Hindustani Classical Music : November 2020

Friday, November 20, 2020

Music history of Emperor Akbar Era 1526 - "MIYAN" Tansen

Indian has two main traditions of musical generics

1). South Indian Carnatic Music.

2). North Indian Hindustani Music.

There are many great Musicians in India but in this instance will talk about the contribution of Tansen.

Tansen was a greatest musician in India, he was born in Gwalior, Madhya Pradesh and his birth name was Ramtanu, Tansen was a vocalist and instrumentalist who created many ragas. He was initially the court singer of King Ram Chand of Rewa State.

Tansen was born into a Hindu family at Gwalior in present day Madhya Pradesh. His father, Mukund Mishra, was a famous poet and a wealthy person. Tansen was named Ramtanu at the time of his birthTansen began his musical journey at a young age when he was chosen as a disciple by Swami Haridas. He studied music under him for the next ten years of his life. Since Haridas was an exponent of the Dhrupad style of singing, Tansen developed an interest towards Dhrupad. It is said that Tansen learnt everything that he could learn from his master. Legend has it that Tansen, after completing his education, had no equal in the field of music apart from his guru.

Tansen is credited with the creation of the classical music that dominates the North of India (Hindustani classical music). It is said that Emperor Akbar made him into his own musician after learning about his extraordinary musical skills and titled ‘Miyan’ (main) was conferred upon him by Akbar.

He went on to become one of the Navaratnas (Nine Gems) in the court of Mughal Emperor Akbar. The life of Tansen is associated with many legends. Some of the most common ones are his ability to create rain and fire by just using his musical skills. Whatever the legends may be, there is no denying the fact that he was the greatest among all musicians this country has ever produced.

Tansen composed several ragas including Bhairav, DarbariTodi, DarbariKanada, Malhar, Sarang and Rageshwari. These are all considered as the foundation of classical music. Tansen is considered the founder of Hindustani classical music. In fact, every school of music that exists today in India tries to trace its origin back to him. The Dhrupad style of music is likely to have been started by him and his guru. He is even believed to have classified ragas, making them simpler and easier to understand. His contribution to the world of music is priceless and hence he is still worshipped by leading singers and composers across the world.

Tansen’s compositions were usually complex and couldn’t be understood by ordinary musicians. Later in his life, he started composing songs to eulogize Emperor Akbar and other kings.

Miracles Associated with Tansen, It is said that the great singer could perform many miracles with his singing. A popular legend has it that when Akbar’s ministers decided to deliberately bring shame to Tansen, they devised a plan. The ministers approached the emperor and requested him to convince Tansen into singing the Raga Deepak, a raga which was supposed to create fire! Akbar, who was curious to witness the miracle, ordered his servants to place a number of lamps and Tansen was asked to light up those lamps, just by singing. Tansen sung Raga Deepak and all the lamps were lit, all at once!

Other miracles of Tansen include his ability to bring rain by singing Raga Megh Malhar. It is said that Tansen used this particular raga soon after the usage of Raga Deepak to get Rain.

Tansen lived 80 years, 1506 to 1586, there are no clear references about the cause of his death. A few legends have it that he was consumed by the flames that he created himself while experimenting with Raga Deepak.

All of Tansen’s five children went on to become great classical singers. Also, a music festival called Tansen Samaroh is held each and every year in Gwalior during the month of December. The festival, which is held near his tomb, attracts thousands of musicians and aspiring singers from all over the country. Tansen Samman is an award that is given away by the government of India to outstanding exponents of Hindustani classical music.

Miyan Tansen’s

Tansen’s Tomb, Gwalior

Mayan Tansen's Tomb at Gwalior

More Info:

https://www.culturalindia.net/indian-music/classical-singers/tansen.html

Thursday, November 19, 2020

History of Hindustani Music and 10 Taat System

North Indian classical music is called Hindustani Classical Music, while the South Indian expression is called Carnatic -North Indian music.

Ten Taat's are fix melodic improvisations that are propounded by Late Pandith Vishnu Narayan Bathkandy, a dedicated influential Musicologist in the 20th Century.

