Preetham Bijageri

  In ancient times, ten elements of Tala were in practice, namely - Kaal, Marga, Kriya, Anga, Graha, Jati, Kala, Laya, Yati and Prastara which are collectively known as ‘Tala Dash Prana’. Present day elements of Tala include Avartan, Matra, Laya, Bol, Theka, Vibhag, Sam, Khali and Tali. To be able to identify and follow any Tala, a knowledge of these elements is required. They are being described below: Avartan - The complete cycle of a given tala is called Avartan. It can be repeated more than once. Example, the Avartan of Teen Tala  

M usic is a performing art which is perceived during the process of creation as against Visual arts like Painting, Sculpture and Architecture, which are perceived after the process of creation is completed. Music is determined by the movement of audible forms that give the illusion of virtual time. Just as Visual arts need a measure of space, Performing arts need a measure of time. In Hindustani music, a composition is set to a particular ‘Tala’ or beat with definite intervals. Through the medium of ‘Tala’, an appearance of motion is achieved with the passage of one interval and onset of another. The duration between these intervals gives us the measure of time. This is virtual time that is created within the musical composition. OBJECTIVE Through this lesson, the learner would be able to : - explain the concept and meaning of Tala ; - define Tala ; - differenciate between the ancient and present day of Tala ; - describe the given elements of Tala ; - state the Bols of the

Hi everyone, I am Preetham Bijageri. I hope you are doing well. Tomorrow ie Sunday 24 I am going to publish a new element of HINDUSTANI MUSIC. I hope you will love it.! Stay tuned for more information... 🙏 

  ELEMENTS OF RAGA I n Indian society, music finds expression through    classical as  well as folk streams. The basis of all classical music is believed  to be folk music, which takes the form of classical music upon being bound  by certain rules. The tradition of Hindustani classical music in India abounds   in various styles as well as forms. The basic melodic structure that defines them is   called ‘Raga’. The concepts of Raga and Tala give expression to the main components of music, that is melody and rhythm respectively. If Tala forms the rhythmic foundation upon which a composition is  established, then Raga is the core of the composition’s melodic configuration and its elaboration spanning different forms and styles of Hindustani classical music. The classical character of Hindustani music is exemplified through the medium of Raga in that it adheres to strict rules, which are not seen in other streams of music.   OBJECTIVE After studying this lesson, the learner would be able t

H industani 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 musi

  Notes made by : Preetham Bijageri youtube.com/PreethamBijageri Pdf link is below , Please check it out. Hi everyone, my name is Preetham here are your notes don't forget to copy them into your notebook. It is very helpful . हाय सब, मेरा नाम प्रीतम है यहाँ आपके नोट्स हैं इसे अपनी नोटबुक में कॉपी करना न भूलें। यह बहुत ही उपयोगी है। Alankar-अलंकारा NOTE: SA-स RE-र GA-ग MA-म PA-प DA-द NI-नी 1) SA|RE|GA|MA|PA|DA|NI|SA SA|NI|DA|PA|MA|GA|RE|SA 2) SA|RE|GA|MA| SA|RE|GA|MA| SA|RE|GA|MA|PA|DA|NI|SA SA|NI|DA|PA| SA|NI|DA|PA| SA|NI|DA|PA|MA|GA|RE|SA 3) SA|RE|GA| SA|RE|GA|SA|RE SA|RE|GA|MA|PA|DA|NI|SA SA|NI|DA| SA|NI|DA| SA|NI| SA|NI|DA|PA|MA|GA|RE|SA 4) SA|RE|GA|MA|MA|GA|RE|SA SA|RE|GA|MA|PA|DA|NI|SA SA|NI|DA|PA|PA|DA|NI|SA SA|NI|DA|PA|MA|GA|RE|SA 5) SA|RE|GA|MA|PA|MA|DA|PA SA|RE|GA|MA|PA|DA|NI|SA SA|NI|DA|PA|MA|PA|GA|MA SA|NI|DA|PA|MA|GA|RE|SA Thank you PDF link:  Click Here to download

Hi everyone this is Preetham Bijageri this is your new series of learning Hindustani music from scratch. We will learn from basics to advanced chapters. I have only included the junior syllabus in this series, which consists of 16 Rags. First, we will discuss some important topics of music that a beginner must also learn. This was the introduction to this special music series. And I will also provide NOTES in pdf and text form, The pdf link will be provided below the thank you message. Welcoming you!..