-----------------------------------------
* % + 0 9
"hal or #$me Swars "hal or #$me Swars are also shown %$ a!ital letters. "chal wars ---------
and &
/e can also write the whole saram by combinin achal komal and ti#er as S r * % m + d 0 n 9 S. 2here and & is called achal or qyme swar and without komal and ti#er saathi swar3. /hen all the swar are ti#er in a aram then it will become the saram of *aa "iman or 'alyan. *aa aiman or kalyan is same. !n the aram of *aa "iman all swar will be ti#er alon with a and &a which are achal or qyme swar. These ti#er and achal swar are represented here as under(-
Ti#er wars or harp wars(
*,
%,
+, "chal
0,
9 ,
&,
There are total 7= notes in one saptak( - Komal . - *i#er. / Achal 0 1/ This rule will apply to all three saptak in a harmonium and in all four or fi#e octa#es in a keyboard. !n the below i#en diaram we ha#e shown notes from all three saptak which are mandar, madh and taar. T he below i#en notes are shown only for understandin different notes arranements.
&la$ing arrangement '1( from first white )e$
$ere ")$ J "chal wars, T!O J Ti#er wars, '+ J 'omal wars $ere startin from first white key as our a the arranement of notes will be as i#en below(Note " The first note or key Aust attached after a is always 'omal *ay, then Ti#er *ay, then 'omal %a Then Ti#er %a, then 'omal +a then Ti#er +a, "chal &a Then 'omal 0ha, Ti#er 0ha, 'omal 9i Ti#er 9i, Then "chal a.
r we can write whole saram as S r 2 g 3 m M d D n N S !n the 0iaram.= we are startin from left side and from first white key. The immediate key Aust attached to a is r with key number =. /ith r the ne6t immediate key Aust attached is * with key number and with * the ne6t key Aust attached is with key number B and so on . . . . .The keys attached with each other are show by numberin 7,=,,B,PP8. /e can also e6plain in another way( "fter "chal a there will be 'omal note then Ti#er, and so onPPPP. &a is also "chal and after &a then there will be 'omal 0ha, Ti#er 0ha and so on !f you will reconize komal and ti#er wars then you will be able to understand thaat, scale, raas and son notation which will help you play a son. +any old and new son are composed in a particular *aa. Sapt'" " saptak is the complete set of fi#e komal and fi#e ti#er swars alon with two achal swar which are a and &a. o there are total twel#e swars in a complete saram.
"tual !la$ing arrangement '2( from first %la) )e$ in *esi st$le
Our actual playing arrangement for further lessons $ere startin from first black key as our a the arranement of notes will be same as mentioned in playin arranement 273 abo#e. Note" The first note or key attached Aust after a is always 'omal *ay Then Ti#er *ay, 'omal %a Then Ti#er %a, 'omal +a then Ti#er +a, "chal &a Then 'omal 0ha, Ti#er 0ha, 'omal 9i Ti#er 9i, Then "chal a. r we can write whole saram as S r 2 g 3 m M d D n N S !n the 0iaram arranement 273 abo#e we are startin from left side and from first white key. The immediate key Aust attached to a is komal r with key number =. /ith komal r the ne6t immediate key Aust attached is ti#er * with key number and with aain with ti#er * the ne6t key Aust attached is komal with key number B and so on . . . . .The keys attached with each other are shown by numberin 7,=,,B,PP for your understandin only.
Thaat or Sales The set of e#en 9otes which can produce a *aa is called a Thaat in >rdu or $indi and raas produce melodious sons. The system of classification for the raa in different roups is called a thaat. There are aain se#eral systems of classification of the raa. !f you want to learn keyboard or harmonium the practice of thaat is important. !f you want to sin-alon music notes then saram and raa practice is important. !f you learn thaat then you can learn raa and can play many sons. eauty in playin a son appears when you use raas. ne can play son in a thaat but there are #ery few sons for a particular thaat. *aas can produce many sons. Thaat ha#e fi6 se#en notes where in raas notes can #ary. There are certain rules for these thaat. Thaat is a desi scale of se#en notes. For harmonium beinners tent thaat practice is essential. First try to learn ten thaat and try to play only t haat based sons. /ithout practice of thaat based sons ne#er try to play raa based sons. 7. " Thaat must ha#e s e#en notes out of the twel#e notes placed in an ascendin or descendin order. oth the forms of the notes can be used. =. Thaat has only an "rohi. . Thaats are not to be sun and are for only playin music sons but the raas produced from the thaat are sun. /e can play music of son with a thaat but beauty will only come if we play music with raas. B. Thaats are named after the popular raa of that thaat. For e6ample bhaira#i is a popular raa and the thaat of the raa bhaira#i is named after the raa. . ut of ten thaat about CM raas are de#eloped and performed these days. ut for a beinner M raas are sufficient for perfection and practice.
Transposin r cale )hanin Note: Transposin option in keyboards or cale )hanin option in harmonium is same.
