Hindustani classical music has primarily been vocal centric. This is impliedb y the term ‘Sangeet’ itself that is used for music, which literally means ‘singing in a correct way’. Most of the forms were originally suited forvocal performance and instruments were designed to emulate the human voice.Singing, instrumental music and dance together constituted music or ‘Sangeet’.
OBJECTIVE
After studying this lesson, the learner would be able to :-
1. state the foundation of music is based mainly on the elements like Nada, Shruti
and Svara;
2. write the two main types of Nada, Ahat and Anahat;
3. explain the Saptaks are usually used in music;
4. define Alankaras and the benefit of their use in music.
SANGEET
The term 'Sangeet' is formed by the combination of two words sam+geet. ‘Sam’ means complete in all respect or proper while ‘geet’ means to sing. By joining thet wo it means to sing in a proper manner. That is, singing in a proper manner following set rules is Sangeet or music. However it does not involve only singing. It includes instrumental music and dance as well. The following words from the great authority on music, Pt. Sharngadev endorses this statement, thus ‘geetam vadyam tatha nrittam trayam sangeetamuchyate.
SYSTEMS OF MUSIC
Presently, two systems of music are prevalent1. Northern or Hindustani Sangeet
2. Southern or Karnatak Sangeet
Northern or Hindustani music system
With the exception of four southern states, this system is prevlent in the rest of India.
It is also prevalent in neighbouring countries like Nepal, Bangladesh and Pakistan.
Southern or Karnatak music system
This system is prevalent in the southern states-Kerala, Karnataka, Andhra Pradesh
and Tamil Nadu.
Though these two systems of music are independent of each other, they have many
similarities, thus
1. Both systems follow the concept of twenty two Shrutis in a Saptak.
2. Both systems have twelve notes in a Saptak.
3. Both systems follow the concept of Thata Raga.
4. In both systems, music is based on Raga and Tala.
INTEXT QUESTIONS.
1. Which are the arts included in "Sangeet"?
2. Which among the three arts is foremost in "Sangeet"?
3. How many systems of music are there? Nam
NADA
Nada is that melodious sound that is obtained from a physical object (mouth or some other material) and reaches the ears through the medium of physical matter (solid, liquid or gas). This process is achieved by vibrations or oscillations in the object. When these oscillations are of a regular nature, then the sound obtained is melodious and useful for music, this sound is called Nada. When the oscillations are irregular, then the sound is not melodious which is not useful for music.
DEFINITION OF NADA
The word ‘ Nada’ is a combination of the two syllables ‘ Na’ and ‘Da’. Phoneti-cally ‘Na’ indicates life breath and ‘ Da’ indicates fire. Therefor, being obtained from the combination of life breath and fire, it is called Nada. There are two types of Nada-Ahat Nada and Anahat Nada. Ahat Nada is produced by striking together of two objects whereas, Anahat Nada is experienced through knowledge without any external factor. Ahat Nada is related to music, Anahat Nada is not related to music.
Ahat Nada – There are three main characteristics of this Nada:-
Pitch, Intensity or Magnitude and Timbre
Pitch-Pitch signifies whether the Nada is high or low. The pitch of the sound
producing object depends upon the frequency (number of vibrations). The
higher the frequency, higher is the pitch of the Nada and lower the frequency,
lower is 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
frequency of ‘Sa’ being lower than that of ‘Re’, the pitch of ‘Sa’ is lower than
that of ‘Re.’ A Nada with frequency 60 to 4000 is possible for use in music.
Intensity or Magnitude-Intensity or Magnitude signify 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 intensity
of Nada.
Timbre – There are different mediums to produce Nada. The different tonal
quality produced through different mediums is called the timbre of a Nada.
Through the timbre of Nada it can be as certained 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.
INTEXT QUESTIONS.
1. How many types of Nada are there? Name them.
2. Write the characteristics of Nada.
3. What do you understand by pitch and intensity of Nada?
4. Who can experience Anahat Nada?
5. Is Anahat Nada useful for music?
SHRUTI
Shruti is the smallest form of Nada . The derivative definition of this word has been
given in ‘Sangeet Ratnakar’ as
‘shravanacchrutayo matah’
-1/3/8
ie. That which can be heard is Shruti. In music, Shruti forms the basis for musical
notes or Svaras and through which creation of Ragas takes place.
