Basic Music

Pleasing sound is music

To create pleasing sound is a challenge. To undertake this challenge, we must know the property of sound.

Sound has three properties

1. Timber (Quality of sound)

2. Pitch (sharpness of sound) measured in Hertz.

3. Amplitude (Intensity of Sound)

We have to explore all these three domain of sound to make a sound pleasing.

Timber - Sound produced by cracking of glass, running water, falling bricks all have different timber quality, so is with instruments, saxophone, trumpets, flute and bagpiper sound different to each other, selection of sound is important.

Pitch - Sharpness of sound can be seen easily by comparing thumps of drum and squeaking of nails on floor, limits of sharpness and softness are selected to pleasing audible range

Amplitude - Amplification of sound is must, a listener should feel relaxed, sound should be audible but not disturbing.

Music is composed by arranging different sounds to hear pleasant.

Sounds sample are selected in such a way that every sound could be differentiated.

If a sound is just double in pitch it is called as a full octave higher - or a sound of next set.

In Indian Classical Music, Audible sound is called as Shruti, and in a octave only 22 Shruties can fit in such a way that each could be differentiated.

Indian Music is based on these 22 Shruties.

22 Shruties in Cents

Indian Musical Scale - North Indian Style - Known as Hindustani Musical Scale

C Sa - Fixed

C# re - Two Variations

D Re - Two Variations

D# ga - Two Variations

E Ga - Two Variations

F ma - Two Variations

F# Ma - Two Variations

G Pa - Fixed

G# dha - Two Variations

A Dha - Two Variations

A# ni - Two Variations

B Ni - Two Variations

Because of these variation, it was presumed earlier that Indian Music lacks Standardization.

Indian Classical Music is as old as Veda. It is more comprehensive in nature than any music in the world.

In English grammar there are maximum five forms of verb (for a word) but in Sanskrit there are over thousand forms of verb of a single word (called as root) and every form has a different meaning.

Likewise, the comprehensive nature of Indian Music must be understood under 22 Shruti scale.

Raga is divine sound, a sound having ability to alter the mood, pace and character of listener.

Raga consist, arrangement of pure natural tones.

There must be bare minimum five notes in a Raga.

Elements of a Raga

Raaga Jaati - Generally, it is deals with the notes count in Aaroha and Avaroha, but margi (straight) and vakri(retrograde) is also taken in account..

Aaroha Swar - A glimpse of musical scale in increment order.

Avaroha Swar - A glimpse of musical scale in decrement order.

Chalan Pakad - Phrase of notes which clarifies the Raaga

Vadi Swar - Dominant Note used in the Raaga is Known as Vadi.

Samvadi Swar - Second Dominant Note used in the Raaga is Known as Samvadi.

Anuvadi Swar - Remaining Notes other then Vadi and Samvadi are Anuvadi.

Nyasa Swar - Specific Notes on which a player or singer has to sustain or stroke.

Vikrat Swar - Sharp And Flat Notes are called so.

Vivadi Swar - Controversial Notes are called Vivadi. These notes are only used if felt justified in enhancing the beauty of Raaga only.

Varjit Swar - Notes that completely destroy the Raaga.

Saptak Pradhanta - Octaves(Low-Mid-High) mainly used in the Raaga. (Mandra - Madhya - Tar)

Bhaav - Relationship Between notes Shadaj-Madhyam or Shadaj-Pancham.

Rasa - Bliss (Sorrow, Grief, Anger, Romance, Tenderness, Heroism, Wonder)

Playing Season - Seasons play an important with human. Season do have certain moods. To enhance the mood or to divert the mood Raaga also have seasonal values.

Playing Time - As day rises human temperament also changes, during morning there is a different temperament as in noon. Raaga works with playing with the mood.

Whatever, is heard by our ears is Shruties, but when we talk about Shruties in concept of music, we select only those Shruties which are in a relation with with tonic Sa (Shadajam) .

Value in Cents of Various Shrutis

Below, are the value of Different Shruti in Cents , used in Bhartiya Classical Music.

Cents are rounded up to 2 decimal places, Higher precision can also be attained.

