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Hahahah! Guys this video is just a very basic (1st day - 5mins into a raag class) introduction to a Raag. It takes years to learn even 1 Raag and classical singers spend hours every day to perfect it. The ornamentation is used correctly here as its the basic ornaments of the Raag. Just like an engagement ring.. the basic ornament is a ring.. but then u put more diamonds or cuts or metals and make it interesting- thts the freedom part there, Then the more complex version starts later on, once u get some basic introduction to the raag. Its a long process.. also watch the How to sing Gamakas by Pratibha Sarathy. Those are the various free ornamentation tht you are thinking of. Also.. Shreya and all have had good Classical training but didnt pursue that for the time needed to become classical singers. But this training for however small period makes them stand out. The basic structure of raag with the use of Gamakas.. and then the added difficulty of a Taal (time cycle) is what makes every indian singer a better one... the training process is brutal but soooo rewarding,
Also, the Kaushiki video you reacted to where you thought she was rapping or something.. that is a classic example of raag. She was just playing with the notes and time.. .. creating waves .. or patterns. All whilst being free within the Raag (Bhimpalasi in her video) parameters.
Lot of rags actually evoke a certain emotion. And hence the structure / rules around those notes. While learning, it is highly encouraged for one to not break these rules. However, once somebody "knows" the raag and achieve a certain level of expertise, people do take a lot of liberties. But as you guys said, it might go "outside" the scope of the raag.
In bollywood music every composer breaks the rules of a RAAG but in indian classical you are not allowed to break because a particular RAAG has a particular feeling attached to it if you can enhance it then no problem
I don't think there is any thing wrong with breaking the rules of raag as long as the music delivers the emotion. And not every composer breaks the rules. You definitely can't follow the rules in some sub genres. So try and not generalize the whole industry
First of all, mind the words you're choosing in your comment. What do you mean by every composer breaks the rule. In the 19's , 99% of composers didn't even tried to break this rule. And the final point I would like to inform you about is ☹️ The music you're talking about is called Bollywood, ok? It's our cinematic music, not our classical part, so that it's really necessary to maintain "that" rule. So, finally if their is no proper and important connection between these two genres, why leaving this kind of comments those can mislead everyone😢
Toh fir Jab Anu malik jb promoting me film Refuge ka music compose kr rahe the toh harmonium pe sonu Nigam se ye kyun kah rahe the ..ye raag Bhairavi hai... uska aalap v .. Aaj v yaad hai!
Don't freak out on the "rules and restrictions" for a Raag. It's just for a particular Raag, which means if you break those 'rules and restrictions" then it's no more that Raag but a different one. So, there's no limitation to creativity and innovation, it's just about the identity of a Raag and if a song is based on a particular Raag.
Please pleSe react to “what is gamakas” by voxguru. U guys will thank me later. That channel is a gold mine to introduce people to indian classical music as a genre.upvote this so they will take notice. Or ask for that video guys.
A Raag is as deep as an ocean. It can never become predictable - as long as you continue exploring its depths. Even with a phrasing - how you bring it alive to bring out the emotion, is what makes a raag truly special. You know the patterns governing the Raag, but you'd have no idea how deep a note will resonate and what's the next note the singer will use! It's enchanting because the singer composes the melody in real time, using the set of rules. About the singer's mannerisms in delivering the same Raag, that is also quite distinctive. Two different people singing the same Raag will sound different - but yet similar in what emotion it evokes. You can contrast and compare two performances of the same Raag by two different people. There's also ornamentation that you can show in aalap, taan, bol taan. There's also the tempo in which you choose to deliver the Raag whether you're singing a Bandish (a medium paced), Khayal (a slower paced) or Tarana (a fast paced one). There's also the song structure itself - Drupad, Dhamar, etc. In conclusion, there are way too many nuances in a Raag to make it predictable. Even the most accomplished classical singer is on his or her journey towards Raag exploration. And to add to that, there are hundreds of Raags! So if you feel you've got a hold of one, there are many more waiting for you!! So the learning goes on and on ❤️
GUYS REACT TO 74 RAGAS in 13 minutes ua-cam.com/video/-KK1ZSK6FXI/v-deo.html by Aby V!!! Its awesome. Ragas are very powerful they can generate emotions and can hypnotize u!!!
The beauty of the structure is that, ironically, BECAUSE there are so many different rules and constraints, you can do much more in a given raag than you can WITHOUT those constraints. Each raag is like its own language, and each language has its own syntax, lexicon, grammar and combination of words and sentences that make sense. The number of ways you can explore the boundaries of a given raag is actually amplified by how you have to focus on specific note combinations and ghost notes (the kanaswaras), because now the question is no longer "where will you end up" - you start at the sa, the base note, and end back at the sa. The question now becomes "how many different ways can you come full circle?" and "how intricate can you make that journey?" So through all the regimented, structured, incredibly technical requirements of each raag, the beauty lies in the unpredictability of what the SINGER decides to do in any given moment, even to a trained and knowledgeable ear. This is why the greatest singers' excursions never get old. They ALWAYS find something new to do within those boundaries.
✌️😄🇵🇭 I am a Filipino from the Philippines, and during my time back then in high school and even until now, most Filipino students or learners are required to learn, study and appreciate Asian music, specifically from Southeast Asia (specifically a little bit of Indonesian, Thai, Burmese, Vietnamese and Khmer Music), East Asia (specifically a little bit of Chinese, South Korean and Japanese Music), South Asia or the Indian Subcontinent (specifically a little bit of Indian and Pakistani Music) and a little bit from the Middle East or West or Southwest Asia (in general and specifically Israeli and/or Jewish and Arabic, Arab, Arabian and/or Islamic Music). So, I heard some few and a little bit of things about Raag/Rag/Raga/Raaga. Students or learners also learn some few things like or such as about the Tabla and the Mridangam, the Vedas with focus on the Rigveda and the Samaveda, Tal/Tala/Taal/Taala, Theka, North Indian/Hindustani Music or Sangeet, South Indian/Carnatic Music or Sangeet, Samagana, Indian musical instruments and their classes like Ghan, Avanadh, Sushir, Tat (Vina) and Vitat. We just learn these terms and classifications, their meanings and definitions, some few examples for each, if any, listen to, analyze and appreciate some examples of traditional and/or classical vocal and/or instrumental music and songs from India and do some activities like or such as, but not limited to, comparing Hindustani Indian Music and Carnatic Indian Music that we just learned, comparing Indian Music and Pakistani Music (the next lesson right after Indian Music is Pakistani Music), naming musical instruments from India that we just learned through their image, photo or picture and then classifying, categorizing or organizing them based on the classification of Indian instruments that we just learned, describing the traditional and/or classical vocal and instrumental music of India, comparing and/or contrasting the traditional and/or classical vocal and instrumental music of India with Pakistan's traditional vocal and instrumental music, learning some basics and examples of tal/tala/taal/taala, do a word hunt game, do a relay game, listen and watch a recorded selection of Rig Veda preferably with English subtitles and then describe the musical elements of its vocal and ismnstrumental parts, create or compose a basic four-line verse of a song with lyrics then chant it to the Samagana style and placing a mnemonic system of India or "bol" to the syllables of the lyrics of the song composition while also observing tal/tala/taal/taala, perform any modern renditions of vocal or instrumental music from India, among many others, all depending on the time allotment, constraint and/or limitation, the availability of resources, the instructor or teacher's lesson plan, the students or learners, etc. During my time back then, we learned it in 3rd Year High School, which is now equivalent to Grade 9 or 9th Grade of