Hindustani Classical Music - My little understanding - Part 7 (Raag)

In the previous article on this topic we looked into some basic concepts that can be used to define a Raag. In this article let us further learn some important aspects around Raags.

The 10 Thaats (Raag Taxonomy)
Pandit Vishnu Narayan Bhatkhande was a great scholar of music in the early 20th century. He is probably the first to document the Raags of Hindustani Classical music in a systematic form. Out of the many books, he produced two very important treatises on modern Indian classical music. "Hindustani Sangeet Paddhati" (4-Volumes, It has explanation of 100+ Raags and related theory) and "Kramik  Pustak Malika" (6-Volumes, It has a brief explanation of Raags followed by detailed notations of songs based on a particular Raag. It will easily have 1000+ songs).

Pandit ji devised a system of  ten "Thaats" to classify the raags under it. They are:

1. Bilawal: S R G m P D N S.  Examples of raags in this group: Ahilya Bilawal, Deshkar etc.
2. Kafi: S R g m P D n S. Examples of raags in this group: Dhanashree, Bheempalasi etc.
3. Bhairavi: S r g m P d n S. Examples of raags in this group: Malkauns, Kausi Kanada etc.
4. Kalyan: S R G M P D N S. Examples of raags in this group: Yaman, Bhupali, Kedar etc.
5. Khamaj: S R G m P D n S. Examples of raags in this group: Rageshree, Tilak Kamod etc.
6. Asavari: S R g m P d n S. Examples of raags in this group: Darbari, Jaunpuri etc.
7. Bhairav: S r G m P d N S. Examples of raags in this group: Ramkali, Jogiya etc.
8. Marva: S r G M P D N S. Examples of raags in this group: Marwa, Bhatiyaar etc.
9. Purvi: S r G M P d N S. Examples of raags in this group: Shree, Puriya Dhanashree etc.
10. Todi: S r g M P d N S. Examples of raags in this group: Madhuwanti, Miyan ki Todi etc.

[R, G, m, D, N = shudha swars, M = Teevra madhyam, r, g, d, n = Komal swars]

There are certain rules that have to be fulfilled while defining a thaat. We will not go into those. However, it is important to note that he theorised that all the raags can be said to be "born out of" these ten thaats. Some musicologists do differ with this theory, but the essence is that this system provides a good method of classification of the raags. It is also true that is widely accepted and the de-facto standard in the modern times. When a raag is defined, it is almost mandatory to define the thaat that it belongs to.

It is important to note the following points. A thaat is not to be sung independently. It is a set of notes that can be used to create permutations to create raags under it. Also most of the thaats have a raag with the same name. For example Bilaawal thaat has a raag with the name "Bilaawal", Kalyan has a raag by the name "Kalyaan", Marwa has one too and so on. This sometimes leads to confusion among starters.

Sampooran, Shaudav & Audav (Jaati of a Raag)
One will often hear about Raags in terms of combination of above terms. Like, Asawari belongs to  Audav / Sampooran jaati. The basic concept behind this is the fact that all raags will have atleast 5 notes in its Aaroh and Avroh. So when there are 5 notes in an Aaroh or Avroh it is called "Audav". With six notes it is called "Shaudav". With 7 notes it is called "Sampooran". So Asawari has 5 notes in Aaroh (S R M P d) and 7 notes (n d P M g R S) in Avroh. Note the jaati does not tell us which notes, it tells us the count of notes only.

Raag "Ras" Emotion of a Raag
Probably this aspect gives the most distinguishable aspect to a Raag. Each raag is supposed to elucidate some emotion when rendered. As per theory, the notes playable in the raag are the key to bringing out this emotion. Theory defines the following "Ras":

• Shringaar
• Veer
• Hassya
• Karuna
• Roudra
• Bhayanak
• Bibastha
• Adbhut
• Navras

Time of a Raag
There is a time theory for raags. Based on the Vaadi and the Samvaadi notes in a Raag, a Raag has a specific time of the day when it can be performed. For instance some early morning raags are Bhairavi, Raamkali etc. Late evening raags include Kedar, Desh, Durga etc. I have read and heard interviews of contemporary masters of Indian Classical Music holding different views on this aspect of Raag. Some are very rigid even going to the extent of not singing raags during concerts that do not agree with the time theory of the raag. Some are flexible saying that the theory is not so significant in modern times of performance.