00 - Shruti - Sa , cents - 0

01 - Shruti - Ati Komal Ri, cents - 90.22

02 - Shruti - Ati Komal Ri, cents - 92.18

02 - Shruti - Komal Ri , cents - 111.73

03 - Shruti - Ri , cents - 182.4

04 - Shruti - Suddha Ri , cents - 203.91

05 - Shruti - Ati Komal Ga, cents - 294.13

06 - Shruti - Komal Ga , cents - 315.64

07 - Shruti - Suddha Ga , cents - 386.31

07 - Shruti - Sank Ga , cents - 405.87

08 - Shruti - Anta Ga , cents - 407.82

09 - Shruti - Suddha Ma , cents - 498.04

10 - Shruti - , cents - 519.55

11 - Shruti - Tivra Ma , cents - 590.22

11 - Shruti - Sankirna-Ma , cents - 609.78

12 - Shruti - Preeti Ma , cents - 611.73

13 - Shruti - Pa , cents - 701.96

14 - Shruti - Praman Ati Komal Dha, cents - 792.18

15 - Shruti - Ati Komal Dha, cents - 794.13

15 - Shruti - Komal Dha , cents - 813.69

16 - Shruti - Dha , cents - 884.36

17 - Shruti - Suddha Dha , cents - 905.87

18 - Shruti - Ati Komal Ni, cents - 996.09

19 - Shruti - Komal Ni , cents - 1017.6

20 - Shruti - Suddha Ni , cents - 1088.27

20 - Shruti - Sankirna-NI , cents - 1107.82

21 - Shruti - Kakli Ni , cents - 1109.78

22 - Shruti - Sa , cents - 1200

Raagam Flutes are tuned to swars fixed on above shruties.

Pt. Vishnu Narayan Bhatkhande

(1860-1936), was the one who classified the ragas in ten Thaat System namely Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi.

Bilawal - S, R, G, m, P, DH, NI, - सा, रे ग, म, प ध, नि

Kalyan - S, R, G, M, P, DH, NI, - सा, रे ग, म॑, प ध, नि

Khamaj - S, R, G, m, P, DH, ni, - सा, रे ग, म, प ध, नि॒

Bhairav - S, r, G, m, P, dh, NI, - सा, रे॒ ग, म, प ध॒, नि

Poorvi - S, r, G, M, P, dh, NI, - सा, रे॒ ग, म॑, प ध॒, नि

Marva - S, r, G, M, P, DH, NI, - सा, रे॒ ग, म, प ध, नि

Kafi - S, R, g, m, P, DH, ni, - सा, रे ग॒, म, प ध, नि॒

Asavari - S, R, g, m, P, dh, ni, - सा, रे ग॒, म, प ध॒, नि॒

Bhairavi - S, r, g, m, P, dh, ni, - सा, रे॒ ग॒, म, प ध॒, नि॒

Todi - S, r, g, M, P, dh, NI, - सा, रे॒ ग॒, म, प ध॒, नि

These Thaat systems are named on a prominent raga in the system.

The classification of raga is purely on chalan based (चलन आधारित) and swar based. This Thaat system does not deal with Shruti used in Raga. Though, it is a useful system to maintain the ragas in order.

Most important, Vishnu Narayan Bhatkhande compiled raga on the basis of swar and chalan used in raga, where as technically it should be on the basis of shrutis used in a raga. Here, Bhatkhande ji compromised the concept of shruties of Bhartiya Music, which may be because of British Influence of western scale on him.

Murchana Based Thaat System

This Thaat system purely classifies the raga on the basis of shruties used.

Eleven Thaats are categorized namely Kedar, Bihaga, Deshkar, Bageshri, Bhairavi, Multani, Kafi, Asavari, Todi, Basant and Ramkali. These Thaats are called as janak Thaat.

Janak Thaat is a full set of nine swars. According to Bhartiya Musicology a Thaat is a set of 7 to 9 swars.

Janaya Thaats are derived from Janak Thaat by omitting one or two notes from it.

