Dhrupad Information

Dhrupad (Hindi: ध्रुपद ) is a vocal
genre in Hindustani classical
music , said to be the oldest still
in use in that musical tradition.
[1] Its name is derived from the
words dhruva and pada (verse),
where a part of the poem
(dhruva) is used as a refrain .[2]
The term may denote both the
verse form of the poetry and the
style in which it is sung. [3]
Abul Fazl , courtier and chronicler
at the court of the Emperor
Akbar , defines the dhrupad verse
form in his Ain-e-Akbari as "four
rhyming lines, each of indefinite
prosodic length ." Thematic
matter ranges from the religious
and spiritual (mostly in praise of
Hindu deities ) to royal
panegyrics, musicology and
romance. [4] Though Dhrupad is
basically a vocal tradition, its
musical aesthetics have been
adopted by many
instrumentalists. Not only by
various schools of Rudra Veena
players (Beenkars)but also by
other instrumentalists, who look
to Dhrupad for examples for
their instrumental developments
of raga, and go as far as to adapt
the format: a slow, unmetered
alaapa, Jhor, Jhala, to be
concluded with one or more
compositions in contrasting talas.
Ram Narayan and Hariprasad
Chaurasia, to name but two
acclaimed instrumentalists, pay
homage to Dhrupad in the way
they present a raga.

The ghazal

The ghazal (Arabic / Pashto /
Malay/ Persian / Urdu: ﻏﺰﻝ ; Hindi:
ग़ज़ल, Punjabi: ਗ਼ਜ਼ਲ , Nepali: गजल ,
Turkish : gazel , Bengali : গ়জ়ল,
Gujarati: ગ઼ઝલ) is a poetic form
consisting of rhyming couplets
and a refrain , with each line
sharing the same meter. A
ghazal may be understood as a
poetic expression of both the
pain of loss or separation and the
beauty of love in spite of that
pain. The form is ancient,
originating in 6th-century Arabic
verse. It is derived from the
Arabian panegyric qasida . The
structural requirements of the
ghazal are similar in stringency to
those of the Petrarchan sonnet.
In style and content it is a genre
that has proved capable of an
extraordinary variety of
expression around its central
themes of love and separation. It
is one of the principal poetic
forms which the Indo-Perso-
Arabic civilization offered to the
eastern Islamic world.
The ghazal spread into South Asia
in the 12th century due to the
influence of Sufi mystics and the
courts of the new Islamic
Sultanate. Although the ghazal is
most prominently a form of Dari
poetry and Urdu poetry, today it
is found in the poetry of many
languages of the Indian sub-
continent.
Ghazals were written by the
Persian mystics and poets Rumi
(13th century) and Hafiz (14th
century), the Azeri poet Fuzûlî
(16th century), as well as Mirza
Ghalib (1797–1869) and
Muhammad Iqbal (1877–1938),
both of whom wrote ghazals in
Persian and Urdu, and the
Bengali poet Kazi Nazrul Islam
(1899-1976). Through the
influence of Johann Wolfgang von
Goethe (1749–1832), the ghazal
became very popular in Germany
during the 19th century; the
form was used extensively by
Friedrich Rückert (1788–1866)
and August von Platen (1796–
1835). The Indian American poet
Agha Shahid Ali was a proponent
of the form, both in English and
in other languages; he edited a
volume of "real ghazals in
English".
It is common in ghazals for the
poet's name to be featured in
the last verse (a convention
known as takhallus).
Pronunciation
The Arabic word ﻏﺰﻝ ġazal is
pronounced [ˈɣazal] , roughly like
the English word guzzle, but with
the ġ pronounced without a
complete closure between the
tongue and the soft palate . In
India, the name sounds exotic, as
the voiced velar fricative (ġ
sound) is not found in native
Indo-Aryan words. This phoneme
is often replaced by average
Indo-Aryan and Dravidian
speakers with the voiced velar
stop /g/ or the murmured velar
stop /gʰ/. In English, the word is
pronounced / ˈ ɡ ʌ zəl/ [1] or /
ˈ ɡæ zæ l/ .[2]

Dhamar tala

Dhamar (Sanskrit धमार) is one
of the talas used in Hindustani
classical music . It is associated
with the dhrupad style and
typically played on the pakhawaj .
Dhamar tala has 14 beats
(matras) grouped asymmetrically
into a 5-2-3-4 pattern.
A song in dhrupad style set to
dhamar tala is also called a
dhamar. The text of a dhamar
concerns the antics of Krishna
teasing the milkmaids during the
Holi (hori) Spring Festival of
colours. It is considered a
relatively light and romantic
musical form.
The theka or syllabic pattern of
dhamar tala is:
1 2 3 4
5 6 7 8
9 10 11 12
13 14
क ध्धि ट
धि ट
धा ऽ क
त्ति ट
ति ट ता ऽ
ka ddhi Ta dhi
Ta dhaa - Ga
Di na Di Na
taa -
In counting out the beat, beats 1,
6, and 11 are clapped (tali), and
beat 8 is indicated by a wave of
the hand (khali):
Clap 2 3 4 5 | Clap 2 | Wave 2 3
| Clap 2 3 4 ||

