What is Nada ?

Ahata Nada & Anhath Nada meaning in Indian Classical Music.

Ahata Nada. Sounds that are generated by a conscious effort are known as Ahata Nada. Singing, vocal notes, or animal sounds fall under this category

Anahata Nada. Sounds that occur naturally, without any definitive pattern or rhythm are called Anahata Nada. Nature sounds, ambient noises fall under this category. 

There are three main characteristics of this Nada: 

1.Pitch or Frequency

2.Intensity and loudness

3.Quality or Timber.

Pitch / Frequency

– Signifies whether Nada is high or low

The pitch of the sound-producing object depends upon the frequency (number of vibrations). The higher the frequency, the higher the pitch of the Nada, and the lower the frequency, the lower the pitch of the Nada. 

For example, the frequency of ‘Sa’ is 240, ‘Re’ is 270. therefore the frequency of ‘Re’ being higher than that of ‘Sa’ and the frequency of ‘Sa’ being lower than that of ‘Re’, the pitch of ‘Sa’ is lower than that of ‘Re.’ A Nada with a frequency of 60 to 4000 is possible for use in music.  

Intensity  signifies whether Nada is loud or weak

Intensity or Magnitude signifies whether a Nada is louder or weak and of greater or smaller amplitude. This characteristic is determined by the force used to obtain the Nada. 

When a string or surface of the Tabla is struck softly, the Nada would be heard over a smaller distance. However, if these are struck with greater force or a louder sound is produced from the throat, then the Nada would be heard over a greater distance. 

This is the intensity of Nada. Timbre – There are different mediums to produce Nada.

Timbre or Quality of Nada.

 

The different tonal quality produced through different mediums is called the timbre of a Nada. 

Through the timbre of Nada, it can be certain that a given Nada is obtained from a particular instrument of an individual. It is this difference of medium that gives the quality or timbre of Nada. 

What are Swaras (or Sur)

What are Swaras (or Sur) ?The word swara (meaning notes) is derived from the Sanskrit word ‘Svar’, which means sound. There are different forms of sound.But the sound which is soothing to ear and which is musical is known as swaras or sur.

Hindustani classical music has 7 major notes also known as Shudha Swaras.

Sur - Long name

Sa-Shadaj

Re-Rishabh

Ga-Gandhar

Ma-Madhyam

Pa-Pancham

Dha-Dhaivat

Ni-Nishad

Shudha Swaras

Sa and Pa swaras are called pure swaras (shudha swaras) and have a fixed position's are also known as Achal Swaras.

Vikrit Swaras – Komal and Teevra

Swaras other than Achal swaras can be sung half note above or below their original position. They are known as Vikrit Swaras.

Re ,Ga,Dh,Ni can sung half note below and are known as Komal Swaras. Ma is sung half note above it’s original note and is known as Teevra Ma.

Thus in total there are 12 swaras –  7 shudh and 5 Vikrit. Out of 5 Vikrit swaras, 4 are Komal and 1 is Teevra.. 

 

Logic behind 22 Shrutis

 Shruthi is a Sanskrit work,  Shruthi is  sound capable of hearing from the ear.,

1). Sound capable of being used in Music.

2). Sound which can be distinctly heard by the ear.

3). Sound which can be identified one from the other.

Pleasing sounds to the ear called "Swears"   and every sound which is not musical hurts the ear is called,"Apswara" or "notice"

The Logic behind 22 Shrutis (‘Shruti-Nirman Chakra’)

The ancient logic on how different musical notes are created in a Spartak is very insightful and relevant.

The fundamental notes in music are S and P and the Tanpura is tuned to these notes for the same reason.

Other than P, the next important note is M because, the upper S' becomes the P of it.

The natural ratio of the frequencies of S:P is 100:150, and of S:M is 100:133.33333. These are obtainable after an analysis of an extremely well-tuned Tanpura. In other words, from any musical note (taken as 100), the note at 133.33333 % is it's Madhyam, and the note at 150 % is it's Pancham.

Therefore, beginning from any Shadja, if we continue the S:P cycle ahead by adding 50 % to the frequency of the earlier note, we shall complete the cycle, coming back to S' and giving 12 positions or places.

