Dec 07, 2006 3:29 PM PST
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MUSIC FUNDAMENTALS
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MUSIC FUNDAMENTALS
7 December 2006 (UTC)
The Wonder of the Human Ear (and the brain)
Human ear is unique, especially when combined with the extraordinary processing power of the brain; what is not linear may sound linear to the human ear. A very good example is the fact that our brains sense a sound pitch with respect to other sound pitches that are multiples of the power of 2. A pitch and other pitches that are two times, four times, eight times
and so on (to include all powers of two) sound similar, except for recognizing that they are all part of a frequency scale. They are called harmonics in Physics. The frequency space between a frequency F and 2F is called an octave. The wonder that our ears can uniquely recognize this fact helps us to enjoy (or intuitively `understand‘) music.
Sound is not alone; silence is its companion. We would not differentiate or recognize that there is sound, unless it is punctuated by silence. The reason is that our eye-brain combination is a very good differential amplifier. Therefore, we need silence for resetting our `differential amplifier‘. Every time the sound is punctuated by silence, our ear-brain differential amplifier is able to sense the `ups and downs‘. In fact, there is really nothing like silence in nature! There are all type of activities in the universe all the time; it includes the earth, the local geography / space we live in with sound ambiance constantly existing. Our ear-brain combination has been gifted to conveniently `ignore‘ the background sound as noise; please notice that all of us do not even realize that is always some background sound / noise, but think that there is silence.
SUMMARY: Silence and Sound Partners in the Dance
1. Sound is not alone; silence is its companion. 2. We would not differentiate or recognize that there is sound, unless it is punctuated by silence. 3. The reason is that our eye-brain combination is a very good differential amplifier. 4. Therefore, we need silence for resetting our `differential amplifier‘. 5. Every time the sound is punctuated by silence, our ear-brain differential amplifier is able to sense the `ups and downs‘. 6. In fact, there is really nothing like silence in nature! 7. There are all type of activities in the universe all the time 8. It includes the earth, the local geography / space we�live in with sound ambiance constantly existing. 9. Our ear-brain combination has been gifted to conveniently `ignore‘ the background sound as noise 10. All of us do not even realize that is always some background sound / noise, but think that there is silence.
The frequency space between successive octaves keeps on increasing logarithmically (to the base of 2) as you go up the sound / music scale. For example, the frequency space between 2F and F is F, where are the frequency space in the next octave is 4F-2F=2F, and in the further octaves 8F-4F=4F, 16F-8F=8F and so on. However. our ear-brain combination perceives the sound scale or the music scale as linear even.
I am still trying to understand and explore the reason for the special gift given to the human by nature to be able to convert / map a non-linear scale as linear.
The reason I used the word `special gift‘ is to acknowledge the fact that this ability helps us to recognize sound / music patterns or curves which are really logarithmically magnified as one goes up the scale as `linear‘. Therefore a musical curve in any octave is perceived similar as the one higher up in scale, even though it is a magnified version. Let us think of an analogy. A mountain range starting from a point close to a viewer and spread away from the viewer with many mountains of different sizes may look similar in shape. A small mountain closer may look similar in size (and shape) to a larger mountain farther away from the viewer. This ability of pattern recognition and especially `automatic‘ size and shape adjustment is probably the ability of the brain common to processing information from all our sense organs like ear, eye, tongue, skin and nose. Thanks for the gift of the brain‘s differential amplifier like post processing, for otherwise, we could not function in this world as well as we are coping now.
SUMMARY: It is a non-linear scale
1. The frequency space between successive octaves keeps on increasing logarithmically (to the base of 2) as you go up the sound / music scale. 2. Frequency space between 2F and F is F Where as the frequency space in the next octave is 4F-2F=2F 3. Further octaves 8F-4F=4F, 16F-8F=8F and so on. 4. However. our ear-brain combination perceives the sound scale or the music scale as linear even.
In summary, the brain enables us to appreciate the combination of the sound and silence, punctuating each other, and also the frequency curves mapped from a logarithmic scale to a liner scale; the result is music. Music is nothing but dancing sound variations; many times it is a choreography of multitudes of sounds (tones the personality of the sound) in the pasture of our ear-brain platform / stage.
SUMMARY: Non-Linearity in Music Instruments
1. We see the non-linearity in some musical instruments, where as we do not see them obvious in others.
2. In a piano, the keys are equally spaced The keys look in shape and color exactly same as you go from one end to the other.
3. Of course, you hear it when you play.
4. You will also notice it, if you look at the inner construction.
5. The `continuous non-linearity is clearly visible in a guitar.
6. The frets in a guitar become closer to each other as one moves up the scale
7. This is in `inverse‘ to the sound generated as one moves up the scale.
8. This is because the string length required to go up in frequency reduces as one goes up the scale.
9. If you look at the flute construction, the size of the flute keeps reducing (non-linearly) as you go up in the frequency.
SUMMARY of Wonder of the Human Ear-Brain Combination
1. Human ear is unique, especially when combined with the extraordinary processing power of the brain
2. What is not linear may sound linear to�the human ear.
3. A very good example is the fact that our brains sense�a sound pitch with respect to other sound pitches that are multiples�of the power of 2
4. A pitch and other pitches that are two times, four�times, eight times
and so on (to include all powers of two) sound�similar, except for recognizing that they are all part of a frequency�scale. They are called harmonics in Physics.
5. The frequency space between a frequency F and 2F is called an octave.
6. The wonder that our ears can uniquely recognize this fact helps us to enjoy (or intuitively `understand‘) music.
The Octave and the Sanctity of the PERFECT Scale
We see the non-linearity in some musical instruments, where as we do not see them obvious in others. In a piano, the keys are equally spaced; the keys look in shape and color exactly same as you go from one end to the other. Of course, you hear it when you play. You will also notice it, if you look at the inner construction. The `continuous non-linearity is clearly visible in a guitar; the frets in a guitar become closer to each other as one moves up the scale; this is in `inverse‘ to the sound generated as one moves up the scale, because the string length required to go up in frequency reduces as one goes up the scale. If you look at the flute construction, the size of the flute keeps reducing (non-linearly) as you go up in the frequency.