Todi Raga

Todi (Hindi : तोडी) is a
Hindustani classical raga which
gave its name to the Todi thaat ,
one of the ten modes of
Hindustani classical music . Ragas
from the Todi raganga include
Todi (a.k.a. Miya ki Todi) itself,
Bilaskhani Todi , Bahaduri Todi,
and Gujari Todi.
The equivalent raga in Carnatic
music is Shubhapantuvarali . The
Carnatic raga Todi is the
equivalent of Bhairavi and does
not have any similarity to the
Hindustani Todi.
Aroha & Avaroha
Arohana
S r g M+ d N S' or
'd 'N S r g M+ d N S' or
S r g M+ d P, M + d N S' or
S r g M+ P, M + d N S'
Avarohana
S' N D P M+ G R S or
S N d P M+ d M+ g r g r S

Vadi and Samavadi
komal Dha and komal Ga
in ascent re, ga and dha are
intoned slightly low, and tivra ma
is very sharp. In descent the
intonaltion of all these notes is
normal
Pakad or Chalan
The distinctive phrase is r/g-\r\S,
where r may be subtly oscillated.
[3]
Pa is omitted in ascent, but
present and often sustained. [4]
Kaufmann mentions that some
musicians would call Todi with Pa
Miyan Ki Todi, but others would
see no difference between Todi
and Miyan Ki Todi.
Sometimes the ascent is
performed without Sa, starting
from Ni.

Gharana is a system of social organization

In Hindustani music , a gharānā is
a system of social organization
linking musicians or dancers by
lineage or apprenticeship, and by
adherence to a particular musical
style. A gharana also indicates a
comprehensive musicological
ideology. This ideology
sometimes changes substantially
from one gharana to another. It
directly affects the thinking,
teaching, performance and
appreciation of music.
The word gharana comes from
the Hindi word 'ghar', which
means 'family' or 'house'. It
typically refers to the place
where the musical ideology
originated; for example, some of
the gharanas well known for
singing khyals are: Agra, Gwalior,
Indore, Jaipur, Kirana, and
Patiala.
Vocal gharanas
Khyal gharanas
The gharana system in khyal was
rooted in the guru-shishya
tradition and was similar to the
Dhrupad Bani system. The
gharana system was greatly
influenced by the gradual fall of
the Mughal Empire, which forced
musicians to move from Delhi to
princely states such as Gwalior,
Lucknow, Hyderabad, Patiala and
Rampur.
The gharanas have distinct styles
of presenting the khyal — how
much to emphasize and how to
enunciate the words of the
composition, when to sing the
sthayi and antara, whether to
sing an unmetered alap in the
beginning, what kinds of
improvisations to use, how much
importance to give to the
rhythmic aspect, and so on.
However, an individual performer
from a gharana may choose to
borrow appealing stylistic aspects
of another gharana in his or her
gayaki.

