Once again, Anuja Kamat deliveries an excellent, easy-to-understand lesson, and her love for Indian classical music and Raags is so vibrant that it makes me fall in love with this type of music even more! That is a power of an amazing teacher :) Hope you enjoy this video, if so, do share it around, it helps me grow this channel and introduce more people to this wonderful music. For those of you that are super awesome and would like to see more videos like this before anybody else, earn some exclusive perks and suggest what other type of Indian music I should check out and react to, consider joining my Patreon page. It's the people of Patreon that make videos like this possible: www.patreon.com/HofTheStage
Its Shringaar Ras not Shringaar Raag. Shringaar Ras is style of poetry where context is love between actor and actress. It is of two kind Sanyog Shringaar (joyful) and viyog Shringaar (sad)
@@anandswaroop9761 exactly, from what i know there are many poetic styles in India- Shringaar ras, bhakti ras, veer ras, etc. It is a poetic style and not exactly a musical tool, it is used in the music lines but have no effect on the music itself.
@@HofTheStage that will be interesting . At least to understand a proper basics of indian music, so you will correlate your existing knowledge of western singing with indian type, and also will use proper terms. If you find also another good teacher and record few lessons - that will be also very entertaining :)
@@HofTheStage Actually the Pentatonic Scale you talked about would probably be the Raag Bhupali or what she called Raag "Bhoop" in your previous video featuring her. Raag Bihag is 5 in ups and 7 in downs. Raag Bihag : Aroga : C-E-F-G-B-C' Abarohan : C'-B-A-G-F-E-D-C Aroga literally means Going upwards, ascending. And Abaroha or Abarohan means Coming down, descending.
a Chalan is an extensive series of note patterns which summarises the development of a particular raga. It discloses the basic grammar of the raga and provides a treatment and melodic context of each tone. Chalan is the movement of a raga or development of a raga
Raag Bihag is not a major pentatonic scale like "C D E G A" . it uses five notes but it's like "B C E F G" (where C = the root note, or 'saa') . F sharp is used occasionally while descending from G.
@@nidhichoudhury5617 no, he played raag durga . He just played the Black keys, he told that too in that . He didn't used the notes ga , instead of that he played the note (ma) , whose use is against the rules of representing raag bhup
@@prasanna3378 no, pentatonic scale is raag durga ,whose notes are :- sa re ma pa dha så (all Black keys only ) . At 13:04 he had also mentioned that he have just played the Black keys . But he didn't played the note 'ga' and have used "ma" :- whose use is against the rule of presenting raag bhoopali . So it's not raag bhoopali .
The base note in the background or the background music is actually called Shruti..so based on your voice range you can choose the respective Shruti, for example I can't sing high notes really high cause my vocal cords don't support it, so in this case we choose a lower Shruti and then singing these higher notes becomes easier. So how High or low you can go can change with Shruti.
Chalan (literally) means character of somebody. So in simple term chalan is a sample phrase prescribed for a raag. When you listen to chalan you can feel the real character of raag. Unless you use chalan in composition in right manner you cannot get character of raag in your composition. My way of looking at it. Apologies if it's not very accurate.
@@yndesai ........we have often heard the phrase Chaal Chalan.....so while chaal would refer to the walk, chalan would refer to how we should conduct ourselves ! So while you are right , Mayur is not wrong either ! Chaal is the outer personification of the inner moral conduct ! I think that would be the literal meaning . So in any given raag, chalan would be how certain notations , phrases are used to characterize a certain raag, making it unique in itself.
@@smitasharma6072 I am not saying anyone is wrong or right. I added one more Point of view. As it helps understand things at different levels. Someone who is non Indian: Walk and Speed would be interpreted more as Tempo.
The last one is like you are sad but you express that sadness with a smile on your voice , like you recognise your miseries and downfall but you are unbothered , so it's sad but with a smile
Shuddha means the regular note in a mode/scale. "Komal" means "Flattened" and "Teevra" means "Sharpened" notes. If you consider A as the Shuddha note, then Komal A should be A-(flat) and Teevra A should be A+(sharp). Hope that makes sense.
"Ras" (lit.=Juice) meaning the emotional essence. There are 9 basic emotions as percieved by the human mind, all emotions are but a combination of these rasas.
The word "chalan" literally means movement. So "chalan of a raag" means the movement of the raag, how the raag moves through the notes. "Thaat" is kind of like a baseline and raags are built up on that baseline composed of some notes. Raags belongs to same Thaats have similarities. I hope that will help you understand raags a bit better.
The major pentatonic scale that you played..CDEGA is called raag Bhoop. Bihag does NOT use the same notes. Raag Bihag is in fact octatonic and uses natural F for ascending notes and F sharp for descending notes. And chalan literally means walk or movement. It is like a key phrase to identify the raag. The key phrase for Bihag in C scale would be E F G B A G F# E, E F E C
suddha swar = true notes/major notes teevra/tivra swar = minor notes chalan = appearance/note patterns of a raag 13:15 u got it somewhat right, but not everything right.... exactly all the black keys u played in your piano makes the raag "maalkosh" in our classical music.... when u played it, I instantly started singing raag maalkosh and some songs made up of that raag ❤️ and 14:08 all the notes u played make raag "bhupali"...its a beautiful raag & i first started learning when i was 10 and its been 20 yrs. now and it never got old! ❣️
The pentatonic scale that you played reminded my EXACTLY of the South Indian classical Carnatic ragam: Mohanam!! Listen to it! It sounds exactly like the scale you played. I was so excited I learned something new
I and people like me love watching these kind of videos because as Indians we hear a lot about Raags but we don't know what or how to interpret it. Anuja does it for us. And seeing you, who is like us trying to understand gives me a friendly feeling. It's like when your friends studies a difficult subject for a exam and explains it to us.
The drone instrument that maintains the pitch is ‘Tanpura’! The Sa or the C is not constant! Depending on the singer the Sa is a floating Sa that is set on the Tanpura!
Really appreciate the effort you are putting in understanding the technicalities of Indian classical music. Just for your reference :- Suddha of any note - Pure Note (e.g. - C, D, E, F, G, A, B,C) Tivra of any note - Sharp of a musical note (e.g. C#, D#, F#, G#, A#) Komal of any note - Flat of a musical note (e.g. (A b, Bb, Db, Eb, Gb))
The oscillation she mentioned can be compared to the micro notes which are more identifiable in case of the string instruments when you slide your fingers from one note to another one with a time lag.