Even though I am not planning to jump into the concepts of Indian or western musical scale yet, I want to illustrate a point here that I will repeat in challenging some of the assumptions / foundations of Indian music much later in the lessons. Let us take the Indian music scale from the perspective of the seven swaras the saptha (means seven): sa, ri, ga, ma, pa, dha. ni, (Sa the beginning of the next octave). The frequency space between ri and sa is smaller than the frequency space between ga and ri, which is further smaller than the frequency space between ma and ga, and so on. This is progressive through out the musical scale. The frequency space between ga and ri (for example) in any octave is smaller than the frequency space between ga and ri in the higher octave.
The octave is divided into many parts, obviously in a non-linear scale. For example, in a piano, which is made of discrete keys, the octave is made up of 12 keys. If you take any key of your choice and move up (or down) counting one key at a time (to include both white and black keys), you will reach the next octave when you reach the 13th key. Remember to count the first key as 1, second key as 2, and so on. The 13th key is the starting point of the next octave. You can do this on an electronic keyboard, harmonium or accordion.
Please note that I am now explaining one and only one type of musical scale, to quickly give you some basic concepts, based on the octave made up of 12 keys. In Indian music, a key in a piano corresponds to a swara.
The starting point of the octave (or beginning of one octave scale) is called the Shadja. Here the Devanaagari letter for `Sha‘ is different from the one used for the word Shankara. Unfortunately, English alphabets, being only 26, are inadequate to write Devanaagari (Sanskrit based) alphabets. An easy way for me to example from English words is to point you to the `sha‘ type of sound in the word `fiction‘. This `Sha sound is produced close to the throat, but NOT the guttural sound you hear in Urdu and also NOT at closer to the tip of the tongue.
However, the swara Shadja is normally abbreviated as `sa‘ while singing and writing notations. For English speakers, this has the same `sa‘ part of the sound as in `sun‘ or `son‘. I may use the capital letter S or the small letter s in an exchangeable fashion.
Sa is the reference swara, defining the octave; keep in mind that the octave is defined as soon as sa the starting point of the octave is defined or chosen, with twice the frequency of sa as the starting point of the next octave. In Indian music sa is called the aadhaara shruthi; shruthi in Sanskrit means a pitch. In practice, the music teachers in India teach sa as THE SHRUTHI, leaving out the word aadhaara. I have a tendency to keep using the term aadhaara shruthi to refer to sa. Sometimes, I call the remaining swaras (for example - keys in a piano) with any one of the following words: shruthi, swara, note, key. Western musicians also refer to the starting point of the scale as `key‘, to imply. "Where does your scale start?"
It is very important to understand that the sa can be fixed at any point in the frequency scale depending on the choice of the artist (s) / musician(s). However, the complete composition (aalaapana or any type of composition) should maintain the same sa; most of the times, the complete concert is performed using the same sa. This sa is maintained, rather `religiously‘ throughout the composition or concert by the use of tamboora (a drone type of instrument) providing the scale / octave reference to the artist(s). If the artist looses the aadhaara shruthi or actually `falls off‘ the scale, the artist is said to have `LOST THE SHRUTHI‘. It is also considered as a disgrace by many artists, for their `basic‘ inability to maintain their performance to a specified scale. There are cases when some artists may `slip‘ (out of little lapse of control or even being physically and vocally tired) and consider that as a shame. It is almost as if a gymnast were expected to maintain `perfect‘ fitness and never slip out of the agility and routine.
Please understand that this discipline has become a tradition (and indeed a great tradition) in Indian classical music, by sanctifying the importance of Shadja and indeed the rigid framework of the complete scale.
SUMMARY: Shadja The aadhaara shruthi
1. However, the swara Shadja is normally abbreviated as `sa‘ while singing and writing notations
2. For English speakers, this has the same `sa‘ part of the sound as in `sun‘ or `son‘.
3. I may use the capital letter S or the small letter s in an exchangeable fashion.
4. Sa is the reference swara, defining the octave
5. Keep in mind that the octave is defined as soon as sa the starting point of the octave is defined or chosen.
6. Twice the frequency of sa is the starting point of the next octave.
7. In Indian music sa is called the aadhaara shruthi Shruthi in Sanskrit means a pitch.
8. In practice, the music teachers in India teach sa as THE SHRUTHI, leaving out the word aadhaara.
9. I have a tendency to keep using the term aadhaara shruthi to refer to sa.
10. Sometimes, I call the remaining swaras (for example - keys in a piano) with any one of the following words: shruthi, swara, note, key. 11. Western musicians also refer to the starting point of the scale as `key‘, to imply. "Where does your scale start?"
SUMMARY: Sanctity of the shruthi
1. It is very important to understand that the sa can be fixed at any point in the frequency scale depending on the choice of the artist�(s) / musician(s).
2. However, the complete composition (aalaapana or any type of composition) should maintain the same sa Most of the times, the complete concert is performed using the same sa.
3. This sa is maintained, rather `religiously‘ throughout the composition or�concert by the use of tamboora.
4. Tamboora is a drone type of instrument providing the scale / octave reference to the artist(s).
5. If the artist looses the aadhaara shruthi or actually `falls off‘ the scale, the artist is said to have `LOST THE SHRUTHI‘.
6. It is also considered as a disgrace by many artists, for their `basic‘ inability to maintain their performance to a specified scale.
7. There are cases when some artists may `slip‘ (out of little lapse of control or even being physically and vocally tired) and consider that as a shame.
8. It is almost as if a gymnast were expected to maintain `perfect‘ fitness and never slip out of the agility and routine.
9. This discipline has become a tradition (and indeed a great tradition) in Indian classical music, by sanctifying the importance of Shadja and indeed the rigid framework of the complete scale.
With in the Octave
The octave is made up of 12 keys. The 12 keys / swaras are given names. Surprisingly and coincidently, the Western and the Indian scales have basically seven names: Do Re Ma Fa So La Ti in Western and Sa Ri Ga Ma Pa Dha Ni in Indian styles. Seven English alphabets A, B, C, D, E, F, G - are used in the Western system. These seven letters (representing the keys are called `natural.‘ Total of 12 keys are named, as shown in the table, by assigning the remaining five either as Sharp (denoted by #) or Flat (denoted by a small letter next to the Capital letter). For example, F# is the key higher to F and Bb (pronounced as B Flat) is the key lower to B.