Bhopali Classical Raga

Bhopali , also known as Bhoop,
Bhoopali or Bhupali, is a
Hindustani classical raga . It is a
pentatonic scale (uses 5 notes in
ascending and descending scale).
Most of the songs in this raga are
based on Bhakti rasa.
The same raga in Carnatic music
is known as Mohanam.
Theory
Writing about the musical theory
of Indian classical music is fraught
with complications. There is no
universally accepted set of rules
or formal method of writing
notations. However, the
Bhatkhandhe and Paluskar
paddhatis are the two ways of
writing down musical notations.
Indian music has always been
more of an aural tradition, and
written word has never been an
essential part of imparting talim
(training/knowledge).
Aroha & Avaroha
The scale of Bhopali uses only
Shuddh swaras .
Aroha (ascent): Sa Re Ga Pa
Dha Sa
Avaroha (descent): Sa Dha Pa
Ga Re Sa
Vadi & Samavadi
Vadi
Gandhar - Ga (here-after G but
not to be confused with note G
of western music notations)
Samavadi
Dhaivat - Dha (here-after D but
not to be confused with note D
of western music notations)
Pakad & Chalan
The Pakad (catchphrase that
often helps in identifying a raga)
is:
S R G R S D1 S R G or: S R G R S
D1 S R G P G D P G R S or: G R P
G G R S R D1 S or: G R S D1 S R G
R P G D P G R S Some chalans
(elaborations of the pakad) are:
1. S R G R S D1 S R G
2. S R G R S D1 P1
3. P1 D1 S R G R G
4. S R P G
5. G R S R G P
6. G P D P D D S’
7. P G P D P D S’ R’ G’ R’ G’
8. G’ R’ S’ D P G R S
Note: Normally written swaras
(individual notes) indicate the
middle octave. A swara
immediately followed by 1
indicates the mandra saptak
(lower octave) and ' indicates the
taar saptak (higher octave).
Bandish
This bandish is bound with
Teentaal (16 beats).
1 2 3 4| 5 6 7 8|9 10 11 12|13
14 15 16|
ASTHAYI:
D2 S D2 P |G2 R2 S R2|
G2 _ G2 P |G2 R2 S _ |
S R2 G2 P |R2 G2 P D2|
G2 P D2 P |G2 R2 S _ |
ANTARA:
G2 _ G2 G2|P _ D2 P|
S' _ S'S'|D3 R3 S' _|
G3 G3 R3 S'|R3 R3 S' D3|
S' _ D2 P |G2 R2 S _|
The Asthayi starts with the 9th
beat.

Purvi Thaat Raga

Purvi
Pūrvi, (पूर्वी in the Devanāgarī
script) sometimes transliterated
as Poorvi is a Thaat raga ; that is,
its notes represent the material
of a whole family of North Indian
ragas . Purvi has a deeply serious,
quiet and somewhat mystical
character. It is uncommon in
performances today.
Aroha & Avaroha
Arohana S r G M P d N S'
Thus: C D-flat E F-sharp G A-flat
B c
in German : C Des E Fis G As H C
in Aroha S and P are often
avoided, specially in fast taans .
Avarohana S' N d P M G r S
↑Jump back a section
Vadi & Samavadi
Ga and Ni
↑Jump back a section
Pakad or Chalan
{N S RG R G R M G M G R S

Sikhism, Hinduism and Islam

Sikhism, Hinduism and Islam, the
dominant religious faiths of
Punjab, each
have their distinct musical
repertoires,
functional in character and linked
to a
specific setting. The four divisions
of
Punjab's musical repertoire,
Sufiana
Qalam, qawwali, Gurmatt Sangeet,
bhakti sangeet, are rooted in
religious
experience. The Hindu kirtan, the
Muslim
milad and qawwali and the Sikh
vaar and
shabad kirtan are usually
performed by
trained musicians.
At the same time, a strong secular
tradition also exists in Punjab's folk
music.
Sufiyana Qalam
Although rooted in the classical
traditions
of Islamic mysticism as it
developed in
Arabia and Iran in the ninth and
eleventh
centuries, Sufism found wide
acceptance
in India in turn, the Sufi saints
were
influenced by the cultural traditions
of the
subcontinent.
The mahfil-e-sama, or the
"Assembly for
Listening" is essential to Sufi
practice.
Trained musicians guided by the
sheikh,
sing with the object of creating a
spiritual
bridge to the living spiritual guide,
to
departed saints, and ultimately to
God.
The aim is to achieve a spiritual
experience of intensity and
immediacy
that transcends conscious striving.
Over the centuries, this practice
has
engendered a vast corpus of poetry
articulating the mystical experience
and
the experience of the mystics.
Punjab has a strong Sufi tradition.
In the
four hundred years from the 14th
to the
18th when the Gurus were laying
the
foundations of the Sikh faith, the
Sufi
saints were also teaching. Indeed
the two
religious philosophies
complemented
each other. To this day the Punjab
countryside is dotted with the
mazars and
dargahs of Sufi saints. Typically the
shrines are small white structures
with a
bit of green trim and occasionally
figures
painted on the walls. In many cases
no
written records of the shrine exist
and
one must search out the oldest
inhabitants of a village to hear the
local
tradition of the shrine The local
people,
irrespective of their religion, look
after
these little shrines and constitute
the
following of the saint. Here is a
true
embodiment of the secular nature
of
bhakti.
Qalam means "pen" so Sufiana
Qalam
refers to writings of the Sufis. Their
lyrical
verses, called kafis constitute a
very old
form-perhaps the earliest poetic
composition in Punjabi.
Some schools of thought consider
the kafi
to have a chhand couplet form;
others
maintain that the kafi cannot be
bound in
the rigid format of any given lyrical
order.
The compositions of the Sufi saints
Shah
Hussain and Bullae Shah, are
usually
taken as the definitive model of the
kafi
but many of the varying lyrical
compositions of the Sikh gurus are
also of
the same type. Older non-Sufi
traditional
folk compositions support this
hypothesis.
Kafi is an Arabic word equivalent to
the
Sanskrit sthai, beginning of a song.
The
sthai is taken to be the theme of
the
entire kafi and is repeated over and
over.
This form has come to be
recognised as
the basic identification of the kafi
and sets
it apart from other folk
compositions. In a
kafi, the rahaoo tuk, central idea, is
repeatedly sung while in the
shabad,
hymn, it is sung only once and not
repeated. This repetition
distinguishes
the kafi from the shabad but in
terms of
content and basic musical form the
kafi
and the shabad are very similar.
In the earliest Sufi majlis gathering,
the
saint would lead his followers in
chanting
litanies in praise of God. The
versicle
would be sung by the saint and the
followers would return the one-line
response which constituted the
theme of
the composition. This repetition of
the
theme gave it the name kafi. A
typical
kafi is composed of several verses;
there
are no restrictions to the number
of
verses or their format.