Pandith Bhatkhande traveled throughout India to make research in music, meeting with ustads and pandits to research on music. Hindustani music and building on that system a coordinated theory and practice of music. During his travels in India, he spent time in Baroda, Gwalior, and Rampur where Tansen disciple of legendary Veena Player Ustad Wazir Khan, a descendant of Miyan Tansen.

Pandith Bhatkhande prepared the Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks. He also started the tradition of the All India Music Conferences to provide a common platform for discussion between Hindustani and Carnatic classical musicians.

He began to study an ancient texts such as the Natya Shastra and Sangeet Ratnakara and his tireless work lead to create 10 Taat notations developed and documented .

Pt. Bhatkhande's first published work, Pt. Bhatkhande wrote all of his works under one of the two pseudonyms, Vishnu Sharma and Chaturpandit.

1. Swar Malika, was a booklet containing detailed descriptions of all prevalent ragas. In 1909,

2. Shri Mallakshaya Sangeetam, in Sanskrit, under the pseudonym 'Chatur-pandit'

His disciple S N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple K. G. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Krishna Kumar Kapoor are among the notable scholars who followed in the footsteps of Bhatkhande.

Pt. Bhatkhande started schools and colleges in India for systematic teaching of Hindustani music. In 1916, he reorganized the Baroda state music school, and later, with the help of the Maharaja of Gwalior, established the Madhav Music College in Gwalior.

In 1926, Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then education Minister of United Provinces, established Marris College of Music in Lucknow, Bhatkhande preparing the course material.

The college was later renamed Bhatkhande College of Hindustani Music, and is now known as Bhatkhande Music Institute (Deemed University). Preparation of that course material was a landmark achievement of Bhatkhande since musical knowledge used to be passed on orally in earlier times from Gurus and Ustads to their disciples.

1. Bilawal - SA, RE, GA ,MA, PA, DHA, NI ,SA - ( all Sudha Notes)
Raga's -Deshkar, Hansadamani, Variasions of Bilawal

2.Kalyan - SA RE GA MA' PA DHA, NI, SA - (M' - thirva)

Yemen, Phupali, Hindol, Kedar, Kamoj

3. Kamaj - SA, RE, GA ,MA, PA, DHA, ni ,SA - ( ni Komal)
Rageshshri, Jhinjothi, Desh, Thilak Kamod, Jaijayawathi, kambawathi.

4. Kaphi - SA, RE, ga ,MA, PA, DHA, ni ,SA - (ga, ni, Komal)
dharshanashri, Pilu, Dhani, Bhimpalasi, Meg Malhar, Bagesheree

5. Asawari - SA, RE, ga ,MA, PA, dha, ni ,SA - (ga,dha,ni - Komal)

Asawari, Darbari,Desi, Adana, Jaunpoori

6. Bahiravi - SA, re, ga, MA, PA, dha, ni ,SA - (re,ga,dha,ni - Komal)

Malkauns, Todi, Bhupali Todi, Kaunsi, Kandana

7. Bahirav - SA, re, GA ,MA, PA, dha, NI ,SA - (re-dha - Komal)

Yemen, Kedar, Bhupali, Hindol, Kamod,

8. Marawa -SA, re, GA ,MA', PA, DHA, NI ,SA (re -Komal and M' Therva)

marawa, Pooriya, Sohini, Bhathiyar, Bibbass

9.Poorvi- SA, re, GA MA', PA, dha, NI ,SA -(re,dha komal and M' Theiva)

Marawa, PuriyaDhanshree, Gauri, Sri Paraj, Basent

10.Todi-SA, re, ga, MA', PA, dha, NI ,SA - (re,ga dha Komal and M' Theriva)

Miyanki Todi, Gujari Todi, Maduwathi Mulatani.

More details : https://raag-hindustani.com/Scales3.html

Study from Internet - Jacintha-

Wednesday, November 18, 2020

Venkatamakhi's - 72 Taat Melakara System -

The Mela system of ragas was first propounded by Raamamaatya in his work Svaramelakalanidhi c. 1550.