The table gives approximate comparisons between the Western scale and the two Indian scales, with their names. I have shown C as an equivalent to Sa; however, unlike the western system, a swara does not refer to a given key. You should read the table as "if we choose to use C as Sa". I have given the full name of the swaras like Ri = Rishabha; Ga = Gaandhaara; Ma = Madhyama; Pa = Panchama; Dha = Dhaivatha; Ni = Nishaadha.
In Hindustani the term Komal refers to lower and Tivra refers to higher. This similar to (but not exactly) Sharp and Flat concepts in the Western scale. The names in Karnaataka style is more complicated, and so I am decided to postpone the discussion, to minimize burden / confusion on the readers at this stage.
Karnatak Western (approx. equivalent) North Indian/Hindustani Sa C Shadja Ri(Rishabha) D Flat ri komal R2 D ri tivra Ga1 (Gaandhaara) E Flat ga komal Ga 2 E ga tivra Ma 1(Madhyama) F ma komal Ma 2 F Sharp ma tivra Pa(Panchama) G panchama Dha 1(Dhaivatha) A Flat dha komal Dha 2 A dha tivra Ni 1 (Nishaadha) B Flat ni komal Ni 2 B ni tivra
The word aadhaara shruthi essentially means reference shruthi, as it provides a frame of reference for the composition presented by the artist. Within that frame work of octave, the 12 swaras defined in the frame work, the frame work of higher and lower octave structure, the artist performs a composition in a raaga.
Before we delve into the definition of the raaga concept, let us look at the historical foundation very briefly. The ancient Indian musicologists defined an octave, with much finer graduations in it than the 12 swaras.
SUMMARY: The swaras with in the Octave
1. The octave is divided into many parts, obviously in a non-linear scale. 2. For example, in a piano, which is made of discrete keys, the octave is made up of 12 keys. 3. If you take any key of your choice and move up (or down) counting one key at a time (to include both white and black keys), you will reach the next octave when you reach the13th key. 4. Remember to count the first key as 1, second key as 2, and�so on. The 13th key is the starting point of the next octave. You can�do this on an electronic keyboard, harmonium or accordion.
SUMMARY: Non-Linear with in and between the Octaves
1. Even though I am not planning to jump into the concepts of Indian or�western musical scale yet, I want to illustrate a point here. 2. Challenging some of the assumptions / foundations of�Indian music. 3. Let us take the Indian music scale from the perspective of the seven swaras 4. The saptha (means seven): sa, ri, ga, ma, pa, dha. ni, (Sa the beginning of the next octave). 5. The frequency space between ri and sa is smaller than the frequency space between ga and ri 6. Which is further smaller than the frequency space between ma and ga, and so on. 7. This is progressive through out the musical scale. 8. The frequency space between ga and ri (for example) in any octave is smaller than the frequency space between ga and ri in the higher octave.
Foundations of Indian Classical Music
Indian classical music has been conceived and modeled with the help of an Adhaara Shruthi, and 32 intermediate shruthis or swaras in the octave. This includes 6 shruthi-lets of each of the swaras Ri, Ga, Ma, Dha, Ni (that is 6X5 = 30) plus the Sa and Pa. Shadja (denoted as Sa or simply `S‘) is unique being the reference for the scale; it is called `Adhaara Struthi‘, or sometimes simply (The) Shruthi. For reasons unknown, Panchama, denoted as Pa or P, has also been deemed unique; Panchama does not have any shruthi-lets or subdivisions, unlike the other swaras. Sa and Pa are called the Prakruthi swaras (meaning natural swaras). The other shruthi-lets of Ri, Ga, Ma, Dha, Ni are called Vikruthi swaras (meaning non-natural swaras). The 6 shruthi-lets are based on the Shat-Shruthi Sangeetha tradition. Shat (pronounced like `Shut‘) means six. However, it should be noted that the present day Indian classical music utilizes only three of the 6 shruthi-lets; Ri, Ga, Dha and Ni have three shruthi-lets, where as Ma has only two. The meLakartha system, devised and documented by the pioneer Venkatamakhi, uses S, R1, R2, R3, G1, G2, G3, M1, M2, P, D1, D2, D3, N1, N2, N3, S (Shadja of the upper octave). Venkatamakhi has systematized 72 meLakartha ragas; these are divided into two halves of 36 raagas, one set for M1, and the other for M2. Instruments like piano, electronic keyboard, accordion or harmonium use the Western scale simplification with S, R1, R2, G1, G2, M1, M2, P, D1, D2, N1, N2, S; this is a total of 12 swaras (keys) including S; upper Shadja, denoted by bold letter S corresponds to the upper octave. The diagram shows the corresponding keys for western scale, with C used for Shadja. Please note that Indian scale uses relative positions, unlike the western scale using fixed keys.
A raga is reduced to a suite of loci of musical curves based on swaras (chosen shruthis ) in specified ascending and descending orders. Even though the real raga is based on multitudes of musical curve combinations, the curves of the raga are thus reduced to piece- wise linear approximations of the real / ideal musical curves. Definition and profile concepts of raga is complex; however, here are the salient points:
Swaras (5, 6 or 7 taken at a time)
A raga is defined by a scale of 5, 6, or 7 swaras. Only one of the swara-lets or shruthi-lets may be used in a raga; for example, only one R is used. This rule is based on the current tradition. However, the author has developed and is currently documenting other variations possible, with logical explanations to each of his proposal. The author has also conjectured the possible reasons for the traditional thinking of the musicologists who have developed with their own assumptions.
Ascending and descending orders
Ascending and descending orders are also defined; the number of swaras in the ascending order could be different from the number in the descending order. For example, Mohana (Bhoopali in Hindusthani) has five swaras in the ascending order; the descending order has the same five swaras. In general, ascending descending combinations could be 7-7, 6-6, 5-5, 7-6, 7-5, 6-7, 6-5, 5-7 or 5-6.
