DIVISION OF SWARS Shudha Sa Re Ga Ma Pa Dha Ni Komala Tivra

Re Ga Ma Dha Ni

SANGEET The combination of vocal music, instrumental music and dance is called Sangeet. Out of these different arts, Vocal music is the most distinguished art form because due to vocal music there is instrumental music and due to instrumental music there is dance but all the arts are independent. We can say that sangeet is that art in which we express our thoughts through swar and laya.

TWO MAIN SYSTEMS OF CLASSICAL MUSIC In India, there are two main systems of classical music: Southern or Karnataki Classical music karnataki is commonly practiced in Mysore, Madras, Andhra Pradesh and Karnataka. Northern or Hindustani Classical music Hindustani music is taught and practiced all over India except Mysore, Madras, Andhra Pradesh and Karnataka.

NAD Sangeet is related to melodious sound in which there is a regular interval or pattern. That particular sound that can be used in sangeet is called NAD. There are two types of Nad: Anahat Nad a sourceless nad not commonly heard and has no connection with sangeet. Aahat Nad the sound produced by human hand or while singing is known as Aahat nad. Aahat nad is of three types: The sound produced by the finger on table The sound produced by rubbing the bow on the violin The sound produced by blowing air into the flute.

CHARACERISTICS OF NAD 1. Magnitude or volume of Nad : One particular sound can either be produced softly or loudly. When the nad is sung softly, it is known as low vibration of Nad.This can be heard by the the person sitting very close to the person playing. When the same nad is produced loudly, it will be known as the high vibration of nad. This can be many people sitting far away 2. Timber- The ability to indentify different instruments or human voices just by listening to them is known as timber. 3. Pitch- every sound is either higher or lower than other sound. E.g- Sa Re in which Sa is lower than Re. The higher and lower notes are produced by the different vibration per second. The lesser vibration, the lower the sound and the higher the vibration, higher the sound per second.

SHRUTI Any kind of sound , melodious or simple, which can be heard clearly be the human ear is known as Shruti. But this is not an exact definition the sound that can be used in music as well as can be heard clearly by human ear and can be identified as different. There are 22 shrutis.

STHAN According to the vibration of sound, it(sound) has been divided into three parts :1. Lower parts or Madra saptak. 2. Medium parts or Madhya Saptak 3. Higher octave or Tara Saptak In playing, these three octaves are commonly used.

SWAR There are seven natural notes among 22 shrutis. The 7 notes are melodious and all are at a distance from each other. They are of two types : Shudha Swar When Sa Re Ga Ma Pa Dha Ni are situated on their definite places it is known as shudha swar. Vikrit Swar when Re, Ga, Ma,Dha, Ni are higher or lower from their original position, they are known as vikrit swar. They can be divided into two parts: Komal swar: the shifting of a note to the lower position is called Komal swar. E.g Re, Ga, Dha, Ni. Tivra swar- : the shifting of a note to the lower position is called Tivra swar. E.gma.

SAPTAK When a group of seven natural notes are recited, written or sung in an order, they are known as one spatak or an Octave. Eg Sa, Re, Ga, Ma , Dha, Ni. The frequency of each swar is higher than the previous one. There are three Types of saptak. Madra One saptak lower than the middle saptak. Madhya The natural singing saptak which is neither higher nor lower. Tara One saptak higher than the middle saptak.

Eg- rega. ( in a saptak, the andolan kriya of every swar is more thn the previous one).

THATT The seven notes of a particular saptak arranged in a proper ascending and descending order is known as thatt. Thatt is also known as mela. Rules or Niyam of Thatt 1. All the seven swars should always be present in a thatt. 2. The swars Sa, Re, Ga, Ma , Pa, Dha, Ni shoud be in the same order and should have the same names. 3. Thatt does not necessarily have Aaroh and avroh. 4. In a Raga, melody is necessary as we have to sing but melody is not necessary in thatt. 5. The particular thatt should be such that many ragas can be formed from it.