Transposition( )hanin 'eys Transposition, or chanin the key of a piece of music, can be useful and is sometimes necessary to make music more sin able or playable. +usic is transposed by raisin or lowerin e#ery note by the same inter#al. )hanin the key of a piece of music is called transposin the music. There are many reasons why you miht want a piece to be in a different key. There are also some ways to a#oid ha#in to do the transposition yourself, but learnin to transpose can be #ery useful for performersHsiners, composers, and arraners
/hy Transpose: The most common reason for chanin the key of a piece of music is to put it in the riht key for your #ocalists. !f your siner or siners are strulin with notes that are too hih or low to sin, chanin the key to put the music in their rane will result in a much better performance. !nstrumentalists may also find that a piece is easier to play if it is in a different key. &layers of both bowed and plucked strins enerally find finerins and tunin to be easier in sharp keys, while woodwind and brass players often find flat keys more comfortable and in tune. !nstrumentalists with transposin instruments will usually need any part they play to be properly transposed before they can play it. " ood electronic keyboard or scale chaner harmonium will transpose for you. !f your music is already stored as a computer file, there are se#eral transpose prorams that will transpose it for you and display, play and print it in the new key for your sinin or listenin.
)hoosin Dour 9ew 'ey r cale efore you can bein transposin, you must decide what your new key will be. This will depend on why you are transposin, and what kind of #ocalists and instrumentalists you are workin with.
7. Transposin scale beinnin from first white key >sually we start thaat bilawal with first black key which is . 9ormally for thaat practice or playin sons as a beinner we start with first black key. /hen we become perfect keyboard or harmonium player we can use any key for playin thaat bilawal but the arranement of achal, ti#er and komal swar will remain accordin to system mentioned earlier. !f we want to sin a son in bilawal but our #oice do not synchronize with the first black note then we may try other notes accordin to our #oice pitch. /e can play thaat bilawal sons with any key with transpose option and still son will not effect. !n the followin diaram we ha#e transposed thaat bilawal from first black note to first white note and still thaat bilawal will remain bilawal thaat.
0iaram.7 uildin Thaat ilawal aram From First /hite 'ey Note" 4 /e can select any key as our a and from that position of a our key combination will chane in each below i#en diarams. ome person cannot sin in loud scale so; the musician will select suitable scale for them. electin scale means transposin or selectin first note. !n madh saptak of diaram , notes with cross sin 2Q3 will be inored and when we will play remainin notes in madh saptak and it will become saram of thaat bilawal. 9ote that while playin saram ascendin and descendin we also include ne6t saptak note . 7 S S
r = 5
* 2 2 1
B 5
% 3 3 7
m + 8 < m 5 m 8
& C
d 5
0 7M D D 9
n 77 5
9 7= 7 N S6 N S6 1: 1/
17
+r we an write whole sargam as S R m &
D
N
G
S 1 -
/
0
1 12 1-
Thaat Bilawal sargam in ascending and descending order "rohi "mrohi
S R G m & D N S S N D & m G R S
=. Transposin scale beinnin from first black key 2default key3
0iaram.= uildin Thaat ilawal aram From First lack 'ey /e can select any key as our a and from that position of a our key combination will chane. /e ha#e selected first black key as a de!ault 'ey to play harmonium. From now we will always select first black key as our startin point. 9ow our key combination will become as i#en below( 7 S S
r = ;
* 2 2
B ;
% 3 3
m 8 m m
+ < ;
& C
d ;
0 n 7M 77 D ; D
9 7= 7 N S6 N S6
9ote( a is always achal or qyme swar. The first swar or key attached Aust after a is always komal ray shown with cross 2Q3 and with note no. =, then ti#er ray with capital *, komal %a, then ti#er %a, komal +a then ti#er +a, achal &a, then komal 0ha, ti#er 0ha, komal 9i, ti#er 9i, then achal a as ?. +r we an write whole sargam again as S R G m & D N S
Again Thaat Bilawal sargam in ascending and descending order "rohi "mrohi
S R G m & D N S S N D & m G R S
. Transposin scale beinnin from second white key
0iaram.
9ow we ha#e selected our first key from =nd white key for playin a son or harmonium /e can select any key as our a and from that position of a our key combination will chane in each diaram. 7 S S
r = ;
* 2 2
B ;
% 3 3
m 8 m m
+ < ;
& C
d ;
0 n 7M 77 D ; D
9 7= 7 N S6 N S6
9ote ( a is always achal or qyme sur. The first ur or key attached Aust after a is always 'omal *ay shown with cross and with note no. = Then Tewar *ay with )apital *, 'omal %a Then Tewar %a, 'omal +a then Tewar +a, "chal &a Then 'omal 0ha, Tewar 0ha, 'omal 9i Tewar 9i, Then "chal a as ?. !f we do not play notes with cross sin in diaram then it will also become another Thaat. +r we an write whole sargam again as S R G m & D
N S Again *haat &ila)al sargam in ascending and descending order )ill be same, Arohi " S 2 3 m D N S< Amrohi" S< N D m 3 2 S !t is pro#ed from abo#e three e6amples that whate#er note is selected as initial note to play saram, the correspondin notes will chane accordin to a fi6ed system of achal, komal and ti#er properties.
Transpose option of keyboard and harmonium( For keyboard learners the option of transpose in keyboards ha#e made it easy to chane scale accordin to #oice pitch of siner or son. Note that by de!ault )e ha#e selected our Sa as !irst blac' 'ey throughout this )ebsite, !n scale chaner harmonium use scale chanin option. 9ow there is no need to learn playin from e#ery white or black key. nly learn to play music from first black key and chane your required scale by transpose option. Dou are required only to learn 7M thaat which bein with first black key therefore transpose option ha#e made scale chanin easy for sinin.