Junior High School, but Indian Music is now taught in Grade 8 or 8th Grade of Junior High School. We learn all of these now in Grade 8 or 8th Grade in the Music class, learning or subject component, or area of a school subject called "MAPEH" which means "Music, Arts, Physical Education and Health". It is allotted 4 hours a week for about 8 to 10 weeks per quarter or term of the school year or academic year and with allotted 1 to 2 hours per session or class, so we meet or have the session or class 2 to 4 times in a 5-day school week from Monday to Friday. It is an intensive school subject, and from Grade 7 or 7th Grade to Grade 10 or 10th Grade, we learn a lot of stuffs about Music, Arts, Physical Education and Health like or such as Philippine, Asian and Western traditional, folk and/or classical music to Philippine and Western modern and contemporary music visual arts, crafts, designs; media-based and technology-based arts and designs; Western art history and Western music history; Philippine music, arts like paintings and sculptures, printing and printmaking, architectures, crafts, designs; Asian music, arts like paintings and sculptures, architectures, crafts, designs; Western music, arts like paintings and sculptures, architecture, crafts, designs; Philippine, Asian and Western traditional, folk and/or classical drama, theatre, theatrical arts, including some Asian puppets and puppetry traditions; Modern and Contemporary drama, theatre, theatrical arts, including musicals or musical theatre, operas, ballets; physical fitness, exercises, dances, games, sports, active indoor and outdoor recreational activities; and things about and related to health from personal health; nutrition; growth and development; family health including reproductive health and gender, sex and sexuality-related education; substance use, misuse and abuse such as about alcohol intake and intoxication, alcohol addiction, smoking and vaping, smoking and vaping addiction, drugs and drug addiction; safety education and first aid and emergency response to intentional and unintentional injuries; consumer health; community and environmental health; and contemporary local, national, regional and global/international health issues and concerns. We learn these for a span of 4 years from Grade 7 or 7th Grade to Grade 19 or 10th Grade. This school subject (MAPEH or Music, Arts, Physical Education and Health) is also taught from Grade 1 or 1st Grade to Grade 6 or 6th Grade with contents, topics, themes and lessons more about the self, family, school and school community, local and/or immediate community/ies, locality or local town/municipality, city, province and region and about the Philippines. Generally for the non-Physical Education and Health of MAPEH, they are more of just the appreciation of the arts with some culture, traditions, history, geography, and some activities, projects, games, tasks and performances mixed in than they are really teaching, instructing, developing, training and guiding us to be musicians, performers, entertainers, singers, composers, songwriters, lyricists, dancers, artisans, craftsperson, designers, architects and/or artists like sculptors and/or painters, but it is a way to spark our interests in the arts; consider a career, work, apprenticeship, profession, vocation and/or job opportunities in the arts; consider the creative and cultural industries; utilize and make use of our creative and/or artistic talents; explore new talents, hobbies and interests in and through the arts; develop our other multiple intelligences especially visual-spatial, verbal-linguistic, bodily-kinesthetic, intrapersonal, interpersonal, existential and/or philosophical and/or spiritual and musical-rhythmic intelligences; and to develop our creativity, artistry, craftsmanship, attention to detail and also holistic thinking, imagination, visualization, appreciation, value, visual and audiovisual literacies, social and cross-cultural skills, multicultural literacy, curiosity, critical thinking and problem solving skills, interpersonal and collaborative skills, communication skills, media and information literacies, among many others, in, to, of, and through the arts. Buenos dias desde na Ciudad de Zamboanga na Filipinas! 👋😊🇵🇭
Raag is not limit for creative freedom. It's direction. If you are capable enough, you can make a new raag which has a structure. Many new raags were made in 21st century itself
React to Laal Ishq of Arijit Singh. It's in Raag Yaman. Each Raag creates a different mood. Some make you happy, some devotional, angry or brave, love, sadness etc. We call these moods Rasas(meaning juice or essence) Each Raga is based on a Rasa that's why we don't have the freedom to mix up notes within the Raga, the mood will change.
It's not that they have no choice... they have the choice but then again ur choice shouldn't break the harmony of the melody... if it breaks the melody then the choice spoils the melody.. hence only a well learnt experts take these choices because they have learnt the many combos and they know what can sit well and where
Why all these rules ? Our ancestors , a culture of yogis , realized that sound is related to form. And therefore , it is said there are certain sounds in nature itself , from there came Sanskrit, a language from nature. How does all this work? We have some evidences and remains. Over 2000 years of Abrahamic and imperialistic invasions , scholars were killed , millions of books , libraries , ancient universities were burnt down because " Why do these barbarians/uncivilized people have so many books ? Only one is enough. "
Who knows why there are so many rules possible explanation could be 1. These are devotional and retualistic in nature and so like all rituals these are also rule bound 2. To sideline the already existing non vedic music creating an exclusive group As far as understanding sound is related to form thats way to far fetched and there are way too many sounds in nature that humans can create or perceive
Wal and Efra,your passion for music is so infectious.I admire you guys for being so excited to learn music from diff parts of the world.The way you guys are connecting to Indian music is inspiring.Wish you guys success with your channel and good health
It's said that some of these Raags can have different effects on surroundings too. Like Raag Malhar is said to bring rains. It's fascinating science behind all of this.
Raag may seem rigid and they are indeed rigid in terms of rules because Raag are meant to express certain feelings / emotions. Even Raags often have a time of the day when they are supposed to be performed. If you do not follow the rules or the raag, it will no longer serve purpose of the raag. As Anuja Kamat explained, it will lose its flavour and hence you cannot take artistic liberty and change the rule and still call it same raag. It is very much possible that the artistic liberty that you are taking may even be a different raag itself.
Raag is like the pillars of a building, there are certain rules to be followed to build a pillar, breaking those rules will result in weakening of the structure of the building but you can build the building in whatever way you want around those pillars. Indian classical music is similar to that.
Indian classical music is an old giant it has base ragas.. but there are also combos of these base raga which form another raga on its own... so combos as such are quite a lot... and popular music are taking the influence of ragas... sometimes one or more ragas influences are taken in to form one song... this is not at all considered wrong... which this way might feel very structured and bound it does have its spaces of freedom... those who have learnt it have a good base... hence they are able to grow and fluctuate well because their base is strong
When you talk about taking creative liberties outside the structure of a Raag , you forget what she said as a definition of Raag. A set of notes arranged to express a feeling. If one breaks out of a Raag’s basic structure then even if it sounds ok , it could spoil the harmony and the feeling expressed. It is all about creating the atmosphere in a delicate and subtle way. Among the same category of Raags , expert masters use techniques like Moorchana to blend two Raags and they create magic on stage. There are very strict rules but that has not stopped masters of the art form from showing mind boggling creativity in the given space.
As a musician you can take all creative liberties as you want. There are innumerable songs that are based on raags but they are not fully a raag. That is because the musician has take the liberty to move away from a rule of the raag. This is perfectly fine to do. A raag typically sets a mood. The rules are there to define the mood. If you move away from the rules in a certain way, you will find that you are not maintaining the mood that the raag was supposed to establish. This you will land up either in a different raag (and so a different mood) or you can even come up with your own raag. Many musicians like Ravi Shankar have developed their own raags.