THATTS OF HINDUSTANI CLASSICAL MUSIC Kalyan Bilawal Aasavari Khamaj Todi Malwa Bhairav Bhairavi Kafi Poorvi

VARNA While playing or singing different types of kriya are known as varna. E.g- when we transcend from a lower note in a particular octave to a higher note . Varna is divided into four parts: Sthai Varna The meaning of it is to stay on one note in any given octave and recite it again and again. E.g- SSS, RRR, GGG, MMM ,PPP DDD, NNN. Aarohi varna When we sing notes from Sa Ni. E.g - Sa, Re, Ga, Ma , Pa, Dha, Ni. Avrohi varna when we sing notes from Ni sa. E.g Ni, Dha, Pa, Ma, Ga, Re, Sa. Sanchari Varna sanchari is a mixture of aarohi and avrohi varna. Eg RGP, PM, DS,RM,R, GGS, RS.

CHAL SWAR The swar which can change its original place is known as chal swar. Eg- Re, Ga, Ma , Dha, Ni.

ACHAL SWAR The swar which cannot change its original place is known as achal swar. Eg- Pa, sa.

ALANKAR Combination of notes is known as alanakar or repetition of certain notes throughout the octave. It is also known as palta.eg- Aaroh : SRSS, RGRR,GMGG, MPMM, PDPP, NSNN. Avroh : SNSS,NDNN, DPDD, PMPP, MGMM, GRGG, RSRR. The combination followed in aaroh is same as avroh.

JANAK THATT Thatt is a janak of every raga. Every thatt has many ragas under it and every raga belongs to a particular thatt. Eg- Sa, Re, Ga, Ma , Pa, Dha, Ni. It is shudha thatt. Raga Bilawal is formed by this thatt.

ASHRAYA RAGA By rule, the name of the thatt is taken from a particular raga. This particular raga after which a thatt is named is known as the Ashraya Raga.

JATI Jati is of three kinds : Sampoorna - 7 notes Shadav- 6 notes Odav 5 notes

VADI SWAR Among all the notes that are present in a raga, in which any one of the notes is used again and again. This particular note will be called vadi swar knowing the particular note enables us to know the name, time and the lakshan of the raga. Vadis war is also known by the following names: Ansh swar, Pradhan swar and Jina swar. Eg vadi swar of raga bhairavi is dha.

SAMVADI SWAR All the notes that are present in a raga in which one note is less prominent than the vadi swar. But more prominent than the rest of the notes. Yis is known as samvadi swar. There are two notes which are most important in a raga. Eg- Vadi & samvadi swar of raga bhairav are dha & re.

ANUVADI SWAR All the notes except vadi and samvadi used in a particular raga are known as anuvadi swars. Eg- in raga bhairav except vadi dha and samvadi re all the swars are anuvadi swars. Sa, Ga, Ma ,Pa, Ni.

VIVADI SWAR Some notes if used in a particular raga can cause the raga to become impure. These particular notes are known as vivadi swars. Eg- raga bhairav tivra ma.

VARJIT SWAR The swars which are not used in a particular raga are known as varjit swar. Eg ni, ma in raga bhopali.

GRAH SWAR The note with which we begin a particular raga is known as grah swar. Eg- re in aasavari.

ANSH SWAR The most important note ( swar) which is used again and again in a raga is ansh swar also known as vadi swar.

NYAS SWAR In the ancient times, the note ( swaras) on which the raga ended is known as nyas swar.

VAKRA SWAR While singing some swars are not used directly. They are used indirectly with the help of other swars. Eg SRSG ( re is vakra). GMGP ( ga is vakra)

PAKAD It is the certain combination of particular swars that helps us to identify the raga. Eg- NDMPDMG of raga khamaj.

POORVANGA & UTTARNAGA To equally divide one octave ( saptak) into two parts, we have added the higher Sa. The first part consisting of Sa, Re, Ga, Ma ,Pa then the second part Ma, Pa, Dha, Ni, Sa. Poorvanga Uttaranga Sa Ma Re Pa Ga Dha Ma Ni Pa Sa As the saptak is divided into two parts in the same way, 24 hours of a day are also divided into two parts. Poorvanga 12hrs 24 hrs ( 12 noon midnight) Uttarnga 24hrs 12 hrs ( midnight 12 noon)

POORVA RAGA & UTTAR RAGA Poorva raga- when the dominating notes of a raga are in the lower octave then it is called poorva raga. Sa, Re, Ga, Ma , Pa , Dha are sung between 12 hrs 24 hrs. Ga is the vadi swar of raga khamaj so it is called poorva raga. Uttar raga- vadi swar of raga bhairavi is dha so it can be called between midnight and 12 noon.