He is considered the father of mela system of ragas. Later, Venkatamakhin, a gifted musicologist in the 17th century, expounded a new mela system known today as Meḷakarta in his work Chaturdandi Prakaasikaa the court musician of Tanjore King Vijaya Raghava. The Venkatamakhi scheme is based on the universally recognized 12 notes

Lets look at how 72 Melakarta system in detailed.

The 72 Melakarta ragas are split into 12 groups called Chakras, namely it is Indu, Nethra, Angi, Wedha, Bana, Ritu, Rishi, Vasu, Brahma ,Disi, Rudra and last Adhiya. Each group is containing 6 Ragas as given in the below diagram which only used applying R/G and D/N which has applied through out the 72 ragas.

It is further divided as Prethi and Prutti Madhyama, Prithi Madyama is (1-36) per the diagram given below and it is S R G M.

Prutti Madhyama is from M P D N that is (37 to 72) as per the diagram.

S and P is constant. Melakarthas are evolved by permutation and combination of the 12 swara sthanas.

These 12 swara sthanas are further expanded with dual names forming 16 in number.

i.e.

S R1 R2 R3

G1 G2 G3 M1 M2 P D1 D2 D3

N1 N2 N3 Ṡ

Details : Durga Mythreyee

https://www.youtube.com/watch?v=rGbPjTcUbyQ&t=395s

A Melakarta raga has seven distinct notes in its Arohanam, ascending in pitch, (kramasampurna) and has the same notes in the Avarohanam, as its descent.

Now let's look at the below notes how it has been applies to the 72 Melakara System and form a 72 ragas within the 12 chakra given below. Earch charkra has 6 group as shown below:

No. Ragam Arohanam Avarohanam

1 Kanakangi S R1 G1 M1 P D1 N1 S S N1 D1 P M1 G1 R1 S

2 Ratnangi S R1 G1 M1 P D1 N2 S S N2 D1 P M1 G1 R1 S

3 Ganamoorti S R1 G1 M1 P D1 N3 S S N3 D1 P M1 G1 R1 S

4 Vanaspati S R1 G1 M1 P D2 N2 S S N2 D2 P M1 G1 R1 S

5 Manavati S R1 G1 M1 P D2 N3 S S N3 D2 P M1 G1 R1 S

6 Tanaroopi S R1 G1 M1 P D3 N3 S S N3 D3 P M1 G1 R1 S

7 Senavati S R1 G2 M1 P D1 N1 S S N1 D1 P M1 G2 R1 S

8 Hanumatodi S R1 G2 M1 P D1 N2 S S N2 D1 P M1 G2 R1 S

9 Dhenuka S R1 G2 M1 P D1 N3 S S N3 D1 P M1 G2 R1 S

10 Natakapriya S R1 G2 M1 P D2 N2 S S N2 D2 P M1 G2 R1 S

11 Kokilapriya S R1 G2 M1 P D2 N3 S S N3 D2 P M1 G2 R1 S

12 Roopavati S R1 G2 M1 P D3 N3 S S N3 D3 P M1 G2 R1 S

13 Gayakapriya S R1 G3 M1 P D1 N1 S S N1 D1 P M1 G3 R1 S

14 Vakulabharanam S R1 G3 M1 P D1 N2 S S N2 D1 P M1 G3 R1 S

15 Mayamalavagowla S R1 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R1 S

16 Chakravakam S R1 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R1 S

17 Suryakantam S R1 G3 M1 P D2 N3 S S N2 D2 P M1 G3 R1 S

18 Hatakambari S R1 G3 M1 P D3 N3 S S N3 D3 P M1 G3 R1 S

19 Jhankaradhwani S R2 G2 M1 P D1 N1 S S N1 D1 P M1 G2 R2 S

20 Natabhairavi S R2 G2 M1 P D1 N2 S S N2 D1 P M1 G2 R2 S

21 Keeravani S R2 G2 M1 P D1 N3 S S N3 D1 P M1 G2 R2 S

22 Kharaharapriya S R2 G2 M1 P D2 N2 S S N2 D2 P M1 G2 R2 S

23 Gowrimanohari S R2 G2 M1 P D2 N3 S S N3 D2 P M1 G2 R2 S

24 Varunapriya S R2 G2 M1 P D3 N3 S S N3 D3 P M1 G2 R2 S

25 Mararanjani S R2 G3 M1 P D1 N1 S S N1 D1 P M1 G3 R2 S

26 Charukesi S R2 G3 M1 P D1 N2 S S N2 D1 P M1 G3 R2 S

27 Sarasangi S R2 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R2 S

28 Harikambhoji S R2 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R2 S

29 Dheera

sankarabharanam S R2 G3 M1 P D2 N3 S S N3 D2 P M1 G3 R2 S

30 Naganandini S R2 G3 M1 P D3 N3 S S N3 D3 P M1 G3 R2 S

31 Yagapriya S R3 G3 M1 P D1 N1 S S N1 D1 P M1 G3 R3 S

32 Ragavardhini S R3 G3 M1 P D1 N2 S S N2 D1 P M1 G3 R3 S

33 Gangeyabhooshani S R3 G3 M1 P D1 N3 S S N3 D1 P M1 G3 R3 S

34 Vagadheeswari S R3 G3 M1 P D2 N2 S S N2 D2 P M1 G3 R3 S

35 Soolini S R3 G3 M1 P D2 N3 S S N3 D2 P M1 G3 R3 S

36 Chalanatai S R3 G3 M1 P D3 N3 S S N3 D3 P M1 G3 R3 S

up to number 36 its the Prathi Madhayama

37 Salagam S R1 G1 M2 P D1 N1 S S N1 D1 P M2 G1 R1 S

38 Jalarnavam S R1 G1 M2 P D1 N2 S S N2 D1 P M2 G1 R1 S

39 Jhalavarali S R1 G1 M2 P D1 N3 S S N3 D1 P M2 G1 R1 S

40 Navaneetam S R1 G1 M2 P D2 N2 S S N2 D2 P M2 G1 R1 S

41 Pavani S R1 G1 M2 P D2 N3 S S N3 D2 P M2 G1 R1 S

42 Raghupriya S R1 G2 M2 P D3 N3 S S N3 D3 P M2 G2 R1 S

43 Gavambodhi S R1 G2 M2 P D1 N1 S S N1 D1 P M2 G2 R1 S

44 Bhavapriya S R1 G2 M2 P D1 N2 S S N2 D1 P M2 G2 R1 S

45 Subhapantuvarali S R1 G2 M2 P D1 N3 S S N3 D1 P M2 G2 R1 S

46 Shadvidhamargini S R1 G2 M2 P D2 N2 S S N2 D2 P M2 G2 R1 S

47 Suvarnangi S R1 G2 M2 P D2 N3 S S N3 D2 P M2 G2 R1 S

48 Divyamani S R1 G2 M2 P D3 N3 S S N3 D3 P M2 G2 R1 S

49 Dhavalambari S R1 G3 M2 P D1 N1 S S N1 D1 P M2 G3 R1 S

50 Namanarayani S R1 G3 M2 P D1 N2 S S N2 D1 P M2 G3 R1 S

51 Kamavardhini S R1 G3 M2 P D1 N3 S S N3 D1 P M2 G3 R1 S

52 Ramapriya S R1 G3 M2 P D2 N2 S S N2 D2 P M2 G3 R1 S

53 Gamanasrama S R1 G3 M2 P D2 N3 S S N3 D2 P M2 G3 R1 S

54 Viswambari S R1 G3 M2 P D3 N3 S S N3 D3 P M2 G3 R1 S

55 Syamalangi S R2 G2 M2 P D1 N1 S S N1 D1 P M2 G2 R2 S

56 Shanmukhapriya S R2 G2 M2 P D1 N2 S S N2 D1 P M2 G2 R2 S

57 Simhendrama

dhyamam S R2 G2 M2 P D1 N3 S S N3 D1 P M2 G2 R2 S

58 Hemavati S R2 G2 M2 P D2 N2 S S N2 D2 P M2 G2 R2 S

59 Dharmavati S R2 G2 M2 P D2 N3 S S N3 D2 P M2 G2 R2 S

60 Neetimati S R2 G2 M2 P D3 N3 S S N3 D3 P M2 G2 R2 S