It's great to listen to you guys with a different perspective. As you explore further, it will be great to hear you talk about comparisons and parallels across the industries. Lot of those who are into the Indian classical music, would love to know more about the other music industries too.
Music was more like modern science if i may say (when deep dive) in Indian History. Its like Newton laws (hence proofed).. Whoever defined got to name/ patent the same throughout 1000s of years of histroy ;)
So you have to understand that Indian film music and Indian Classical Music are two different genres. Within a raag an enormous amount of exploration that is done. You need to listen to more Hindustani Classical singers. The combination of notes in different raags creates different auras. Raags are connected deeply to chakras and the exploration of notes. Every note carries its own aura.
I believe part of the confusion of why the rules seem rigid is that the sense of: if 1,2,3 aren't there, it isn't raag. The entire rules, etc, is just an attempt to explain why a raag is different from just a musical scale, for example. The freedom comes in that people gravitate naturally to different raags - I love the carnatic raga of 'Hindolam' , for example, and the Hindustani raag 'Jog'. But some times of days and moods we may gravitate to different ragas that evocate different moods. The basic chalan and ornamentation will always be there, but different singers and different songs explore the ragas differently, and that shows the beauty. A hindustani instrument concert with sitar and Tabla would be very interesting for you - where the sitar can do melody and also act as a percussion, and the tabla acts first as percussion, but is also very tonal, and the freedom and sheer enjoyment of the players when they play inside the notes and rhythmic structures in the raag - especially towards the end, lol. It's great. You should also look at the series of what is a raag explained by the sitarist Niladri Kumar, he has a few videos up in English, and he illustrates how he plays the raag with the sitar. It's amazing.
Newly subscribed to the channel. At first I was so irritated by the constant interruption and discussion but now am here for the discussion. You two are amazing at how you break down and understanding music. Super intelligent and amazing to hear you guys. Love.
I don't know if I am right but I think raag is like a palette of clolurs for a painter. when one is painting they'll select a set of colors that define the mood of the final form of painting and play with those colours. Similarly singer would choose a raag that suits the mood of the song and play with the notes that the raag presents. With the same palette of colours two artists may paint two different pictures, with the same raag two singers may give birth to two different songs that expresses what they intend to express.
Raag can also be described as set of notes constructed on representation of a particular emotion, so you see we have thousands of raags based on various emotions, also there is a specific time in entire day when a particular has to be sung, like some raag are sung in dusk or dawn, or during rain or at night, specially the time that helps the raag fully come out provide entire feeling of the emotion it is based on, you know the background effect is the particular quarter of the day. Raag is composed by musicians based on a particular feeling so you cannot change the notes and rhythm of it as it will change the feeling and hence the entire raag.
Have been watching many youtubers for years who review music, but never seen anybody who understand music like you. Have been learning new things about music in each of your video...keep up the workshop guys and thank you...
If you are learning then you can't break the rules... When you have learnt and know how to sign with the help of indian classical lessons then you can break the rule when you are performing... I hope understand 🥰 love from india❤️❤️
30:31 but you can still improvise keeping in mind the set of rules 😎😎😎😎 Not everything is a written piece... there is a basic structure ... but you have got the full freedom to explore 😎 you can create your own permutations 🙂🙂🙂
Almost it is discovered in it's full length, thus when a sound or element of note changes then it turn out to be a different raga. Thus for example -if you want to say that this tree is Apple tree but turn out it bears orange, then we say it is an orange tree.
Someone once described the rules of ragas as "not a prison , rather like sitting yourself in a meditative cave". Meaning that it is not restricting , but more like enabling yourself to dive in the depths of it. So creativity is challenged. The same raag from 2 different artists will sound different. 2 songs based on the same raag may give out different vibes in the same mood in general.
Shreya Ghoshal did a masterclass at Berklee, based on the songs she has sung in movies as a playback singer. A student sings a song in front of her and she gives some history and some insights. It is fun to watch even for me a non-musician, the masterclass is broken down into a total of 5 short videos. ua-cam.com/video/fnHHE39VGz4/v-deo.html is the first video.
You guys should check out performances of Kaushiki Chakraborty! She performs pure Indian classical music most of the time... and she is like super blessed in terms of singing (with as much hard work as well. of course.). You would definitely be amazed and absolutely love it.
Amazing reaction. Fun fact about Hindustani classical music - There are multiple genres in Hindustan classical vocals like Khayal, Dhrupad, Dhamar,etc. Most of what is sung today by Classical singers is Khayal which was developed by Amir Khusro (1253-1325) taking inspiration from Sadharani and Rupakalapati which are now lost to history, so you can say we are singing the most modern form of classical vocal genre. Can you react to another of Anuja Kamat's video? ua-cam.com/video/2aH6OvA8zXs/v-deo.html
Raag is not just combinations of sounds. Its the feelings and meanings. Classical music represents the state of being even without uttering a single word. Some rags are sung at perticular time of day like at sunrise, and some raags like bhairavi sung at sunaet. N as a rule nothing should be sung after raag bhairav.
Western apparently is more like a straight road, which once laid, one just follows where in Indian music there are meandering paths through the woods to choose except you need to touch compulsary way points in a set order.
Let's say u have 5 colour balloons... U can arrange it how ever u want... The rules are u can't use 1 red balloon alone, always there must b 2 red balloons together and u should use blue and green balloon together. Now u r free to design the place how ever u want with this. This is how raag works. Even though it is structured, a master can infinity improvise within the structure. The ornamentation is the freedom for u to blow the balloon to which ever size u want within the structure of the raag. So u can put a small brown balloon between 2 big yellow ones to give a contrast.
This video was so informative!! Also, I suggest that you please check out Rahat Fateh Ali Khan's "Raag" performance at the Nobel Peace Prize Concert! It's amazing!
@Waleska, who seems to have a natural gift for theorising the performing arts from an academic distance, and @Efra, who appears to prefer a more experiential approach, here is an unsolicited counsel. To understand or experience the creative possibilities that a ra’ag allows-the rules and structure notwithstanding-please listen to a particular ra’ag developed and expressed by two maestros selected at random: let us say, the ra’ag Bhairavi by Ajoy Chakraborty (Kaushiki’s father) and Rashid Khan. Be fascinated by the departures they make and the spaces they create without disturbing the basic rules and arrangement.
The term Raag means colour. In art you can use colour to express yourself.. but in Design you use colour to give a very specific message or evoke a specific feeling, it's called colour psychology and it's used for many comercial purposes like ads, branding etc. Indian classical music is not an Art form it's a Design. music is designed to give a very specific emotion, Designed by our great scholars who studied Sound and nature in a very scientific way which shows how advanced we were in the field of science way before it came to the west. Also Indian classical music is very philosophical and spiritual, like when she gave the example of raag Maarva , it gives a feeling like a person is thinking about the meaning of life. That's Indian Classical music for you.
There is a video on UA-cam on how Kaushi Chakraborty used to practice with her father. Please to watch that too. She is the one who sang Raag Bhimpalasi, a concert you reacted to.
Not so much fixed rules that cause limitations to creativity but time tested scale systems after several generations experience in a gharana (literally house of music, for example Herrera gharana or Herrera house of music).