'Shringar Ras' means a Mood represents Love,Affection. SHUDDH = Pure KOMAL= Soft (half note lower) TEEVRA= Intense (half note higher) And there are '10 Thaats' in Hindustani Classical Music. And '72 Thaats(Melkarta ragas) in Carnatic Music. And only Indian Music has these two types of Classical Music forms in the world........ I am proud of my India,our Music and Rich Culture.🙏🙏
I really appreciate your effort in learning classical music... It really takes many years of deep learning to achieve something in Indian classical music.. If u r so much interested.. I recommend u to learn Indian music from the root.. I guarantee u if u become thorough with Indian classical music.. U can sing any type of music in this world.. That is the power that Indian music holds..
The pentatonic scale you played at 14:07 is known as Raga Bhoop in Hindustani Classical music. It is one of the first ragas taught to students. The equivalent of Raga Bhoop in Carnatic Classical is Raga Mohanam.
@@ashutoshramkumar5270 Raag Bhoop and Bhoopali are same but Deshkar have similar notes with Bhoop but Chalan is different.. Deshkar is uttrang prakriti raag like Dha is Vadi swar but Bhoop is purvang prakriti raag which have Ga and Dha,(Mandra) as Vadi Samvadi swar
@@hrusikeshpanigrahi9173 Very Much appreciated. Thank you very much 👍👍. Am a huge Rasika of both Carnatic and Hindustani styles of music and trying to find the common grounds between them
Shuddha(natural) notes = notes from the major scale. (the notss in major scale are considered as shuddha notes in indian classical music) Komal(flat) notes = Flatted notes(b) Tivra(sharp) notes =Sharped notes(#) Thaat = a set of notes from which the raags are created. (there are 10 thaats) Raag vihaag = major scale along with #4th as well. (do re mi fa #fa so la ti ) with some rules.
Komal = Soft or she is referring to flat notes Shuddha = Pure or she is referring towards main notes Chalan = movement or she is referring towards a particular pattern of notes Teevra= sharp, referring towards sharp notes As far as I understand, Raag's can be played on any particular scale notes but usually G# and C# scales are most popular. This needs to be validated.
You have perceived it in the right sense H of the stage 👍🏼👍🏼👏🏼👏🏼👏🏼 every hindustani raag has it very own distinct unique flavour - there are more than 600 raags if I remember correctly
The instrument you talked about at 18:01 is Tanpoora. It provides the basic notes of a scale in the background. Mostly the notes played are Sa Pa. Just like Harmonium, Tanpoora plays a crucial part in learning Hindustani Vocal music
Shuddha = pure. In the case of music, shuddha means pure note. If a note has a sharp, then previous one is called Komal, and the note itself is shuddha. If the note has lower pitch a quarter note higher, the latter is called teevra (= sharp). Chalan comes from the verb chal, which means to move/to go. Thus chalan means the movement of the raga.
20:20 That's another difference between Indian languages and english , Indian languages are perfect and exact in pronounciation and have no other alternative for pronounciation of the same word Whereas in English there's a lot more confusion in pronunciation because there are alternatives
Hi man, your reactions are so genuine and you carefully express indian emotions as well meanwhile making your audience understand music on a global level.. Keep this good work up. Love from india
Raag Bhairavi is last raag of music circle, it means endd od session mostly sung in early hours of morning n at the end of night, Raag bhup is first raag of morning welcoming sunrise or new dawn of any good thing
12:29 no its not pentatonic...the Indian raag resembles to pentatonic is called Raag Bhoopali or just Bhoop. The raag Bihag, which she singing doesn't really resembles to any Western modes or scale. Raag Bihag structure ( let the scale is c major): Ascending: C E F G B C' (five in ascending) Descending: C' B (A) G.., F# G.. E F E..(D) C ...(in descending both F= Ma and F#= Tibra Ma is used) Chalaan: C G F# G... E F E...(D) C... I hope it will help you understand...
Music has no barriers.... no boundries..... Appreciate your efforts and desire to learn..... Try listening Raag Bhupali in early hours around 4 am.... It's worth it...
Probably some basics will help you. There are 2 major classical forms in India - North Indian Classical (this one) and Karnataki Classical. All below are based on north Indian Classical. Western = indian = indian full name do/C = Sa = Sadaj re/D = re = Rishabh mi/E = ga = Gandhar fa/F = ma = madham so/G = pa =pancham la/A = Dha = dhaivat si or ti/B = Ni = nishad Also called "Suddha swar" Half Scales flat = komal; sharp = teevra. but .. Only re, ga, dha, ni has komal, and ma has teevra e.g. c# / d- = komal re (e.g. not called teevra Sa) d# / e- = komal ga f#/ G- = teevra ma g# / A- = komal dha A# / b- = komal ni aaroha = going up avaroha = going down e.g. in raaga bhupali aaroha = Do - re -mi - so - la - do / sa re ga pa dha sa. avaroha = do - la - so - mi - re - do / sa dha pa ga re sa. Chalan = flow of the raga. similar concept = pakad : More or less default/ minimal set of notes which gives you feel of the raaga. (not the exact definition but to get some idea) (pakad literally means catch / to catch. ) (If I remember correctly, in raaga bihag, suddha ma (F) is used in aaroha (going up) while teevra ma (f#) is used in avaroha (going down)) Tar sur = upper scale Also Raaga's have 3 characteristics swar. Wadi = most important note of the raaga. Samwadi = 2nd most important note. Nyaas swar = generally the note where you tend to rest or end. Thaat : This is an interesting one. Probably to categorize 100's of raagas , experts came up with 10 base raaga's or thaats. These raaga's generally have all 7 notes (or variations of them.) e.g. thaat bilawal - sa - re - ga - ma - pa - dha - ni (C D E F G A B) thaat bhairavi - sa - komal re - komal ga - ma - pa - komal dha - komal ni (C D- E- F G A- B- ) Each raaga is considered belonging to one thaat. -------------------------------- Good to see your interest in so many different singing cultures. keep it up. The above is my recollection of what I learned years ago.