For example

1 - Janak Thaat Kedar

Here don’t get mislead by the information of Kedar immerging from Kalyan Thaat

Kedar

00 - Shruti - Sa , cents - 0

04 - Shruti - Suddha Ri , cents - 203.91

07 - Shruti - Suddha Ga , cents - 386.31

09 - Shruti - Suddha Ma , cents - 498.04

11 - Shruti - S-Ma , cents - 609.78

13 - Shruti - Pa , cents - 701.96

16 - Shruti - Dha , cents - 884.36

18 - Shruti - Ati Komal Ni, cents - 996.09

20 - Shruti - S-NI , cents - 1107.82

22 - Shruti - Sa , cents - 1200

Raga Kedara itself along with Nat-Kedara, Kamod, Hamir, Gaoud Sarang, Shiam, Shuddha Saranga, Chhaya-Nat follows the Kedar Thaat Scale

By omitting Shruti no.9 and 18 we get the janya Thaat suddha Kalyan

Janya Thaat Sudhha Kalyan -

00 - Shruti - Sa , cents - 0

04 - Shruti - Suddha Ri , cents - 203.91

07 - Shruti - Suddha Ga , cents - 386.31

11 - Shruti - S-Ma , cents - 609.78

13 - Shruti - Pa , cents - 701.96

16 - Shruti - Dha , cents - 884.36

20 - Shruti - S-NI , cents - 1107.82

22 - Shruti - Sa , cents - 1200

Raga like Shuddha Klyan itself along with, Yaman Kalyan, Yamni Bilaval, Maluha KEdara, pahadi and Anandi follows the same Musical Scale.

Melkarta Raga System

Melkarta Raga is 7 notes Raga system. Mathematically they are 72, as rule suggests

Melkarta Raga must have

1. Shadaj and Pancham i.e. S P (1+1=2)

2. Shuddha Madhyam or Tivra Madhyam i.e. m or M (1)

3. Any one tivra, shuddha or komal from each R1,R2,R3, G1,G2, G3, - D1,D2,D3, N1,N2, N3 (4) as per krama sampūrna raga, but same notes cannot be chosen, as R2=G1, R3 = G2, and D2=N1, D3 =N2, (Here we find that if distance between two swars in less then 1 full shruti it becomes undistinguishable, so may be Venkatamakhin ji gave this sytem)

4. Now, - (2 x 3 x 6 )=36 ( 2 halves with 2 common note, 3 forms of a note, 6 notes in a halves)

5. As per melkarta rule only one Madhyam can be used, so we get 36 X 2 = 72 Raga,

Click here to get Melkarta Raga Table(will be published soon)

Practising Various Thaat System

Thaat Bilawal of Bhatkhande

This thaat compromise with all suddha notes, Generally Bilawal is treated as the beginners thaat.

S | R | G | m| P | D | N are the group of swars(notes) used.

Aaroha - P̣ | Ḍ | Ṇ | S | R | G | m | P | D | N | Ṡ | Ṙ | Ġ | ṁ

Avaroha - ṁ | Ġ | Ṙ | Ṡ | N | D | P | m | G | R | S | Ṇ | Ḍ | P̣

Aaroha - P̣Ḍ | ḌṆ | ṆS | SR | RG | Gm | mP | PD | DN | NṠ | ṠṘ | ṘĠ | Ġṁ

Avaroha - ṁĠ | ĠṘ | ṘṠ | ṠN | ND | DP | Pm | mG | GR | RS | SṆ | ṆḌ | ḌP̣

Aaroha - P̣ḌṆ | ḌṆS | ṆSR | SRG | RGm | GmP | mPD | PDN | DNṠ | NṠṘ | ṠṘĠ | ṘĠṁ

Avaroha - ṁĠṘ | ĠṘṠ | ṘṠN | ṠND | NDP | DPm | PmG | mGR | GRS | RSṆ | SṆḌ | ṆḌP̣

And so on .....You can find the complex patterns in practice books of thaats here

440 or A4 , which has a frequency of 440 Hz, is the musical note of A above middle C is used as a reference tone for tuning musical Instrument.

Though it is not universally accepted, but still it serves as the audio frequency reference for calibrating acoustic equipment and the tuning of bansuri, sitar, tanpura, tabla as well as pianos, violins, and other musical instruments.

