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Pt. Shyamrao Kulkarni Assisted by Dr. Usha Arunachalam

Oct 25th 2012

IIT- Madras

Venue: CS-25

HINDUSTANI VOCAL MUSIC

Agenda

Part I What is Classical Music ?

Part II Shyamrao Gharn

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WHAT IS CLASSICAL MUSIC

Genres of Indian Music

Indian Music

Light Music Semi-Classical

Music Classical Music

1. Poetry predominant

2. Melody subordinate

3. Audience and

performer at par

4. Examples: film music;

bhajans

1. Poetry predominant

2. Elements of Raga

introduced, yet

subordinate to poetry

3. Audience and

performer at par

4. Example: Tumri, Ghazals

1. Poetry unimportant

2. Raga predominant

3. Clear separation of

audience & performer

4. Hindustani classical

music

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Demonstration

Light Music Semi-Classical

Music Classical Music

..\..\..\..\Music\Music\Film

music\Zindagi Bhar Nahin

(Barsaat Ki Raat) -

www.songsindia.net.mp3

Bhajan: Ram Govinda Hari

Film music:

Jindagebhar nahi

bhulegi wo barasat

ki raat

Thumri: Raga Kamaj

Girija Devi

..\..\..\..\Music\Music\Hindusta

ni Music\Girija Devi\Classical

Encounters\03 03 Thumri -

Khamaj.mp3

Words

Express a certain emotion

To Svara or

melodic note

Malkauns

Naiya Mori Paar Karo

From Outside to Inside

Elements of Classical Music

Tonal note or base note

S from which all other notes arise

Raga

Tala

../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - www.songsindia.net.mp3../../../../Music/Music/Film music/Zindagi Bhar Nahin (Barsaat Ki Raat) - 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1. Instrumental vs. Vocal Music Harmonium

Khae Sura (staccato Notes)

Play Rga Gvat on Harmonium

Sitar

Short breath because strings do not have Javari (thread that opens the sound of the string, as in a Tnapur)

..\..\..\..\Music\Music\Hindustani Music\Vilayat Khan\Royal Touch on Sitar [1994]\01 01 Alap.mp3

Srang

No upper partials because bow is always on the string thus limiting the resonance to only the primary note

..\..\..\..\Music\Music\Hindustani Music\Sultan Khan\Sarangi [UK]\01 01 Rag Bhupali.mp3

Vocal cords

Only Tnapur displays upper partials similar to the human voice

Play Tnapur

Sing Rga Gvat Similar to Tnapur the prevalence of upper partials, especially in the Madra Saptaka

Instruments should imitate human voice and not the other way around

2. Instrumental Vs. Vocal Music

Unlike in an instrument, in the vocal

cords, a note has to be first produced

Find the base note from which all other notes originate (S)

Vocal music is dependent on breath

Singing is prolonged exhaling

Working on breath control is an essential pre-requisite for Classical Music

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Mode of Vocalization

Upon producing a note and staying on that note until your breath runs out is called Theharva (1st vocal value)

When a note arises from the previous lower note

2nd vocal value Ghasa (glide from a lower to a higher note)

When a note arises from the previous higher note

3rd vocal value Ma (Glide from a higher to the lower note)

Sing Theharva, Ghasa and Ma in Rga Gvat Rga Vistra &

Composition (Re Ganeshyam)

3 Vocal Values: Theharva, Ghasa and Ma

Main Vocal Values for Hindustn Rgadr Classical Music

What is a Tnapur?

The basic/prime notes provided by the

Tnapur

Madra aja (Kharja), Madra Pacama and Madhya aja

Upper partials

9 upper partials arise from playing Tnapur

3 are audible, while others are inaudible to the human ear

Gdhra and Nida from Madra aja and Madra Pacama respectively

Predominant notes provided by Tnapur: S G P and N Notes of Svara Savda (harmonics)

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Vocal Cords are Similar to Tnapur

Vocal cords vibrate similar to the

Tnapur strings

In fact, 40 upper partials are produced by the human voice in the Madra Saptaka

Hence Madra Saptaka practice is essential for improving the quality of human voice