Komal swar or flat notes means to sing or play the note slightly lower than its actual position. At times when we feel emotional or sentimental, pitch of our tone comes down.
FYI ..to understand various notes like shudhha, teevra and komal... suppose you are considering C as Sa... then, the shudha swars(notes) will be C : Sa D : Re (Full tone up ) E : Ga (full tone up) F : Ma (half tone up) G : Pa (full tone up) A : Dha(Full tone up) B : Ni (Full tone up) and it cycles again as an octave.. Now if we go between Sa and Re, which is C and D, then the note in between, which is called half note in western, That is the Komal swar.. so looking at the keys in a Piano, You will find that there are half notes between C and D, that is C#, D and E that is D#, F and G that is F#(there isnt any half note between E and F), G and A, that is G#, A and B which is A#... So following this, we get the Komal swars.. which are komal Re (C#), Komal Ga (D#), komal Dha (G#), komal Ni (A#).. So the sargam now including komal swars will be like : C : Sa (Sa is always shudha, Means it has no other variant like komal or teevra) C# : Komal Re D : Shudha Re D# : Komal Ga E : Shudha Ga F : Shudha Ma F# : Teevra Ma (Explained below) G : Shudha Pa (like Sa, Pa is also always shudha) G# : komal Dha A : Shudha Dha A# : komal Ni B : Shudha Sa Now you can see that F# is Teevra Ma, Which means half note up than Shudha Ma.. Note that Ma is the only swar that has Teevra variation.. so to conclude Sa and Pa has only Shudha as a variation, Re, Ga , Dha and ni have two variations, Shudha (Pure) and Komal (Soft, as it is a seminote below the shudha variant), and Ma has two variants, Shudha and Teevra (Teevra means fast or advanced, as it is half step advanced) Also please note that in Indian Classical music, Sa is not defined by any Particular note, Any note can be the Sa, depending on the scale of the song, Like for a song in Say E major, E is the Sa of that song, so basically the root note of the key is Sa...But what defines Sa Re Ga ma is the intervals between them, Like Sa to Re is Full note , Sa to komal re is half note like this... Hope it helps... (please mind if I used any wrong vocab for the western musical things, I am still learning )
Modal Equivalent ( at least note wise): 1. Ionian = Bilawal 2. Dorian = Kaafi 3. Phrygian = Bhairavi 4. Lydian = Kalyan/Yaman 5. Mixolydian = Khamaj 6. Aeolian = Asavari 7. Locrian = well this one is controversial as we got an aug 4th but no fifth(or dim 5th and no 4th) , that makes it somewhere close to a raag from the Carnatic system that I do not know of..
The thing I know about indian music is that If song is like fire It's should burn naturally Not like jet engine fire Or compressed gas fire If it's water It's should be as calm as the still ocean Or if it's a river It should flow as it is without blockage and if it has to change its direction , it should change its direction like a normal river and not sudden The beauty of indian music from my opinion is that it shows nature in its every notes , it's story telling ability .
4th one, Ascetic would be a more appropriate word compared to stoic. He is more into spirituality and not concerned about the worldly to and fro of joys and sorrows
1.Chalan means 'Gait' 2. In C# scale- C# is 'sa' and G# is 'Pa' and both has no komal and tivra notes Becouse Sa and Pa are stable notes tivra(sharp) notes D is komal(soft) 're' and D# is sudh(pure) 're' F is sudh (pure) 'ga' and E is komal 'ga' F# is 'ma' and only 'ma' swara has tivra(sharp) note that is G G# is 'P' As you know 'pa' is stabe swara so it has no komal swara A# is 'dha' and A is komal 'Dha' C is 'ni' also colled sudh 'ni' and B is komal 'ni' In Darbari raga of asawari thaat- inwhich ga, dha and ni swara are komal There ten 'Thaat' in Hindustani music Raag darbari is type of 'asawari' thaat In western music Asawari in minor scale Ga dha ni
It's amazing Westerns have started taking interest in North Indian Classical Music. From the different ornaments, she is using Meend (Glide), and Andolan (Swing a note).
the drone in the background is a tanpura. the singer wants to stay in her scale so the do and so notes are droned and each note she is hitting is in reference to the drone. some raags don't give so much power and maybe fa (f version or f sharp version) are a better reference to the feel of that raag.
14:06 - 14:10 This pentatonic scale is called Raag Bhupali of the Kalyan Thaat which is best if practiced between 6:00 PM and 9:00 PM. Aarohanam (ascending) - S, R, G, P, D, S / Do, Re, Mi, So, La, Do. Avarohanam (descending) - S, D, P, G, R, S / Do, La, So, Mi, Re, Do.
"May mankind be of one mind, May it have a common goal. May all hearts be united in love. And with the mind and the goal being one may all of us live in happiness" Vedas- 5000 BC
The word 'Chalan' [pronounced: Chu (like in Chu-rch) + lu (like in Lu-st) + un (like in un-known) = Chu-lu-un ] is connected to the word Chaal which means the way something/someone moves. So Chalan in the context of raag explains how the notes are moving or the movement of notes in a raag. Not sure if that made sense to you. I just tried explaining how I would do to a student of Hindi. ☺️ Btw, you have a great appetite for learning Indian music. Please continue to study this art form and share your thoughts like you do in your videos. All the best.
Ah, I love that you are trying so hard to pronounce the Raaga names correctly. I am the same way when I try to pronounce someone's else name, especially. Indian names are syllable based - so they sound exactly as they are written. So, we try to write Indian names the same way in English - if you read it as it is written, you will get very close to what it should sound like. Secondly, you noticed that she wasn't trying to pretend. You notice that because it resonates with you and that is what you do as well - no pretense. You even expose your vulnerabilities before your audience (like looking up a word). Here is the equivalent of the Lydian mode - en.wikipedia.org/wiki/Kalyani_(raga). This also gives you a mapping, roughly, of the notes Sa, Re .. to C, D etc., Keep in mind though that the mapping is relative - one can start the first note "Sa" anywhere on the keyboard and the rest of the notes fall in place due to the relative distance from the base "sa". Keep spreading joy through music!