Malkauns is a raga in Indian classical music

Malkauns is a raga in Indian
classical music . It is one of the
most ancient ragas of Indian
classical music. [1] The equivalent
raga in Carnatic music is called
Hindolam, not to be confused
with the Hindustani Hindol.
Etymology
The name Malkaush is derived
from the combination of Mal and
Kaushik, which means he who
wears serpents like garlands —
the god Shiva. However, the
Malav-Kaushik mentioned in
classical texts does not appear to
be the same as the Malkauns
performed today. [2] The raga is
believed to have been created by
goddess Parvati (the wife of
Shiva ) to calm Shiva, when the
lord Shiva was outraged and was
not calming down after Tandav in
rage of Sati 's sacrifice.
Malkaush belongs to Shaivait
musical school; in fact most
pentatonic ragas belong to
Shaivait musical school. [1]
↑Jump
back a
section
Arohana and Avarohana
Malkauns belongs to the Bhairavi
thaat . Its notes are Sa, komal Ga,
shuddh Ma, komal Dha, and
komal Ni. In Western classical
notation, its notes can be
denoted as: tonic, minor third,
perfect fourth, minor sixth and
minor seventh. In raga Malkauns,
Rishabh (Re - second) and
Pancham (Pa - perfect fifth) are
completely omitted. Its jaati is
audav-audav (five-five, that is,
pentatonic).
Arohana : 'n S g m d n S'
Avarohana : S' n d m g m g S, or
S' n d m g S
The ga used is actually ga
Sadharan (the rough minor third),
316 cent above Sa [3]
↑Jump back a section
Vadi and Samavadi
The vadi swara is Madhyam (Ma)
while the Samavadi swara is
Shadaj (Sa).
↑Jump back a section
Pakad or Chalan
Pakad: 'n S g m g S 'n S 'd 'n 'd 'm
'd 'n S

Jhaptal

Jhaptal is one of the most
famous talas of Hindustani music ,
after Teental. It presents quite a
different rhythmical structure
from teental, unlike which, it is
not symmetrical.
Arrangement
Jhaptal is a 10-beat pattern used
in raga exposition. It has ten
beats in four divisions (vibhag ), of
2-3-2-3, the third of which is the
khali, or open division. To follow
the tal the audience claps on the
appropriate beat, which in jhaptal
is beats 1, 3 and 8 (the first beat
in each full division). A wave of
the hand indicates beat 6, the
first beat of the khali section.
Series of Claps and Waves: clap,
2, clap, 2, 3, wave, 2, clap, 2, 3
↑Jump back a section
Theka
It has a characteristic pattern of
bols (theka).
The Theka for Jhaptal
Dhi Na | Dhi Dhi Na |
x 2
Ti Na | Dhi Dhi Na ||
o 3
Note the bols used for the first
beat of each division: Dhi, is
played at the beginning of the
first, second and final divisions;
for the khali section, Na - a right
hand bol - is used to indicate that
the division is open.