Linear or Non-Linear Profile
Some ragas have linear ascending and descending orders, where as others have non-linear or crooked (called vakra ragas) orders, defined as part of the raga profile. Please note that the non- linearity guideline ensures the flow characteristics / loci of the vakra raga.
Characteristic Musical Curves
Characteristic musical curves, defined as various combinations, and further the combination groups, of the swaras are provided for guideline. Characteristic curves are provided as a guideline for the raga; these curves are provided as recommendations to enable the musician to invoke the `personality‘ of the raga.
Anchor Swaras
Students of classical music are taught the saptha swara scale, in which the swaras of the raga are used as anchors to illustrate the outline of the raga. The ragas are also modeled to have prime anchors, called the Jeeva swaras or Vaadi swaras, and sub- prime anchors, called the Hrasva swaras or Samvaadi swaras. This modeling of the ragas dictates that majority of the musical curves, during the expounding and rendition of the raga, be centered around three important anchors - the Aadhara shruthi or the Shadja shruthi, the Vaadi and the Samvaadi swaras.
NYAASA SWARA
(details and definitions of Nyaasa was contributed by Mrs. Vasanthamadhavi. She is a reputed musician, music teacher and author living in Bangalore, India) Nyaasa swara is the swara with which you finish an aalapana. Generally in aalapana, the nyaasa swara will be either Shadja or Panchama. In raagas like Hindola, which does not have Panchama, it may be Madhyama also. Aalapana is composed of many units. During the elaboration of the raaga, the different phrases converge in a nyaasa swara. In other compositions like songs or kritis, the swara with which the composition is finished is the nyaasa swara. Broadly ‘Nyaasa‘ means finish. Examples: In aalaapana of raaga Abhogi, the artist ends phrases in Madhyama
DMGRGM,SDRSDM....RGRRSRSSDSDM... M (Nadhyama) is nyaasa swara.
Similarly, D (Dhaivatha) will be the nyaasa swara, if the phrases end in D, like:
GMDSD, SRGSRSD,MDSDMGRGMD,GRSRDSDMD...
The swara at which the aalaapana ends finally is also called a Nyaasa swara.
Similarly, the swara at which a kriti, keerthana or any composition ends is the nyasa swara.
Venkatamakhi, the author of Chaturdhandi Prakaashikam terms it as Vidari and Mukthaayi, especially to connote the last part of the presentation of the raaga, applicable to aalaapana and compositions / songs.
Gamaka
The transgression from a swara to the next one in the scale during rendition and expounding of the raga should not be simply with the help of linear movement. Instead, the transgression should be performed employing a variety of musical curves. The transgression curves employed should ensure that the raga is clearly distinguishable from other ragas with similar loci. In fact, all the ragas are defined with distinction of characteristic transgression loci between its swaras. These transgressions are called Gamakas.
Varjya Swaras
The only requirement is that the transgression between the swaras should ensure that the locus of the musical curve does not dwell on Varjya swara, the swara to be avoided as defined for the raga.
Suite of Musical Loci
Profile of the raga comes to life by capably employing a suite of loci of musical curves provided as guidelines by examples and carried on by tradition used to expound the raga. It should be noted that musicians have improvised and discovered through explorations the different characteristics of ragas through out the past centuries, albeit some resistance from traditionalists.
The theoretical foundations of Indian classical music are very scientific in nature, even though most of the musicians do not understand / practice, and are unable to reinforce the scientific basics to their students. So the integrity of the musical knowledge, and its transmission to succeeding generations, has suffered from poorly realized and observed foundations. In addition, the tradition of classical music has failed to utilize many useful techniques available in the modern world. For example, two-dimensional graphs used in many facets of modern world have not been attempted for documenting, and as teaching aids, of Indian classical music. An X-Y plot with time on the X-axis, and frequency on the Y-axis would be very helpful for students to visualize the ascending / descending orders, musical curves and comparison of ragas. Talas can also be very well displayed on graphs. Computers, music synthesizers, and electronic keyboards with MIDI interface will be very handy in such endeavors.
Teachers of Indian classical music have been following the tradition of teaching the musical scale, and ragas based on discrete swaras. In effect, the teaching tradition is based on piece-wise linear approximation of the musical curves. The ragas are also taught with the Aadhara Shruthi used as the paramount anchor for the raga.
An alternate approach would be to introduce the students to a "tool kit" of musical curves with out any apparent Aadhara Shruthi. The curves would be taught as Shruthi-independent repertoire, to be used in various combinations to sing or play music. The tool kit is used to make the student functional. The theoretical foundations are taught after the student is taught the skills to reproduce musical curves, and also after gaining the ability to creatively expound with the foundations of the "tool kit".
To illustrate the approach, let us understand the way a child learns language. A child learns to speak by imitating sounds, words and expressions from other children and adults. We do not teach the child alphabets of a language first, and then words with meanings, and then sentences. It would be a strange world if we attempted such techniques at all. The child would be able to speak fluently, before it learns any alphabets. Script is used as a communication tool in school, work and throughout life. If we can imagine the words and phrases of a language to be similar to musical curves and their combinations in the world of music, my suggested approach becomes clear.
This illustration in the diagram uses a clock analogy to demonstrate a number coding concept for the raagas. The lower Shadja is denoted by 0 (Zero), where as the higher Shadja is denoted by 12. Raagas are coded for the swaras in the raaga with the number difference between the adjacent swaras.
NOTE: I have created this with only two each of R, G, M, D, and N to make it easy for playing keyboard or harmonium. An expanded version can be created for a ShatSruthi system, a system with SIX each of R, G, M, D and N, with one Panchama.
I have shown the middle, lower and upper octaves. The students may imagine and comprehend that the raaga (and its profile remains intact) is same in the lower and upper octaves also, just that the scale is different. The diagram shows the corresponding keys for western scale, with C used for Shadja. Please note that Indian scale uses relative positions, unlike the western scale using fixed keys.
Example of Mohana (Bhoopali) is shown below:
Out of the 12 key octave of S R1 R2 G1 G2 M1 M2 P D1 D2 N1 N2 S, only five notes S, R2, G2, P, D, S (Higher Octave) are used. It is a raaga with same swaras in ascending and descending orders.