In short, you just cannot compare Indian music and the science behind it with any-other musical form. All forms are beautiful but here science art and logic goes hand in hand.
ChaLan Solfege= Sa Re Ga Ma Pa Dha Ni Sa Komal = flat notes Shuddha = natural notes Tivra = sharp notes Bhairav Bhairavi Sringar = Mackup also Sringar= In this, the fulfillment of the happiness that comes due to the mutual union of the hero and heroine is shown. It is of two types - one coincidence and the other disconnection. The meeting and separation of the hero heroine.
In Indian Classical music there are 7 main notes - Shudhha notes Apart from these seven notes, there are 5 other notes - Komal(Re,Ga,dha,Ni) and Teevra note (Ma) The Komal notes are Flat notes Teevra note is Sharp Raags are sung on the basis of feelings, seasons, expressions, etc. She is really good in explaining the theory.... grt
more than the higher c note it's reflecting the c sharp without actually hitting it much. i guess c csharp e f sharp a b c, is the note progression you were looking for. refering to the c major table you put up.the d is pulled down half a note f is pulled up is what she explained by 're' being komal and 'ma' being tivra. i'm not sure i'm right but i hope this helps
You need to first look into the 10 thaats ( the parent scale ) before you look into the ragas( which can be classified under them). The 10 thaats are: Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. Indian classical music is like an infinite cosmos. Just dive into it and enjoy the oneness with this cosmos.
*CHALAN* : CH as in `change`, not as in `champagne`. After that AL(sounds like ULL (emphasis on L) as in `hull`. Finally, AN(sounds like UN) as in `under`. CH-UL-UN. Together, CHUL as in chug but L instead of G, followed by UN. *BHAIRAVI* : BHAIR as in chair but with a B instead of C, followed by VI as in WE. BHAIR-WE
I think the most puretane Classical Singer (siddha gayak) was D.V. Paluskar. He performed every Raag in its puretanic way. His gayaki was absolutely divine.
Komal, means Flat. Indian scale Sa Re Ga Ma Pa Dha Ni Sa is identical with Do Re Me Fa So La Ti Do. In that context, only Ma (Fa in western) can have a varient of Tivra or Sharp, all other notes except Pa and Sa only have Komal or Flat varients. Unlike Western classical, in Indian classical the scale is not fixed. You only need to fix the pitch of Sa then all other notes follow the relative pitch based on that. That is why musicians use a drone note in the background or known as Tanpura which keeps giving them pitch of Sa so they don't go off key while singing.
High pitch Sa is the eight note basically the root note sung on the highest level or the higher octave. Like if the root note is C2 the high pitch Sa will be C3
Once again, Anuja Kamat deliveries an excellent, easy-to-understand lesson, and her love for Indian classical music and Raags is so vibrant that it makes me fall in love with this type of music even more! That is a power of an amazing teacher :) Hope you enjoy this video, if so, do share it around, it helps me grow this channel and introduce more people to this wonderful music.
For those of you that are super awesome and would like to see more videos like this before anybody else, earn some exclusive perks and suggest what other type of Indian music I should check out and react to, consider joining my Patreon page. It's the people of Patreon that make videos like this possible: www.patreon.com/HofTheStage
Komal= Soft
Chalan= Walk (Speed)
Shuddha= Pure
Teevra= Sharp
Plz pin this comment & refer this in her future video
Plz listen to the Indian God Md rafi ❤️❤️❤️the legend
React to 'Kanada raja pandharicha Mahesh Kale Sur nava dyas nava' 🔥
Before watching the video, i request you to kindly react to Anuja Kamat speech in TED X India.🙏🙏
Chalan means "walk"... Just take a few classes from anuja... :D we'd love to see it
For your information
Komal (soft) = flat notes
Tivra (sharp)= sharp notes
Shuddha (pure) = natural notes
chalan: gait
Chalan: is a way of saying how the raag walks… what is the typical way notes follow each other, where they rest, where they are emphasized
Chalan: gait
Chanel: perfume brand
:-P
Vocabulary to remember;
Komal:soft pitch
Suddha= normal pitch
Madra= low pitch
Teevra= high pitch..
Chalan= pattern or movement
Gamakas= bridge(connecting notes/scales)
Shringaar-Raag= Cosmetic Raag.
Sonih Raag= Complaint Raag.
Bhairav-Raag= Wiseman/Devotee Raag.
(Timeline-6am/8am)
Do you learn Indian classical?
Its Shringaar Ras not Shringaar Raag. Shringaar Ras is style of poetry where context is love between actor and actress. It is of two kind Sanyog Shringaar (joyful) and viyog Shringaar (sad)
@@anandswaroop9761 exactly, from what i know there are many poetic styles in India- Shringaar ras, bhakti ras, veer ras, etc. It is a poetic style and not exactly a musical tool, it is used in the music lines but have no effect on the music itself.
Shuddha means pure/ clean. But shuddhata means purity.🙏👍
In music, shuddha or pure notes are the major scale notes
It's the hindi meaning but when it comes to classic music sudha means natural
Yes and komal notes means variant.
@@Dr.SyedSaifAbbasNaqvi Komal means soft
Shuddha in music doesn't mean pure. Just the natural major notes. Komal means flat. Teevra means sharp.
Hei why don't you kind of interview her to know more about Indian classical songs
That would be great. I'll see if I can get in touch with her
@@HofTheStage The song she sang, you got to give your reaction on it. It's one of my favorite song, It's name is :- Jhanak Jhanak tori baaje payaliya.
@@HofTheStage that will be interesting . At least to understand a proper basics of indian music, so you will correlate your existing knowledge of western singing with indian type, and also will use proper terms. If you find also another good teacher and record few lessons - that will be also very entertaining :)
@@HofTheStage Actually the Pentatonic Scale you talked about would probably be the Raag Bhupali or what she called Raag "Bhoop" in your previous video featuring her.
Raag Bihag is 5 in ups and 7 in downs.
Raag Bihag : Aroga : C-E-F-G-B-C'
Abarohan : C'-B-A-G-F-E-D-C
Aroga literally means Going upwards, ascending.
And Abaroha or Abarohan means Coming down, descending.