Raga Jaijaivanti

Raga Jaijaivanti
Raga Jaijaivanti also spelled as
Jaijaiwanti is a rāga [1] in
Hindustani classical music in
Khamaj thaat . According to the
Guru Granth Sahib , this raga is a
mixture of two other ragas -
Bilaval and Sorath. This raga has
not been mentioned in any
ancient Indian classical scriptures
on music. It is also not
mentioned in the ragamalas at
the end of Granth Sahib. [2]
Features
Raga Jaijaivanti is sung during the
first prahar of the night - from six
to nine in the evening. Its season
of recitation is summer or
grishma. It is noted to have been
composed by Guru Tegh
Bahadur . [2]
↑Jump back a section
Composition
Aaroha: Re ga re sa, re ga, ma pa
dha pa, ni sa
Avroha: Sa ni dha pa, dha ma ga
re, re ga re sa

Dhanasari or Dhanashree

Dhanasari
Dhanashree is an Indian
classical raga that appears
in the Sikh tradition from
northern India and is part
of the Guru Granth Sahib .
Every raga has a strict set
of rules which govern the
number of notes that can
be used; which notes can
be used; and their interplay
that has to be adhered to
for the composition of a
tune.
Raga Dhanashree appears
in the Ragmala as a ragini
of Malkauns and currently
is a member of the Kafi
thaat. It closely resembles
Bhimpalasi in musical
content but the vadis and
moods are different.
Dhanashree is performed
in the early afternoon and
presents a cheerful, happy
mood. It provided the
setting for hymns by Guru
Nanak, Guru Amar Das ,
Guru Ram Das, Guru Arjan
and Guru Tegh Bahadar for
a total of 101 hymns.
The following represents
the order of notes that can
be used on the ascending
and descending phase of
the composition and the
primary and secondary
notes:
Aroh: Sa Ga Ma Pa Ni Sa
Avroh: Sa Ni Dha Pa Ma
Pa Ga Re Sa
Vadi: Pa
Samvadi: Sa
Pa is given considerable
emphasis and Ni and Pa
receive sliding approaches,
a characteristic of this
raga. The pentatonic ascent
provides some of the
melodic features of this
raga.

Devagandhari

Devagandhari
(pronounced devagāndhāri)
is a raga (musical scale) in
Indian classical music. In
the carnatic classical
music , Devagandhari is a
janya raga (derived scale),
whose melakarta raga
(parent scale, also known
as janaka ) is
Shankarabharanam , 29th in
the 72 Melakarta raga
system.
It is also there in the Sikh
tradition of northern India
and is part of the Guru
Granth Sahib.
In Carnatic music
Structure and Lakshana
Ascending scale with
Shadjam at C
Descending scale with
Shadjam at C
Its ārohaṇa-avarohaṇa
structure (ascending and
descending scale) is as
follows (see swaras in
Carnatic music for details
on below notation and
terms):
ārohaṇa : S R2 M1 P D2
S
avarohaṇa : S N3 D2
(N2, D2) P M1 G3 R2 S
Devagandhari ragam is an
owdava-vakra-sampurna
raga meaning, in arohana 5
swaras come (so it is called
owdava ) and in avarohana
all swaras come (so
sampurna ), and there is a
"zigzag" pattern of notes
(so vakra ). The notes used
in this ragam are shadjam,
chatushruti rishabham,
antara gandharam,
shuddha madhyamam,
panchamam, chatushruti
dhaivatam and kakili
nishadam. This ragam
sometimes includes the
kaishika nishadam ( anya
swara – a note external to
the scale, making this a
bhashanga ragam).
The closest raga to this one
is Arabhi. Some of the
things that makes Arabhi
different (though both
share the same ascending
and descending scale, in
terms of basic notation)
are:
Devagandhari is sung
with gamakas and vilambita
kala prayogas (usages with
elongated notes) [1]
Devagandhari is sung
with deergha gandharam
(elongated G3) [1]
Devagandhari is a
bhashanga raga, and
certain prayogas use the
kaishika nishadam: S N3 D
N2 , , D P

Light music is a generic term

Light music is a generic
term applied to a mainly
British musical style of
"light" orchestral music,
which originated in the
19th century. Its heyday
occurred during the
mid‑20th century and
continues until the present
day. [1][2]
The style is a less "serious"
form of Western classical
music , featuring through-
composed, usually shorter
orchestral pieces and
suites designed to appeal
to a wider audience than
more serious compositions.
The form was especially
popular during the
formative years of radio
broadcasting, with stations
such as the BBC Light
Programme featuring a
playlist largely consisting of
light compositions.
Occasionally known as
mood music or concert
music, light music is often
grouped with the easy
listening genre, although
this designation is
misleading. [3] Although
mainly a British
phenomenon, light music
was also popular in the
United States and in
continental Europe , and
many compositions in the
genre are still familiar
through their use as film,
radio and television
themes.