*aa "nd !ts )oncept " " music, which follows the characteristics of this tradition, is called classical - in opposition to /estern classical music, where classical means belonin to a period of time 2appro6imately from 78th to 7
|
$istory of classical music f The ub-continent 9orth !ndian )lassical music 2some people know as $industani3 in reference of the $indi speakin reion oin to 9orth-/est Frontier and to &oorab, the East. +any styles and enres ha#e been de#eloped and encouraed b y a family system now called %harana. These numerous %haranas all o#er 9orth !ndia ha#e de#eloped #ery different styles of classical music, enres and instruments. !n the de#elopment music, the thins went like this 2from a #erse3( First sons, then
notes, then harutis and then the Gaties 2raas3. irds ha#e sons, so do the other mammals. /hen we say that the sons must ha#e de#eloped after humans were ci#ilized, we are forettin somethin. Look around you. There are sons e#erywhere. !t is certain that as humans ot ci#ilized, their sons ot complicated. /ith the de#elopment of lanuae, the sons became more meaninful. The primal screams e#ol#ed into poems of lo#e, separation, nature, beauty and other thins that affected us emotionally. /hen somethin said throuh con#ersation does not capture the essence of our feelins, a son erupts in us. That is a primal instinct. !t is not somethin that is impossible to do without the knowlede of haruties. " #illaer in !ndia or a %ypsy in Europe cannot stop sinin Aust b ecause they do not know the difference between Aust intonation and chromatic intonation. These are afterthouhts. /hen the enlihtened artists of the ancient world san the sons, the beauty of chanin pitch compelled them to find more about it. /hat is it that chanin the pitch up and down in certain ways sounds musical. The first known theory of music in !ndian Oedas 2am#eda3 contains four notes. 9owadays notes are always mentioned in ascendin 2such as ) 0 E or a *e %a3 order. The combination of se#eral notes wo#en into a composition in a way, which is pleasin to the ear, is called a *aa. The raa is an !ndian scale which utilizes #aryin ascendin and descendin patterns - certain notes on the way up a nd certain notes on the way down - b ut always in the set sequence. The raa ne#er has less than fi#e notes - the minimum required for a tune. Each raa creates an atmosphere, which is associated with feelins and sentiments. "ny stray combination of notes cannot be called a *aa. "t a more academic le#el, it is a musical composition that functions within a structure and follows certain rules with relation to the kind of notes used in it. *aa is the dictator of melody and the 1Taal1 is the dictator of *hythm. !n addition, melody is the product of sound and the rhythm is p roduct of time. Therefore, @the music is the art of manipulatin the ?sound? throuh @time?. The time affects music in two different ways. First throuh rhythm is ob#ious. $owe#er, the time is also at work producin the musical sounds that are useful in melody. The uni#erse is full of sound, but e#ery sound is not musical. "ccordin to the scriptures, sae 9arada practiced reat austerities for se#eral years and was honoured by Lord hi#a who tauht him the reat art of music. !t is said that from the sleepin position 2hayanmudra3 of his wife, %oddess &ar#ati, Lord hi#a created the *udra#ina 2an instrument with a form similar to the sitar3. From his fi#e mouths, fi#e raas emered while a si6th was created by the oddess &ar#ati. These raas were named accordin to Lord hi#as mo#ements to east, west, north, south and towards the sky and were called haira#, $indol, +eh, 0eepak and hri. *aa 'aushik was created by the %oddess &ar#ati herself. +usic flourished in !ndia under +uslim rule and was subAect to a number of new influences, includin those of the mystic ufi sect. "s a consequence new elements, forms and instruments came to be introduced into !ndian +usic. "mon the #ocal forms, were the Rual which a#e rise to the Rawali and the Tanpura, both of which are heard today. The sitar and the tabla also belon to this period. The &ersian poet "mir 'husrau is belie#ed to ha#e made a maAor contribution in the de#elopment of the Rawali as well as the itar. +usical patronae reached its zenith under the +uhal emperors "kbar 27-78M3, Gahanir 278M-78=<3 and hahAahan 278=C-78C3 The leendary composer Tansen 27B=-7C3 is belie#ed to ha#e been a member of the court of "kbar. $is enchantin music is belie#ed to ha#e had the power to brin rains and liht lamps. +usic was also becomin more popular and was no loner the preser#e of the upper classes. +ost compositions had initially been in anskrit but by the si6teenth century they were bein composed in #arious dialects of $indi - raA hasa and hoApuri amon them - as well as &ersian and >rdu. !t was durin this phase that two separate systems emered as a result of the !slamic influence on the e6istin system in 9orthern and central !ndia while the south remained free from this domination. This led to emerence of two forms of !ndian +usic. $industani 29orth !ndian3 and )arnatic 2outh !ndian3.
