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

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Thursday, November 19, 2020

Pandit Vishnu Narayan Bhatkhande - Taat System


North Indian classical music is known as Hindustani classical music, while South Indian classical music is called Carnatic classical music.

A major contribution to Hindustani music in the early 20th century was made by Pandit Vishnu Narayan Bhatkhande. His most significant achievement was the formulation of the Ten Thaat System, which provided a systematic method for classifying and teaching ragas.

Contribution of Pandit Vishnu Narayan Bhatkhande

Pandit Bhatkhande traveled extensively across India to study regional musical traditions. He visited Baroda, Gwalior, Rampur, and other important centers of music, where he interacted with leading ustads and pandits. He studied under disciples of legendary musicians, including the lineage of Tansen, particularly through Ustad Wazir Khan, a renowned veena player.

Based on his research, Bhatkhande developed a coordinated system that bridged the gap between the oral guru–shishya tradition and written documentation. He organized the All India Music Conferences, creating dialogue between Hindustani and Carnatic musicians.

His work was deeply influenced by ancient texts such as the Nāṭya Śāstra and Sangita Ratnakara.

Major Works

  • Hindustani Sangeet Kramik Pustak Malika

  • Swar Malika (1909) – Description of prevalent ragas

  • Shri Mallakshaya Sangeetam – Written in Sanskrit under the pseudonym Chaturpandit

  • Also wrote under the name Vishnu Sharma

Disciples and Scholars

Some of his notable followers include:

  • S. N. Ratanjankar

  • Dilip Kumar Roy

  • K. G. Ginde

  • S. C. R. Bhatt

  • Ram Ashrey Jha (Ramrang)

  • Sumati Mutatkar

  • Krishna Kumar Kapoor

Institutional Contributions

  • Reorganized Baroda State Music School (1916)

  • Established Madhav Music College, Gwalior

  • Prepared syllabus for Marris College of Music, Lucknow (1926)
    (Later renamed Bhatkhande College of Hindustani Music, now Bhatkhande Music Institute – Deemed University)

This transition from oral tradition to institutional education made Hindustani classical music accessible to a wider audience.

The Ten Thaat System (Corrected & Standard)

1. Bilawal Thaat

Notes: Sa Re Ga Ma Pa Dha Ni Sa (All shuddha)
Ragas: Bilawal, Deshkar, Alhaiya Bilawal, Shankara

2. Kalyan Thaat

Notes: Sa Re Ga Ma♯ Pa Dha Ni Sa
Ragas: Yaman, Shuddha Kalyan, Bhupali, Hindol, Kedar

3. Khamaj Thaat

Notes: Sa Re Ga Ma Pa Dha Ni♭ Sa
Ragas: Khamaj, Desh, Tilak Kamod, Jaijaivanti, Jhijhoti

4. Kafi Thaat

Notes: Sa Re Ga♭ Ma Pa Dha Ni♭ Sa
Ragas: Bhimpalasi, Bageshri, Pilu, Dhani, Megh Malhar

5. Asavari Thaat

Notes: Sa Re Ga♭ Ma Pa Dha♭ Ni♭ Sa
Ragas: Asavari, Jaunpuri, Darbari Kanada, Desi

6. Bhairavi Thaat

Notes: Sa Re♭ Ga♭ Ma Pa Dha♭ Ni♭ Sa
Ragas: Bhairavi, Malkauns, Todi, Ahir Bhairavi

7. Bhairav Thaat

Notes: Sa Re♭ Ga Ma Pa Dha♭ Ni Sa
Ragas: Bhairav, Ahir Bhairav, Gauri, Jogiya

8. Marwa Thaat

Notes: Sa Re♭ Ga Ma♯ Pa Dha Ni Sa
Ragas: Marwa, Puriya, Sohini, Bhatiyar

9. Poorvi Thaat

Notes: Sa Re♭ Ga Ma♯ Pa Dha♭ Ni Sa
Ragas: Poorvi, Puriya Dhanashree, Shri, Basant

10. Todi Thaat

Notes: Sa Re♭ Ga♭ Ma♯ Pa Dha♭ Ni Sa
Ragas: Miyan ki Todi, Gujari Todi, Multani, Madhuwanti


Study from Internet - Jacintha-

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Wednesday, November 18, 2020

Venkatamakhi's - 72 Taat Melakara System -

Raga–Ragini System in Indian Classical Music (Brief)

The Raga–Ragini system was an early framework used mainly in Hindustani classical music to classify ragas into families. Each family consisted of a principal Raga (male) and several Raginis (female counterparts), symbolizing balance and complementarity. Traditionally, six main ragas were identified, each with five or six Raginis, forming a total of 36 melodic frameworks. These ragas were associated with specific emotions, seasons, and times of day. Though later replaced by more systematic classifications, the Raga–Ragini system played an important role in the historical organization and evolution of ragas.

Mela / Melakarta System (Brief)

The Mela system was first proposed by Ramamatya in Svaramelakalanidhi (c. 1550). It was later refined by Venkatamakhin in the 17th century in Chaturdandi Prakasika, forming the foundation of the 72 Melakarta raga system in Carnatic music.

The 72 Melakarta ragas are:

  • Divided into 12 Chakras, each containing 6 ragas

  • Based on permutations of the 12 swara sthanas

  • Classified into:

    • Shuddha (Prathi) Madhyama: Ragas 1–36

    • Prati (Prutti) Madhyama: Ragas 37–72

  • Sa (S) and Pa (P) are constant in all Melakartas

This system is highly codified and forms the backbone of Carnatic raga classification.


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

Details : Durga Mythreyee


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 notes up to Pa (P) fixed (called Poorvanga), Melakarta ragas are derived by varying Dhaivata (D) and Nishada (N).

  • With D1, three combinations are possible: D1–N1, D1–N2, D1–N3

  • With D2, only D2–N2 and D2–N3 are allowed

  • With D3, only D3–N3 is permitted

These follow the Kramasampurna rule (notes must ascend in order). Thus, for a fixed Poorvanga, there are 6 D–N combinations, forming a group called a Chakra.

Similarly, variations of Rishabha (R) and Gandhara (G) produce 6 sets, each yielding 6 ragas, giving 36 ragas.
With two varieties of Madhyama (M1 and M2), the total becomes 2 × 36 = 72 Melakarta ragas, arranged into 12 Chakras.

In each Chakra, the notes up to Pa remain constant, and only D and N change to derive the six ragas (as seen in the first six Melakarta ragas)


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



Read more :  72 melakartha raga



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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.

Find help to support "Indian Classical Music"
Locally published books available in Sinhala Language in  Sri Lanka   
1. Ragalankaraya - by Prof. Sanath Nandasiri 
2. Ragamalika - by Vadyanipun - Nelum Sathikara Ratnapala

You need a qualified Teacher / a Guru to support your Singing Skills and make continues improvements  to learn Hindustani Music and to  understand the beauty of  Classical singing..

By year 2020, there are so many mobile or desktop Apps published and many uses to support for singing. Some apps are  FREE  and some apps are to purchase for life or annual bases.
Help to Improve timing 

Help to Improve Vocal and Ear Training 

Help for Practicing sessions 

Find the Electronic Tabla for Singing 




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