I love Anuja!!! She really explains Clasic Indian Music so well. You should react to her video about Carnic and Hindustani music. ua-cam.com/video/1BY5e_JYvAI/v-deo.html
You must react to "Apsara aali" by Sid Sriram .... 👍👍👍👍👍👍 It's totally without any instruments so You can also revise in Your mind, what You have learnt in this video... 👍
The fundamental building blocks of Indian classical music (both south and North indian music) is the notes(swaras). All ragas are a combination of these notes. If any one can master Indian classical music they can understand all the types of music anywhere in the world.
You guys really do have the ability to understand music. Your reaction shows that. Keep it up. Indian Music is out of the world, super-rich and endless. Also, listen to Pandit Jasraj.
Well in Indian classical music, vocal exercise is what she told Aroha and Avaroha. The arrangement of notes can be different but yeah most basic u can try these. Aroha (ascending): sa re ga ma pa dha ni sa Avaroha (descending): sa ni dha pa ma ga re sa sa sa re re ga ga ma ma pa pa dha dha ni ni sa sa, sa sa ni ni dha dha pa pa ga ga ma ma re re sa sa sa re ga re ga ma ga ma pa ma pa dha pa dha ni dha ni sa, sa ni dha ni dha pa dha pa ma pa ma ga ma ga re ga re sa Similarly u can go forward 4 notes continuously and then come 3 notes back and move further 4 notes; 5 notes forward then to back to 2nd or 3rd in that streak. All combinations are good vocal exercise
You can take liberties in semi classical and modern music with a classical fusion but not much in pure classical but indian classical is more than just raags there are a lot of aspects to indian classical that gives you real time creative liberty. There are mannerisms and liberties taken by singers for modern songs that have slight inclinations to indian classical. But they are songs not raags. Raags are pure Indian classical. In the particular raag, you are confined to a particular set of notes but you CAN combine them in a way you like as long as you keep the phrases that keeps the identity of the raag intact. You would be surprised how many different songs are sung using a particular raag, you can play so much while staying within the rules of a raag, you can make so many variations of those notes to find really different sounding songs but there are those key phrases. It's actually so much fun. And ornamentations aren't so rigid, singers take individual liberties, you keep the identity of the raag intact while taking ornamental liberties. Then there are taans and aalaps for a particular raag that gives so much liberty to the singer while keeping the raags identity intact. There are so many different permutations and combinations of the same notes that you can do that it's never predictable, ofcourse you have the key phrases but there is so much more. Every singer has their own style of singing the same raag. In India you will often see that Indian classical singers can sing any genre of music, modern and even western because you turn into a brilliant vocalist and learn very difficult techniques in Indian classical that singing modern Indian or western seems like a walk in the park.
ornamentation in the indian ragas context , can be described by a lberty /democracy but with responsibility of staying within a bracket or a set of classical conducts .
Guys it's not as strict. Creative liberties are taken in film music or pop music compositions. It's only in the classical music that people stick to the rules. Nothing is set in stone. An example would be that you tell your audience in a classical concert setting that you are going to play a Beethoven piece and then you try to be creative with it. People won't be glad.
In a raag you slide over individual notes, not just a random tune, in a definite order. To get an easier understanding listen to Shahid Pervez playing "Bhatiali Dhun" on sitar. Don't forget to note how the tabla whispers along. Then listen to others play the Bhatiali Dhun on sitar, flute or violin.
Conceptually, In ancient Indian Dharma, various art forms like music, dance, sculpture, painting etc. have been categorized within Yoga (the practice of joining self soul to the Super Being usually called God in the west)
your father knows about the Bangladesh concert by George Harrison, Ravishankar, Bob Dylan. Brings me joy to know that it helped our country gain much support during the war and genocide. Respect. He knows our history.
Ornamentation is the playing of the notes in that particular raag. When she (Anuja) sang Ni Re, she used micro note of Ga. But that Ga was in raag Yaman. That Ga was not outside of Yaman. So, if you know the notes, like at the tip of the tongue, you can play with it. You can even take the higher octave as well, as long as it is in that raag. That's the creative liberty of that particular singer. Combinations can happen in many ways.
Since this is about Rag, pls do watch and listen to the song - “Aalankuyil Koovum rayil” from the movie Parthiban Kanavu. It won the National Award as the Best song of the year. You guys listen to mostly North Indian songs whereas if u r interested in classical, then you must checkout the South Indian songs!!! Am sure u guys will love it
I thought Walseka didn't know much about Indian classical music. But wow! She does catch on to the technicalities quickly. I wonder if she's a singer.....
Watch our latest podcast here: ua-cam.com/video/1ZzsJ-iAIQ4/v-deo.html&ab_channel=WaleskaHerrera
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Hahahah! Guys this video is just a very basic (1st day - 5mins into a raag class) introduction to a Raag. It takes years to learn even 1 Raag and classical singers spend hours every day to perfect it. The ornamentation is used correctly here as its the basic ornaments of the Raag. Just like an engagement ring.. the basic ornament is a ring.. but then u put more diamonds or cuts or metals and make it interesting- thts the freedom part there,
Then the more complex version starts later on, once u get some basic introduction to the raag. Its a long process..
also watch the How to sing Gamakas by Pratibha Sarathy. Those are the various free ornamentation tht you are thinking of.
Also.. Shreya and all have had good Classical training but didnt pursue that for the time needed to become classical singers. But this training for however small period makes them stand out.
The basic structure of raag with the use of Gamakas.. and then the added difficulty of a Taal (time cycle) is what makes every indian singer a better one... the training process is brutal but soooo rewarding,
Also, the Kaushiki video you reacted to where you thought she was rapping or something.. that is a classic example of raag. She was just playing with the notes and time.. .. creating waves .. or patterns. All whilst being free within the Raag (Bhimpalasi in her video) parameters.
React on "Aayat" song by Arijit Singh (studio version) It's mesmerizing.
*now definitely u guys should react to mahesh kale fully trained indian classical music , u can search , mahesh kale performance in Melbourne*
Lot of rags actually evoke a certain emotion. And hence the structure / rules around those notes. While learning, it is highly encouraged for one to not break these rules.
However, once somebody "knows" the raag and achieve a certain level of expertise, people do take a lot of liberties. But as you guys said, it might go "outside" the scope of the raag.
In bollywood music every composer breaks the rules of a RAAG but in indian classical you are not allowed to break because a particular RAAG has a particular feeling attached to it if you can enhance it then no problem
We can use mano dharma in music . Wich is our own touch in singing ... 😌 Love raga system bcz each one can make purticular emotions ❤️❤️
I don't think there is any thing wrong with breaking the rules of raag as long as the music delivers the emotion.
And not every composer breaks the rules. You definitely can't follow the rules in some sub genres.
So try and not generalize the whole industry
Absolutely
First of all, mind the words you're choosing in your comment.
What do you mean by every composer breaks the rule. In the 19's , 99% of composers didn't even tried to break this rule.
And the final point I would like to inform you about is ☹️
The music you're talking about is called Bollywood, ok?
It's our cinematic music, not our classical part, so that it's really necessary to maintain "that" rule. So, finally if their is no proper and important connection between these two genres, why leaving this kind of comments those can mislead everyone😢
Toh fir Jab Anu malik jb promoting me film Refuge ka music compose kr rahe the toh harmonium pe sonu Nigam se ye kyun kah rahe the ..ye raag Bhairavi hai... uska aalap v ..
Aaj v yaad hai!
