Rageshree Music Institute Inc.

Brief introduction to Raga and Tala.

The raga or rag is a melodic structure of the Hindusthani (north Indian classical music), beyond a scale or a mode, with a specific hierarchy of notes ascribed to each. Certain musical phrases bring out Raga’s essence and character, and each raga has its full effect at certain times of the day and the year. Each raga also sets forth a tonal system on which variations are improvised within a prescribed framework of typical progressions, melodic and rhythmic patterns.

The Dhuupad Form: Dhrupad is the oldest existing forms of the North Indian classical music, a major heritage of Indian culture. The word dhrupad has derived from dhruva (fixed & steadfast) and pada (ward & composition). The nature of dhrupad music is spiritual and meditative, seeking not to entertain but to induce deep feelings of peace. Om is said to have a spiritually purifying effect on the person chanting it. One significat characteristic of dhrupad is the emphasis on maintaining purity of the ragas and swaras (notes). Originally, dhrupad was sung in temples, and the compositions were prayers addressed to Hindu gods. Later, dhrupad evolved into a highly sophisticated and complex musical form, and its complex rendering was directed to highly sophisticated royal audiences. Dhrupad music has two major parts, alap and dhrupad. Alap is sung without words and dhrupad has words (Sanskrit text) and is sung with the accompaniment of a Pakhawaj (drum) and are set to Tala (rhythm cycle).

The Khayal Style: Khayal comes from the Persian word, meanng idea, or imagination. The performance of khayal usually takes place in two parts. The main Bada Khayal (slow) followed by the Chhota Khayal (fast). The Alap and the Bandish (rhythmic sections) are commonly sung in an imaginative variety of ways for a given performance. Depending on the style of Khayal, of which there are many, singing is presented by following guidelines as taught by a particular school known as Gharana (linage). The use of Tan in the Khayal gayaki (gayaki means embellished vocals) is one of the major features that distinguish it from Dhrupad. There is a greater use of ornamentation in the Khayal forms, which uses gamaks like Sargams, Murkis, and Meendh (fast pitch bends, successions of notes, fast micro tremelos, and slow thoughtful note bending).

Tala: Tala, pronounced as "tall" is a system of time or rhythm cycle. Improvisational and strict composition on the tabla (north Indian hand drums one for each hand) makes up a performance while accompanying a vocal or instrumentalist. A tabla solo is usually performed in one particular meter or rhythm cycle (tala), which is repeated throughout the duration of the solo. The material of a tabla solo is generally held within the constraints of a pattern of drum strokes and froms a theme for the solo. Tabla solo also follows the pattern of theme and variations and many different types of the form, each having a specific category. Many intricate variations are performed on the selected theme.