NUMBER OF SHRUTIS
Different viewpoint regarding the number of Shrutis are prevalent among musicologists. Among these three are main. According to one viewpoint, there are
twenty two Shrutis in a Saptak, according to the second there are sixty six and
infinite according to the third viewpoint. The first viewpoint according to which
there are twenty two Shrutis is the most prevalent.
INTEXT QUESTIONS.
1. What is the definition of Shruti according to Sangeet Ratnakar?
2. How many viewpoints regarding the number of Shrutis are prevalent among
musicologists?
3.. Which viewpoint regarding the number of Shrutis is most prevalent?
SVARA
Svara has been defined as that creamy, resonant sound which is capable of pleasing the minds of the listeners on its own.
NUMBER OF SVARAS
In the beginning during the Vedic period, only three notes were in use, namely,
Udatta, Anudatta and Svarita. Udatta demoted high pitch, Anudatta lower pitch
and Svarita medium pitch. Slowly the vedic notes developed into four, then five
and later seven notes. The Laukik or present day seven notes first find mention in
Bharata’s NatyaShastra. These were named as Shadja, Rishabh, Gandhar,
Madhyam, Pancham, Dhaivat and Nishad. Their abbreviated form used in practice are ‘Sa’, ‘Re’, ‘Ga’, ‘Ma’, ‘Pa’, ‘Dha’ and ‘Ni’ respectively. These Svaras
were established on the twenty two Shrutis of the Saptak based on the principle
‘chatushchatushchatushchaiva
Shadja madhyamapanchamah
Dwedwe Nishadgandhar Tistririshabh Dharatau
‘Sa’, ‘Ma’, ‘Pa’ have four Shrutis each, ‘Re’, ‘Dha’ have three Shrutis each and
‘Ni’, ‘Ga’, have two Shrutis each. The placement can be shown through the following table.
These were the pure notes. Apart from these, Bharat has given two modified
(Sadharana) notes- Antar Gandhar and Kakali Nishad. According to modern
musicologists, other than the seven pure notes, there are five modified notes. The
pure (Shuddha) and modified (Vikrit) Svaras are explained in brief below–
Shuddha Svara
When Svaras are placed on their specified Shrutis, they are known as Shuddha
Svaras. The seven Shuddha Svaras in their natural state are ‘Sa’, ‘Re’, ‘Ga’,
‘Ma’, ‘Pa’, ‘Dha’, ‘Ni’, Among these seven Shuddha Svaras, ‘Sa’ and ‘Pa’ are
fixed or ‘Achal’ and remain in their pure state.
Vikrit Svara
The notes other than ‘Sa’ and ‘Pa’ can get displaced from their natural state and
become modified or Vikrit, therefore they are referred to a ‘Chal’. The modified
or Vikrit state is either ‘Komal’ or ‘Tivra’ ‘Re’, ‘Ga’, ‘Ma’, ‘Dha’, ‘Ni’ are notes
of this category. Among these, ‘Re’, ‘Ga’, ‘Dha’, ‘Ni’ become komal by getting
displaced to lower Shrutis and ‘Ma’ becomes Tivra by getting displaced to higher
Shrutis. According to Bhatkhande's Notation System, Komal Svara can be recognized by a horizontal line underneath the Svara and Tivra Svara can be recognized by a vertical line above the Svara. For example, Komal ‘Ga’ is writtten as
‘Ga’ and Tivra ‘Ma’ is written as ‘Ma’.
INTEXT QUESTIONS.
1. How did the development of Vedic notes begin?
2. In which treatise do Laukik notes first find mention?
3. How many notes in all have been mentioned in Natya Shastra?
4. On which Shrutis have the seven Svaras been established?
5. Which notes can attain modified state?
SAPTAK
In music, after Nada, Shruti and Svara comes Saptak in the evolution order. Literally, ‘Saptak’ means a group of seven, i.e., ‘saptaka saptanam samuhah.’ In the
context of music, its meaning has been implied as a group of seven notes in sequence. According to the high or low pitch of sound, there can be an infinite number
of Saptaks, however, three types of Saptaks are used in music. These are also
called registers or ‘Sthan’. A brief description of the three Saptaks is given below:-
Mandra Saptak
Mandra means low. When the sound used in a Saptak is twice as low as the
normal sound, it is called ‘Mandra’ Saptak. When Svaras are pronounced while
singing in this Saptak, there is pressure on the heart. According to Bhatkhande’s
Notation System, a dot is used below the Svara, e.g. Sa, Re, Ga Ma Pa Dha
Ni.