Don't freak out on the "rules and restrictions" for a Raag. It's just for a particular Raag, which means if you break those 'rules and restrictions" then it's no more that Raag but a different one. So, there's no limitation to creativity and innovation, it's just about the identity of a Raag and if a song is based on a particular Raag.
Correct, these people didn't get the idea it seems.
Please pleSe react to “what is gamakas” by voxguru. U guys will thank me later. That channel is a gold mine to introduce people to indian classical music as a genre.upvote this so they will take notice. Or ask for that video guys.
yes please i m requesting this for a month.
Same
@@NikiLovesTL yea. But sometimes comments with links can be removed if tagged as spams
Yes
gamaks are like bridging micro-notes between the notes of a Raaga. more common in the Carnatic stream of Indian classical
A Raag is as deep as an ocean. It can never become predictable - as long as you continue exploring its depths. Even with a phrasing - how you bring it alive to bring out the emotion, is what makes a raag truly special. You know the patterns governing the Raag, but you'd have no idea how deep a note will resonate and what's the next note the singer will use! It's enchanting because the singer composes the melody in real time, using the set of rules.
About the singer's mannerisms in delivering the same Raag, that is also quite distinctive. Two different people singing the same Raag will sound different - but yet similar in what emotion it evokes. You can contrast and compare two performances of the same Raag by two different people.
There's also ornamentation that you can show in aalap, taan, bol taan. There's also the tempo in which you choose to deliver the Raag whether you're singing a Bandish (a medium paced), Khayal (a slower paced) or Tarana (a fast paced one). There's also the song structure itself - Drupad, Dhamar, etc.
In conclusion, there are way too many nuances in a Raag to make it predictable. Even the most accomplished classical singer is on his or her journey towards Raag exploration. And to add to that, there are hundreds of Raags! So if you feel you've got a hold of one, there are many more waiting for you!! So the learning goes on and on ❤️
GUYS REACT TO 74 RAGAS in 13 minutes ua-cam.com/video/-KK1ZSK6FXI/v-deo.html
by Aby V!!!
Its awesome. Ragas are very powerful they can generate emotions and can hypnotize u!!!
Thats such a profound explanation dear. Lots of love💜
@@harshrajsinhjhala6281 I second this
@@harshrajsinhjhala6281 yeah he's great!!
Ryt mam , I think they don't get the exact figure ❤️
The beauty of the structure is that, ironically, BECAUSE there are so many different rules and constraints, you can do much more in a given raag than you can WITHOUT those constraints. Each raag is like its own language, and each language has its own syntax, lexicon, grammar and combination of words and sentences that make sense. The number of ways you can explore the boundaries of a given raag is actually amplified by how you have to focus on specific note combinations and ghost notes (the kanaswaras), because now the question is no longer "where will you end up" - you start at the sa, the base note, and end back at the sa. The question now becomes "how many different ways can you come full circle?" and "how intricate can you make that journey?" So through all the regimented, structured, incredibly technical requirements of each raag, the beauty lies in the unpredictability of what the SINGER decides to do in any given moment, even to a trained and knowledgeable ear. This is why the greatest singers' excursions never get old. They ALWAYS find something new to do within those boundaries.
So beautifully described comment. This is helpful for the ppl who is not learning indian classical music.
Wtf is ironic about it
@@thecreator9913 ...do you not understand irony?
Correct word is counter-intuitive.
@@spdcrzy go to school and study again...properly
✌️😄🇵🇭
I am a Filipino from the Philippines, and during my time back then in high school and even until now, most Filipino students or learners are required to learn, study and appreciate Asian music, specifically from Southeast Asia (specifically a little bit of Indonesian, Thai, Burmese, Vietnamese and Khmer Music), East Asia (specifically a little bit of Chinese, South Korean and Japanese Music), South Asia or the Indian Subcontinent (specifically a little bit of Indian and Pakistani Music) and a little bit from the Middle East or West or Southwest Asia (in general and specifically Israeli and/or Jewish and Arabic, Arab, Arabian and/or Islamic Music).
So, I heard some few and a little bit of things about Raag/Rag/Raga/Raaga.
Students or learners also learn some few things like or such as about the Tabla and the Mridangam, the Vedas with focus on the Rigveda and the Samaveda, Tal/Tala/Taal/Taala, Theka, North Indian/Hindustani Music or Sangeet, South Indian/Carnatic Music or Sangeet, Samagana, Indian musical instruments and their classes like Ghan, Avanadh, Sushir, Tat (Vina) and Vitat.
We just learn these terms and classifications, their meanings and definitions, some few examples for each, if any, listen to, analyze and appreciate some examples of traditional and/or classical vocal and/or instrumental music and songs from India and do some activities like or such as, but not limited to, comparing Hindustani Indian Music and Carnatic Indian Music that we just learned, comparing Indian Music and Pakistani Music (the next lesson right after Indian Music is Pakistani Music), naming musical instruments from India that we just learned through their image, photo or picture and then classifying, categorizing or organizing them based on the classification of Indian instruments that we just learned, describing the traditional and/or classical vocal and instrumental music of India, comparing and/or contrasting the traditional and/or classical vocal and instrumental music of India with Pakistan's traditional vocal and instrumental music, learning some basics and examples of tal/tala/taal/taala, do a word hunt game, do a relay game, listen and watch a recorded selection of Rig Veda preferably with English subtitles and then describe the musical elements of its vocal and ismnstrumental parts, create or compose a basic four-line verse of a song with lyrics then chant it to the Samagana style and placing a mnemonic system of India or "bol" to the syllables of the lyrics of the song composition while also observing tal/tala/taal/taala, perform any modern renditions of vocal or instrumental music from India, among many others, all depending on the time allotment, constraint and/or limitation, the availability of resources, the instructor or teacher's lesson plan, the students or learners, etc.
During my time back then, we learned it in 3rd Year High School, which is now equivalent to Grade 9 or 9th Grade of Junior High School, but Indian Music is now taught in Grade 8 or 8th Grade of Junior High School.
We learn all of these now in Grade 8 or 8th Grade in the Music class, learning or subject component, or area of a school subject called "MAPEH" which means "Music, Arts, Physical Education and Health".
It is allotted 4 hours a week for about 8 to 10 weeks per quarter or term of the school year or academic year and with allotted 1 to 2 hours per session or class, so we meet or have the session or class 2 to 4 times in a 5-day school week from Monday to Friday.
It is an intensive school subject, and from Grade 7 or 7th Grade to Grade 10 or 10th Grade, we learn a lot of stuffs about Music, Arts, Physical Education and Health like or such as Philippine, Asian and Western traditional, folk and/or classical music to Philippine and Western modern and contemporary music visual arts, crafts, designs; media-based and technology-based arts and designs; Western art history and Western music history; Philippine music, arts like paintings and sculptures, printing and printmaking, architectures, crafts, designs; Asian music, arts like paintings and sculptures, architectures, crafts, designs; Western music, arts like paintings and sculptures, architecture, crafts, designs; Philippine, Asian and Western traditional, folk and/or classical drama, theatre, theatrical arts, including some Asian puppets and puppetry traditions; Modern and Contemporary drama, theatre, theatrical arts, including musicals or musical theatre, operas, ballets; physical fitness, exercises, dances, games, sports, active indoor and outdoor recreational activities; and things about and related to health from personal health; nutrition; growth and development; family health including reproductive health and gender, sex and sexuality-related education; substance use, misuse and abuse such as about alcohol intake and intoxication, alcohol addiction, smoking and vaping, smoking and vaping addiction, drugs and drug addiction; safety education and first aid and emergency response to intentional and unintentional injuries; consumer health; community and environmental health; and contemporary local, national, regional and global/international health issues and concerns.