GLOSSARY

For Tala System

Avartan: One complete cycle of a tal.
Bandish: A set composition in rhythm or melody.
Baj: a style of playing.
Barabar: Equal rhythm or time.
Bayan: The left hand drum. A pair is known as Tabla.
Bedam: Without a pause or gap.
Chakradar: A fixed composition in tabla that is repeated three times and it ends on the sum.
Chalan: A theme and variation of tabla composition.
Drut: Fast tempo of rhythmic cycle.
Dugun: Two times; the division of the beat into two equal parts.
Gajra: The outer ring of the tabla drumhead.
Gharana: A musical linage. The word derived from ghar meaning ‘house’ and literally means ‘family’ or ‘household’.
Ginti: Counting. Used for tabla compositions that are numerically based.
Kaida: A theme and variations are based on a Tabla composition. The Tabla players exhibit their keen knowledge of the improvisational concepts.
Khali: Empty beat of a Tal, marked by wave of the hand.
Khola Baj: Open style. Style of tabla playing found in Lucknow, resonating strokes.
Kinar: The outer potion of the three sections of the tabla head
Laggi: The fast rhythm, a dance-like composition often used to accompany Thumri, Ghazal Ect.
Lahra: A melody of the duration of one cycle of a given tal that plays over and over. It is used to accompany a Tabla solo.
Lay: A concept of rhythm, pulse or tempo.
Laykari: Rhythmic pay, especially the complex division of the beat.
Madhya: Medium tempo of rhythmic cycle.
Matra: The unit of time, one beat or duration between two beats.
Mohora: A fixed composition related to Tukra in Tabla repertoire.
Mukhra: A short, often improvised flourish of the tabla bols to herald the Sum of the complete rhythmic cycle.
Palta: Reverse or rearrangement of the kaida composition, similar to laykari.
Paran: A fixed composition found in Pakhawaj (drum) music and Kathak dance. It is also used toward the end of the tabla solo.
Peshkar: An introduction or to present. Peshkar is performed in slow tempo, but very complex in rhythm. Traditional tabla solo begins with peshkar.
Puri: The tablahead.
Rang: Color. A theme and variations of tabla composition similar to rela which is very peculiar to the Lucknow Gharana.
Rela: Torrent, rushing stream. A theme and variations of tabla composition which uses rapidly articulated strokes.
Rela-Rang: A theme and variations of tabla composition which is a cross between a rang and a rela.
Sum: The first best of a given rhythm cycle. The most prominent downbeat.
Tabla: The right hand drum. A pair is known as Tabla.
Tal: The system of rhythm in Indian music as a whole. A particular metric cycle.
Talim: Musical education.
Theka: The articulation of drum strokes representing a Tal. A fixed rhythm cycle.
Tihai: A musical structure that involves the threefold repetition of a phrase. It is usually ends on the first beat (sum).
Tukra: A fixed and short composition of tabla that begins on the sum and ends on the sum with a tihai.
Uthan: Rising. A fixed composition used to begin a tabla solo performance.
Vilambit: Slow tempo

Mridungam

GLOSSARY

For Raga System

Alap: An introduction, slow movement, free of rhythm. It establishes the melodic identity of the Raga.

Anga: A part of Raga, a phrase identifying a Raga. Also refers as a style like Khayal or Drupad singing.

Aroha: The scale of a Raga in the ascending notes order.

Avaroha: The scale of a Raga in the descending notes order.

Baj: A style of playing.

Bol: Word, a spoken phrase or syllable.

Bol-Taans: Musical phrasesinterlinked with words. Normally sung fast.

Chalan: Movement or gait of notes in a raga.

Dadra: A light classical song, which is usually sung in Dadra Tal (6 beats).

Drupad: The most massive and sublime musical form in Indian Classical Vocal tradition. The main four parts of Drupad are, the Sthai, Antara, Abhog and Sanchari. Traditionally Drupad is sung in Chautal (12 beats cycle).

Dhun: A light tune or folk melody.

Gamak: A tonal embellishment, a grace. Notes with a touch of the preceding or the succeeding notes of the raga. Gamak gives a vibratory effects.

Gat: A fixed composition for Raga nad the Tala Syatem.

Gayaki: Style of singing.

Gayaki-ang: A style of performance for the instrument like Sitar, Sarod, Sarangi etc, that is akin to vocal music due to the “meends” the continuum of notes.

Ghazal: A poetic from in Urdu language. A light vocal style sung to words of the poetry.

Guru: A Hindu teacher or master.

Jor or Jod: Second section of alap, in which a pulse is introduced.

Jhala: Played in very fast tempo. The conclusion of alap and jor.

Jugalbandi: a Duet performance.

Khayal: It means imagination or creative thought. The most popular classical form of the Hindusthani vocal music.

Kajri: Folk song from Uttar Pradesh.

Mishra: Mixed. When a raga is mixed with other ragas or combation of other raga.

Nada: Sound; cosmic energy.

Rasa: Aesthetic content or emotional appeal.

Saptak: A gamut of seven notes. An octave.

Samavadi: The note next to the importance Vadi (dominant note).

Shudha: Pure or natural note.

Swara: Musical pitch, sound, also known as Sur.

Taan: A fast musical phrase sung or played on instruments with intricate note patterns.

Tappa: The folk songs of the camel drivers.

Thatt: Heptatonic scale, modal structure.

Thumri: usually sung in light classical format.

Vadi: A dominant note of the raga.

Vistar: Improvisation or variation for the development of melodic ideas in music.

Vichitra Veena