The arri#al of ritish rule saw the #iolin enterin the repertoire of outh !ndian music in the mideihteenth century. !n the time of ahadur hah Safar the last 'in of +uhal empire, music de#elopment was limited and poetry de#eloped. " sinificant de#elopment was the use of music to promote nationalism durin the !ndian freedom strule. The twentieth century also saw the arri#al of !ndian cinema, which further popularized music amon common man. The post independence period saw classical !ndian music ainin lobal reconition. *a#i hankar, one of the reatest players of the itar, worked with the eatles while "li "kbar 'han popularized the arod in the west. The twentieth century also saw collaborations between !ndian and western musicians. such as *a#i hankar and Dehudi +enuhin. This merin of two streams of music is often referred to as fusion +usic. 9ew eneration of artists like himsen Goshi, "mAad "li 'han and ismillah 'han brouht finest traditions of !ndian music. Film music is howe#er, the most popular music in !ndia and &akistan today and popular !ndian films are seldom without sons. >rdu %hazal also ot popularity and populars %hazal siners like +ehdi $assan, %hulam "li, GaAeet and many others emered with a new style. haAans and Rawali also retain their popularity.
!90!"9 )L"!)"L +>!) 9T"T!9 !ndian music is traditionally practice-oriented and until the =Mth century did not employ notations as the primary media of instruction, understandin, or transmission. The rules of !ndian music and compositions themsel#es are tauht from a uru to a shishya, in person. $owe#er, the notation is rearded as a matter of taste and is not standardized. Thus there is no uni#ersal system of notation for the rest of the world to study !ndian music. The comple6ity of !ndian classical music could not be e6pressed in writin.
9TE !9 " "&T"' The !ndian musical scale is said to ha#e e#ol#ed from notes to a scale of < primary notes, on the basis of == inter#als. " scale is di#ided into == shrutis or inter#als, and these are the basis of the musical notes. The < notes of the scale a re known to musicians as a, *i, %a, +a, &a, 0a and 9i. The eihth note is a repetition of the first and is therefore an octa#e hiher. The roup of se#en notes is called a saptak. !n western music these se#en notes are identified as ) 0 E F % " . These < notes of the scale do not ha#e equal inter#als between them. " aptak is a roup of < notes, di#ided by the shrutis or inter#als -- " raa is based on the principle of a combination of notes selected out the == note inter#als of the o cta#e. Total notes in a sinle saptak are 7= but when we practice arohi and amrohi then we also choose ne6t saptak a. ee below i#en diaram.
y deletin other notes 7= notes saptak becomes bilawal thaat
a *e %a +a &a 0a 9i 7 = B 8 < C 7M 77 7= 7 7B 7 78 7< 7C 7 =M =7 == !ndian classical music has < basic notes 2a *e %a +a &a 0ha 9i3, with fi#e interspersed half-notes, resultin in a 7=-note scale. >nlike the 7=-note scale in /estern music, the base frequency of the scale is not fi6ed, and inter-tonal aps may also #ary. T he == rutis are the only notes which can be useful for music in an 4octa#e5. The
first and fifth notes 2a and &a3 do not alter their positions on this inter#al and are fi6ed. 0etailed lessons about saptak and notes are pro#ided in =armonium Lessons The other notes can chane their positions in the inter#al due to komal and ti#er, leadin to different raa.
*aa The raa forms the backbone of !ndian music, and the laws laid down for the raas ha#e to be carefully obser#ed to preser#e and safeuard their interity. The followin points are required in the construction of a *aa -7. Thaat or sequence of notes, =. Gaatis or classification . 'in and Rueen relation of the notes, i.e. Oadi and am#adi B. The "scent and 0escent of the raa, i.e. "rohi and "mrohi . !mportant roup of notes 8. &itch <. peed. According to Indo Pak ancient theory, the musician's task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga. So if a raga which embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter. he right atmosphere responds to the raga as it were, !ust as the sympathetic strings of a sitar vibrate to enrich the melody being played on the main strings. his is why particular times and seasons are deemed suitable for particular ragas. &lay some classical soundin music and try to see if any particular *aa thrills you. "nythin that turns you off completely : &lay instrumental or liht classical music at first before ettin on a hea#y-duty #ocal piece. !s there a piece that mo#es you : &uts you in a sublime or inspirin mood : "nother aspect of the raa is the appropriate distribution in time durin the =B hours of the day for its performance, i.e. the time of the day denotes the raa sun a particular time. *aa are also allotted a particular time space in the cycle of the day. These are di#ided into four types -7. Twiliht raa when the notes re and da are used -- such as *aa +arwa, &oor#i. =. +idday and +idniht raas which include the notes a and ni 2komal3. . *aas for the first quarter of the mornin and niht which include the notes re, a, da and ni 2komal3. B. For the last quarter of the day and niht, the raa include the notes sa, ma and pa. "ll the raa are di#ided into two roups -- &oor#i *aas and >ttar *aas. The &oor#i *aa are sun between 7= noon and 7= midniht. The >ttar *aa are sun between 7= midniht and 7= noon. The #ariations on the dominant or 'in1 note helps a pe rson to find out why certain raa are bein sun at certain times. This raa classification is about MM years old. The beauty of the raa will not be marred by the time of the day it is sun. !t is the psycholoical association with the time that oes with the mood of the raa. The obAect of a raa is to e6press a certain emotional mood and sentiment without any reference to time and season. For a student of classical music, this classification may i#e an idea as to how to base his reasons for the traditional usae of raa.
