1. Deepak Jamdhade Raut Sachin
Indian Art Music
Deepak Jamdhade Raut Sachin

2. M U S I C …
A raga or raaga (IAST: rāga; also raag or ragam ; literally "coloring, tingeing, dyeing") is akin to a melodic mode in Indian classical music. ... Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.

3. M u s i c
RAAG MARWA
Raag Marwa (hexatonic) Raag Marwa is sung during the late afternoon hours up to sunset. It is one of the major ragas in Hindustani classical music and is sung widely and taken very seriously. One of the interesting things about Raag Marwa is that it de-emphasizes the root note "sa." Probably because of this, it is a somewhat unsettling raga, and mainly evokes dark moods of foreboding and anxiety. It can also portray compassion or resignation in the face of some inner struggle.

4. MUSICAL GENRES IN PRESENT DAY INDIA
NON - ART
(“LIGHT/POPULAR”)
ART
(“CLASSICAL”) .
N O R T H
I N D I A N
(“HINDUSTANI”)
TRIBAL
SOUTH
INDIAN
(“CARNATIC”)
THEATRE
MUSIC
FOLK
Has religious/philosophic roots
Has a highly formalised grammar, dictated by textual as well as oral tradition
Has different genres
(Vocal – Alap, Dhrupad/Dhamar, Khayal, Sadra, Thumri, Bhajan, Geet etc
Instrumental – Alap, Masidkhani, Rajakhani, Firozkhani, Amirkhani Gat etc)
Has different styles (called Geeti, Bani or Baaj)
Has regional schools of presentation (currently called Gharanas)
Has regional variations in choice of Ragas, Talas, etc.
PROVINCIAL
CINEMA
MUSIC
RELIGIOUS OR
PHILOSOPHIC
“INDUSTRIAL”
NON-INDIAN
IMPORTS

5. RAAG BHAIRAV
Raag Bhairav (heptatonic) Bhairav is another very important raga in the Hindustani classical tradition. It is a morning raga, and solemn peacefulness is its ideal mood. It is very easy, however, for this scale to deteriorate from majestically peaceful to pathetically melodramatic, and artists must watch out for that. I think it was Pundit Vilayat Khan who once described Raag Bhairav as the music in the mind of Lord Shiva as he meditated in the Himalayas. That made an impression on me. Picture Shiva-the-terrible, absorbed in the deepest meditation in a dark cave in the Himalayas. Everything is still, except for the occasional dripping of a stalagtite. Then dawn breaks and the first rays of sunlight penetrate into the cave. Imagine the music in the mind of this man of terrifying passions at that time in his state of perfect peacefulness. And that, to me, is what Raag Bhairav should be

6. The Gamut of Notes 8. Sa – Shadja – Do – Tonic
Ni – Nishada – Si/Ti – Leading Note
♭ Ni – Komala Nishada
Dha – Dhaivata – Lah – Submediant
♭ Dha – Komala Dhaivata
Pa – Panchama – Soh – Dominant
# Ma’ – Tivra/Kari Madhyama
Ma – Madhyama – Fah – Subdominant
Ga – Gandhara – Mi – Mediant
♭ Ga – Komala Gandhara
Re – R’shabha – Re – Supertonic
♭ Re – Komala R’shabha
Sa – Shadja – Do – Tonic

7. Sound in Indian Art Music
Static Note – Unembellished tones: Used for teaching or analysing musical phenomena but not (except but rarely) in performance
Ornamented Note – Tones embellished by different types of ornaments, such as Meend, Soot, Andolan, Gamak, Krintan, etc. : Used in performance

8. Ornaments (“Alankar”)
Andolan – “oscillation” on a note
Gamak – fast Andolan. Gamak may range from the heavy and guttural to the light and almost superficial. Again, Gamak may be of varying speeds
Sparsha Svara, Kan or Krintan – grace note (acciaccatura)
Meend – glissando
Soot or Aansh – fast Meend from one note to another distant note
Mürki – akin to mordent
Khatka – akin to turn
Kampan – vibrato

9. Elements of Music
Melody – notes sounded successively Harmony – notes sounded simultaneously Rhythm – pulses in time Dynamics – intensity (volume) Timbre – tone colour