Rupak Tala

Rupak Tala (rupak tal) is a
popular tala in Hindustani music
that is common in Bhajans and
Geets.[1] It has seven matras
(beats) in three vibhags
(divisions). Unlike the popular
Tintal, the vibhags of Rupak Tala
are not of equal length. Also,
both the khali and taali of Rupak
Tala fall on the first matra.
Aavartan
The aavaratan (cycle) of Rupak
Tala has three vibhags. The first
vibhag has three matras and both
the second and third vibhags
have two matras. Sam is on the
first matra of the first vibhag. The
aavaratan of Rupak Tala may be
written as follows:
Vibhag One 1 2 3
Vibhag Two 4 5
Vibhag Three 6 7
It is important to note that the
empty 'cells' in the above table
at the end of vibhags two and
three are not rests. Each number
is a whole matra of equal length.
↑Jump back a section
Clap & wave
Using the 'Clap & Wave' system
can be problematic for Rupak
Tala. Traditionally one claps on
sam, or taali, and waves on khali.
The first matra of Rupak Tala,
however, is both taali and khali.
If the clap were to be present on
sam then Rupak Tala may be
confused for a similar tala of
seven matras, Tivra Tala, that has
identical vibhags but differs in
that the first matra is taali.
↑Jump back a section
Examples
There a numerous examples of
Rupak Tala that differ based upon
the instrument used. The
following examples apply for the
tabla.
Theka
The most common theka for
Rupak tala contains the bols 'Tin',
'Na', and 'Dhin' (the
transliteration of these bols may
differ quite a lot among
individuals). This theka is
composed in the following
manner by gautam dayal
Prakar
Prakars are fairly open to the
individual performer's flair. That
being said, however, the
following is an example of three
common Rupak Tala prakars.
Tin Tin Na | Dha Dha Tirkit | Dha
Dha Tirkit
Ti Ti na | Dina | Dina

Thumri Raga

Thumrī ( Devnagari: ठुमरी,
Nastaliq: ﭨﮭﻤﺮﯼ ) is a common
genre of semi- classical Indian
music .
The text is romantic or devotional
in nature, and usually revolves
around a girl's love for Krishna .
The lyrics are usually in Uttar
Pradesh dialects of Hindi called
Awadhi and Brij Bhasha . Thumri
is characterized by its sensuality,
and by a greater flexibility with
the raga .
Thumrī is also used as a generic
name for some other, even
lighter, forms such as Dadra, Hori ,
Kajari, Saavan, Jhoola , and Chaiti ,
even though each of them has its
own structure and content —
either lyrical or musical or both
— and so the exposition of these
forms vary. Like Indian classical
music itself, some of these forms
have their origin in folk literature
and music.
Format
Some of the most commonly
used ragas are Pilu, Kafi, Khamaj,
Gara, Tilak Kamod and Bhairavi.
The compositions are usually set
to kaherava taal of 8 beats, addha
tal of 16 beats, dipchandi of 14
beats or jat of 16 beats and in
"dadra' tal of 6 beats.
↑Jump back a section
Origins
Thumrī arose in popularity during
the 19th century in the Lucknow
court of nawab Wajid Ali Shah . At
that time it used to be a song
sung by courtesans accompanied
by dance. That was the bandish
ki thumri or bol bant ki thumri.
When this style of thumrī went
out of vogue at the turn of the
20th century, a new style
became more popular, which is
known as bol banao, sung in
Varanasi . Since Varanasi is to the
east (poorab) of Lucknow, the
new style became known as
Poorab ang or eastern style
thumrī. [1]
↑Jump back a section
Noted Thumri artists
Purab Ang
Famous artists of the 'Purab Ang'
thumri' of the Benaras gharana or
Banaras gayaki are Badi Motibai,
Rasoolan Bai, Siddheshwari Devi,
Girija Devi and Pandit Channulal
Mishra .[2]
Other famous singers of thumri
are Gauhar Jan, Begum Akhtar ,
Shobha Gurtu , Noor Jehan and
Prabha Atre . Shobha Gurtu is
often regarded as the thumri
queen. The bol banao style has a
slow tempo and is concluded by a
laggi, a faster phase where the
tabla player has some freedom of
improvisation.
Another stalwart in the genre of
thumri was Naina Devi, who was
married to a royal family but later
devoted her life to the singing of
the song of Tawaifs. For a
member of the royal family to
take such a step in those days
meant fighting countless social
stigmas that had enough power
to totally alienate someone from
the society, but she had the
support of her husband.[3]
Classical Thumri
Some khyal singers took an
interest in thumrī and sang it
their own way, as in the case of
Abdul Karim Khan, Nazakat-
Salamat Ali Khan, Barkat Ali Khan,
Bade Ghulam Ali Khan, Bhimsen
Joshi , and Prabha Atre [2]
Today thumrī is sometimes sung
at the end of khyal concerts as a
concluding item. Besides the
tabla and the tanpura , other
typical instruments in thumri are
sarangi, and swarmandal

