The Music of India. Basics of Melody, Scale, Meter and Rhythm Melodies Scales Meters Rhythms .
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Transcript of The Music of India. Basics of Melody, Scale, Meter and Rhythm Melodies Scales Meters Rhythms .
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The Music of India
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Basics of Melody, Scale, Meter and Rhythm
• Melodies• Scales• Meters• Rhythms
www.musictheory.net
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Some Terms to Know
• Khyal is the major vocal style of Hindustani music• Laya(a) is the tempo of the performance• Alap(anam) raga improvisation in free rhythm• Raga(a)(m) is a scale and its associated musical
characteristics• Tal(a)(m) is the meter• Sawal-Jawab is the call-and-response rhythmic
challenges between soloist and accompanist in Hindustani music
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Medium and Fast Gats in Raga Yaman
• The raga, or scale, is built on the notes C-d-e-F#-g-a-b
• The rhythm, or tala, is built on patterns of 4+4+4+4
• The instruments used are the sitar and the tabla
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Medium and Fast Gats in Raga Yaman
Sitar
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Medium and Fast Gats in Raga Yaman
Tabla
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Medium and Fast Gats in Raga Yaman
• The sitar begins by brushing across the open strings• With one hand the player maintains a drone (P5)• The other hand plays the melody
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Medium and Fast Gats in Raga Yaman
• Alap begins• Explores the scale of the
raga• Gat-Tora
• A mixture of pre-composed tala rhythms and improvisation
• Jhala• Increasingly elaborate
melodic explorations• Jhala starts with rapid
strokes on the drone strings inserted between melody tones
• Tempo increases• Dramatic conclusion
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Early Music Theory
• The Vedas• Rig-Veda is a collection of poems that tell the stories
of creation and of the Indian gods• The preservation and transmission of the Rig-Veda
became the responsibility of the Brahmins, the top ranking member of society
• Three types of accents in the poetry• Pitches based on relative length of syllables rather
than on a pattern of accents• These stories were eventually preserved in sung
chants, not written down until recently
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Early Music Theory
• When these texts and chants were re-arranged as hymns they were set to a special collection of tunes called the Samagana.
• These in turn became the basis for secular musical compositions
• The oldest treatise on the arts, the Natyasastra, links music as an adjunct to drama
• The purpose of music (or artistic experience in general) is arouse the emotions in specific ways
• Consequently, each raga and tala are designed to illicit specific moods and emotions
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Music Theory
• Ornamentation is integral to Indian melody and not incidental
• The sruti are the twenty-two divisions of the scale
• (The Western scale has twelve at most)
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North and South: The Hindustani and Karnatak Systems
• Hindustan: the northern region of India with a distinct musical tradition
• Karnatak/Carnatic: referring to South Indian music
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North and South: Common Raga Traits
• Both systems represents ragas as more than just pitches in a scale
• Certain pitches are emphasized
• Some pitches are forbidden going up or down
• Some ragas must double back on itself before continuing in the same direction
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North and South: Differences
• The differences are primarily in performance styles
• North Indian music tends to be smoother, more sensuous in quality
• South Indian music tends to be more formal and structured
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Hindu/Muslim Attitudes• To become the shagird
(pupil) of an ustad (master) is to become an apprentice in a closed guild
• The musical traditions are jealously guarded by gharanas, ancient families, who teach it only to talented sons or especially dedicated and loyal men from outside the family
• Many in India still believe this is the only proper way to learn music
• Others believe it has hampered the development of Hindustani music
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Hindu/Muslim Attitudes
• Hindus view music as part of religious rituals and the musician is highly regarded
• Muslims historically have feared music because they felt it could draw out our baser instincts; musicians are consequently lower-class citizens
• To battle this northern musicians make a clear distinction between “art music,” and lower, popular music
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Hindu/Muslim Attitudes
• Hindus view music as part of religious rituals and the musician is highly regarded
• Muslims historically have feared music because they felt it could draw out our baser instincts; musicians are consequently lower-class citizens