Mohana or Bhoopali Raaga
S R2 G2 P D S 0 2 2 3 2 3 (12)
Please note that the total of the codes is always 12. Therefore we only need to code swaras other than Shadja! Mohana can be coded or noted as 022323 or simply 2232 leaving out the S (Shadja) boundaries. After doing Aadhaara Sruthi pallata (or rotation in the clockwise by one next swara), you can get the following combination of ragas: 2323 (SR2M1PN1); 3232 (SG1M1D1N1); 3223 (SG1M1PN1) (back to the starting point).
PHYSICS BEHIND MUSIC
It is very important to understand that the ratio of the frequencies (pitch) for any swara in an octave (scale) or Sthaayee and the respectve swara in the lower ocative (scale) or Sthaayee is TWO; in other words, the frequency doubles from one octave (Sthaayee) to the higher octave (Sthaayee); it is very important to realize that the frequency scale is NOT linear. This means that the arithmetic frequency differences between any key and its next key keeps on increasing as you move up the scale or pitch.
Human ear does not realize the non-linearity of the scale. Therefore, we may assume (or feel that) that the Rishabha swara, for example, is divided into parts to make up R1 and R2 (or more parts in the case of shatshruthi system); similarly, we may feel that Gaandhaara, Dhaivatha and Nishaadha are made of two or more parts, and that the Madhyama is made into two parts - Shudha and Prathi Madhyama (M1 and M2). It is very important to realize that the two Madhyamas are as distinct from each other as Panchama is from lower Dhaivatha. In summary, the twelve swaras, played on a keyboard, are distinct from each other, except for the non-linear frequency nature of the musical scale.
The twleve swaras may indeed have been named with twleve separate / distinct names, not like the seven (saptha swara) swaras as is the current tradition. Surprisingly, even the western musical system has also fallen into the same ‘trap‘ of seven notes - Do, Re, Mi, Fa, Soh, La. Ti or C, D, E, F, G, A and B. The western system also uses naming akin to Indian system by denoting # (Sharp) as a variant of the note (swara) lower to it.
This is one of the reasons I have simply used a number system to denote the swaras in the scale. The numbers are just identifiers, and surely not to indicate any type of arithmetic relationship between them.
As a clarification, let me reiterate that, in the case of Mohana example, 022323 coding does NOT mean that the arithmetic difference frequency relationship between Sa and Ri (indicated by 2) is the same between Ri and Ga (also indicated by 2) or between Pa and Dha (also indicated by 2).
Please note that I am using the suffix 1 for the first key and the suffix 2 for the next higher key. For example, R1 is the higher key next to Shadja key in a keyboard; R2 is the key higher to R1. Similarly, the keys in a sequence are: S, R1, R2, G1, G2, M1, M2, P, D1, D2, N1, N2 and upper S. Many musicologists and musicians use a different notation; in those contexts, where they use G1, G2 and G3 to mean different things, compared to my notations. Confusions have been created and perpetuated, mostly because of a lack of fundamental understanding, calling the same swara as a variant of Gaandhaara sometimes, and a variant of Rishbha some other times.
Here are the frequency relationships of the swaras within a sthaayee with respect to its aadhaara shruthi:
Aadhaara Shruthi = Shadja Sa or S. Let us call the frequency of Shadja as FS
Example: Frequency of R1 (Rishabha1)(First Rishabha Key next to Shadja) = 1.0595 multiplied by the Shadja frequency. Let us denote this mathematically as:
FR1 = 1.0595FS
FR2 = 1.1225FS
FG1 = 1.1892FS
FG2 = 1.2599FS
FM1 = 1.3348FS
FM2 = 1.4142FS
FP = 1.4983FS
FD1 = 1.5874FS
FD2 = 1.6818FS
FN1 = 1.7818FS
FN2 = 1.8877FS
FS = 1.0595FS
What makes music different from any other sounds?
Answer: Firstly, music is diverse; there are many types of music indigenous and popular in many cultures and continents; the diversity makes it very interesting to enjoy and to study / explore. There is one thing common between all types of music from rap to classical, folk to metropolitan, and very ancient to the most recent; as a form of art, music of all kinds has pattern, albeit very different in their nature. In fact, it is the uniqueness of its pattern that distinguishes one type of music from the other; it is not simply pattern, but importantly its repetition that makes it soothing to the ear, mind and the heart; the repetition is embedded in its beat. In fact, the very nature of a pitch is its frequency, repeating and sustained for a given duration; there is inherently a repeating pattern in the sound waves. Another very important quality is the interplay between a pitch and its harmonics, and also the fractional harmonics. The fundamental nature of music and sound is that of the harmonics, also termed octave, and the beating of a pitch with other pitches having a `power of 2‘ relationship; a pitch beats with another pitch double its frequency. This harmonic resonant relationship is pleasing to the ear; the ear senses this resonance and identifies the harmonic frequencies as related. Therefore, a pattern with in an octave is sensed as similar to another identical pattern in contiguous octaves, even though the two patterns are not linearly identical at all; instead, these two patterns are identical after they have been reduced by a logarithm with base 2. In a way, this incredible sense organ, of course combined with the intuitive processing power of the brain, makes us experience the pattern similarity, albeit the brain is complexly analytical in its fundamental technique. To understand this with an analogy, let us look at a small mountain and a big mountain both in a scenic mountain range. Even though the scales are different between the mountains of different sizes, our eye, aided with the brain, sees a series of mountains. The brain automatically perceives a mountainous icon, as common to all mountains, based on the similarity of mathematical shape / curve relationship. We come across this profoundness of the brainpower in every aspect of our life experiences and every sense organ.
This unique ability of our ear and brain teamwork helps us experience and enjoy pattern of sound as music. Repetition and variety of repetition makes the musical experience sustained and interesting. Pattern in music is at many levels: curve patterns / shapes, interplay between sound and silence, the musical punctuation and grammar, rhythm in the form of beat and pleasant combination of musical tones, as well as tonal quality of the sounds, be its human voice or musical instrument.
What makes the different types of music different?