Music of India includes multiple varieties of folk, popular, pop, classical music

The music of India includes
multiple varieties of folk , popular ,
pop , classical music and R&B .
India's classical music tradition,
including Carnatic and Hindustani
music , has a history spanning
millennia and developed over
several eras. Music in India
began as an integral part of socio-
religious life and that Indian
music is essentially melodic:
sounds follow one another
expressing an emotional state in
an aesthetic unity. [1]
Classical music
Main article: Indian classical
music
Two main traditions of classical
music are Carnatic music, found
predominantly in the peninsular
regions, and Hindustani music,
found in the northern and central
regions. [2] The basic concepts of
this music includes Shruti, Swara,
Alankar, Rāga, and Tāla. Its tonal
system divides the octave into 22
segments called shrutis, not all
equal but each roughly equal to
one quarter of a whole tone of
Western music. Melody is based
on the system of ragas , which are
melody types used as the basis
for improvisation.
Hindustani music
Main article: Hindustani classical
music
Hindustani music tradition was
developed around 13th and 14th
centuries AD[3] The practice of
singing based on notes was
popular even from the Vedic
times where the hymns in Sama
Veda, a sacred text, were sung as
Samagana and not chanted.
Developing a strong and diverse
tradition over several centuries,
it has contemporary traditions
established primarily in India but
also in Pakistan and Bangladesh.
In contrast to Carnatic music, the
other main Indian classical music
tradition originating from the
South, Hindustani music was not
only influenced by ancient Hindu
musical traditions, historical Vedic
philosophy and native Indian
sounds but also enriched by the
Persian performance practices of
the Mughals . Classical genres are
dhrupad , dhamar , khyal , tarana
and sadra

Asees Singh Teen Taal ke bol

Asees Singh
Teen Taal ke bol
Teen tal is a very famous tal. Every
tabla
student learn this tal and Kayda
Palta is
learnt to make his or her hand
perfect
for playing tabla with music and
dance.
Teen tal has 16 matras (beats)
When it
is written on paper it has four part
of 4
beats. First beat place is called
'Sam'
5th beat is called 2nd taali 9th beat
is
'Khali ' and 13th beat is another
taali
means 3rd Taali. We can show the
Teen
taal by Taali or claps and putting
finger
on hand. Some people ask a
question
why this tal is called teen tal?
Answer is
- There are three taali(s) in Teen
Taal
Theka on 1st 5th and 13th maatra
or
beat so it is called teen taal . 9th
place
is shown as Khali hand is moved on
air to
show khali. Sam is shown by a
cross
Khali is shown by 0 and taali is
shown by
its number. The notation of the
taal is
written according to Bhatkhande
Swarlipi Method.
Theka of Teen Tal is like this:
Dha Dhin Dhin Dha |
Dha Dhin Dhin Dha |
x 2
Dha Tin Tin Ta |
Ta Dhin Dhin Dha |
0