That is all for today. In the next article, I will describe the concepts of "Purvaang" and "Uttaraang", "Raagaang" and "Swar Vistaar". These are important concepts we need to understand, before we take one raag as an example and study it in great detail.

Hindustani Classical Music - My little understanding - Part 6 (Raag)

In the previous article and ones before that on this topic, I have defined some basic  knowledge of terms and definitions used in Indian Classical Music. In this post and subsequent posts I will try to define what we understand by "Raag" and explain a few concepts around it.

What is a Raag?
It is difficult to define in one or two sentences. In an interview with Pandit Nikhil Banerjee and some westerner, when Ustad Amir Khan was asked this question he replied, "It is a combination of notes...". He gave  this definition because I think this the most simple definition that can be given to anyone not associated or familiar with our kind of music. (As was the case during the interview)
Raag is definitely a combination of notes. But there is much much more that should be said before the definition is complete.

Combination of notes
Each Raag has a defined set of notes that are 'allowed' and 'prohibited' to be used in the Raag. The quotes in the sentence above indicates that no one stops you from going out of the way and break this rule but most probably your composition or rendering will get altered to another Raag than what you set out to present at first or worst sound jarring to the listeners including yourselves.

The Raag notes structure is defined as ascending and descending structures.
The ascending (rising pitch) structure is called 'Aarohi' and the descending (descending pitch) structure is known as 'Avrohi'.

(Symbols: Re, Ga, Dha, Ni are shudh swars. Ma is Teevra. A dot (.) after a note indicates higher octave and a dot (.) before a note indicates the lower octave. Refer to earlier posts explaining the saptak)

If we take Raag Yaman as an example then:
Aarohi: Sa Re Ga Ma Pa Dha Ni Sa.
Avrohi: Sa. Ni Dha Pa Ma Ga Re Sa

Few things to point out here. This Aarohi starts with Sa and ends with the Sa in the next octave. All the notes are 'Shudh' except the 'Madhyam' which is Teevra. It employs all the 7 notes.

Some questions arise immediately:

Q1.Does the descending structure always have to be the reverse of the ascending structure?
Answer: No.

Q2. Do the "number of notes" have to same in ascending and descending structures?
Answer: No. They can be  different.

Q3. Can two Raags have same Aarohi and Avrohi structures?
Answer: Yes there are Raags that have the same Aarohi & Avrohi structures. Example Raag Bhoopali and Deshkar have the same Aarohi and Avrohi. But both sound totally different. Why? Read on.

'Vaadi', 'Samvaadi' and 'Vivaadi' notes of a Raag

After defining the Aarohi and Avrohi of a Raag, we define the 'Vaadi' and 'Samvaadi' swars.
Vaadi swar is the most emphasized note in the Raag and Samvaadi is the next most emphasized note. For example in Raag Yaman the Vaadi note is Ga (Shudh Gandhaar) and the Samvaadi note is Ni (Shudh Nishaad). When we say that a particular note is 'most emphasized' it means that the performer will make it a point to stress on that note the maximum and it will be the 'most heard' note. It does not mean that you need to take a stopwatch and calculate the timings of the notes during the entire Raag performance!! I have read books, (mainly by non-Indians) who did such a methodical analysis and came out with contrary conclusions on the 'most heard note' part of it. Indian music does not work that way!

Vivaadi notes are prohibited notes of a Raag. Experts say, that when such notes are added to a Raag they spoil the structure, construct and mood of the Raag. On the other hand, great musicians and vocalists have used such notes in their performances and produced real classics. But remember these are great artists of the field I am talking about. Generally, beginners should avoid using the Vivaadi notes.

Effect of Vaadi & Samvaadi notes

Why are the Vaadi and Samvaadi notes important? They are important because they form a crucial part in establishing a Raag. Remember that two Raags can have the same Aaroh and Avroh? But then they will invariably have different Vaadi and Samvaadi notes. This difference will in turn have an effect on the entire movement of the notes in the Raag, and the way the notes are grouped, making them sound totally different. For example Raag Bhoopali has Ga (Gandhar) as the Vaadi swar whereas Raag Deshkar has Dha (Dhaivat) as the Vaadi swar.
I will come up with many examples in audio and annotated audio gradually. But we need to understand some more theory before we appreciate these aspects in real time audio.