Another di#ision o! ragas is the classi!ication o! ragas under !i#e principal" 7. $indol, =. 0eepak, . +eh,
B.hree .+aulkauns From these fi#e raas, other raa are deri#ed. The first deri#ati#es of the raas are called raanis, and each of the fi#e raas ha#e fi#e raanis under them. There are = raanis for the abo#e fi#e raas. Each raa contains raanis. Further deri#ati#es from these raa and rainis resulted in attachin to each principal raa 78 secondary deri#ati#es known as upa-raa and uparaanis. "ll the raas are supposed to ha#e been deri#ed from their thaat. E#ery raa has a fi6ed number of komal 2soft3 or tewar 2sharp3 notes, from which the thaat can be reconized. !n other words, a certain arranement of the < notes with the chane of shuddh, komal and tewar is called a thaat. There are se#eral opinions in this matter.
"bout Thaat or cales The set of e#en 9otes or cale which can produce a *aa is called a Thaat in urdu or $indi and raa produces a son. The system of classification for the raas in different roups is called a thaat. There are aain se#eral systems of classification of the raa. &resently in !ndian or &akistani )lassical +usic the 7M Thaat 2cales3 classification of raa is pre#alent. !f you want to learn how to play keyboard or harmonium the practice of thaat is important. !f you want to brin beauty in music then raa practice is important. !f you learn one thaat or scale then you can play many sons in that particular thaat or scale. eauty in playin harmonium or keyboard appears when you use raa.
There are certain rules for these thaat 1, The set of e#en 9otes or cale which can produce a *aa is called a Thaat in urdu or $indi. " Thaat must ha#e se#en notes in ascendin order. /. Thaat has only one "rohi. 7, Thaat are not be sun only play but the raa produced from Thaat are sun. "s a beinner you can play music of film sons with thaat. >. Thaat are named after the popular raaa of that Thaat. For e6ample haira#i is a popular raa and the thaat of the raa hara#i is named after the raa.
/hat is a *aa: The combination of se#eral notes wo#en into a composition in a way, which is pleasin to the ear, is called a *aa or *aa. The raa is an !ndian scale which utilizes #aryin ascendin and descendin patterns U certain notes on the way up and certain notes on the way down U but always in the set sequence. The raa ne#er has less than fi#e notes - the minimum required for a tune. Each raa creates an atmosphere, which is associated with feelins and sentiments. "ny stray combination of notes cannot be called a *aa. "t a more academic le#el, it is a musical composition that functions within a structure and follows certain rules with relation to the kind of notes used in it. •
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/e can ascribe to a raa certain meta-characteristics that define a raa( E#ery raa is said to be born of a Thaat which is its parent. E#ery raa is composed of notes. " simple combination of notes is not a raa unless it sounds ood. "s mentioned earlier thouh, it is difficult to accurately define what sounds ood. !n another article we will attempt to describe what this means in terms of harmonies and melodies. " minimum of fi#e notes are necessary in a raa. Therefore a raa can ha#e fi#e, si6 or se#en notes. There cannot be two notes that are adAacent on the octa#e in the same raa. ut this is not strictly true as we shall see in case of certain raas like Lalit where there are two madhyms toether. E#ery raa has a "rohi and a "mrohi. The base note a cannot be absent from a raa.
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The notes +a and &a cannot be a bsent from a raa at the same time. " raa is also identified by a Oadi 2 main note 3 and a am#adi 2 second main note3. The Oadi is a note that is stressed the most in the raa. The am#adi is stressed after that. Two raas can ha#e the same set of notes but differin #adis and sam#adis which then make them different raas. For instance both the raas hupali and 0eshkar ha#e the same set of notes and the same a rohi and amrohi but they ha#e differin pakads and also different #adis and sam#adis which make them different raas.hupali has a #adi a and sam#adi da but deshkar has a #adi da and sam#adi a. !t has been said earlier that a raa can ha#e fi#e, si6 or se#en notes in the arohi and the amrohi. ased upon this a raa can be classified in to cateories. " raa sequence 2 arohi or amrohi 3 with fi#e notes is said to b e dho 2 fi#e 3. " *aa sequence with si6 notes is called hada# or 'hado 2si63 and a raa sequence with se#en notes is called ampoorn since se#en notes is the ma6imum number that the raa sequence can ha#e. 9ow to another point of confusion. There are twel#e notes in the chromatic scale. The se#en notes that make up the thaat are picked from these twel#e notes. *aa is the basis of classical music. " raa is based on the principle of a combination of notes selected out the == note inter#als of the octa#e. " performer with sufficient trainin and knowlede alone can create the desired emotions, throuh the combination of notes. E#ery raa is deri#ed from some Thaat or scale. r raa belon to certain classes or cateories called thaats. " thaat is defined as that set of se#en n otes from which a raa can be made.