Actually she is still busy researching more on Hindustani classical music as mentioned in her channel
a Chalan is an extensive series of note patterns which summarises the development of a particular raga. It discloses the basic grammar of the raga and provides a treatment and melodic context of each tone. Chalan is the movement of a raga or development of a raga
Raag Bihag is not a major pentatonic scale like "C D E G A" . it uses five notes but it's like "B C E F G" (where C = the root note, or 'saa') . F sharp is used occasionally while descending from G.
I felt what he played thinking bihag matched with rag bhup more. It was like sa re ga pa dha sa.
@@nidhichoudhury5617 no, he played raag durga . He just played the Black keys, he told that too in that . He didn't used the notes ga , instead of that he played the note (ma) , whose use is against the rules of representing raag bhup
Pentatonic would be like Raag Bhupali right ?
@@priyanshu3549 Ya But Durga has different flavour to it. The tones doesn't match. It sounded close to Bhupali, I think.
@@prasanna3378 no, pentatonic scale is raag durga ,whose notes are :- sa re ma pa dha så (all Black keys only ) . At 13:04 he had also mentioned that he have just played the Black keys . But he didn't played the note 'ga' and have used "ma" :- whose use is against the rule of presenting raag bhoopali . So it's not raag bhoopali .
The base note in the background or the background music is actually called Shruti..so based on your voice range you can choose the respective Shruti, for example I can't sing high notes really high cause my vocal cords don't support it, so in this case we choose a lower Shruti and then singing these higher notes becomes easier. So how High or low you can go can change with Shruti.
Komal= Soft
Chalan= Walk (Speed)
Shuddha= Pure
Teevra= Sharp
Plz pin this comment & refer this in her future video
Chalan (literally) means character of somebody. So in simple term chalan is a sample phrase prescribed for a raag. When you listen to chalan you can feel the real character of raag. Unless you use chalan in composition in right manner you cannot get character of raag in your composition.
My way of looking at it. Apologies if it's not very accurate.
@@yndesai ........we have often heard the phrase Chaal Chalan.....so while chaal would refer to the walk, chalan would refer to how we should conduct ourselves ! So while you are right , Mayur is not wrong either ! Chaal is the outer personification of the inner moral conduct ! I think that would be the literal meaning . So in any given raag, chalan would be how certain notations , phrases are used to characterize a certain raag, making it unique in itself.
@@smitasharma6072 I am not saying anyone is wrong or right. I added one more Point of view. As it helps understand things at different levels. Someone who is non Indian: Walk and Speed would be interpreted more as Tempo.
@@smitasharma6072 can't we say chalan is 'manner' or how to go about it, how it's done.
Komal = Flat
The last one is like you are sad but you express that sadness with a smile on your voice , like you recognise your miseries and downfall but you are unbothered , so it's sad but with a smile
Shuddha means the regular note in a mode/scale. "Komal" means "Flattened" and "Teevra" means "Sharpened" notes.
If you consider A as the Shuddha note, then Komal A should be A-(flat) and Teevra A should be A+(sharp). Hope that makes sense.
Man..your reactions to her videos is God sent..Beautiful reaction..
Bravo!!
"Ras" (lit.=Juice) meaning the emotional essence. There are 9 basic emotions as percieved by the human mind, all emotions are but a combination of these rasas.
Ras = essence
Chalan means move/movement in Indian languages. (I'm not a musician)
How he says this raag feels like giving up on life and that's exactly what it was...
The word "chalan" literally means movement. So "chalan of a raag" means the movement of the raag, how the raag moves through the notes. "Thaat" is kind of like a baseline and raags are built up on that baseline composed of some notes. Raags belongs to same Thaats have similarities. I hope that will help you understand raags a bit better.
The major pentatonic scale that you played..CDEGA is called raag Bhoop. Bihag does NOT use the same notes. Raag Bihag is in fact octatonic and uses natural F for ascending notes and F sharp for descending notes. And chalan literally means walk or movement. It is like a key phrase to identify the raag. The key phrase for Bihag in C scale would be E F G B A G F# E, E F E C
I thought it sounded like bhoop but wasn't sure.
suddha swar = true notes/major notes
teevra/tivra swar = minor notes
chalan = appearance/note patterns of a raag
13:15 u got it somewhat right, but not everything right.... exactly all the black keys u played in your piano makes the raag "maalkosh" in our classical music.... when u played it, I instantly started singing raag maalkosh and some songs made up of that raag ❤️
and 14:08 all the notes u played make raag "bhupali"...its a beautiful raag & i first started learning when i was 10 and its been 20 yrs. now and it never got old! ❣️
The pentatonic scale that you played reminded my EXACTLY of the South Indian classical Carnatic ragam: Mohanam!! Listen to it! It sounds exactly like the scale you played. I was so excited I learned something new
I and people like me love watching these kind of videos because as Indians we hear a lot about Raags but we don't know what or how to interpret it. Anuja does it for us. And seeing you, who is like us trying to understand gives me a friendly feeling. It's like when your friends studies a difficult subject for a exam and explains it to us.
Her video on "Thaat" is Amazing.
She specially made Two Videos - One in *English* , and another in *Hindi* . She's a flawless Teacher.
The drone instrument that maintains the pitch is ‘Tanpura’! The Sa or the C is not constant! Depending on the singer the Sa is a floating Sa that is set on the Tanpura!
Loved it. Last Raag Bhairavi is very peaceful raag. It is also used in meditation
Really appreciate the effort you are putting in understanding the technicalities of Indian classical music. Just for your reference :-
Suddha of any note - Pure Note (e.g. - C, D, E, F, G, A, B,C)
Tivra of any note - Sharp of a musical note (e.g. C#, D#, F#, G#, A#)
Komal of any note - Flat of a musical note (e.g. (A b, Bb, Db, Eb, Gb))
The oscillation she mentioned can be compared to the micro notes which are more identifiable in case of the string instruments when you slide your fingers from one note to another one with a time lag.
'Shringar Ras' means a Mood represents Love,Affection.
SHUDDH = Pure
KOMAL= Soft (half note lower)
TEEVRA= Intense (half note higher)
And there are '10 Thaats' in Hindustani Classical Music.
And '72 Thaats(Melkarta ragas) in Carnatic Music.
And only Indian Music has these two types of Classical Music forms in the world........