Similarly, if we continue the S:M cycle ahead by adding 33.33333 % to the earlier note, we shall complete the cycle, coming back to S' giving 12 additional positions or places.

In total, 24 places or 24 musical notes are obtained. (Refer to following figure)

Figure shows 'Shruti Nirman Chakra'The clockwise cycle is Shadja:Pancham (S:P) and the anticlockwise cycle is Shadja:Madhyam (S:M).

Thus, we get 24 places or musical notes or shrutis at the natural ratios of S:P and S:M.

Out of these, S and P have been considered 'Achala' or immovable or fixed by our ancestors. Subtracting these 2 from 24, we get 22 Shrutis. 

 

Rasa Theory

Rasa Theory and Indian Music

Rasa – The Aesthetic Essence

What is Rasa?

Rasa is a Sanskrit word meaning “essence” or “taste.” In the arts, including music, it refers to the emotional flavor or feeling that a performance aims to evoke in the audience. The concept of rasa originates in ancient Indian dramaturgy, particularly in the Natya Shastra by sage Bharata, which describes rasa as the core emotion an artist seeks to communicate.

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The Nine Rasas and Their Musical Expression

Bharata’s Natya Shastra identifies nine primary rasas, each representing a fundamental human emotion:

• Shringara – Love, beauty

• Hasya – Laughter, joy

• Karuna – Compassion, sorrow

• Raudra – Anger

• Veera – Courage, heroism

• Bhayanaka – Fear

• Bibhatsa – Disgust

• Adbhuta – Wonder, amazement

• Shanta – Peace

In Indian classical music, each raga is designed to embody one or more of these emotions. Musicians aim to evoke the rasa that aligns with the raga’s mood, creating a deep emotional connection with listeners.

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Rasa in Performance and Perception

Achieving rasa in music is a nuanced process. A skilled musician goes beyond technical mastery to evoke the essence of a raga, often described as “bringing a raga to life.” The audience is drawn into the raga’s intended mood and emotion.

• Role of the Listener: Rasa is subjective; each listener’s emotional and cultural background shapes their experience.

• Improvisation and Depth: Musicians use improvisation to explore shades of emotion, meaning the same raga can evoke different rasas in different performances.

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The Interplay of Shruti, Raga, and Rasa

Shruti and Raga

Shruti refers to microtonal nuances in pitch. These subtle variations allow musicians to explore the emotional depth of a raga, enhancing its rasa. For example, slightly raising or lowering a note can intensify the raga’s emotional impact.

Raga as a Conduit for Rasa

Ragas serve as frameworks for expressing emotions. Specific ragas are linked to particular times of day, seasons, and moods, highlighting the importance of rasa in Indian music.

Transforming Emotions

By combining shruti and raga, musicians can guide listeners through multiple emotional states in a single performance, shifting seamlessly between rasas through skillful modulation and improvisation.

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Philosophical and Spiritual Dimensions

Indian classical music is often more than art—it is a spiritual practice. Shruti, raga, and rasa play a central role in this journey:

• Shruti and Inner Harmony: Sensitivity to subtle differences in sound fosters mindfulness and awareness.

• Raga as a Spiritual Pathway: Each raga offers a journey through the human experience, providing freedom for improvisation while following its structure.

• Rasa and Emotional Purification: Experiencing rasa allows musicians and listeners to confront, express, and transcend emotions, moving toward inner peace (shanta rasa).

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The Eternal Dance of Shruti, Raga, and Rasa

In Indian classical music, shruti, raga, and rasa are living elements that interact to create a deeply expressive and emotional experience.

• Shruti adds subtlety and precision.

• Raga provides structure and melody.

• Rasa evokes profound emotion.

Together, they form the essence of Indian classical music, inviting listeners on a journey of sound, spirit, and emotional transformation that transcends time and place.

St Anthony,

 Pray to Saint. Anthony

Pray to St. Anthony!! 

O gentle and loving St Anthony, 

you whose heart was ever full of human sympathy, whispers our prayer into the ears of the Infant Jesus, who loved to linger in your arms. 

One word from you and our prayer will be granted. O, speak but that word and the gratitude of our heart will ever be yours!

https://www.througheternity.com/en/blog/history/basilica-saint-antony-padua-guide.html#

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