We learn these for a span of 4 years from Grade 7 or 7th Grade to Grade 19 or 10th Grade.
This school subject (MAPEH or Music, Arts, Physical Education and Health) is also taught from Grade 1 or 1st Grade to Grade 6 or 6th Grade with contents, topics, themes and lessons more about the self, family, school and school community, local and/or immediate community/ies, locality or local town/municipality, city, province and region and about the Philippines.
Generally for the non-Physical Education and Health of MAPEH, they are more of just the appreciation of the arts with some culture, traditions, history, geography, and some activities, projects, games, tasks and performances mixed in than they are really teaching, instructing, developing, training and guiding us to be musicians, performers, entertainers, singers, composers, songwriters, lyricists, dancers, artisans, craftsperson, designers, architects and/or artists like sculptors and/or painters, but it is a way to spark our interests in the arts; consider a career, work, apprenticeship, profession, vocation and/or job opportunities in the arts; consider the creative and cultural industries; utilize and make use of our creative and/or artistic talents; explore new talents, hobbies and interests in and through the arts; develop our other multiple intelligences especially visual-spatial, verbal-linguistic, bodily-kinesthetic, intrapersonal, interpersonal, existential and/or philosophical and/or spiritual and musical-rhythmic intelligences; and to develop our creativity, artistry, craftsmanship, attention to detail and also holistic thinking, imagination, visualization, appreciation, value, visual and audiovisual literacies, social and cross-cultural skills, multicultural literacy, curiosity, critical thinking and problem solving skills, interpersonal and collaborative skills, communication skills, media and information literacies, among many others, in, to, of, and through the arts.
Buenos dias desde na Ciudad de Zamboanga na Filipinas! 👋😊🇵🇭
U wrote an essay on it vroo 😂😂😂😂.. yeh
Wow. Truly a short publication worth essay. 👌❤️🙏
WOW !
Wowww just amazing how you have done so much research into Indian classical music 👏🏽👏🏽👏🏽👏🏽
I took 5 days to finish it 😜😜
Raag is not limit for creative freedom. It's direction. If you are capable enough, you can make a new raag which has a structure. Many new raags were made in 21st century itself
Whatever you do artistically, you will find yourself doing one of the 73,000+ raagas...
React to Laal Ishq of Arijit Singh. It's in Raag Yaman. Each Raag creates a different mood. Some make you happy, some devotional, angry or brave, love, sadness etc.
We call these moods Rasas(meaning juice or essence) Each Raga is based on a Rasa that's why we don't have the freedom to mix up notes within the Raga, the mood will change.
Beautiful And simple and straight answer.. given .. a Layman like me .. understood...
It's not that they have no choice... they have the choice but then again ur choice shouldn't break the harmony of the melody... if it breaks the melody then the choice spoils the melody.. hence only a well learnt experts take these choices because they have learnt the many combos and they know what can sit well and where
Why all these rules ? Our ancestors , a culture of yogis , realized that sound is related to form. And therefore , it is said there are certain sounds in nature itself , from there came Sanskrit, a language from nature. How does all this work?
We have some evidences and remains. Over 2000 years of Abrahamic and imperialistic invasions , scholars were killed , millions of books , libraries , ancient universities were burnt down because " Why do these barbarians/uncivilized people have so many books ? Only one is enough. "
That only applies to Hindustani Music. Tolkappiam and Sangam literatures like Pathu Paatu are written from 500BC to 200 BC
Well Carnatic Music is even more old. Hindustani music formed in the influence of Persian music.
Who knows why there are so many rules possible explanation could be
1. These are devotional and retualistic in nature and so like all rituals these are also rule bound
2. To sideline the already existing non vedic music creating an exclusive group
As far as understanding sound is related to form thats way to far fetched and there are way too many sounds in nature that humans can create or perceive
@@renetonoble5691 indian music is influenced from Hinduism
@@Rohit-cj6eb Well Hindustani classical music is highly influenced by Persian music
Next reaction on " one song different raags"- again by Anuja Kamat
YES PLEASE!!!!!
Yooooooo
Wal and Efra,your passion for music is so infectious.I admire you guys for being so excited to learn music from diff parts of the world.The way you guys are connecting to Indian music is inspiring.Wish you guys success with your channel and good health
You can React to '73 Ragas with Abby V', Vogue Parody, where he sings 73 different Ragas one after the other, it also has a second installment. 🙌🏼
It's said that some of these Raags can have different effects on surroundings too. Like Raag Malhar is said to bring rains. It's fascinating science behind all of this.
Raag may seem rigid and they are indeed rigid in terms of rules because Raag are meant to express certain feelings / emotions. Even Raags often have a time of the day when they are supposed to be performed. If you do not follow the rules or the raag, it will no longer serve purpose of the raag. As Anuja Kamat explained, it will lose its flavour and hence you cannot take artistic liberty and change the rule and still call it same raag. It is very much possible that the artistic liberty that you are taking may even be a different raag itself.
Raag is like the pillars of a building, there are certain rules to be followed to build a pillar, breaking those rules will result in weakening of the structure of the building but you can build the building in whatever way you want around those pillars. Indian classical music is similar to that.
I’m learning so much about our own music by going on this journey with you two. This is amazing! Thank you so much for this!
don't worry , we have dinchak pooja to break rules 😁😁😁
Indian classical music is an old giant it has base ragas.. but there are also combos of these base raga which form another raga on its own... so combos as such are quite a lot... and popular music are taking the influence of ragas... sometimes one or more ragas influences are taken in to form one song... this is not at all considered wrong... which this way might feel very structured and bound it does have its spaces of freedom... those who have learnt it have a good base... hence they are able to grow and fluctuate well because their base is strong
When you talk about taking creative liberties outside the structure of a Raag , you forget what she said as a definition of Raag. A set of notes arranged to express a feeling. If one breaks out of a Raag’s basic structure then even if it sounds ok , it could spoil the harmony and the feeling expressed. It is all about creating the atmosphere in a delicate and subtle way. Among the same category of Raags , expert masters use techniques like Moorchana to blend two Raags and they create magic on stage. There are very strict rules but that has not stopped masters of the art form from showing mind boggling creativity in the given space.
As a musician you can take all creative liberties as you want. There are innumerable songs that are based on raags but they are not fully a raag. That is because the musician has take the liberty to move away from a rule of the raag. This is perfectly fine to do. A raag typically sets a mood. The rules are there to define the mood. If you move away from the rules in a certain way, you will find that you are not maintaining the mood that the raag was supposed to establish. This you will land up either in a different raag (and so a different mood) or you can even come up with your own raag. Many musicians like Ravi Shankar have developed their own raags.
Really enjoying all your episodes.
For your 'south indian music' episode
Malayalam songs recommendation
1) thaniye mizhikal
2) aaradhike
3) cherathukal
4) theerame-malik
5) padayatra-job Kurian
6)ethu kari ravillum.
7) sreeragamo-agam
It's great to listen to you guys with a different perspective. As you explore further, it will be great to hear you talk about comparisons and parallels across the industries. Lot of those who are into the Indian classical music, would love to know more about the other music industries too.