• To battle this northern musicians make a clear distinction between “art music,” and lower, popular music
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Kriti by Tyanganraja, Banturiti
• The raga is built on the notes c-e-f#-g-b
• The tala, is built on patterns of 4+2+2
• The instruments used are the mridangam, the violin and a vocalist
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Kriti by Tyanganraja, Banturiti
Mridangam
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Kriti by Tyanganraja, Banturiti
Violin
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Kriti by Tyanganraja, Banturiti
• A brief alapanam• Singer begins the kriti• Common talam, adi
• Eight beats• Indicated by a clap on
the samam (first beat)• Two other claps on beat
5 & 7• The three beats
following are indiciated by tapping the fingers of the right hand
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Kriti by Tyanganraja, Banturiti
• Eduppu• The performer must
return to the eduppu whenever finishing a passage of niraval or svarakalpana
• Occurs in this example between beats 2 and 3
• (Hint: listen for the return of the first word “Banturiti,” in the pallavi and every 5 seconds afterwards
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Kriti by Tyanganraja, Banturiti
• Alapanam (Introduction)• An improvisation
performed before the kriti that demonstrates the musician’s abilities to interpret the raga
• Kriti• Pallavi• Anupallavi• Carnam
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Ghazal, Bat Karane Mujhe Mushkil
• The ghazal is a poetic form consisting of a chain of related couplets
• Each contains a self-contained idea
• Often culminates in a kind of “punchline” couplet that brings exclamations of appreciation from the audience
• An interesting and successful blend of Indian and Western traditions, with roots in Islamic culture and romantic Urdu poetry
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Ghazal, Bat Karane Mujhe Mushkil
• The music alternates two sections, as do many types of Indian melodies
• The first provides music for a refrain and the first verse of each stanza in a lower range
• The second, in a higher range, provides music for a second verse
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Ghazal, Bat Karane Mujhe Mushkil
• The scale is raga Pahari• The tala is based on 4+4• The instruments include
a vocalist, a tabla, a tambura and a harmonium
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Ghazal, Bat Karane Mujhe Mushkil
Tambura
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Ghazal, Bat Karane Mujhe Mushkil
• Brief intro by tambura• Free rhythm rendition of
refrain opening• Repeat of refrain
opening with tala (rhythm) and tabla (drums)
• Alternating couplets
(Harmonium)
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South India: Sarasiruha
Saraswati
The goddess of Music and Learning
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South India: Sarasiruha
• A concert is made up of a series of as many as 12-14 performance segments each in a different raga and based upon a different composition
• “Sarasiruha” is a song by the 19th Century composer Puliyur Doraisamy Ayyar
• Performer is Ramachandra Iyer playing a veena
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South India: Sarasiruha
• Veena: a seven-stringed, plucked lute with ornate body, inlaid deer horn or ivory, carved from jackwood
• Natural or papier-mache gourd is attached to the upper neck as a resonator
• Brass frets are set chromatically
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South India: Sarasiruha
• One of the marvels of this tradition is that instruments and musicians can be added to each functional layer
• Melody• Drone• Rhythm
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South India: Sarasiruha
• The drone, or sruti, marks the tonal center—the center of gravity—for the melody and its raga
• In karnataka music the notes used for the drone are the tonal center and the perfect fifth above it
• The dissonant tones tend to “pull” toward tones that blend with the drone
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South India: Sarasiruha
• The veena begins alone (without the drum) in a free-flowing melodic improv called atapana
• No sense of beat or time cycles
• Pauses filled in with drones
• Slides, pulls and tremolos
• Intervals, scales, and colours very different from the Western tradition
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South India: Sarasiruha
• At 5:42 the kriti begins (composition)
• New element added: tala• Heard by the striking of
the drone• The tala in this case is
the Adi4 + 2 + 2
• Once entered, will continue until the end
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South India: Sarasiruha
• Musical Structure: Improvisation
• Kalpita sangeeta: precomposed music
• Manodharma sangeeta: improvised music
• Four major types of improv in karnataka
• Alpana• Tanam• Niraval• Svara kalpana
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South India: Sarasiruha
The Kriti• All compositions in
karnatka music are songs, melodies with words
• Three main sections• Pallavi (“the sprouting,”
“blossoming”• Anupallavi (“after the
sprouting, blossoming”• Charanam (“verse” or
“foot”)• Chitta svaram or Svara
sahityam (Optional)