I am proud of my India,our Music and Rich Culture.🙏🙏
I really appreciate your effort in learning classical music... It really takes many years of deep learning to achieve something in Indian classical music.. If u r so much interested.. I recommend u to learn Indian music from the root.. I guarantee u if u become thorough with Indian classical music.. U can sing any type of music in this world.. That is the power that Indian music holds..
Man you are really making an effort to understand this... Claps for you... It is too much to grasp even for an Indian..
Bhai, your display name ... made me chuckle uncontrollably 😂😂😂
The pentatonic scale you played at 14:07 is known as Raga Bhoop in Hindustani Classical music. It is one of the first ragas taught to students. The equivalent of Raga Bhoop in Carnatic Classical is Raga Mohanam.
What is the difference between Raag Bhoop , Bhoopali and Deshkar? Thank you
@@ashutoshramkumar5270 I think bhoop n bhoopali are same
@@neelchatterjee774 thank you very much 👍👍. Just have a doubt about Deshkar
@@ashutoshramkumar5270 Raag Bhoop and Bhoopali are same but Deshkar have similar notes with Bhoop but Chalan is different.. Deshkar is uttrang prakriti raag like Dha is Vadi swar but Bhoop is purvang prakriti raag which have Ga and Dha,(Mandra) as Vadi Samvadi swar
@@hrusikeshpanigrahi9173 Very Much appreciated. Thank you very much 👍👍. Am a huge Rasika of both Carnatic and Hindustani styles of music and trying to find the common grounds between them
You are right about one thing. Bihaag is a slide-dominated raag. Sohni on the other hand plays in higher register.
That instrument playing in the background is called tanpura
Quite interesting. Thank you for a different content video. 🎵❤️🎵
Sa re ga ma pa dha ni = do re me fa so la ti respectively
Indian music is all about Mastering and Playing with the notes😍
Learning more from comments as well. Good video
19:36 "sa ni, sa mi na"
My brain: "saminamina eh eh waka waka eh eh.. 😅
😹
🤣🤣🤣
Interesting watch of an accomplished musician with innate curiosity to dissect and understand a totally different musical system🎉🎉
Loved your explanations! I am learning too with you
Shuddha(natural) notes = notes from the major scale. (the notss in major scale are considered as shuddha notes in indian classical music)
Komal(flat) notes = Flatted notes(b)
Tivra(sharp) notes =Sharped notes(#)
Thaat = a set of notes from which the raags are created. (there are 10 thaats)
Raag vihaag = major scale along with #4th as well. (do re mi fa #fa so la ti ) with some rules.
Komal = Soft or she is referring to flat notes
Shuddha = Pure or she is referring towards main notes
Chalan = movement or she is referring towards a particular pattern of notes
Teevra= sharp, referring towards sharp notes
As far as I understand, Raag's can be played on any particular scale notes but usually G# and C# scales are most popular. This needs to be validated.
You have perceived it in the right sense H of the stage 👍🏼👍🏼👏🏼👏🏼👏🏼 every hindustani raag has it very own distinct unique flavour - there are more than 600 raags if I remember correctly
Indian Music are tune to 432 Hz( rythm of life) rather than western's 440 Hz. That's why Indian music are calming & soothing.
The instrument you talked about at 18:01 is Tanpoora. It provides the basic notes of a scale in the background. Mostly the notes played are Sa Pa. Just like Harmonium, Tanpoora plays a crucial part in learning Hindustani Vocal music
Raag bihag notes c e f g b c(5 notes ascending) c b a g f# g e f d c (7 notes descending using both f and f#)
Beautiful analysis
Miya tansen's guru was Swamy haridas 🔥🔥
Legend guru who can bring rain 🌧️ or fire 🔥 by singing raag
Raag Bhairavi = Phrygian
C Db Eb F G Ab Bb C
Raag Darbari Kanada = Aeolian (basically Minor scale) with oscillation on 3rd and 6th degree of the scale
You can take out "ge" from challenge to pronounce "Challen".
Shuddha = pure. In the case of music, shuddha means pure note. If a note has a sharp, then previous one is called Komal, and the note itself is shuddha. If the note has lower pitch a quarter note higher, the latter is called teevra (= sharp).
Chalan comes from the verb chal, which means to move/to go. Thus chalan means the movement of the raga.
20:20 That's another difference between Indian languages and english ,
Indian languages are perfect and exact in pronounciation and have no other alternative for pronounciation of the same word
Whereas in English there's a lot more confusion in pronunciation because there are alternatives
That's the biggest load of bullshit I've ever heard.
Beautiful analysis...you surely know how to communicate...you are really good at analytical skills 👌 keep going 👍
Hi man, your reactions are so genuine and you carefully express indian emotions as well meanwhile making your audience understand music on a global level.. Keep this good work up. Love from india
Ionion(natural major scale) - bilawal thaat
Aeolion(natural minir scale) - Asavari "
Lydian(major wid raised 4th) - Yaman or kalyan
Mixolydian(major wid lowered 7th) - Khamaj
Dorian(minor wid raised 6th) - Kafi
Phrygian(minor scale wid lower 2nd) - Bhairavi
Lòcrian(minor wid lower 2nd and 5th) - Raag todi
Raag Bhairavi is last raag of music circle, it means endd od session mostly sung in early hours of morning n at the end of night, Raag bhup is first raag of morning welcoming sunrise or new dawn of any good thing
Hey... The CDEGAC you played is the raag "Mohanam" .. its one of the most pleasing ragas out there.
Sudha mean's major notes.
Komol mean's flat note.
Tibra mean's # note
12:29 no its not pentatonic...the Indian raag resembles to pentatonic is called Raag Bhoopali or just Bhoop.
The raag Bihag, which she singing doesn't really resembles to any Western modes or scale.
Raag Bihag structure ( let the scale is c major):
Ascending: C E F G B C' (five in ascending)
Descending: C' B (A) G.., F# G.. E F E..(D) C ...(in descending both F= Ma and F#= Tibra Ma is used)
Chalaan:
C G F# G... E F E...(D) C...
I hope it will help you understand...
You have made me her fan too❤❤
Music has no barriers.... no boundries..... Appreciate your efforts and desire to learn..... Try listening Raag Bhupali in early hours around 4 am.... It's worth it...