Answer: Different types of music are different, but at the same have things common between them. For example, there are commonalities and differences between Indian classical music and Jazz music. Both are impromptu in their core; improvisation is the key that sets them apart from other forms of music. There are few Indian classical musicians who have gravitated to the jazz music world. The fundamentals of Indian music are based on the raga concepts, unique to the Indian subcontinent. The commonality between the two musical traditions has given rise to Indian jazz, a fusion music form. The Bangra folk music has found attraction to rap music, with the genesis of Bangra rap.
Each musical tradition / form has evolved to inherit / develop its own grammar. The word grammar is alien to music, but is used natively in the literature. However, the word grammar refers to a set of rules and guidelines, and so may be used in music also. Musical grammar has the following parts of music; again, I am using the words `parts of music‘ as a connotation similar to `parts of speech‘:
The beat and the rhythm
This beat and the rhythm are similar to punctuation in literature. A beat is made of a time cycle, which may further be made up of sub- cycles. For example, a thaala is made up of a cycle, with sub-cycles. The beat refers to a timing pattern to brief periods of silence used as separating punctuation marks between cycles and also between sub- cycles. Different forms of music use different rhythm, even though the concept of beat is the same in the different musical forms; only the details and complexity are different. Even though some musical traditions like Indian classical music have a plethora of beats (thaala) well defined, only few are very popular, other restricted to few scholarly studies, and rare compositions. It goes to show that simplicity always wins over complexity; this is true in nature also.
Pattern Repertoire
Each type of music has its own repertoire of musical curves and patterns. Classical music, eastern and western alike, have evolved to the octave system and the seven notes, and the twelve or more sub notes within the octave. Musicians and the musicologists have experimented, developed and categorized combinations of the notes and sub-notes. For example, if we listed the library of note combinations, which are the building blocks of these musical traditions, we will find many of them common between the eastern and western classical traditions; similar observations would result when we compare many musical forms, be they classical or folk, ancient or recent in origin. However, we will also find some combinations unique to each musical tradition; this uniqueness sets it apart form other traditions.
Arrangement of the curves and the micro-curves
With many common curves and micro-curves making up the repertoire of different musical traditions, what sets these traditions apart? It is really the arrangement of these curves, embellished by the ornamentation of some proprietary curves and curve-lets. The building blocks may look very much similar, with some differences; however, the building blocks, when differently arranged, incarnate into their own, distinct, personality and character. Rap may specialize in beat centric, abruptly punctuated and repetitive style, where as an Indian classical alaapana focuses on musical curves, micro-curves, their combinations, and most importantly minutely and expertly improvised / modified all in an impromptu style. Rap also uses improvisation in its unique way, especially the lyrics, and down-to-earth posture.
Musical instruments
The different traditions and cultures have developed their own musical instruments over centuries. All of them have the general categories of string, wind and percussion instruments, with varying implementation. The pioneering treatise on music and dance `Natya Shastra‘ authored by the researcher sage Bharatha, over two thousand years ago, categorizes the instruments similarly.
Implementations look similar, but very distinct at the same time. The Saarangi, the ancient DhanurveeNa and the western violin belong to the bowed string instrument category; the simplest implementations of the bowed string instrument in the folk music world are amazingly sweet and touch our heart, even though very inexpensive to make! VeeNa, Sitar, Guitar and Sarod sound as if they are old cousins born into the same gOthra!
Indian classical music has embraced numerous western instruments like violin, saxophone, guitar, mandolin and santoor. Violin has gained to be the standard instrument for most of the Indian classical music concerts.
Jeeva Swara
Many ragas are defined with specific jeeva swaras. As the Sanskrit word Jeeva implies, the jeeva swara is the life of the raga. In Hindustani music system, two jeeva swaras are defined, one primary and the other secondary; Vaadhi swara is the primary anchor, while Samvaadhi swara is the secondaru anchor. The anchor concept indicates that the raga has a center of gravity; the raga expounding is done heavily centered around this anchor; Vaadhi swara may be primary focus, while samvaadhi plays a secondary focus role. For example, if we were to take any music composition in a raga, be it alaapana, thaana or thillana in Karnataka music or a variety of presentation styles in Hindustani music, and literally counted the number occurrences of all the swaras, vaadhi and samvaadhi swaras would rank first and second respectively; this would be true even for gamaka, with gamaka occurrences around vaadhi and samvaadhi ranking high. Many times the musical play, while sweeping up and down the octave range, would choose to rest at the vaadhi and samvaadhi swaras, before continuing in either direction. Of course, Shadja is the reference pitch or aadhaara shruthi for all ragas.
As many scholars may not be aware, or realize it, the meLakarthas, by definition, do not have any anchor (jeeva or vaadi) swaras; in fact, all the swaras have equal role in the melakartha. It is also very important to note that the sampoorna raga derivatives of these meLakarthas use only a subset of the possible curve and microcurve combinations taken / inherited from of its meLakartha parent. Many leading scholars of Indian music may have not realized that each meLakartha is capable of giving us six distinct major derivatives, based on six possible jeeva swaras. Therefore, the total potential for all the 72 meLakarthas is 72X6 =432 sampoorNa ragas; in other words, each of the swaras-lets of the six swaras, used as jeeva swaras, can give birth to 72 raaga sets; to further clarify, a table has been shown in this document. Only few have been discovered and practiced at this time. We would also be able to create next step of derivatives by using different samvaadhis for each of the 432 ragas. We could develop 5 sub sets based on the remaining five swaras in each of the 432 ragas. That gives rise to 432X5 = 2160 ragas with defined vaadhis and samvaadhis.
All these 2160 sampoorNa ragas would have linear aarohaNa and avarohaNa. As the next step ragas with vakra (curved) arohaNa / avarohaNa could be defined for each of the 2160 ragas. As it may not be immediately realized, even by scholars and music experts alike, the vakra ragas are only a subset of the respective raga with linear arohaNa and avarohaNa.
