Key Characteristics of a Sankirna Raga

 In Hindustani classical music, a Sankirna Raga (also spelled Sankeerna or Sankirṇa; often overlapping with the term Misra Raga) refers to a highly complex melodic form created by the blending of elements from two or more distinct ragas. The resulting raga functions as an independent melodic entity, while still retaining clearly perceptible shades (chhaya) of its source ragas through characteristic phrases (sancharas), note usage, or melodic movements.

Unlike simple chhayalag (shadow-blended) ragas, Sankirna ragas involve a deeper and more intricate integration of multiple melodic identities, sometimes including foreign (anya) swaras or distinctive phrases borrowed from different ragas.

Key Characteristics of a Sankirna Raga

• Multiple Sources:
  A Sankirna raga typically draws material from more than two ragas, making it more complex than standard chhayalag ragas.
• Mixture of Notes and Phrases:
  It incorporates characteristic swaras, vakra movements, and sancharas from several parent ragas, creating a dense and layered melodic texture.
• Pronounced Chhaya (Shade):
  The melodic “color” of the contributing ragas remains clearly audible, yet is woven together into a coherent framework rather than presented as abrupt shifts.
• Flexible Treatment of Vadi–Samvadi:
  The vadi (primary) and samvadi (secondary) swaras may reflect influences from different source ragas, or be redefined to suit the composite melodic identity.
• Classical Theoretical Origin:
  Sankirna ragas belong to an older classificatory system of ragas—Shuddha, Chhayalag, and Sankirna—which categorizes them based on purity, blending, and complexity rather than on modern thaat theory.

Examples and Context

Clear-cut modern examples are rare, as many Sankirna ragas exist more as theoretical or stylistic categories than fixed repertory ragas. However, certain ragas—such as Chandrakauns, or some elaborate forms within Malhar or Sarang traditions—can exhibit Sankirna tendencies by integrating features from multiple melodic sources while maintaining a distinct identity.

Summary

In essence, a Sankirna Raga is a sophisticated composite raga—a deeply blended melodic tapestry in which elements from several parent ragas are intricately interwoven to form a unified and expressive melodic framework. It highlights the flexibility, depth, and creative scope of Hindustani classical music.

Key Examples of Sankeerna Ragas:

• Ahir Bhairav: A blend of Kafi and Bhairav Thatas, featuring notes from both.
• Jayant Malhar: Combines Jijaivanti and Malhar characteristics.
• Bilaskhani Todi: A deep, intricate raga blending Todi, Komal Asawari, and Bhairavi.

Taal Theka (28 Beats)

 

Brahma Taal Theka (28 Beats) – Structure, Composition & Guide

Brahma Taal theka, Brahma Taal is a rhythmic cycle (Taal) used in Indian classical music, particularly in the context of Hindustani classical music. It is a relatively rare and complex Taal, characterized by its unique structure and rhythmic pattern. Definition and Structure:

• Beats (Matras): 28
• Divisions (Vibhag): 4 (each division has 7 beats)
• Clap (Tali): The first beat of each division.
• Wave (Khali): Typically on the third division.

Characteristics:

• Complexity: Brahma Taal is known for its complexity due to the 28-beat cycle. This makes it more challenging to perform and follow, compared to more commonly used Taals like Teentaal (16 beats) or Ektaal (12 beats).
• Rarity: Due to its complexity, Brahma Taal is not as commonly used as other Taals. It is often employed i
  

  In Hindustani music, Dhātu refers to the fundamental structural components or "paragraphs" of a musical composition (like bandish), traditionally five: Udgrāha (intro), Melāpaka (connector), Dhruva (refrain), Ābhoga (ending), and Antara (middle section). More broadly, dhātu (धातु) means "element," "essence," or "constituent," appearing in Sanskrit texts for body tissues (Ayurveda) or metals (Rasashastra), and even as verb roots in grammar. In musical practice, Dhatu also refers to specific rhythmic patterns or exercises (Dhatu Varisai) for riyaz (practice), similar to Carnatic palta. 

  In Hindustani Music (Composition Structure)

  • Udgrāha (Pratham) / Opening: The first part, setting the mood.
  • Melāpaka (Sanchari): Connects Udgrāha to Dhruva.
  • Dhruva (Sthayi): The recurring refrain, essential to the song.
  • Antara (Antara): The middle section, moving to higher notes.
  • Ābhoga (Abhog): The final section, often mentioning the composer. 

   

Chaturang Composition

 

1. Model Structure of a Chaturang Composition

A Chaturang is sung within one raga and one tala, but it cycles through four expressive “colors”:

1. Sahitya (Bandish / Khayal-style bol)

2. Sargam (Solfa)

3. Tarana (Abstract syllables)

4. Bol / Pakhawaj–Tabla syllables

These may appear sequentially or interwoven, but all four must be present.

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2. Illustrative Example (Hypothetical but Authentic)

Raga: Yaman

Tala: Teentaal

(1) Sahitya (Lyrics)

A traditional khayal-style opening:

“Eri ali piya bin
kaise beete raina”

– Sung with proper Yaman phrases emphasizing Ni–Re–Ga–Ma#

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(2) Sargam Passage

The same raga is then elaborated using note names:

Ni Re Ga Ma |
Ga Ma Dha Ni |
Sa′ Ni Dha Ma |
Ga Re Sa

This section shows melodic clarity and raga grammar.

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(3) Tarana Section

Fast, rhythmic, abstract syllables:

“Tanom dirana
dere na tom
yalali yalali
dir dir na”

Here, laya (tempo) and rhythmic energy take prominence.