Probably some basics will help you.
There are 2 major classical forms in India - North Indian Classical (this one) and Karnataki Classical.
All below are based on north Indian Classical.
Western = indian = indian full name
do/C = Sa = Sadaj
re/D = re = Rishabh
mi/E = ga = Gandhar
fa/F = ma = madham
so/G = pa =pancham
la/A = Dha = dhaivat
si or ti/B = Ni = nishad
Also called "Suddha swar"
Half Scales
flat = komal; sharp = teevra.
but ..
Only re, ga, dha, ni has komal, and ma has teevra
e.g.
c# / d- = komal re (e.g. not called teevra Sa)
d# / e- = komal ga
f#/ G- = teevra ma
g# / A- = komal dha
A# / b- = komal ni
aaroha = going up
avaroha = going down
e.g.
in raaga bhupali
aaroha = Do - re -mi - so - la - do / sa re ga pa dha sa.
avaroha = do - la - so - mi - re - do / sa dha pa ga re sa.
Chalan = flow of the raga.
similar concept = pakad : More or less default/ minimal set of notes which gives you feel of the raaga. (not the exact definition but to get some idea)
(pakad literally means catch / to catch. )
(If I remember correctly, in raaga bihag, suddha ma (F) is used in aaroha (going up) while teevra ma (f#) is used in avaroha (going down))
Tar sur = upper scale
Also Raaga's have 3 characteristics swar. Wadi = most important note of the raaga. Samwadi = 2nd most important note. Nyaas swar = generally the note where you tend to rest or end.
Thaat : This is an interesting one. Probably to categorize 100's of raagas , experts came up with 10 base raaga's or thaats. These raaga's generally have all 7 notes (or variations of them.)
e.g. thaat bilawal - sa - re - ga - ma - pa - dha - ni (C D E F G A B)
thaat bhairavi - sa - komal re - komal ga - ma - pa - komal dha - komal ni (C D- E- F G A- B- )
Each raaga is considered belonging to one thaat.
--------------------------------
Good to see your interest in so many different singing cultures. keep it up.
The above is my recollection of what I learned years ago.
Komal swar or flat notes means to sing or play the note slightly lower than its actual position. At times when we feel emotional or sentimental, pitch of our tone comes down.
FYI ..to understand various notes like shudhha, teevra and komal...
suppose you are considering C as Sa... then, the shudha swars(notes) will be
C : Sa
D : Re (Full tone up )
E : Ga (full tone up)
F : Ma (half tone up)
G : Pa (full tone up)
A : Dha(Full tone up)
B : Ni (Full tone up)
and it cycles again as an octave..
Now if we go between Sa and Re, which is C and D, then the note in between, which is called half note in western, That is the Komal swar..
so looking at the keys in a Piano, You will find that there are half notes between C and D, that is C#, D and E that is D#, F and G that is F#(there isnt any half note between E and F), G and A, that is G#, A and B which is A#...
So following this, we get the Komal swars.. which are komal Re (C#), Komal Ga (D#), komal Dha (G#), komal Ni (A#)..
So the sargam now including komal swars will be like :
C : Sa (Sa is always shudha, Means it has no other variant like komal or teevra)
C# : Komal Re
D : Shudha Re
D# : Komal Ga
E : Shudha Ga
F : Shudha Ma
F# : Teevra Ma (Explained below)
G : Shudha Pa (like Sa, Pa is also always shudha)
G# : komal Dha
A : Shudha Dha
A# : komal Ni
B : Shudha Sa
Now you can see that F# is Teevra Ma, Which means half note up than Shudha Ma.. Note that Ma is the only swar that has Teevra variation..
so to conclude Sa and Pa has only Shudha as a variation,
Re, Ga , Dha and ni have two variations, Shudha (Pure) and Komal (Soft, as it is a seminote below the shudha variant),
and Ma has two variants, Shudha and Teevra (Teevra means fast or advanced, as it is half step advanced)
Also please note that in Indian Classical music, Sa is not defined by any Particular note, Any note can be the Sa, depending on the scale of the song, Like for a song in Say E major, E is the Sa of that song, so basically the root note of the key is Sa...But what defines Sa Re Ga ma is the intervals between them, Like Sa to Re is Full note , Sa to komal re is half note like this...
Hope it helps... (please mind if I used any wrong vocab for the western musical things, I am still learning )
Modal Equivalent ( at least note wise):
1. Ionian = Bilawal
2. Dorian = Kaafi
3. Phrygian = Bhairavi
4. Lydian = Kalyan/Yaman
5. Mixolydian = Khamaj
6. Aeolian = Asavari
7. Locrian = well this one is controversial as we got an aug 4th but no fifth(or dim 5th and no 4th) , that makes it somewhere close to a raag from the Carnatic system that I do not know of..
I really amazed by your affords to understand the extreme complexity of Indian Classical Music.
You just do real thing ❤️ keep it up 👍👍
The thing I know about indian music is that
If song is like fire
It's should burn naturally
Not like jet engine fire
Or compressed gas fire
If it's water
It's should be as calm as the still ocean
Or if it's a river
It should flow as it is without blockage and if it has to change its direction , it should change its direction like a normal river and not sudden
The beauty of indian music from my opinion is that it shows nature in its every notes , it's story telling ability .
4th one, Ascetic would be a more appropriate word compared to stoic. He is more into spirituality and not concerned about the worldly to and fro of joys and sorrows
1.Chalan means 'Gait'
2. In C# scale-
C# is 'sa' and G# is 'Pa' and both has no komal and tivra notes Becouse Sa and Pa are stable notes
tivra(sharp) notes
D is komal(soft) 're' and D# is sudh(pure) 're'
F is sudh (pure) 'ga' and E is komal 'ga'
F# is 'ma' and only 'ma' swara has tivra(sharp) note that is G
G# is 'P'
As you know 'pa' is stabe swara so it has no komal swara
A# is 'dha' and A is komal 'Dha'
C is 'ni' also colled sudh 'ni' and B is komal 'ni'
In Darbari raga of asawari thaat- inwhich ga, dha and ni swara are komal
There ten 'Thaat' in Hindustani music
Raag darbari is type of 'asawari' thaat
In western music Asawari in minor scale
Ga dha ni
Very good analysis sir..