As a further step, audava and shaadava ragas can be derived from each of the 2160 ragas. Because, we have to maintain both vaadhi and samvaadhi for each of the 2160 ragas, we can only generate four shaadava derivative ragas for each of the 2160 ragas. Therefore, the total number of shaadava derivates would be 2160X4 = 8640 ragas. Similarly only 6 audava derivatives can be defined for each of the 2160 ragas. Therefore, the total number of sudava derivatives would be 2160X6 = 12960 ragas.
Please remember that we have assumed that each raga, whether sampoorNa, shaadava or audava raga, would have both vaadhi and samvaadhi swaras. If we define swaras with no vaadhi or samvaadhi, the number of ragas will be smaller in each category, as the resulting number of swaras will be:
Shaadavas with no vaadhi or samvaadhi = 72X6 = 432 ragas Audavas with no vaadhi or samvaadhi = 72X15 = 1080 ragas It is very important to understand and note that the 432 shaadava ragas can give rise to 432X20 = 8640 shaadava ragas with a defined vaadhi and samvaadhi combination; in other words, these free running 432 ragas are nothing but a superset of the 8640 shaadava ragas each with restricted anchored profiles due to the defined vaadhi and samvadhis.
Similarly, it is very important to understand and note that the 1080 audava ragas can give rise to 1080X12 = 12960 audava ragas with a defined vaadhi and samvaadhi combination; in other words, these free running 1080 ragas are nothing but a superset of the 12960 audava ragas each with restricted anchored profiles due to the defined vaadhi and samvadhis.
Relationship Between a Raaga and MeLakartha
Venkatamakhi structured the meLakartha system, and in fact named it so, to indicate that the octave scale lends itself to piecewise linear approximation, with discrete number of steps / intervals, so that profiles of ragas could be defined by selecting points on the locus of the raga. In fact, the Indian classical music tradition, especially the South Indian style of Karnataka music, emphasizes on a practice of precisely defined pitches in the path of the ragas motion, instead of sliding through the pitches; this approach to clarity is practiced religiously, while showing creativity and impromptu improvisation using a gamut of micro-curves called the gamaka.
However, albeit the religious fervor of perfect reproduction guided through well trained musical ears, delivery of ragas vary from expert to expert, and from one geographical region to another; especially, tracing the raga to its meLakartha is blindly accepted, even though questions arise in discussions; teachers of music often hide their ignorance, of which the ignorance of the basic concepts being the primary reason, by discouraging any sincere and questioning mind of the student.
I will address some of the issues and inconsistencies in the approach to teaching and practice of Indian classical music. My sincere concern and goal is to explain everything logically through documentation, supplemented by lectures, clearly state any unresolved issues, and open the music community to open minded dialogue.
How to verify the root of a raga?
The word root really implies that the raga has been derived historically from another raga; audava and shaadava ragas are normally believed to originate from a sapoorNa raga. Another way to view a raga is from a taxonomical connection, by identifying the particular sampoorNa raga it belongs by its nature. Taxonomical root may be due to grouping of ragas in vogue during the time a musicologist grouped or categorized; the musicologist may have consolidated or recategorized from a similar work done in the past; in order to incorporate ragas originated, derived, adopted or invented since previous major taxonomical work, the musicologist may write a new treatise; many times the musicologist may have personal and professional intentions to reorganize or shuffle the categories, sometimes hoping to achieve legendary reputation. Understanding the intentions and circumstances of the work of the musicologist may also give clues to the roots of the raga.
The root of a raga can be found by looking at the genealogy, its vaadhi and samvadhi, and the traces of its characteristic curves. Vaadhi and samvaadhi swaras are the most vital signs of a raga, as another name for it is jeeva swara. Therefore, we need to identify the sampoorNa ragas with the most commonality in their swaras and the jeeva swara to the raga under consideration. For a shadava raga, there could be only one, two or three ragas with all the swaras same as the shadava raga, but for one extra swara in the sampoorNa raga. For example, if the shadava raga has Rishabha missing, then the two sampoorNa ragas will have ga, ma, pa dha ni same but they may have any one of the three Rishabhas. Instead, if the missing swara is Madhyama, then the two sampoorNa ragas will have one of the two Madhayamas each. Only when the missing swara is a Panchama, then there will be a single sampoorNa raga as the parent / root.
It is very important to note that we cannot establish the evolutionary root or the taxonomical root of a shaadava or audava raga directly to a meLakartha, as there are six divergent derivatives for each meLakartha raga. First, we need to identify the particular derivative of the meLakartha with the same vaadhi and samvaadhi combination.
Taxonomical Derivation from MeLakartha
The octave scale with 16 discrete swaras
Sa, R1, R2, R3, G1, G2, G3, M1, M2, P, D1, D2, D3, N1, N2, N3
432 Jeeva swara / vaadhi variants / derivatives
Each meLakartha with six vaadhi / jeeva swara derivatives
2160 sampoorNa ragas with one vaadhi-samvadhi combination
8640 Shaadava Derivatives - 4 shaadava derivatives for each jeeva swara root
432 Shaadava ragas with no jeeva swara = Free running profile. 20 groups of Shaadava ragas each with vaadhi-samvaadhi combination
1080 Audava ragas with no jeeva swara = Free runninf profile 12 groups of Audava ragas each with vaadhi-samvaadhi combination
12960 Audava Derivatives - 6 audava derivatives for each jeeva swara root
Two approaches to taxonomical tracing or grouping
Sampoorna Raagas Generated by using Different Jeeva Swaras
shudhdha madhyama used as the jeeva swara can give rise to 36
raaga sets
prathi madhdhyama used as the jeeva swara can give us 36 raaga
sets.
1. The two madhyama subtones put together can give rise to 72 raaga sets.
2. Pa used as a jeeva swara can give rise to 72 raaga sets.
Ri1 used as a jeeva swara can give rise to 36 raaga sets.
Ri2 used as a jeeva swara can give rise to 24 raaga sets.
Ri3 used as a jeeva swara can give rise to 12 raaga sets.
3. All the three Rishabha subtones put together can given rise to 72 raaga sets.
Ga1 used as a jeeva swara can give rise to 12 raaga sets.
Ga2 used as a jeeva swara can give rise to 24 raaga sets.
Ga3 used as a jeeva swara can give rise to 36 raaga sets.