Let us keep this much for today. We are far from over with this and I will write on this in subsequent posts.

Mangalyaan vs Maven

On the 24th of September our esteemed space research organisation ISRO made history. It successfully placed "Mangalyan" into the Mars orbit. The entire sequence to slow down the vehicle and get itself "captured" into the martian gravity was autonomous. The commands to fire the rocket were uploaded much earlier as the orbiter was eclipsed by Mars itself and the ground control stations on Earth had no access to the orbiter's communication system during this time.

Our Prime Minister on this occasion spoke. As always he spoke brilliantly. He also made a point about the cost of the project being less than the movie "Gravity". Now, that set the stage for the social media to go abuzz with all sorts of comparisons.  People started comparing the NASA's MAVEN mission and the cost that it incurred. Some of my friends commented that the mission was 11 times more costlier than that by ISRO. Impression was made that ISRO was "one-up" against NASA in this.

We Indians have a habit of exaggerating things we feel proud of (as a nation or community) especially if the thing appears to be comparable to something from the West. We go over the board swelling our chest with pride and brag about our achievement. We often at these times ignore the facts of the case.

Precisely, what we have done in this case. First and foremost, ISRO has/had no plans to go "one-up" against NASA in anyway with this mission. The honourable chairman has himself stated that ISRO is in race with no one but itself. Secondly, "Mangalyaan" weighs around 4.3 times lighter than MAVEN. Anybody with a basic knowledge of rocket science knows that with each gram increase in weight of the payload the cost of the launch (and the carrier) goes up. Thirdly, "Mangalyaan" is just like a "Hello World" programme by ISRO to test out their capability of carrying out an interplanetary mission. The scientific instruments "Mangalyaan" carries are very basic unlike those in MAVEN. It is true that NASA has asked for co-operation with ISRO for the use of the methane gas sensor that "Mangalyaan" carries with itself.

Yes we have made a huge achievement in our own might. We are sure that ISRO will bring us even more reasons to smile (esp. with the upcoming PSLV C26 launch and our own IRNSS navigation system and the much awaited GSLV MKIII launch) in the coming years. But please do not demean other space programmes or nations. The fact of the matter is that as of date we are the "youngest" nation in space exploration.

So I request fellow compatriots to keep calm.

Ai Giri Nandini

This  stotra known as "Mahisasur Mardini" is said to be very powerful. Each year on Durga-Ashtami, we visit the Ramakrishna Mission in New Delhi and they perform this stotra  during the aarti. I have to admit, it does have a very powerful impact. I remember playing this stotra and the Hanuman Chalisa in a loop on Winamp during the days and nights when I used to work on my MCA project and studies.

It is again that time of the year, when I start to feel better. The weather is being pleasant, at least in the mornings and there is that feeling of "Durga Pujo" round the corner. Life from here on till March-April beginning is cool with one festival after another following in quick succession. The weather as I said earlier too supports the festive fervor to the fullest.

Speaking of goddess, I am privileged to have acquaintance with two of them. One is of course my mother. I have never come across an individual so selfless and sacrificing as her in my life. Even till date, I see that she is so forthcoming to sacrifice pretty little things for someone else's cause. I have seen her as the workhorse of housework for years and I am ashamed to admit that I may not have given the credit she deserved for this work during my younger days. I have taken her for granted so many a times in the past and yet her interface towards me never changed. This lifetime and many more, I will not be able to repay the dues.

The other one is my wife. She has been an awesome companion to me for all these years. I have a friend with whom I can talk and behave carefree. She is always forthcoming with constructive discussions on important matters and decisions we need to make. I am not sure if I have been able to reciprocate the same towards her, but again her interface has never changed. In the past couple of months, she has shown tremendous dedication towards her duty as a mother, which frankly if I were in her place, I would have freaked out by now.

Maybe that is why god did not make me a woman.

May god bless both of them always.

Out of nowhere

Just now heard this short clip from JS. And I have probably heard this 50 times by now! My mind  has started to extrapolate the rest of the ghazal of this rendition as the lyrics and the tune of this ghazal is very well known to any JS fan.

https://www.youtube.com/watch?v=8KjzUKavX_c

This happens with me always. Out of nowhere JS comes  with a rendition that smashes every bit of my emotional barrier walls.

