NOTE TO THE TEACHERS

The students must have noticed that music is an integral part of our lives, alive in almost every activity we undertake. They surely feel that musical traditions which have prevailed in our country deeply enrich their lives. They realise how people naturally turn to songs to express themselves during important moments. Hence, it’s time to let them explore further.

When they listen to a composition or learn a song, let them delve into its various aspects: theme, author, beauty of the words or lyrical beauty, different tunes, and rhythmic patterns that form a song. Point them towards the diverse voices of singers. There is so much more to discover. With your motivation they will uncover the vibrant, enchanting world of swara, laya and shabd, that surrounds and captivates us all.

Along with the lessons, the assessments should be scientific, rational and systematic. So, follow the guidelines for Formative Assessments given at the end of each chapter, which should be conducted in a relaxed and engaged manner, and mainly through observation in the classroom. The suggestions for Summative Assessments are provided at the end of the music section. The competencies required for this stage are given below. The main aim of assessments is to see whether students are able to reach the competencies laid out or whether more support is needed. Give students qualitative feedback at regular intervals to help them develop further.

5

Discovering the Elements of Music

INTRODUCTION

Welcome back, students! When we listen to a piece of music or sing a song, we observe that it is made of constituent elements.

Some of the main elements of music are — melody (raga), rhythm (tala) and lyrics (sahitya). In this chapter, we will discover further aspects of rhythm, melody and lyrics, and observe how they come together when we sing a song.

Vocal Exercises

Here are some exercises to help develop your voice in different ways.

There are many verses in Sanskrit composed by various poets and philosophers. These verses are set in a particular metre or pattern. This is referred to as chhandas in Sanskrit. Thus, while Sanskrit verses are chanted as a devotional offering, they can also give us an understanding of rhythm.

Shloka and Chhand (Metre)

Here is a shloka which you can recite in ʻAnushtup Chhandʼ.

Meaning

(Salutations to him) Who resides in the spiritual heart centre as omkara, on whom the yogis constantly meditate.

Who grants all desires and also liberation to his devotees. Salutations to that Shiva, who is represented by syllable ‘Om’.

When you recite these verses a few times, you may observe that the syllables naturally follow a pattern of 4 which is also anushtup chhand.

You can even clap your hands while reciting, to understand the underlying rhythm pattern.

TALA, KONNAKKOL AND SWARAS

As you may remember, konnakkol is the rhythm language of Carnatic music. We have looked at some simple konnakkol patterns in the previous years, now let us learn to sing or recite a konnakkol phrase in adi tala.

TABLA PATTERNS IN HINDUSTANI MUSIC

Many stalwarts have created beautiful patterns in Talas including Paran, Chakradhaar, Uthaan, Fard, and Palta.

First, let us recollect the bols of Ektaal, and then recite the Paran given on the next page.

When reciting bols, follow these patterns:

• Ek gun — 1 bol per beat
• Dugun — 2 bols per beat
• Tigun — 3 bols per beat
• Chaugun — 4 bols per beat

In Grade 7, you have practised chorus singing and canons, try to incorporate what you have learnt into any group song.

• Learn any song.
• Form groups of 15 – 20 students.
• Assign roles to each team member. Some possible roles —
  • Conductor: the one who ensures the whole performance is synchronised
  • Lead singer
  • Chorus singers
  • Instrument players
  • Providing support by clapping or body percussion
• Now, work together to ensure that each team member has a clearly defined role and is aware of it.
• Rehearse the song multiple times.
• Present it before the class.
• You can also repeat the activity by shuffling the roles.

A music ensemble or band is like a team with many different roles. Some members will be lead singers, others will be in the chorus. Some will play particular instruments. However, it is important to realise that each member of the team is important for a successful performance.

PATRIOTIC SONG

Jayati Jayati Bharata Mata

Bharatam, Jayati Jaya Jaya Mama Bharatam, Mama Bharatam Jayati Jaya Jaya, Jayati Jaya Jaya, Jayati Jaya Mama Bharatam, Mama Bharatam Ho teri jaya, jaya teri jaya, Teri Jaya mama bharatam (3)

Devbhoome namoh namah, Vedbhoomeh namoh namah, tyaagbhoomey namoh namah Matribhoomey namoh namah, Gungaan teraa namoh namah, karoon gaan teraa namo namah shatta baar teraa namo namah, samman teraa namo namah, namo namah (3) Jayati jaya jaya, Jayati jaya jaya ...

Terey ang ang bharey rang rang, naari shakti kay sung sung sanskriti, udyog, shiksha, kridaa, arogya, samriddhi kaa ley beeda Urjaa, krishi ko ley karkey sung, harit kraanti bhar daaley rung vikaas path par datey hooe, unnat unnat jeeney kaa dhang Hongey anathak sab prayas, naa rukengey baaromaas swarnim bharat meri maa, hum phir tumhey banayengey Vishwa guru kaa taaj terey maathey pey sajayengay, sajayengay Jayati jaya jaya, Jayati jaya jaya ... jaya, jaya jaya jaya jaya jaya, Jayati jaya ... Jayati jaya jaya Mama Bharatam ...

Credit: Sangeet Natak Akademi

ASSESSMENT

CHAPTER 5: Discovering the Elements of Music

Teacher’s Comments and Student’s Observations