2agas are placed in three categories" dho or pentatonic, a composition of fi#e notes r 'hado is he6atonic, a composition of si6 notes ampooran is heptatonic, a composition of se#en notes. 7. !n e#ery raa, there is an important cluster of notes by which the raa is identified. =. The ascent and descent of the notes in e#ery raa is #ery important. ome raa in the same scale differ in ascent and descent. The principal note, '!9%1 is the note on which the raa is built. !t is emphasized in #arious ways, such as stoppin for so me time on the note, or stressin it. The second important note or the 1queen1 corresponds to the 'in1 as the fourth or fifth note in relation to it. . There are certain raas which mo#e in a certain pitch and if the pitch is chaned, the raa fails to produce the mood and sentiment peculiar to it. •
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*aa +elody( +elody is based on our ability to hear and percei#e chanes in frequencies. "lthouh it is more than Aust the pitch oin up and down, but as the frequency oes hiher, the note is sharper. !n any octa#e, the hihest note always #ibrates at the double rate from the lowest note. o an octa#e is the inter#al between one musical note and another with half or double its frequency. "fter the unison, 2two thins #ibratin at the same rate3, the octa#e is the simplest inter#al in music. The human ear tends to hear both notes 2upper and lower3 as bein essentially @the same?. For this reason, notes an octa#e apart are i#en the same name in !ndian music. The same is true for /estern +usic. "nd Aust like in western notation system, 9orthern !ndian music reconizes 7= places in one octa#e as notes. +ost musicians use the same notes as we see them on a uitar?s fret or on a piano. ut it hasn?t been always like this. !n ancient times, !ndian music was based on the @haruti? system. The inter#als were measured with sharuties. +elody of 9orthern !ndian +usic is based on the @Thaat? 2parent cale3 and @*aa? theory. *aas ha#e their minimum requirements of fi#e notes in an octa#e. ased on that principle, BCB *aas can be created mathematically from @Thaat?. E#ery raa has its own personality. There are many special thins about e#ery raa, which makes it possible to separate one raa from another.
ecret f &hrasin !n *aas E#en thouh many popular musician do not study raas and most of the popular music is not e#en in any certain raas, there are many @phrasin? secrets hidden in the raas, howe#er. "scendin and descendin do not make music. /hole art of music is hidden in phrasin. Dou must ha#e
listened to hundreds of sons composed in @)? or @E? maAor. They st ill sound different from one another. That is because music we hear affect us in phrases, not scales. This theory 2music in phrases3 was the oriin of raas. *aas start with thaat in mind and row from there. T o learn a raa you ha#e to learn its ascendin or descendin etc., but you also must know its flow and important phrases. There are thousands of a#ailable lists of hundreds of raas e#erywhere, but they ha#e no practical #alue as one will ne#er know how to proceed from there. " raa description without its phrases and flow is useless. 9isar azmi as a workin music composer i#in you the only information that is essential to @know and play? !ndian music in the real world. Dou will find yourself impro#isin in a certain raa in no time by mi6in and shufflin its phrases and flow.
2. Playing Songs With Thaat Asavari
0iaram.7
Thaat "sa#ari aram( Ascending" Arohi" * m & d n ? Descending" Amrohi" ? n d & m *
*haat Asa#ari is C Minor Scale in Western Starting !rom !irst )hite 'ey, ) 0 Eb F % "b b
Showing C minor scale in all five octaves
Songs +f Thaat "savari 3ith "sthaee, "ntra an* Taal
7
You an also !la$ "savari songs in 4 minor Sale +f 3estern &la$ songs aor*ing to *iagram 1 of Thaat "savari Mandr, left octave as ('S)-Madh or middle as (S)-Taar or right octave (S') Taal 'ehr#a Tu pyar ka sagar hai "sthayee
=
* n *
"ntra
&m m&dn
n d n n *
"ntra
&m& ndndp
Taal 'ehr#a
$oon kho gaye tere pyar mein hum "sthayee
Taal 'ehr#a &&& d n d &&
"ntra
hale %ana nahin naina milake "sthayee
n& Taal 0adra
"e reham asmaa meri manzil #ata "sthayee
B
"ntra
Tumhara hahne !ala khuda ki dunya mein "sthayee
** * n
* nn* Taal 'ehr#a
& m &
"ntra
& & d n
8
Meri yaad mein tum na "sthayee
<
** m m &&&
Sa!an aya tum nehi aie
7 7
h dunya ke rakh!ale
7 =
&a# #hi chahen ik nai soorat
7 B 7
"ntra
&& d* *
* * ndn *
"ntra
n s n d
Taal 0adra
Taal 'ehr#a mm&&&dndnd&
7 M
7
& m m *
&adoon holi %ae lenda mera naa "sthayee
"sthayee
"sthayee
"ntra
"ntra
n d n * n *
"ntra
&d& mm&nd&
** n**
"ntra
&&& d & mm
& && dn d&m
"ntra
&n d&d
n * ***
"ntra
n & n *
&&d &m nd&
"ntra
Taal 'ehr#a Taal 0adra
Tu %o nehi hai to kuch #hi nehi hai "sthayee
& Taal 'ehr#a
"pno ne ham die to muAhe yaad "sthayee
* Taal 'ehr#a
* * nd dn*
"sthayee
&& nnn Taaal 'ehr#a
Tum zid to ker rehe ho "sthayee
"ntra
Tere pyar ki tamna ghame zindgi ke saee "sthayee
C
Taal 'ehr#a
Taal 'ehr#a
"itabar nahi karna
Taal 'ehr#a
"sthayee
7 $am chale to hamare san san nizare chale 8 "sthayee 7 "nokha ladla khelene ko maane chaand < "ntra 7 /e laeeyn di laA rakh ley kadhi bhul na Aaween C "sthayee 7 Deh eAaaz hai husan e awari ka "sthayee = un le oh Gane wafa Tu hai dunya meri - "hmed *ushdi M "sthayee
Listen full midi music Taal 'ehr#a
*& dnd&
"ntra
m&dn &m *n * Teen Taal
* n **
"ntra
* Taal 'ehr#a
&&d &d&m
"ntra
Taal 0adra
n n* nd
"ntra
mm&& Taal 'ehr#a
n nd& m &m
"ntra
ddd dd &dnn d&
2aga Asa#ari in brie!" "aga Asavari belongs to Asavari haat. It is a late morning "aga, and uses all seven notes, five in the ascent and seven in the descent. #andhar, $haivat and %ishad are komal &flat and the other notes are shuddh &full. he derivative ragas out of this structure are grouped under the broad head of Asavari haat. Add (omal $haivat to (afi thaat and you get Asavari haat. "aga Asavari is full of tyag, the mood of renunciation and sacrifice as well as pathos. It is best suited for late morning. )owever important evening*night raga like $arbari and Adana also use notes of asavari thaat with different styles, stress points and ornamentations.