Both produce notes of Svara Savda: S G P and N

Svara Savda What is Svara Savda: Harmonic relationship between two

notes

There are 2 main Savda-s S P 1st and 5th (aja and Pacama Savda)

S M - 1st and 4th (aja and Madhyama Savda)

(Play Savda on Harmonium)

Since Tnapur and vocal cords move on Svara Savda, Rga-s based on Svara Savda should be taught first

Rga Mlashr is a Svartara (4 notes) Rga that is based on S P Savda roha: S G P (N) S ; Avaroha: S (N) P G S

Chota Khayla Dijo Darasa Mohe Chatura Bujhana Kara

Rga-s that have the Svara Savda (S G P N) roha become the

natural Rga-s that should be first taught and learnt

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From Svara Savda to Svara Saptaka

Saptaka is a sequential pitch-wise arrangement

of notes

But how do we get to the Saptaka from Svara

Savda ?

Let us take the 5th note (S P Savda) for each of the previous notes and then what do we get?

S P R D G N m

Arranging these notes sequentially we get the scale for Kalya Tha (Svara Saptaka Scale)

S R G m P - D N S S P R D G N m

Traditionally it was a custom to teach Rga Yamana first

Difference between Svara Saptaka & Rga

A Saptaka is a scale, where each note has equal standing

S R G M P D N S

S N D P M G R S

When this same scale is sung giving importance to

certain notes, such as:

S ~ R G M ~ P ~ D N S ~

S N D P M ~ G R S ~

This is Rga Gaua Malhra, which has as its Vd - uddha Madhyama

Ritu Baraka Aye

Rga is not a Saptaka

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1. What is a Rga ?

Pakada and Calana

Garland of distinct phrase also known as Upaj-s that are woven together to create a certain mood Yamana: .N R G ~ or m D N ~

Bihga: P ~ G M G ~

Bhmapals: R ~ .n S M ~

Distinct phrases are called Pakada or Rga Ki Mukhya Aga

Pakada alone cannot give the entire picture of Rga

Rga is developed around the Pakada through the entire scale using related phrases, this gives the Calana or melodic movement for the Rga

From the Calana one can recognize the Rga

2. What is Rga ?

Vd and Savd

Rga-s give more importance to certain notes Vd Most important note G for Yamana and Bihga, and M for Bhmapals

Savd invariably the 4th or the 5th note from the Vd N for Yamana and Bihga and S for Bhmapals

The Pakada invariably contains the Vd and/or the Savd N R G ~ in Yamana, G is the Vd m D N ~ in Yamana, N is the Savd

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3. What is Rga?

Presence of an Intrinsic Laya

Notes in a Rga do not have equal

importance

Some notes are rested upon

In Rga Yamana in the Phrase N R G ~ (here G is rested upon)

Similarly, in the Phrase m D N ~ (N is rested upon)

Tna-s are outside the Rga: In Tna-s the notes have equal importance

4. What is Rga?

The absence of light ornamentations

The Pakada or even the Calana of the Rga has no light ornamentations

Theharava

Ghasa

Ma

Sometimes dolana and Madhyalaya Khaaka-s

Light ornamentations such as, Murak-s and Kaa-s are rarely or never observed in the Pakada phrase of the Rga

Sing Rga Darbr Kna Rgadr Sangita or classical music should not use light ornaments as the Pakada/Calana of Rga does not have light ornamentations

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What is Laya and Tla ? Laya

Time interval between beats is equal then there is Laya

When time interval between beats is unequal then there is no Laya

Tla

Cyclical distinct number of beats 2 beats Sama and Khl

4 beats 1st is Sama and 3rd is Khl

8 beats 1st Sama and 5th is Khl

10 beats 1st is Sama and 6th is Khl

16 beats 1st is Sama and 9th is Khl

Example Jhapa Tla Durga Sakhi Mori Ruma Juma (Jhapa Tla 10 beats)

Dhi Na Dhi Dhi Na Ti Na Dhi Dhi Na

2 3 2 3

Sama Khl

Khnepur:

Not giving importance only to the Sama and Khl, but to every beat and to the emphasis the Tla has on each beat