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(4) Tabla / Pakhawaj Bols (Padhant)

Recited vocally, aligned with Teentaal:

“Dha dha tirakita
dha ge na tin
ta kita dha ge
dhin na”

This demonstrates tala mastery and rhythmic articulation.

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➡️ When all four are sung within one coherent composition, it qualifies as Chaturang.

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3. Historical & Stylistic Context (Important)

• Chaturang predates modern khayal and is linked to older dhrupad–khayal transitional practices.

• It is sometimes associated with Amir Khusrau, though firm attribution is debated.

• Chaturang influenced later composite forms like:

  • Tarana

  • Sargam taans

  • Bol-taans

Today, Chaturang is:

• Rarely performed as a full form

• More commonly taught as a conceptual or compositional exercise

• Occasionally revived in lecture-demonstrations

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4. One-Line Summary

A Chaturang is a rare, composite vocal composition in a single raga that unites poetry, melody, rhythm, and abstraction—showcasing a singer’s command over sahitya, swara, laya, and bol in one unified piece.

Tarana

 It was invented by Amir Khusro (1253-1325 CE), and is similar to the Qalbana form of Sufi poetry. 

In modern times, the tarana is most commonly associated with the singer Amir Khan, who helped popularize it and researched its origins and the syllables used. 

Nissar Hussain Khan was also well known for tarana singing.

Tappa

Tappa

Tappa is a form of Indian semi-classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders of Punjab and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah, the Nawab of Awadh. 

"Nidhubabur Tappa", or tappas sung by Nidhu Babu were very popular in 18th and 19th-century Bengal. Among the living performers of this style are Laxmanrao Pandit, Shamma Khurana, Manvalkar, Girija Devi, Ishwarchandra Karkare, and Jayant Khot.

Benaras Singer Girija Devi - Singing A Tappa

Info : Internet & YouTube

meaning of Purvanga (or Purvang) and Uttaranga

 In Hindustani classical music, the terms Purvanga (or Purvang) and Uttaranga (or Uttarang) refer to the lower and upper halves of the octave (saptak) respectively, and not to specific sections or stages of a khyal performance.

Definitions

• Purvanga (Purvang):
  This denotes the lower tetrachord of the octave, comprising the notes Sa, Re, Ga, and Ma (S R G M).

• Uttaranga (Uttarang):
  This denotes the upper tetrachord, comprising the notes Pa, Dha, Ni, and the upper Sa (P D N S′).

Relevance to Khyal and Raagas

Although these terms do not describe formal parts of a khyal, they are essential for understanding raag structure, melodic emphasis, and time theory:

• Raag Classification:
  Raagas are often classified as Purvanga-vadi or Uttaranga-vadi, depending on whether the vadi (dominant note) lies in the lower or upper half of the octave.

• Melodic Development:
  In a khyal performance, melodic elaboration—such as alap, bol-alap, taans, and sargams—tends to emphasize the register (Purvanga or Uttaranga) that is central to the raag’s identity.

• Time Theory of Raagas:
  This classification is closely linked to the traditional samay siddhant (time theory) of raagas.

  • Purvanga-vadi raagas are generally performed during the first half of the day or night (approximately 12 p.m. to 12 a.m.).

  • Uttaranga-vadi raagas are typically performed during the second half (approximately 12 a.m. to 12 p.m.).

While a standard khyal performance consists of compositional sections such as sthayi and antara, and is presented in vilambit (slow) and drut (fast) tempos, the terms Purvanga and Uttaranga specifically describe the melodic regions of the octave emphasized within that structure, rather than the performance form itself.

Nibaddha and Anibaddha elements

Summary of Nibaddha and Anibaddha Gaan with their Elements:

1. Nibaddha Gaan:

• Meaning: "Nibaddha" means "bound" or "predefined." It refers to a structured, traditional form of music where the performance follows established guidelines.

• Characteristics:

  • Ragas: Nibaddha music involves specific components of the raga, like aaroh (ascending), avroh (descending), and pakad (catchphrase).

  • Compositions: It relies on fixed, pre-composed pieces.

  • Tala: The music adheres to rhythmic cycles (Talas), providing a structured framework for performance.

  • Precision and Repertoire: Nibaddha music requires accuracy in executing the chosen raga, compositions, and tala. It emphasizes mastery, with performers developing a well-rounded repertoire through extensive practice and training.

2. Anibaddha Gaan:

• Meaning: "Anibaddha" refers to music that is free-flowing and improvisational, allowing for more creative freedom and spontaneity.

• Characteristics:

  • Alap: In Indian classical music, the Alap is a prime example of Anibaddha music. It is an unstructured exploration of the raga without any fixed composition, inviting improvisation and personal expression.

  • Improvisation: This genre thrives on spontaneous creation, with musicians developing melodies and rhythms in real-time.

  • Interaction and Collaboration: Anibaddha performances often feature dynamic interaction among musicians, responding to each other’s ideas, creating a collaborative and unique musical experience.

  • Innovation and Experimentation: Musicians in Anibaddha genres push traditional boundaries, experimenting with new harmonies, scales, and rhythms. Each performance is distinct, showcasing creativity and innovation.

Conclusion:

• Nibaddha focuses on structure, tradition, and precision, following fixed compositions and rhythms.

• Anibaddha encourages improvisation, spontaneity, and creative expression, with no strict adherence to predefined rules.

Both forms hold significant value in different musical contexts, offering a balance between tradition and innovation.