Friday Night

Another weekend to begin and that feeling of goodness. This time of the year it should be raining here in Delhi. But the fury of nature is at its peak. There has been minimal to no rain this monsoon season.

Life too seems to moving at a furious pace. So many changes activities and events; all have come and gone by in the last nine to ten months. One way to deal with these are to remain calm and plan for the events. They will come like waves and take you with their motion, just ensure that your life-jacket is in place.

Our son seems to be doing well in his growth path. In his six odd weeks he has mastered the art of displaying his discomforts by the way of crying.  He makes a lot of eye-contact these days with his mother. His next mission seems to be to turn-over on his stomach. The elders in the family say that he is ahead of his age in this act. I think that he is doing what is coming to him naturally and thus there is no sense of "paternal-pride" to be proud of here.

So long. Let's see how the weekend goes!

Hindustani Classical Music - My little understanding - Part 5 (Meend)

In the previous article we discussed the types of "Alankaars" or ornamentations in the Hindustani Classical Music. In this article we will discuss in details on one of the most important ornamentation known as "Meend" (मींडْ).

"Meend" is essentially a glide from one note to another note.  The notes are not required to be next to each other. They can span multiple notes. "Meend"s can occur both ways i.e. Upwards or Downwards. That is one can glide from a starting note "Sa" to "Ma (Teevra)" as well as glide down from "Ma (Teevra)" to "Sa".

There are different forms of "Meend"s within this basic definition. One such type is one during which the glide from the starting note to the destination note may require (by the rule of the "Raag") to rest or touch the intervening notes in between. The duration of rest and the intervening note to rest on is dictated by the "Raag" in question. In another type there is a "wave" like movement where in there is both the upward and the downward movement combined while transiting from one note to the other.

"Meend"s are not playable on instruments like the harmonium. However stringed instruments like the Sarod, Sitar can play them nicely. So generally, fretted instruments play "Meend"s. "Meend"s are definately also a very important part of vocal singing.

There are two online resources that I found very useful. First is of course the "ITC Sangeet Research Academy". They have categorized different forms of "Meend"s along with examples. The other is the http://raag-hindustani.com website. This site is created by Ms. Sadhana. Browse to the section on Ornamentation. It contains good description of "Alankaars" and also some examples.

To help the readers get a greater understanding I will present some examples along with their frequency analysis.
The first example is from the raag-hindustani website. Ms. Sadhana first demonstrates the ordinary "m P D g" and then as it is sung in Raag Bageshree ("m P D g"), employing "Meend"s. The figure below is the time-frequency plot of both the clips.

Click on the image to enlarge the view.

Notice the first set of "m P D g" is totally "flat". There  is no "glide" seen when changing from one note to the other. In the second, observe the "glides" when moving from one note to the other. The glide to "Pa" from "Shudh Ma" upwards (slightly touching "Shudh Dha") and then a glide to "Shudh Dha" from "Pa" and then a final long smooth glide downwards to "Komal Ga". Now listen to the combined piece, along with the movements on the notes in real time in the video below. Switch to full screen view and select the HD mode. This will enable you to view the notes being sung in real time that are displayed in the extreme lower right corner. The video has the notes annotated "in-place" for easy reference too.

One can go through the rest of the examples on the website. They are really well explained. I am grateful to Ms. Sadhana for allowing me to use her recordings on her website http://raag-hindustani.com/Embellishment.html for the examples above. It allows me to show in greater details as to how "Meend"s look like and can be "detected" by the less trained ears of casual music lovers.

To close, let us also see on example of "Meend" from the great Ustad Amir Khan. In this example, he traverses the whole octave from "mandra saptak Ni" to "natural saptak  Ni" during one of his renditions of Raag Yaman Kalyan. Watch the glide, he does not stop anywhere in between during the glide.

As usual, switch to full screen view and select the HD mode. This will enable you to view the notes being sung in real time that are displayed in the extreme lower right corner. The video has the notes annotated "in-place" for easy reference too.

That is all for today. I will keep posting such analysis from time to time. I find it is easy to grasp these complex concepts when one is able to see the waveform visually along with the musical movements involving the notes.

The next article shall finally introduce the concept of a Raag. You might be One might wonder why Raags were not introduced earlier, but believe me without these basic chapters on classical music, it is very difficult to understand the concept of Raag. Hopefully my explanation would make sense then!