Tempos

Vilabita Laya Slow tempo best suited for slow and gradual elaboration

of Rga Vilabita Payala Ki Janakara (Chynaa) - Ektla suited for Vilabita

Laya Dhin Dhin Dha ge Ti ra ki ta Dhi Na Kat Ta Dha ge Ti ra ki ta Dhi Na

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

Sama Khl

Number of Fractions

1 1 2 4 1 1 1 1 2 4 1 1

Madhya Laya Medium tempo best suited for Layakr

Chynaa Janana Janana (Tna Tla - 16 beat cycle) Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha

4 4 4 4

Sama Khl

Drut Laya Fast tempo best suited for fast Layakr

Tarana Tom Tanana Tare Tadade Tani (Chynaa)

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What is Badia?

Badia is a composition that has equal elements of both Rga and Tla and maintains Khnepur

Choice of Tla for Badia

Rga has its own intrinsic Laya, some notes are waited upon resting notes, while others are used only briefly

For Rga development (Bahata), a Badia that is set to Vilabita Laya is most suited

The choice of Tla should be such that the Tla also has a uniform progression

Only Ekatla has this progression in Vilabita Laya

Dhin Dhin Dha ge Ti ra ki ta Dhi Na Kat Ta Dha ge Ti ra ki ta Dhi Na

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

Sama Khl

Number of Fractions

1 1 2 4 1 1 1 1 2 4 1 1

Choice of Tla for Badia

Tna Tla better suited for Madhya or Druta Laya Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Sama Khl

Number of Fractions

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Ektla suited for Vilabita Laya Dhin Dhin Dha ge Ti ra ki ta Dhi Na Kat Ta Dha ge Ti ra ki ta Dhi Na

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

Sama Khl

Number of Fractions

1 1 2 4 1 1 1 1 2 4 1 1

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Summary

Classical music three elements

Tonal Note or S

Raga

Tala

Vocal values and ornamentations for Rgadr Sagta (Classical Music)

Theharva

Ghasa

Ma

Sometimes dolana and Khaaka-s

Rga group of phrases woven together that gives the Rga its characteristic movement (Calana)

Tla Beat cycle that has a clear starting point

Badia Amalgamation of both Rga and Tla that gives both Svara and Laya equal importance (Khnepur)

PART II SHYAMRAO GHARN

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Rga Presentation in Shyamrao Gharn

Establish S and complete Rga Vistra in the absence of Tla in pure kra

Asta sung 3 times in Vilabita Laya

Bola lpa-s in single speed in full Khnepur

Bola Upaj-s in double speed maintaining Khnepur

Bola Tna-s followed by Tna-s maintaining Khnepur

Choa Khayla is optional

Presentation of Rga Nanda

Attributes of Shyamrao Gharn Establishment of S

Unlike with a musical instrument, with human voice we need to find the right tonal S

The octave arises in relation to the S, the tonal note

Rga Vistra without Tla

Warm up the voice in pure kra and in the absence of the use of light ornamentations, in slow tempo Theharva, Ghasa , Ma and dolana sometimes (slower tempo ornamentations) Murak-s and Kana-s are ornamentations in faster tempo-s and hence avoided in the beginning

Upaja-Aga-s: one Upaja at a time rather than one note at a time because Rga is a garland of Upaj-s

Badia sung 3 times in Vilabita Ekatla Tla cycle and Calana of Rga in Khnepur are established

Bola lpa-s in Khnepur Gradual unfolding of Rga in Khnepur

Rga has an intrinsic Laya, which is best captured in slow tempo

Emphasis is more on Bola lpa-s than on Layakr

Tna-s do not do justice to Rga, they erase the Vd and Savd

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Teaching Principles

Voice culture

Natural voice and ease in singing

Singing in kra open voice

Curriculum based on mode of vocalization

Svara Savda Rga-s first followed by Svara Saptaka Rga-s

Sarala Gati Rga-s followed by more complex Sarpa Gati Rga-s

Published 3 volumes on Shyamrao Gharana

Prism Books, Bangalore

July 2011

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PART III CLASSIFICATION SYSTEM