Music was more like modern science if i may say (when deep dive) in Indian History. Its like Newton laws (hence proofed).. Whoever defined got to name/ patent the same throughout 1000s of years of histroy ;)
So you have to understand that Indian film music and Indian Classical Music are two different genres.
Within a raag an enormous amount of exploration that is done. You need to listen to more Hindustani Classical singers.
The combination of notes in different raags creates different auras. Raags are connected deeply to chakras and the exploration of notes. Every note carries its own aura.
I believe part of the confusion of why the rules seem rigid is that the sense of: if 1,2,3 aren't there, it isn't raag. The entire rules, etc, is just an attempt to explain why a raag is different from just a musical scale, for example. The freedom comes in that people gravitate naturally to different raags - I love the carnatic raga of 'Hindolam' , for example, and the Hindustani raag 'Jog'. But some times of days and moods we may gravitate to different ragas that evocate different moods. The basic chalan and ornamentation will always be there, but different singers and different songs explore the ragas differently, and that shows the beauty.
A hindustani instrument concert with sitar and Tabla would be very interesting for you - where the sitar can do melody and also act as a percussion, and the tabla acts first as percussion, but is also very tonal, and the freedom and sheer enjoyment of the players when they play inside the notes and rhythmic structures in the raag - especially towards the end, lol. It's great.
You should also look at the series of what is a raag explained by the sitarist Niladri Kumar, he has a few videos up in English, and he illustrates how he plays the raag with the sitar. It's amazing.
Newly subscribed to the channel. At first I was so irritated by the constant interruption and discussion but now am here for the discussion. You two are amazing at how you break down and understanding music. Super intelligent and amazing to hear you guys. Love.
I love your channel. The excitement you have for learning about music is contagious.
I don't know if I am right but I think raag is like a palette of clolurs for a painter. when one is painting they'll select a set of colors that define the mood of the final form of painting and play with those colours. Similarly singer would choose a raag that suits the mood of the song and play with the notes that the raag presents. With the same palette of colours two artists may paint two different pictures, with the same raag two singers may give birth to two different songs that expresses what they intend to express.
Your analogy is great. Colors also are seven!
It's like a japanase haiku or sonnet. You have a certain structure to your poems and yet every poem made is different from each other.
In a raag you have to follow its rules but you yourself can create a raag..❤
Raag can also be described as set of notes constructed on representation of a particular emotion, so you see we have thousands of raags based on various emotions, also there is a specific time in entire day when a particular has to be sung, like some raag are sung in dusk or dawn, or during rain or at night, specially the time that helps the raag fully come out provide entire feeling of the emotion it is based on, you know the background effect is the particular quarter of the day. Raag is composed by musicians based on a particular feeling so you cannot change the notes and rhythm of it as it will change the feeling and hence the entire raag.
Have been watching many youtubers for years who review music, but never seen anybody who understand music like you. Have been learning new things about music in each of your video...keep up the workshop guys and thank you...
Indian music is awesome. Its of a different level. Its the most beautiful.
If you are learning then you can't break the rules... When you have learnt and know how to sign with the help of indian classical lessons then you can break the rule when you are performing...
I hope understand 🥰 love from india❤️❤️
Dear friends I really appreciate ur honesty. Ur channel is THE BEST for me soo far.
Ur calibre to understand is also high 👍
Yes this is indeed a masterclass which demanded 2-3 decades of utmost dedication from her life
Thanks for watching my suggestion 😄
React to Mahesh Kale's Melbourne concert you'll be able to hear raag and feel the change in ambience by the raag. Hope you love it.
Raag is the seed of Indian music which grows into a tree with everlasting flowers, and on whose branches reside melodies.
30:31 but you can still improvise keeping in mind the set of rules 😎😎😎😎 Not everything is a written piece... there is a basic structure ... but you have got the full freedom to explore 😎 you can create your own permutations 🙂🙂🙂
Almost it is discovered in it's full length, thus when a sound or element of note changes then it turn out to be a different raga.
Thus for example -if you want to say that this tree is Apple tree but turn out it bears orange, then we say it is an orange tree.
Now a days I look forward to watch only your videos Waleska. I am not a musician but I love your interpretations and analysis
Someone once described the rules of ragas as "not a prison , rather like sitting yourself in a meditative cave". Meaning that it is not restricting , but more like enabling yourself to dive in the depths of it. So creativity is challenged. The same raag from 2 different artists will sound different. 2 songs based on the same raag may give out different vibes in the same mood in general.
Shreya Ghoshal did a masterclass at Berklee, based on the songs she has sung in movies as a playback singer. A student sings a song in front of her and she gives some history and some insights. It is fun to watch even for me a non-musician, the masterclass is broken down into a total of 5 short videos. ua-cam.com/video/fnHHE39VGz4/v-deo.html is the first video.
You guys should check out performances of Kaushiki Chakraborty! She performs pure Indian classical music most of the time... and she is like super blessed in terms of singing (with as much hard work as well. of course.). You would definitely be amazed and absolutely love it.
Amazing reaction.
Fun fact about Hindustani classical music - There are multiple genres in Hindustan classical vocals like Khayal, Dhrupad, Dhamar,etc. Most of what is sung today by Classical singers is Khayal which was developed by Amir Khusro (1253-1325) taking inspiration from Sadharani and Rupakalapati which are now lost to history, so you can say we are singing the most modern form of classical vocal genre. Can you react to another of Anuja Kamat's video?
ua-cam.com/video/2aH6OvA8zXs/v-deo.html
Raag is not just combinations of sounds. Its the feelings and meanings. Classical music represents the state of being even without uttering a single word. Some rags are sung at perticular time of day like at sunrise, and some raags like bhairavi sung at sunaet. N as a rule nothing should be sung after raag bhairav.
you two guys are so good at analysing, it's really very fascinating to watch you guys learn at this fast rate. damn, it's really intimidating.
Western apparently is more like a straight road, which once laid, one just follows where in Indian music there are meandering paths through the woods to choose except you need to touch compulsary way points in a set order.
Waleska's eye makeup is really fun! If you choose to make a quick tutorial, I'd definitely watch it
Thanks for the reaction guys 😀, much love ❤️🙏
I love how articulate both of you are. Congratulations are in order.
Let's say u have 5 colour balloons... U can arrange it how ever u want... The rules are u can't use 1 red balloon alone, always there must b 2 red balloons together and u should use blue and green balloon together. Now u r free to design the place how ever u want with this. This is how raag works. Even though it is structured, a master can infinity improvise within the structure. The ornamentation is the freedom for u to blow the balloon to which ever size u want within the structure of the raag. So u can put a small brown balloon between 2 big yellow ones to give a contrast.
This video was so informative!! Also, I suggest that you please check out Rahat Fateh Ali Khan's "Raag" performance at the Nobel Peace Prize Concert! It's amazing!
One song
Many raags
Many moods
By Anuja kamat
And one thing more any clasic, singr can sign one song in 40000type.
@Waleska, who seems to have a natural gift for theorising the performing arts from an academic distance, and @Efra, who appears to prefer a more experiential approach, here is an unsolicited counsel.
To understand or experience the creative possibilities that a ra’ag allows-the rules and structure notwithstanding-please listen to a particular ra’ag developed and expressed by two maestros selected at random: let us say, the ra’ag Bhairavi by Ajoy Chakraborty (Kaushiki’s father) and Rashid Khan. Be fascinated by the departures they make and the spaces they create without disturbing the basic rules and arrangement.