That's harmonium. It's a must for classical music training. (Not only training but many performances).
Something to make you more interested...the pentatonic scale you played on black keys also corresponds to Raga Bhoopali :)
It's amazing Westerns have started taking interest in North Indian Classical Music. From the different ornaments, she is using Meend (Glide), and Andolan (Swing a note).
Love these videos on Indian music!
the drone in the background is a tanpura. the singer wants to stay in her scale so the do and so notes are droned and each note she is hitting is in reference to the drone. some raags don't give so much power and maybe fa (f version or f sharp version) are a better reference to the feel of that raag.
Raag Bhairavi is one of the toughest Raag in indian classical music it's used in variety of situations.
For your knowledge Raaga Bhairavi is called the queen of all raaga
14:06 - 14:10 This pentatonic scale is called Raag Bhupali of the Kalyan Thaat which is best if practiced between 6:00 PM and 9:00 PM.
Aarohanam (ascending) - S, R, G, P, D, S / Do, Re, Mi, So, La, Do.
Avarohanam (descending) - S, D, P, G, R, S / Do, La, So, Mi, Re, Do.
"May mankind be of one mind, May it have a common goal. May all hearts be united in love. And with the mind and the goal being one may all of us live in happiness"
Vedas- 5000 BC
The word 'Chalan' [pronounced: Chu (like in Chu-rch) + lu (like in Lu-st) + un (like in un-known) = Chu-lu-un ] is connected to the word Chaal which means the way something/someone moves. So Chalan in the context of raag explains how the notes are moving or the movement of notes in a raag. Not sure if that made sense to you. I just tried explaining how I would do to a student of Hindi. ☺️ Btw, you have a great appetite for learning Indian music. Please continue to study this art form and share your thoughts like you do in your videos. All the best.
Ah, I love that you are trying so hard to pronounce the Raaga names correctly. I am the same way when I try to pronounce someone's else name, especially. Indian names are syllable based - so they sound exactly as they are written. So, we try to write Indian names the same way in English - if you read it as it is written, you will get very close to what it should sound like.
Secondly, you noticed that she wasn't trying to pretend. You notice that because it resonates with you and that is what you do as well - no pretense. You even expose your vulnerabilities before your audience (like looking up a word).
Here is the equivalent of the Lydian mode - en.wikipedia.org/wiki/Kalyani_(raga). This also gives you a mapping, roughly, of the notes Sa, Re .. to C, D etc., Keep in mind though that the mapping is relative - one can start the first note "Sa" anywhere on the keyboard and the rest of the notes fall in place due to the relative distance from the base "sa".
Keep spreading joy through music!
Raag Asavri and Darbaari kanadra is from the Natural Minor scale
A flatted note is called komal. A sharped note is called teevra.
Waiting for a collab video with Anuja ji.
In short, you just cannot compare Indian music and the science behind it with any-other musical form. All forms are beautiful but here science art and logic goes hand in hand.
You should watch her Tedx Talk: "What gives music it's identity? ".
ChaLan
Solfege= Sa Re Ga Ma Pa Dha Ni Sa
Komal = flat notes
Shuddha = natural notes
Tivra = sharp notes
Bhairav
Bhairavi
Sringar = Mackup
also
Sringar= In this, the fulfillment of the happiness that comes due to the mutual union of the hero and heroine is shown. It is of two types - one coincidence and the other disconnection. The meeting and separation of the hero heroine.
In Indian Classical music there are 7 main notes - Shudhha notes
Apart from these seven notes, there are 5 other notes - Komal(Re,Ga,dha,Ni) and Teevra note (Ma)
The Komal notes are Flat notes
Teevra note is Sharp
Raags are sung on the basis of feelings, seasons, expressions, etc. She is really good in explaining the theory.... grt
more than the higher c note it's reflecting the c sharp without actually hitting it much. i guess c csharp e f sharp a b c, is the note progression you were looking for. refering to the c major table you put up.the d is pulled down half a note f is pulled up is what she explained by 're' being komal and 'ma' being tivra. i'm not sure i'm right but i hope this helps
I loved your explanation ❤️
Sur==Octave in scale
Sa == Doh ==C
Re==Re == D
Ga==Mi == E
Ma==Fa == F
Pa==So == G
Dha==La == A
Ni==Ti == B
Saa==Doh == C
You need to first look into the 10 thaats ( the parent scale ) before you look into the ragas( which can be classified under them).
The 10 thaats are:
Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi.
Indian classical music is like an infinite cosmos. Just dive into it and enjoy the oneness with this cosmos.
*CHALAN* : CH as in `change`, not as in `champagne`. After that AL(sounds like ULL (emphasis on L) as in `hull`. Finally, AN(sounds like UN) as in `under`. CH-UL-UN. Together, CHUL as in chug but L instead of G, followed by UN.
*BHAIRAVI* : BHAIR as in chair but with a B instead of C, followed by VI as in WE. BHAIR-WE
Indeed she is a great teacher , so calm and so clear in her talk
Yes there are raags which are sung at perticular time of dayZ like raag bhairavi
I think the most puretane Classical Singer (siddha gayak) was D.V. Paluskar.
He performed every Raag in its puretanic way. His gayaki was absolutely divine.
i like your reactions! would love to see more such videos!
Asavari thaat (scale) is the natural minor scale. Yaman thaat is the Lydian scale.
I am an idiot on music. But I subscribed because this dude took so much time to understand my culture , which I could not
Komal, means Flat. Indian scale Sa Re Ga Ma Pa Dha Ni Sa is identical with Do Re Me Fa So La Ti Do. In that context, only Ma (Fa in western) can have a varient of Tivra or Sharp, all other notes except Pa and Sa only have Komal or Flat varients.
Unlike Western classical, in Indian classical the scale is not fixed. You only need to fix the pitch of Sa then all other notes follow the relative pitch based on that. That is why musicians use a drone note in the background or known as Tanpura which keeps giving them pitch of Sa so they don't go off key while singing.
High pitch Sa is the eight note basically the root note sung on the highest level or the higher octave. Like if the root note is C2 the high pitch Sa will be C3