Bhatkhandes Tha Based Classification System

Bhatkhande was originally an instrumentalist, a sitarist

Developed the first systematic classification based on Saptaka Met will several musicians, assimilated Rga-s,

analyzed them for the notes present in the Rga

Organized the Rga-s into different buckets depending on the notes

System is called the Tha System Each Tha is a Saptaka (containing 7 notes in the roha and 7 in the Avaroha)

Each Rga is a derivative of a Tha

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The Tha System: 10 Thas (Full Scale)

Bilvala

All uddha Svara & Madhyama is uddha: S R G M P D N

Khamja

Nida Komala

n

S R G M P D n

Kf

Gdhra, Nida Komala

g & n

S R g M P D n

Asvar

Gdhra, Dhaivata,

Nida Komala

g d & n

S R g M P d n

Bhairav

Riabha, Gdhra,

Dhaivata, Nida Komala

r g d & n

S r g M P d n

Bhairava

Riabha,

Dhaivata, Komala

r & d

S r G M P d N

Kalya

All uddha Svara & Madhyama is Tvra: S R G m P D N

Mrv

Riabha, Komala

r

S r G m P D N

Prv

Riabha,, Dhaivata Komala

r & d

S r G m P d N

To Riabha,, Gdhra &

Dhaivata Komala

r g & d

S r g m P d N

uddha Madhyama

Tvra Madhyama

1. Short-Comings of the Tha System

Although provides the notes of the Rga, no indication of movement (Calana) of the Rga

Kf Tha: S R g M P D n S; S n D P M g R S Rga-s with similar notes

Rga roha Avaroha Vd/

Savd

Calana Shyamrao Gharana

Classification

System

Bgeshr S g M D

n S

S n D P M

g R S

M/S .D .n S g M D n S

S n D M ~ M P D ~ M ~ g R ~ S

S G M D Calana

(Khabvat)

Sidhur S R M P

D S

S n D P M

P g R g R S

R/P S MR PM P nD nD S ~

S R n nD nD P ~ M P g g SR ~ S

S R M P D Calana

(uddha Baiyra)

Kf

Kna

S R g M

P D n S

S D n P g

M R S

R/P .nS .nSR, Rg RgM RSR, RgR M M P, M,PDn ~ P, Dn DnS DnP, n ~ M P, PMg Mg M, M ~

R S, .nS .nSR

SRS RgR gMg Calana

(Gaua Malhra)

Bhmapals

S g M P

n S

S n D P M

g R S

M/S S M ~ g P ~ M D P ~ P S n n ~ n R S ~

S Rn n ~ P D P ~ P g M ~ M g R ~ S

SM GP MD Sarpagati

Calana (Kedra)

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2. Short-Comings of the Tha System

Tha System is a based on the Saptaka and not on Svara

Savda

Svara Savda is the primary movement of vocal cords, similar to Tnapur

The classification system does not do justice to Svara Savda and hence vocal

music

Often even the Sapra Rga-s are seldom Sapra and are invariably Auava Sapra (5 notes, getting closer to Svara Savda)

Natural movement of the vocal cords is Auava Sapra

Kf:

roha: S R M P D n S; Avaroha: S n D P M g R S

Calana in ascend is taken as: g R M M P ~ n D M P D S (S R M P D S)

Svara Savda based classification with emphasis on Calana germinated

Vocal-Value Based Classification System Svara Savda

I. Mlashr (S G P N)

Sarala Gati

Simple and straight forward Calana

Maka Gati

Frog-like, jerky

Calana

II. Bihga

(S G(g) P N(n))

IV. Khabvat

(S G(g) M D(d))

IX.Jayata

Kalya

(S SG GP)

Mr Bihga Bgeshr Hema Kalya

Madhuvat V. bhog

(S R(r) G M(m)

D(d))

Desakra

Madhukausa Mrav uddha Kalya

Joga Gujar To Chynaa

Dhn VI. Bhavn

(S R M D)

Suh Kna Gorakha Kalya

Sughar

Kna

VII. uddha

Bhaiyra

(S R M P D(d))

Multn svar

III. Bhpa

(S G P D )

Sidhur

Bibhsa Devagdhra

Janasamohin VIII. Bridrban

Sraga

(S R M P N)