61 Kantamani S R2 G3 M2 P D1 N1 S S N1 D1 P M2 G3 R2 S

62 Rishabhapriya S R2 G3 M2 P D1 N2 S S N2 D1 P M2 G3 R2 S

63 Latangi S R2 G3 M2 P D1 N3 S S N3 D1 P M2 G3 R2 S

64 Vachaspati S R2 G3 M2 P D2 N2 S S N2 D2 P M2 G3 R2 S

65 Mechakalyani S R2 G3 M2 P D2 N3 S S N3 D2 P M2 G3 R2 S

66 Chitrambari S R2 G3 M2 P D3 N3 S S N3 D3 P M2 G3 R2 S

67 Sucharitra S R3 G3 M2 P D1 N1 S S N1 D1 P M2 G3 R3 S

68 Jyotiswaroopini S R3 G3 M2 P D1 N2 S S N2 D1 P M2 G3 R3 S

69 Dhatuvardhini S R3 G3 M2 P D1 N3 S S N3 D1 P M2 G3 R3 S

70 Nasikabhooshani S R3 G3 M2 P D2 N2 S S N2 D2 P M2 G3 R3 S

71 Kosalam S R3 G3 M2 P D2 N3 S S N3 D2 P M2 G3 R3 S

72 Rasikapriya S R3 G3 M2 P D3 N3 S S N3 D3 P M2 G3 R3 S

36 number to 72 it is said to be Preeti Madhayam

Keeping the 1st half of the notes up to P identical let us find the set of ragas that arise by combinations of D1,D2,D3 and N1,N2,N3. We can immediately see that if we pick D1, we can have 3 combinations with N1,N2,N3, viz., (1)D1,N1, (2) D1,N2, (3)D1, N3;

But if we choose D2, we can have only have D2,N2 and D2,N3 as combinations, since we will otherwise violate the criterion for Kramasampurna that we need to observe. And if we choose D3, we can only have the D3,N3 combination; so for a fixed given set of notes upto P (termed poorvanga), we have 6 combinations from D,N variations. One such set of six ragas is called Chakra. It is easy to see that R and G will also give six variations, thus each of this can generate 6 ragas due to D,N variations, therefore there will arise in all : 36 ragas, from R,G, and D,N variations, constituting 6 chakras. If we add to each of these two possibilities due to the two M variations, we get 2x36=72 ragas, termed the melakarta ragas. This results in 12 chakras in all

We now show by example how the first six Melakarta ragas are derived from this 12/16 note scheme illustrated above. The highlighted notes corresponding to D & N are only changed, when we move from raga to the next, the notes upto P are fixed for the whole set of six ragas discussed below :

1 2 3 4 5 6 7 8 9 10 11 12

S R1 R2 R3

G1 G2 G3 M1 M2 P D1 D2 D3

N1 N2 N3 Ṡ

A raga that takes seven notes, successively ascending in pitch is a sampoorna raga

Basic Singing of Hindustani Classical Music

If you want to learn to Sing Indian Classical Music you may start at any age but it is advisable if an individual can start at very early ages leads to enjoy Life Long Soulful Singing to boosts many great things in life

Make a feasibility study about what is Indian Classical Music
Check our your singing vocal range
Basic instruments support to Start Singing.
Check your singing capabilities to start the lessons,
Taal's that use to support for Indian Classical singing
Check rhythmic supportive instruments to start Singing
Check the singing styles involved in Hindustani Classical Singing

To be more familiarize the process.

Observe the melodic scales,
Check rhythmic pattern in kiyal (Sarigam Geeth)
What is Kiyal
What is Sthai, What is Anthara
What is an Arohan and Awarohan in each Kiyal
Time of singing raga's
Learning Sargam of each Kiyal before singing the Kiyal
What is a division of a Time and how each unit call a "Matra"
Learn Alankar,
Learning Aalaap
Learn Taan's for each raga and its fundamental
How to count Taal circles to keep the rhythmic pattern uninterrupted.

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Locally published books available in Sinhala Language in Sri Lanka

1. Ragalankaraya - by Prof. Sanath Nandasiri

2. Ragamalika - by Vadyanipun - Nelum Sathikara Ratnapala

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