+ollowing ragas are derived from haat Asavari
-aunpuri $esi Asavari Adana $arbari (anhada
3. Playing songs with thaat kafi
Thaat Kafi Sargam Ascending" Descending"
Arohi" U * U U m U & U 0 U n - ? Amrohi" ? U n U 0 U & U m U U * U
Thaat Kafi is 4 Dorian Sale in 3estern starting from first white )e$. C D Eb F G A Bb
howin ) 0orian scale in all fi#e octa#es of keyboard
5ilm Songs +f Thaat Kafi 3ith "sthaee, "ntra an* Taal lay songs according to diagram * of +afi Thaat
You an also !la$ thaat Kafi songs in 4 Dorian Sale +f 3estern 6nterlu*e or mi**le musi of songs is also %ase* on thaat )afi Mandr, left octave as ('S)-Madh or middle as (S)-Taar or right octave (S') Taal 'ehr#a
%hame dil ko in aankhon se chalak Aaana bhi 7 "sthayee
=
SgS
"ntra
m&m&mm Taal 0adra
&n * n
"ntra
Tumhara pyar chahaee mu%he "sthayee
m& n Taal 'ehr#a
0aa e dil ham ko yaad ayne lae lo apne dye "sthayee
B
"ntra
il men ho tum ankhon me tum , "appi "sthayee
n& n *
m&m &mm
Taal 'ehr#a
m g m S' m
"ntra
n'n'n'n'n'n'n'n'
yar #here do sharmeele nain, S mg
"sthayee
8
7 7
7 =
7
7 B
7
7 8
7 <
"ntra
Sun !an%li di mithri taan !ay, .ilm /eer an%ha "ntra
0at ul%hi sul%ha %a re #aalam "ntra
m*
&& * n
Taal 'ehr#a
Deh raat yea chandni &mm& mm&
"ntra
SSgSS 'n'n SS
"ntra
mgg
"ntra
* nn *& *
"ntra
m&& m*
"ntra
Sa!an aye sa!an %aye
g S 'n'n SS Taal, 'ehr#a
** m
madh-mandr
"ntra
il ke %horoke mein tum ko #itha ke "sthayee
gmm Taal 'ehr#a
!k situm aur meri Aaan abhi Aaan baqi hai
"sthayee
*n0& Taal 0adra
ab kuch luta ke hosh me
"sthayee
m&&& n0& Taal 'ehr#a
"e dunya kia tuAh se kehoon - +ehdi $assan
"sthayee
n& Taal 'ehr#a
Tere bheee badan ki kshboo se
"sthayee
m00n0 m00n0 Taal 'ehr#a
$amari sansoo me aaA tak woh hina kis kshboo
"sthayee
n0 n Taal 'ehr#a
* n0 madh saptak
"sthayee
& * nnn Taaal 'ehr#a
n &&& m m*
"sthayee
n00 Taal 'ehr#a
'ngm gS
"sthayee 7 M
"ntra
&alte hain arman mera dil roota hai
"sthayee
&&&m &m Taal 'ehr #a
S, m n
"sthayee
C
"ntra
im %him rim %him pere pha!ar tera mera nit ka pyar "sthayee
<
Taal 'ehr#a
&&&m &m Taal 0adra
*&
"ntra
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2aga Ka!i in brie!" "aga (afi belongs to (afi haat. sually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. #andhar and %ishad are komal &flat and all other notes are shuddh &full. he derivative ragas out of this structure are
grouped under the broad head of (afi haat
(afi thaat makes use of the (omal #andhar and (omal %ishad. So basically it adds (omal #andhar to the (hama! haat. raga (afi is one of the oldest raga and its intervals are described as basic scale of the %atyashastra. hus in ancient and medieval times, (afi was considered as natural scale. (afi is a late evening raga and said to convey the mood of spring time.
+ollowing ragas are derived from haat (afi
/alhar 0himpalasi Patdeep 1handrakauns (afi Piloo 0ahar 0ageshri /egh
Major & Minor Chords Of Haroni!
Indian music is melodic and western music is harmonic so chords and chord progressions accompany the melodic lines, therefore the music sounds fuller. It is important that we learn the fundamentals of chords as used in Indian film music.