Alhaiy Bilvala Madhamda Sraga

Bilsakhn To uddha Sraga

Svara Saptaka

Sapa Gati

Straight

forward

Sapra

Calana

olat Gati

Swinging to

and fro

Calana

Sarpa Gati

Serpent like zigzag Calana

IX. Miy K

To

(SR(r)G(g)M(m

)P

D(d)N(n)S)

X. uddha

Naa

Sapra

(SR(r)S, RGR

GM(m)G

D(d)PD)

XI. Hamra

Sarala roha +

Sarpa Gati

Avaroha

(SGMD(d))

XII. akar

Ghasa roha

+ Sarpa Gati

Avaroha

(S G P N(n))

XIII. Gaua

Malhra

olat Gati

roha +

Sarpa Gati

Avaroha

(SRG(g),

RGM)

XIV. Gaua

Sraga

Sarpa Gati

roha + Sarpa

Gati Avaroha

(SG RM)

Priy

Dhanshr

Jayajayavat Bahra Svan Kalya Kph Kna Yamana

Lalita Gaur Darbr Kna Nada Priy

Lalit Gaur Bhairava Bihgad Prv

Gvat XV. Durg

(SM RP)

Kmoda

yma Kalya

Miy Malhra

XVI. Kedra

(SM G(g)P)

Bhmapals

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18

Rga Mlashr the Gateway to Rgadr Vocal Music

S G P or S G P N is the basic Svara Savda

Rga Mlashr is the most important Rga from a Voice Culture point of view

The notes in Rga Mlashr are the same notes the Tnapur provides S & P the primary notes and G & N their respective upper

partials

Svartara Rga that which contains 4 notes

roha : S G ~ G P ~ P N ~ N S~

Avaroha: SN ~ N P ~ P G ~ G S ~

Dijo Darasa Mohe Catura Bhujana Kara

Svara Savda before Svara Saptaka

The two main groups of Rga-s in the classification system Svara Savda Rga-s

Svara Saptaka Rga-s

Mlashr is the gateway to all Rga-s

Svara Savda Svara Saptaka

Sarala Gati Maka Gati Sapa Gati Dolat Gati Sarpa Gati

S P Savda

SGPN

S M Savda

SGMD

Eg. Maru Bihga

S G R M

S M R P

S M G P

Nyak Kna

SRS RGR..

uddha Naa

SRGMPD..

Priy

Dhanashr

SSGGP..

Jayata Kalya

Combinations

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19

Svara Savda Groups

Predominant Savda provided by Tnapur

S G P N Calana - Bihga

S G P D Calana - Bhpa

Maru Bihga: S P Savda

S G m P N S ~

S N PD P ~ P G m G ~ G SR S ~

S P & G N

Piya Nahi Aaye Sagari Ratiya Mai to Jagi

Inverted S P Savda

When P is made S then the S becomes M (the 4th)

S G M D Calana Khabvat

S R G M D Calana bhog

S R M D Calana Bhavn

S R M P D Calana uddha Baiyra

S R M P N Calana Brindvan Sraga

Khabvat : S M Savda

S G M D S~

S n D M G M R S ~

S M & G D & M n

Ali Re Mai Jagi Sagari Raina Nahi Aaye Piya

S P Savda S M Savda

Svara Savda first before Svara Saptaka

The two main groups of Rga-s in the classification system Svara Savda Rga-s

Svara Saptaka Rga-s

Mlashr is the gateway to all Rga-s

Svara Savda Svara Saptaka

Sarala Gati Maka Gati Sapa Gati Dolat Gati Sarpa Gati

S P Savda

SGPN

S M Savda

SGMD

Eg. Maru Bihga

S G R M

S M R P

S M G P

Nyak Kna

SRS RGR..

Gauri

SRGMPD..

Priy

Dhanashr

SSGGP..