Technically it is designated A4 in scientific pitch notation as it is placed in the octave that starts with the fourth C key on a standard 88-key piano keyboard. On MIDI, it is note 69.

Nowadays A440 is widely used as concert pitch.

A440 is often used as a tuning reference for creating fusion, where two different type of music scale share only fundamental note or key.

Bansuri is a side blown Bamboo Flute which is played in Indian Subcontinent. There are many variants of Bansuri that are played like Tapera, Vamsi, Venu, Bansur, Murli. Design Style of Flute along with fingering of this instruments also differ from place to place with style of music.

It is also addressed in Rig-Vedic literature too, making it as the oldest Musical Instrument. Natya-Shastra's solve the problem of establishing swars by the use of Venu, as bansuri has fix and unchangeable swars, prove its importance in Classical Indian Music.

Traditionally, Bansuri is crafted from a single hollow shaft (without nodes ) of bamboo with six or eight finger holes. This six hole instrument covers two and a half octaves of music. Generally Bansuri used in performing arts is of 30-75 cm. length. One end is closed, by cork or natural node lock, and few centimeters from the closed end is its blow hole - embouchure . Longer Bansuries deliver deeper tones with low pitch sound.

Some regional names of Bansuri in India are like - bansi, eloo, kulal, kulalu, kukhl, lingbufeniam, murali, murli, nadi, nar, pawa, pullankuzhal, pillana grovi, pulangoil, vansi, vasdanda, and venuvu.

Crafting a Flute

Bansuri is traditionally made from bamboo.

Bansuri is traditionally produced from a special type of bamboo, that naturally grows to long lengths between its nodes (knots). These grow abundantly in Himalayan foothills up to about 11,000 feet with high rainfall. These are particularly found in the northeastern (near Assam, Arunachal Pradesh, Meghalaya, Manipur, Mizoram, Nagaland, Sikkim, Tripura) and Western Ghats (near Kerala) states of India where numerous bamboo species grow with Internodal lengths greater than 40 centimetres (16 in).

The harvested bamboo with a desired diameter is cut, dried and treated with natural oils and resins to strengthen it. Once ready, the artisans examine the smoothness, straightness, and measure the dried hollow tube. They mark the exact positions for hole, then use hot metal rod skewers of different diameters to burn in the holes. Drilling and other methods of hole making is avoided as it is believed to damage the fiber orientation and the splits affects the music quality. The burnt in holes are then finished by sanding, one end plugged, the flute ringed at various positions to stabilize its form and shape over time, the unit tested for their musical performance. The distance of a finger-hole from the mouth-hole, and the diameter of the finger-hole controls the note it plays. Adjustments to the diameters of various holes is made by the artisans to achieve purity of the musical notes produced. The wall thickness of the bansuri determines the tone, range and octave tuning. Once all the holes have reached at their performance range, the bansuri is steeped in natural oils, cleaned, dried and decorated or bound with silk or nylon threads.

There are two varieties of bansuri: transverse and fipple. The fipple flute is usually played in folk music and is held at the lips like a tin whistle. Because the transverse variety enables superior control, variations and embellishments, it is preferred in Indian classical music.

Musical notes

Every bansuri by its design and construction has a specific key and tonal center, corresponding to sa (sadja, natural tonic) of the svara scale. This key is achieved by variations in length, inner diameter of the instrument, the relative size and placement of the tap holes. This allows the musician to select a bansuri constructed in the A to G-sharp, for the music she wants to create and share. Shorter lengths, for similar sized tapping holes, construct the G-key, while longer bansuri play the C-key. Higher octaves are produced by increasing the speed of air blown by the musician, usually by pursing and puckering the lips.

Playing

A bansuri is typically held horizontally slanting downwards towards right by the bansuri player. The index, middle and ring fingers of the right hand cover the outer fingerholes, while the same fingers of the left hand cover the rest. The bansuri is supported by the thumb and little finger, while the airhole is positioned near the lips and air blown over it at various speeds to reach the desired octave. For the seven-hole bansuri, the little finger (pinky) of the right hand is usually employed.