Harmonium major chords , or any chord for that matter, are formed by combinin
two or more notes. 9ow, when you from maAor chord, it is recommended you form them usin the =nd,7st and th finers of your riht hand. Dour thumb is the first finer inde6 finer is the =nd and pinky is the th finer. " chord is a combination of three 2or more3 notes played at the same time. "ll maAor chords are formed by playin simultaneously three notes, accordin to definite rules.
!n keyboards chords are played mostly with left hand. ince we are learnin harmonium so, your left hand will be busy in pumpin bellows. !n this situation we will play chord and melody with the riht hand only. "s we ha#e already defined in our pre#ious lessons that any key can become a a or our startin note; but in our lessons we ha#e assumed the first black key to be the a 23, for con#enience and simplicity. &lease see diaram abo#e. There are a number of chords in western music but !n harmonium lessons we will only use only maAor and minor chords. " maAor chord is formed when we simultaneously play three notes -%-& or you will play numbers numbers 7--C. we will name this chord as O. $armonium chords are also called desi chords. $armonium komal and ti#er notes with their numbers are i#en below as shown in the abo#e diaram. a 'omal r Ti#er * 'omal Ti#er % 'omal m Ti#er + ----- & 'omal d 'omal 0 'omal n 'omal 9 ----- 'omal r Ti#er * 'omal Ti#er % 'omal m Ti#er + ----- &
as key number 7. as key number =. as key number . as key number B. as key number . as key number 8. as key number <. as key number C. as key number . as key number 7M. as key number 77. as key number 7=. as key number 7. as key number 7B. as key number 7. as key number 78. as key number 7<. as key number 7C. as key number 7. as key number =M.
key number( 7 r key number( 7 * key number( 7 key number( 7 % key number( 7 m key number( 7 + key number( 7 & key number( 7 d key number( 7 0 key number( 7 n key number( 7 9 key number( 7 key number( 7 r key number( 7 * key number( 7 key number( 7 % key number( 7 m key number( 7 + key number( 7 & key number( 7
9ow to play the maAor chord -%-& e... we will play key numbers 7--C. This maAor chord is called maAor. /e will use the symbol O for a maAor chord. 9ow the maAor chord will be written as O and as on. imilarly, the maAor chord 1rO1 will be formed as( r-m-d and can be shown by numbers =-8-. elow i#en is the complete list of maAor harmonium chords(
maAor chord, symbol O,
r maAor chord, symbol rO,
* maAor chord, symbol *O,
maAor chord, symbol O,
% maAor chord, symbol %O,
m maAor chord, symbol mO,
+ maAor chord, symbol +O,
& maAor chord, symbol &O,
d maAor chord, symbol dO,
0 maAor chord, symbol 0O,
n maAor chord, symbol nO,
key nos. 7-C, key nos.=8-, key nos. <-7M, key nos. BC-77, key nos.-7=, key nos. 87M-7 key nos. <77-7B, key nos. C7=-7, key nos. 7-78, key nos. 7M-7B7<, key nos. 77-77C,
notes -%-&
notes r-m-d
notes *-+-0
notes -&-n
notes %-d-9
notes m-0-
notes +-n-r
notes &-9-*
notes d--
notes 0-r-%
notes n-*-m
key nos. 9 maAor chord, symbol 9O, notes 9--+ 7=-787, /e ha#e shown madh saptak chords and similar sets of notes will apply in mandar and taar saptak.
=armonium minor chords are shown by symbol L. " minor chord is formed when we play three notes at the same time toether e6ample --& with numbers 7-B-C. elow i#en is the complete list of minor harmonium chords( /hate#er is our beinnin note to start playin e.. if we select first black key as our a, the minor keys will maintain their names similar to, for e6ample, r minor chord will maintain their symbols rL, will maintain their key numbers as, for e6ample, /4-4?, will maintain their notes combination as, for e6ample, r434d. r we can write simply as(
r minor chord+ symbol rL+ 'ey nos, /4-4?+ notes r434d
minor chord, symbol L,
r minor chord, symbol rL,
* minor chord, symbol *L,
minor chord, symbol L,
% minor chord, symbol %L,
m minor chord, symbol mL,
+ minor chord, symbol +L, & minor chord, symbol &L,
key nos. 7B-C, key nos. =-, key nos. 8-7M, key nos. B<-77, key nos. C-7=, key nos. 8-7, key nos. <7M-7B, key
notes --&
notes r-%-d
notes *-m-0
notes -+-n
notes %-&-9
notes m-d-
notes +-0-r notes &-n-*
d minor chord, symbol dL,
0 minor chord, symbol 0L,
n minor chord, symbol nL,
9 minor chord, symbol 9L,
nos. C77-7, key nos. 7=-78, key nos. 7M-77<, key nos. 77-7B7C, key nos. 7=-77,
notes d-9-
notes 0--%
notes n-r-m
notes 9-*-+
=o) to play Indian songs )ith harmonium ma@or and minor chords First of all break down the son into se#eral #ery small phrases and try to play the #arious maAor and minor chords i#en abo#e with each small sement of the son line. Then you should check which chord sounds better with the word. Dou can partly mechanize this process by first playin the small sement of the son on the harmonium. lowly you will be able to use or able to fill melody with harmony of chords.