Madhya Saptak
Madhya means medium or normal Mostly performing is done in this Saptak in
which the sound is twice as high as the sound of Mandra Saptak when Svaras
are pronounced while singing in this Saptak, there is pressure on the throat.
There is no symbol used for notation of Svaras in Madhya Saptak, e.g. Sa, Re,
Ga, Ma, Pa, Dha, Ni.
Tar Saptak
To sing higher than the Madhya or normal Saptak, Svaras of Tara Saptak are
used. The sound for Svaras of this Saptak is twice higher than that for Svaras of
Madhya Saptak. To pronounce the Svaras of the Saptak while singing, there is
pressure on palate and brain. According to Bhatkhande’s Notation system, a
dot is used above the notes, e.g. Sa, Re, Ga, Ma, Pa, Dha, Ni.
Usually, these three Saptaks are used for singing and instrumental music.
Along with seven pure notes, the five modified notes are also included in Saptak.
INTEXT QUESTIONS.
1. What is meant by Saptak in the context of music?
2. How many Saptaks are used in music, name them.
3. How are the three Saptaks differentiated in notation?
4. When Svaras are pronounced in the three Saptaks, which parts of the body
are affected?
5. Are the five Vikrit svaras are included in a saptak while singing or playing?
VARNA
Even though the general meaning of the word ‘Varna’ in Hindi is understood as
syllable, colour, caste division or category etc., however, in musical context, it refers to various methods or embellishments used in singing and instrumental music.
Thus,
‘ganakriyochyate varnah’
The basis for these methods or ‘kriya’ are four types of Varnas:-
Sthayi Varna
Sthayi means stable. When a note is pronounced continuously or repeatedly at its
own place, it is Sthayi Varna. For example Sa…, Re…or Sa Sa Sa Re Re Re etc.
Arohi Varna
When notes are pronounced in Ascent or ascending order, then it is called Arohi
Varna. For example, Sa Re Ga Ma Pa Dha or Sa Ga Ma Dha. It is not essential
that all notes are to be used. According to usage in the Raga, there can be a break
in sequence, however, the sequence has to be in Ascent.
Avarohi Varna
When notes are pronounced in Descent or descending order, it is called Avarohi
Varna. Like Arohi Varna, it is not essential that all notes are used in sequence.
Some notes may be omitted according to usage in Raga, e.g. Sa Ni Pa Ma Ga.
Sanchari Varna
When the above stated Varnas, i.e., Sthayi, Arohi and Avarohi Varnas are mixed
together, Sanchari Varna comes into being. For example- Sa Re Ga Pa, Dha Ga
Pa, Ga Pa Dha Sa, Sa Sa Sa, Dha Dha Dha Pa, Ga Pa Dha Pa, Ga Re Sa, this is
a Sanchari Varna.
INTEXT QUESTIONS
1. What is the meaning of Varna in the context of music?
2. How many Varnas are there? Name them.
3. What is meant by Sthayi Varna?
4. What do you understand by Arohi and Avarohi Varna?
5. What is Sanchari Varna?
ALANKARA
The word ‘Alankara’ in Hindi means ornament. Just as an ornament beautifies the
body, an Alankara beautifies music. In the context of music, a specific group of
Varna or group of notes in a particular sequence constitutes Alankara. According
to Pt Sharngadev,
‘Vishishtar varnasandarbham alankaram prachakshate/
—1/6/3 Sangeet Ratnakar
Modern musicologists refer to Alankaras as ‘Palta’ also. Their creation follows a
definite sequence. The sequence of the starting notes in an Alankara directs the
sequence of the following notes in Ascent by considering each note as the starting
note of that particular sequence. The same rule is followed in Descent in opposite
sequence, this is Alankara. An example of an Alankara is as follows
Ascent – Sa Re Ga, Re Ga Ma, Ga Ma Pa, Ma Pa Dha, Pa Dha Ni, Dha Ni Sa
Descent – Sa Ni Dha, Ni Dha Pa, Dha Pa Ma, Pa Ma Ga, Ma Ga Re, Ga Re Sa.
By creating and practising Alankaras for each Raga, the hand (for instrument) or
throat (for singing) are prepared, knowledge of notes is improved and help is provided in elaboration of Raga. For mastery in Raga, practising Alankaras is very
helpful.
INTEXT QUESTIONS.
1. What is meant by Alankara in the context of music?
2. What is another name for Alankara?
3. What are the uses of Alankara?
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