Omkarnath Thakur

Omkarnath Thakur (June 24,
1897 - December 29, 1967) was
an influential Indian educator,
musicologist, and Hindustani
classical singer. He is famously
known as "Pranav Rang", his pen-
name. A disciple of classical
singer Vishnu Digambar Paluskar
of Gwalior gharana, he became
the principal of Gandharva
Mahavidyalaya , Lahore, and later
went on become the first dean of
the music faculty at Banaras
Hindu University .
Early life and training
Thakur was born 1897 in a Jahaj
village [1] in the Princely State of
Baroda (5 km from Khambhat in
present day Anand District ,
Gujarat [3] ), into a poor military
family. His grandfather
Mahashankar Thakur was had
fought in the Indian Rebellion of
1857 for Nanasaheb Peshwa . His
father, Gaurishankar Thakur was
also in the military, employed by
Maharani Jamnabai of Baroda,
where he commanded 200
cavalrymen. [4] The family moved
to Bharuch in 1900, though soon
the family faced financial
difficulties, as his father left the
military to became a renunciate
(sanyasi ), leaving his wife to run
the household, thus by the age
of five Thakur started helping her
out by doing various odd jobs, in
mills, Ramlila troupe and even as
a domestic help. When he was
fourteen his father died. [4]
Impressed by his singing Thakur
and his younger brother Ramesh
Chandra were sponsored by a
wealthy Parsi philanthropist
Shahpurji Mancherji Dungaji in
circa 1909 to train in Hindustani
classical music in the Gandharva
Mahavidyalaya , a music school in
Bombay, under classical singer
Vishnu Digambar Paluskar .[5]
Thakur soon became an
accomplished singer in the style
of the Gwalior gharana started
accompanying his guru and other
musicians. Though later on in his
career, he developed his own
distinct style. [5] Eventually, he
made his concert debut in 1918,
though continued his training
under his guru, Paluskar, until his
death in 1931. [2]
↑Jump back a section
Career
Thakur was made the principal of
a Lahore branch of Paluskar's
Gandharva Mahavidyalaya in
1916. Here he became
acquainted with the Patiala
gharana singers like Ali Baksh and
Kale Khan, paternal uncle of Bade
Ghulam Ali Khan. In 1919, he
returned to Bharuch and started
his own music school, Gandharva
Niketan. During the 1920s,
Thakur worked for the non-
cooperation movement of
Mahatma Gandhi on a local level,
as he became the President of
Bharuch District Congress
Committee of Indian National
Congress .[5] His performances of
patriotic song Vande Mataram
were a regular feature of annual
sessions of the Indian National
Congress .[6] Thakur toured
Europe in 1933 and became one
of the first Indian musicians to
perform in Europe. During this
tour, he performed privately for
Benito Mussolini.[7] Thakur's
wife Indira Devi died the same
year and he began to concentrate
exclusively on music.
Thakur's work as a performer and
musicologist led to the creation
of a music college at Banaras
Hindu University that emphasized
both, here he was first dean of
the music faculty. [2] He wrote
books on Indian classical music
and its history. Thakur's work is
criticized in contemporary music
literature as ignorant of the
contribution of Muslim musicians,
which he blamed for
deteriorating classical
music. [ citation needed ]
[neutrality is disputed ] Thakur
performed in Europe until 1954
and received the Padma Shri in
1955 [8] and the Sangeet Natak
Akademi Award in 1963. [9] He
retired in 1963 and was awarded
honorary doctorates from
Banaras Hindu University in 1963
and Rabindra Bharati University
in 1964. Having survived a heart
attack in 1954, he suffered a
stroke in July 1965, which left
him partially paralyzed for the
last two years of his life. [2]
All India Radio (Akashvani)
Archives has released double
album of his music, which also
includes his rendition of Vande
Mataram performed at the
Parliament house midnight
function on the eve of India's
independence in 1947.

HINDUSTANI MUSIC LOVERS OF KERALA

*HINDUSTANI MUSIC LOVERS OF
KERALA*
Sadasivan KM > *HINDUSTANI
MUSIC LOVERS OF KERALA*
TRIBUTE TO USTAD VILAYAT KHAN,
INDIA'S WELL KNOWN SITAR
MAESTRO ON HIS BIRTH
ANNIVERSARY TODAY.
Born: August 28, 1928
Died: March 13, 2004
Vilayat Khan stands out as one of
the greatest sitarists of our era. He
was born into a musical family on
Aug 28, 1928 in the village of
Gauripur (present day Bangladesh).
In his life, he emerged to become
one of the most influential
musicians of the 20th century.
He was born and raised into a
family of musicians. His father was
Ustad Inayat Hussain Khan Sahib, a
famous sitarist, and his grandfather
Ustad Imdad Hussain Khan Sahib
was a famous rudra vina player.
Family responsibilities came to
Vilayat Khan at an early age. He
lost his father at the age of 13, and
the job of looking after his family
fell to him.
In the 1930's, he learned the art of
sitar under his maternal uncle,
Zinda Hussain Khan. It was during
this period that he developed the
"Gayaki Ang" which became his
trademark. In this style, the sitar
imitates the vocal forms such as
kheyal.
Vilayat Khan's professional career
was extensive. He made several
international tours, he has
numerous recordings, and has
scored music for several films,
including Satyajit Ray's "Jalsagar".
However, Vilayat Khan's
professional career was not
without controversy, much of
which was a result of his steadfast
adherence to his principles. He was
a longtime critic of the political
machinations that were behind the
awarding of many of India's
honors. He refused the
Padmabhushan (one of India's top
civilian honors), and was a
longtime critic of the manner in
which All India Radio was run. The
only title that he ever embraced
was the title Aftab-e-Sitar (Sun of
Sitar).
Vilayat Khan taught or otherwise
influenced many of of today's
prominent musicians. These
include Vilayat Khan's two sons
Ustad Shujaat Khan, and Hidyat
Khan, as well as Pdt. Arvind Parikh.
Even Vilayat Khan's younger
brother, Ustad Imrat Khan (sitar
and surbahar) was taught by him in
his younger days. It should also be
noted that Vilayat Khan's nephew
Rais Khan is also a famous sitarist.
Vilayat Khan died of lung cancer at
the Jaslok Hospital in Mumbai on
March 13th, 2004. He was 75 years
of age.