Jayata Kalya

Combinations

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20

Time Intervals & Complexity of Movement

Time interval between notes

Maka Gati < Sarala Gati < Sarpa Gati

Complexity of Movement

Sarala Gati Simple stepwise movement (Mru Bihga)

Maka Gati Jerky (frog-like) movement (Jayata Kalya)

Sarpa Gati Serpentine movement (Nyak Kna)

Classification Table :

Left to right complexity increases

Top to bottom also complexity increases

1. Complexity Increases in Column

Rga roha/Avaroha

Mr Bihga roha: S G, G m P, P N S

Avaroha: S N, P D P, P G m G, G S R S

Madhuvat roha: S, g m P, P N S

Avaroha: S N, P D P, m P n D P, P g m g, g S R S

Madhukausa roha: S, g m P, P n S

Avaroha: S n P, P m g, g .n g S

Multn roha: r.N S, mg m P, d m P, P N S

Avaroha: r N S, S N d P, d m P g m g, m g r.N S ~

Svara Savda Sarala Gati Calana S G(g) P N(n) Motif

Complexity increase down the column

Importance is not given to whether notes are uddha or Komala

Ease in learning these Rga-s sequentially

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21

2. Ghasa roha & Sarpa Gati Avaroha

Rga roha/Avaroha

akar roha: S G P N S ~ ||

Avaroha: NS DN ~ DP | G P RG ~ RS ~ ||

Svan Kalya roha: S G M P ~ NS |

Avaroha: S P, D M, P G, GMP~ MP~ G~ RS~ S~ SRS~ S ||

Nada roha: S G M P, D N P, ~ NS |

Avaroha: S~ N P, D m, P G M ~ DP ~ R S ~ ||

Bihgad roha: .N S ~ G M P N S ~ ||

Avaroha: NS DN P~ P D M, M P G, G M n D P ~ P G M G RS ||

Gvat roha: S G M P n S ||

Avaroha: P n S D P, D M, P G, M R, .n .n S ||

Svara Saptaka Sarpa Gati Ghasa roha & Sarpa Gati Avaroha

S G P N(n) Motif

3. Sarpagati Rga-s

Rga roha/Avaroha

Durg roha: S MR PM DP SD RS |

Avaroha: S D ~ PM ~ R ~ M.D S |

yma Kalya roha: S MR Pm DP SN S |

Avaroha: N S, D P, m P, G M R ~ M.N S ~ |

Nyak Kna roha: S M ~ R P ~ M n ~ P S n R S ~ |

Avaroha: R n S ~ P n P ~ g g M ~ gMgMPMRS R~ S |

Miy Malhra roha: S MR P ~ M P n D N ~ S |

Avaroha: S ~ D n ~ M P ~ | n P g g g MPMM ~ R S |

Svara Saptaka Sarpa Gati roha & Sarpa Gati Avaroha

SM RP Motif

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22

A Students Perspective

Ease of learning different Rga-s with similar Calana

Mr Bihga, Madhuvat, Madhukausa and so on

Dispels ambiguity in the Calana of Rga-s

This classification system, alongside Bhatkhandes Tha system gives complete picture of Rga

How does it Address Short-comings of

Bhatkhandes Classification System ?

Although provides the notes of the Rga, no indication of movement (Calana) of the Rga

Rga roha Avaroha Vd/

Savd

Calana Shyamrao Gharana

Classification

System

Bgeshr S g M D

n S

S n D P M

g R S

M/S .D .n S g M D n S

S n D M ~ M P D ~ M ~ g R ~ S

S G M D Calana

(Khabvat)

Sidhur S R M P

D S

S n D P M

P g R g R S

R/P S MR PM P nD nD S ~

S R n nD nD P ~ M P g g SR ~ S

S R M P D Calana

(uddha Baiyra)

Kf Kna S R g M

P D n S

S D n P g

M R S

R/P .nS .nSR, Rg RgM RSR, RgR M M P, M,PDn ~ P, Dn DnS DnP, n ~ M P, PMg Mg M, M ~

R S, .nS .nSR

SRS RgR gMg Calana

(Gaua Malhra)

Bhmapals

S g M P

n S

S n D P M

g R S

M/S S M ~ g P ~ M D P ~ P S n n ~ n R S ~

S Rn n ~ P D P ~ P g M ~ M g R ~ S

SM GP MD Sarpagati

Calana (Kedra)

Kf Tha: S R g M P D n S; S n D P M g R S

Rga-s with similar notes

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23

Agenda

Part I Background

Part II Shyamrao Gharn

Part III Classification System