Objective: Understand the concept of raga and rhythm in North and South Indian classical music.

Taal in Hindustani Classical Music

Keharva Taal

Dadra Taal

Teen Taal

DO YOU KNOW

Mridangam maestro Sangeetha Kalanidhi and Padma Bhushan awardee, Palghat Mani Iyer, gave his first performance when he was 10 years old. He trained under Thanjavur Sri Vaidyanatha Iyer. Mani Iyer introduced the concept of actively supporting the musical phrases on the mridangam rather than merely providing rhythmic support. He accompanied many leading artistes of his time. His fans also enjoyed his thani avartanams (solos). Many of his students became popular performers.

Talam in Carnatic Music

In Carnatic music, talam is used to keep the beat. Each talam has a fixed number of beats and is repeated. This is known as talam cycle or avartanam. The parts of a talam are known as angams. The three angams are:

Laghu — This is a clap followed by counting of fingers. It can be 3, 4, 5, 7 or 9 beats. It is represented as | followed by the number of beats (as subscript).

When the laghu has three beats, we call it tishra jaati.

When the laghu has four beats, we call it chaturashra jaati.

When the laghu has five beats, we call it hhanda jaati.

When the laghu has seven beats, we call it mishra jaati.

When the laghu has nine beats, we call it sankeerna jaati.

Dhrutam — This is a clap followed by the wave of the hand. It has two beats. It is represented as O.

Anudhrutam — This is just a clap. It has one beat and is represented as U and it is less used in comparison to the above two.

Let us see how the laghu and dhrutam are presented in the form of tala.

Rupaka Talam — This talam has one dhrutam followed by one laghu. The chaturashra jaati rupaka talam therefore, is a cycle of six beats (4 + 2). It is represented as O |₄ .

Adi Talam — This talam has one laghu followed by two dhrutams. It is a cycle of eight beats (4 + 2 + 2). It is represented as |₄ O O.

Interesting Terms

Ragas in Indian Music

There are two different styles of classical music in India — Carnatic or South Indian classical music, and Hindustani or North Indian classical music. The swaras in each style have been explained to you in the earlier pages. Carnatic music uses instruments like the veena, violin, flute, nadaswaram, mridangam, ghatam, kanjira and morsing. The compositions are usually in Sanskrit, Telugu, Kannada, Malayalam and Tamil language. Hindustani music uses instruments like the tanpura, sitar, sarod, sarangi, santoor, tabla, and pakhawaj. Songs are composed usually in Hindi, Sanskrit, and Brijbhasha.

Watch videos to understand about raga and tala.

Raga is based on a scale. Every scale has notes (swaras) in ascending (arohana) and descending (avarohana) order. Imagine a staircase made of swaras! The notes in the scale change according to the raga.

Notation Scheme

When writing the notes in the higher octave (taar saptak), the notes are represented by a dot on top like this, Ṡ. The notes in the lower octave (mandra saptak) are represented by a dot below like this, Ṇ. The notes in the middle octave (madhya saptak) are represented by just the swara like this, S.

Jaatis of Raga

Let us know another interesting terminology used for a specific set of notes in ragas. If a raga has five notes it is known as audav jaati. If a raga has six notes it is known as shadav Jaati. If a raga has seven notes it is known as sampoorna jaati.

Activity 1: Raga Bhoop

The raga bhoop has the following notes:

Aroha/Arohana: S R G P D Ṡ
Avaroha/Avarohana: Ṡ D P G R S

The raga hamsadhwani has the following notes:

Aroha/Arohana: S R G P N Ṡ
Avaroha/Avarohana: Ṡ N P G R S

If you decorate a scale by using gamakas (ornamentations), repeating certain notes, and playing special phrases, it can become a raga. Each raga is ornamented with important notes and special phrases.

Raga in Sanskrit means something that colours the mind. Every raga evokes certain emotional responses in the mind. This is called rasa.

Watch the video on raga and rasa to understand more about ragas and their moods!

In Indian classical music, composition refers to the structured arrangement of musical elements such as melody (raga), rhythm (tala), and lyrics (if any). Compositions in Indian classical music are typically called bandish in hindustani classical music and kritis in carnatic classical music.

Activity 2: Learn a Swaramalika in Raga Bilawal

A composition sung in a sargam (swaras) is called a swarmalika. The swarmalika can be composed using different ragas. Listen? to the swaramalika in raga bilawal, set to teentaal.

Swaramalika

Interesting Term

Activity 3: Learn a Bandish in Raga Yaman

Watch this video to learn a bandish in Raga Yaman.

The aroha or ascending notes in raga yaman are, N R G M D N Ṡ.

The avaroha or descending notes in raga yaman are, Ṡ N D P M G R S.

Note that the M is higher than the regular M that you have sung before. This small shift in one note alters the mood of the song!

The song describes Lord Krishna playing the flute and the gopikas of Vrindavan dancing to its melody.

Raga Yaman Chhota Khayal — Kanha Bansuri

Sthayi

Aaj Bajaaii Kanha Bansuri Moha Layi Sagari Brija Naari Pyari

Antara

Brindavana Ki Kunja Galina Mei Sanga Brikhabhaana Dulaari Pyari

Teen Taal

Sthayi

Antara

Learn a Bandish on Guru in Raga Yaman (Kramik Pustak Maalika — Part I)

Sthayi

Guru Bin Kaise Gun Gaaye, Guru Naa Maaney To Gun Naahi Aaye Guniyan Mey Vey Guni Kahavey

Antara

Maaney To Rijhavey Sabko Charan Gahe Saadikan Ke Jab Aavey Achapal Taal Sur

Taal – Teentaal

Sthayi

Antara

Activity 4: Learn a Geetam in Ragam Kalyani

Listen to the audio to learn the swaras (notes) and the sahitya (lyrics) of the geetam in Ragam Kalyani. A geetam is a composition in carnatic classical music, in praise of a God or a Goddess. This geetam is composed in the ragam kalyani and is set to triputa tala. Triputa tala is a seven beat rhythmic cycle divided as 3+2+2. The notes in kalyani are the same as the notes in shankarabharanam, except for M. The M in kalyani is higher.

Lyrics

Kamala Jaadala

Vimala Sunayana

Karivarada Karunaambudhe

Karuna Sharade Kamalaakaanta

Keshi Narakaasura Vibhedana

Varada Velaapura Surottama

Karuna Sharadhe Kamalaakaanta

This song is about Lord Vishnu who is the protector of the universe.

Kamalajaadala

This song describes his compassion and glory.

Singing Techniques

Here are some vocal warm-ups in Ragam Kalyani. Listen to them and practise.