10. Melodic Organisation: According to the principles codified by
Organising Notes
Melodic Organisation:
According to the
principles codified by
the system of
- RAGAs
- TALAs and
- performance practice
Harmonic organisation: Against a fixed system of static notes sounded continuously but softly in the background and in unintended counterpoint, from an imitating accompanist

11. R A G A a melodic concept capable of intense emotional
communication and comprising:
a given set of notes, ascending and descending
- characteristic microtones
- characteristic phrases
relative importance of the notes
- characteristic ornaments or lack thereof
the general speed to be adopted
the register to be used (low or high pitch)
- an accepted time of performance

12. Organising Time – Tempo (Laya, Gati)
Slow
(Vilambita)
Medium
(Maddhya)
Fast
(Druta)
Medium
Slow
(Maddhya
Vilambita)
Medium
Fast
(Maddhya
Druta)
Slow
(Vilambita)
Fast
(Druta)
Very Slow
(Ati
Vilambita)
Very Fast
(Ati
Druta)
“Linear”
(Tala-Heena)
“Cyclic”
(Tala-Yukta)

13. T A L A
Tala → the cyclic organisation of periodic beats (Matra) = an endlessly repeated series of ordered rhythmic syllables in time
Rhythmic syllables → Names of sounds on percussion instruments (Dha, Na, Dhin, Tin, Thum, Kat, Tita, Tirakita, Ghe, Dhita, etc.)
A Tala has:
Cycles – each cycle is called an “Avartana”
Divisions into bars, which may be equal or unequal
Accent points, which may be “beaten” (“Tali”) or “unbeaten” (“Khali”)
A primary accent point (“Sama”) – the point of rhythmic resolution
A vocal enunciation of the ordered rhythmic syllables in an Avartana, called “Theka”

14. THEKA TALA Kaharva 4 Dadra 6 Roopak 7 Jhaptal 10 Ektal 12 Jhoomra 14
MATRA
THEKA
Kaharva 4
Dhage Nati Naka Dhin | |
Dadra 6
Dha Tin Na | Ta Dhin Na | |
Roopak 7
Tin Tin Na | Dhin Na | Dhin Na | |
Jhaptal 10
Dhin Na | Dhin Dhin Na | Tin Na | Dhin Dhin Na | |
Ektal 12
Dhin Dhin | Dhage Tite | Thum Na | Kat Ta | Dhage Tite | Dhin Dha | |
Jhoomra 14
Dha –Dha Tirakita | Dhin Dhin Dhage Tirakita | Ta –Ta Tirakita | Dhin Dhin Dhage Tirakita | |
Deepchandi
Dha Dhin - | Dha Dha Dhin - | Na Tin - | Dha Dha Dhin - | |
Adachoutal
Dhin Tite | Dhin Na | Thum Na | Kat Ta | Tite Dhin | Na Dhin | Dhin Na | |
Trital 16
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Tita Dhin Dhin Dha | |
… and many more, including fractional Matras (e.g. Jhampak Tala of 8½ Matras)

15. Rhythmic Improvisation (“Layakari”)
Dügün – double speed
Tigün – triple speed
Choügün – quadruple speed
Panch, Chhey, Sat, Ath, Naü, etc gün – respectively 5, 6, 7, 8, 9 etc times the original speed
Aad – 3/2 times the original speed
Aad ka Ülta – 2/3 times the original speed
Küad – two viewpoints: 5/4 or 9/4 times the original speed
Küad ka Ülta – 4/5 or 4/9 times the original speed
Biyad – there are several varieties of this: 7/4 or 27/8 (“Küad of Aad” = 9/4 of 3/2) times the original speed, etc.
Biyad ka Ülta – 4/7 or 8/27 times the original speed
Paun – 3/4 times the original speed
Paun ka Ülta – 4/3 times the original speed

16. Performance Practice Hindustani Recital Vocal “Classical” Dhrupad &
Dhamar
Khayal
Tarana
“Light-
Classical”
Thumri
Bhajan
Ghazal
Instrumental
Percussion
Melodic
Instrument
Gayaki Ang
Dhrupad Ang
Khayal Ang
Tantrakari Ang
Dhun

17. Khayal Recital Auchār-Ālāp Vilambit (Bada) Khayāl
- Vistār (Badhat) ⇨ Sthāyi, Antarā
- Behlāvā
- Tān
Drut (Chhotā) Khayāl
⇨ developed similarly as above