Shreya doesn’t break rules even if she follow intervals … she maintains the component raag without breaking rules.
Very intellectual conversation. Loved it. Do more.
PRACTICE EACH RAGA AT EARLY MORNING ....START TAKING NOTES AND REPEAT IT WITH YOUR GURU.
The term Raag means colour. In art you can use colour to express yourself.. but in Design you use colour to give a very specific message or evoke a specific feeling, it's called colour psychology and it's used for many comercial purposes like ads, branding etc. Indian classical music is not an Art form it's a Design. music is designed to give a very specific emotion, Designed by our great scholars who studied Sound and nature in a very scientific way which shows how advanced we were in the field of science way before it came to the west. Also Indian classical music is very philosophical and spiritual, like when she gave the example of raag Maarva , it gives a feeling like a person is thinking about the meaning of life. That's Indian Classical music for you.
Pursuing Indian traditional music, is considered a lifetime of learning practice. Its structures are scientific.
There is a video on UA-cam on how Kaushi Chakraborty used to practice with her father. Please to watch that too. She is the one who sang Raag Bhimpalasi, a concert you reacted to.
Not so much fixed rules that cause limitations to creativity but time tested scale systems after several generations experience in a gharana (literally house of music, for example Herrera gharana or Herrera house of music).
There are no commandments but a singer singing consciously and declaring the mix he is going to sing is appreciated. And mind it, Raagas define moods.
react to vishal dadlani and sonu kakkar madari u will be amazed
🎵🔥👍👍
You know Efra is amazed when he puts the pillow above his head
I love Anuja!!! She really explains Clasic Indian Music so well.
You should react to her video about Carnic and Hindustani music.
ua-cam.com/video/1BY5e_JYvAI/v-deo.html
Check out Rangapura Vihaara from Agam
You must react to "Apsara aali" by Sid Sriram .... 👍👍👍👍👍👍
It's totally without any instruments so You can also revise in Your mind, what You have learnt in this video... 👍
Next video.. Gamakkas. For further understanding
These ragas and classical music are given by the rishi munis (sages) millions of years back....
Which the future generation are taking benefit of...
The fundamental building blocks of Indian classical music (both south and North indian music) is the notes(swaras). All ragas are a combination of these notes. If any one can master Indian classical music they can understand all the types of music anywhere in the world.
Visualisation in indian classical music can be practiced by using and playing a classical music instrument also like violin or veena.
Raag is kind of spiritual as well; it takes you to another world.
You guys really do have the ability to understand music. Your reaction shows that. Keep it up.
Indian Music is out of the world, super-rich and endless.
Also, listen to Pandit Jasraj.
indian classical music is actually a spiritual tool
Well in Indian classical music, vocal exercise is what she told Aroha and Avaroha. The arrangement of notes can be different but yeah most basic u can try these.
Aroha (ascending): sa re ga ma pa dha ni sa
Avaroha (descending): sa ni dha pa ma ga re sa
sa sa re re ga ga ma ma pa pa dha dha ni ni sa sa, sa sa ni ni dha dha pa pa ga ga ma ma re re sa sa
sa re ga re ga ma ga ma pa ma pa dha pa dha ni dha ni sa, sa ni dha ni dha pa dha pa ma pa ma ga ma ga re ga re sa
Similarly u can go forward 4 notes continuously and then come 3 notes back and move further 4 notes; 5 notes forward then to back to 2nd or 3rd in that streak. All combinations are good vocal exercise
You can take liberties in semi classical and modern music with a classical fusion but not much in pure classical but indian classical is more than just raags there are a lot of aspects to indian classical that gives you real time creative liberty. There are mannerisms and liberties taken by singers for modern songs that have slight inclinations to indian classical. But they are songs not raags. Raags are pure Indian classical. In the particular raag, you are confined to a particular set of notes but you CAN combine them in a way you like as long as you keep the phrases that keeps the identity of the raag intact. You would be surprised how many different songs are sung using a particular raag, you can play so much while staying within the rules of a raag, you can make so many variations of those notes to find really different sounding songs but there are those key phrases. It's actually so much fun.
And ornamentations aren't so rigid, singers take individual liberties, you keep the identity of the raag intact while taking ornamental liberties. Then there are taans and aalaps for a particular raag that gives so much liberty to the singer while keeping the raags identity intact. There are so many different permutations and combinations of the same notes that you can do that it's never predictable, ofcourse you have the key phrases but there is so much more. Every singer has their own style of singing the same raag.
In India you will often see that Indian classical singers can sing any genre of music, modern and even western because you turn into a brilliant vocalist and learn very difficult techniques in Indian classical that singing modern Indian or western seems like a walk in the park.
Wow comment section is so educational. I m literary reading every comment.
The best way to understand a Raag, is to listen to many compositions based upon the same Raag,like a medley, perhaps.
ornamentation in the indian ragas context , can be described by a lberty /democracy but with responsibility of staying within a bracket or a set of classical conducts .
Guys it's not as strict. Creative liberties are taken in film music or pop music compositions. It's only in the classical music that people stick to the rules. Nothing is set in stone. An example would be that you tell your audience in a classical concert setting that you are going to play a Beethoven piece and then you try to be creative with it. People won't be glad.
The Tabla Lesson with Gijs Kramers and Sanju Sahi
She is great....lots of thanks to the great singing teacher....♥️♥️♥️👌👌👌👍👍
In a raag you slide over individual notes, not just a random tune, in a definite order.
To get an easier understanding listen to Shahid Pervez playing "Bhatiali Dhun" on sitar. Don't forget to note how the tabla whispers along.
Then listen to others play the Bhatiali Dhun on sitar, flute or violin.
Love to watch your reactions while commenting on Indian Music. You both are so cute.
Conceptually, In ancient Indian Dharma, various art forms like music, dance, sculpture, painting etc. have been categorized within Yoga (the practice of joining self soul to the Super Being usually called God in the west)
your father knows about the Bangladesh concert by George Harrison, Ravishankar, Bob Dylan. Brings me joy to know that it helped our country gain much support during the war and genocide. Respect. He knows our history.
It will take you tears for this musics thanks.
Ornamentation is the playing of the notes in that particular raag. When she (Anuja) sang Ni Re, she used micro note of Ga. But that Ga was in raag Yaman. That Ga was not outside of Yaman. So, if you know the notes, like at the tip of the tongue, you can play with it. You can even take the higher octave as well, as long as it is in that raag. That's the creative liberty of that particular singer. Combinations can happen in many ways.
Since this is about Rag, pls do watch and listen to the song - “Aalankuyil Koovum rayil” from the movie Parthiban Kanavu. It won the National Award as the Best song of the year. You guys listen to mostly North Indian songs whereas if u r interested in classical, then you must checkout the South Indian songs!!! Am sure u guys will love it
A state of feeling at a perticular time or based of events,desire,emotion,seasons etc presented by melody is called Raaga
Indian classical music is all about human emotions expression put forth in the form of singing.
I thought Walseka didn't know much about Indian classical music. But wow! She does catch on to the technicalities quickly. I wonder if she's a singer.....
You guys are great. Great ambassadors for music
Having rules does not limit creativity. Chess has rules but there are 10^(40) legal moves you can make in it which is all the liberty you need.
73 ragas with Abby V.
For different types of raag
this was such an interesting video! would love more of these videos too 💖