4. All the three Gaandhaara subtones put together can given rise to 72 raaga sets.
Dha1 used as a jeeva swara can give rise to 36 raaga sets.
Dha2 used as a jeeva swara can give rise to 24 raaga sets.
Dha3 used as a jeeva swara can give rise to 12 raaga sets.
5. All the three Dhaivatha subtones put together can given rise to 72 raaga sets.
Ni1 used as a jeeva swara can give rise to 12 raaga sets.
Ni2 used as a jeeva swara can give rise to 24 raaga sets.
Ni3 used as a jeeva swara can give rise to 36 raaga sets.
6. All the three Nishaadha subtones put together can given rise to 72 raaga sets.
Total number of sampoorNa ragas using different swaras (their subtones) jeeva swaras is 432.
Alaapana
Basics and Fundamentals to Automation
Alaapana is a creative display of the musician, in which the variety of characteristics of the raga is expounded starting from a leisurely paced, craftily performed peeling of the different delicate layers of the raga, picking up pace little at a time, finally to unveil and reveal the full expanse over time; the pace ramping and the extent of detailing of the raga depends on the occasion, experience of the musician and the importance of the forum.
Before the alaapana begins, the musician deeply focuses on the aadhaara shruthi, while the supporting shruthi player of the tamboora starts playing the instrument. It is important to note that the shruthi played, reverberating in the concert hall, pervading the ambiance filling the ears and minds of the musicians and the audience alike, really sets the reference pitch of the complete program. The aadhaara shruthi is the most important and underpinning reference pitch, and so is given very high importance in the music concert and in expounding the raga in the Indian classical music world. The alaapana starts with an elegant raise above the drone horizon of the shruthi emerging out and branching into the different loci of the raga, in evolutionary mode; yet, the raga comes back to rest at the aadhaara shruthi many times during the musical play. It is important to return to the aadhaara shruthi to establish and reestablish the frame of reference.
Modes of Alaapana Development
Alaapana is impromptu and highly individualistic. Starting from the aadhaara shruthi base, alaapana moves on to the adjacent swara and further to the next adjacent swara, always keeping within the boundary of the raga definition of the specified swaras, the ascending and descending orders, the anchor swaras and the characteristic loci. When a meLakartha raga is played, it does not have restriction other than the defined seven swaras; in other words, the meLakartha raga has complete freedom in its flow up or down the scale and to use any combination of swaras.
One important characteristic of the alaapana while in the detailing mode is that the raga moves from any swara only one or two steps at a time, up or down, in the scale. If we adopted a pseudo random number / step generator to generate a sequence, the flow of the alaapana will be smooth. Pseudo randomness of the sequence provides for the impromptu quality of the alaapana.
For example, the pseudo random sequence (PRS) could generate a series chosen from -3, -2, -1, 0, 1, 2, and 3. Let us call this PRS-Major. The negative numbers indicate the number of steps to move down the scale. Zero would mean that the swara is played for another duration. 1, 2, 3 would correspond to 1, 2, or 3 steps up in the scale. Another independent pseudo random sequence (PRS-Duration) could be used to control the duration of each swara to incorporate the varying elasticity of each swara play. The PRS-Duration will produce very long pulses in the earlier phase of the alaapana, while picking up the speed by decreasing the duration in later stages. A third independent pseudo random sequence (PRS-Gamaka) could enable a small library of gamakas (micro curves) interleaved in the alaapana. The gamaka suite could contain varying levels of vibration (meend is the word in Hindustani and Phaluku in Karnatak music), approach and departure curves / paces into and out of a swara and inter-swara sweep.
Gamaka Generation
We can generate the suite of gamakas by analog or digital techniques. The analog technique is based on curve generation by mixing a variety of analog signals, followed by signal smoothing with filters. The digital technique offers more flexibility. A simple way is to divide the inter-swara frequency space into many subdivisions and treating it as a miniature scale. The ascent, descent and vibration would have very similar logic and control to the main octave scale. For example, vibration (meend or phaluku) could be achieved by frequency sweep around the chosen swara with constant, declining, stepwise or declining amplitude; in addition, the volume could also be controlled to give additional dimension and effect. Choosing a high enough clock rate to gate to obtain very small enough pulse width is important for generating micro curves. A different pseudo random sequence PRS-Micro could control the pace of the gamaka.
An Alaapana Scenario
Let us take an alaapana scenario. Let our example have the scale for the raga as S, R2, G2, M2, P, D2, N2, S (higher octave). Then, the alaapana could start at S and move up or down the scale only one step to R2 or N2 (in the lower octave). In the beginning, the pseudo random sequence PRS-Major could be limited to a series of 0, 1 and -1 only, so that the alaapana explores between S, R2 and N2 only. The pseudo random sequence PRS-Duration could make the alaapana leisurely paced in the beginning. A variety of gamakas could be interleaved by the use of PRS-Gamaka. It is also important to make the gamakas slow and detailed by using PRS-Micro with long duration pulses.
In time, one swara at a time could be added to make the PRS-Major to include the incremental addition of the swaras in the scale. Because both positive and negative numbers are used in the different pseudo random sequences, the automatic alaapana generator will explore and roam in to lower and upper octaves. Ragas with different number of swaras from the seven swaras in its ascending and descending orders could be easily dealt by appropriately choosing the steps of the sequence. The generator could also keep a diligent track of the current swara, simply by using the summation of the steps in the history of the current session of the alaapana. Once the current swara being played is known, preferential weighting could be used in the different PRS generators and their gating to accomplish the following:
Jeeva swaras both vaadhi and samvaadhi
Vakra ragas
SampoorNa - sampoorNa, audava - sampoorNa, shaadava - sampoorNa, audava - shaadava, audava - audava, shaadava - shaadava or any other combinations.
Varied weights for different characteristic swara combinations and micro curves
Fractal algorithms could be used to gradually create patterns.
Fractal algorithms to build up and dismantle patterns could be utilized to create diversity of musical curves.
Tamboora: A drone to establish the frame of reference
Tamboora, also spelt as tamboora and tanpura, is a drone used for providing the reference octave framework for the artists. This reference is given by playing four (some tambooras have up to six strings) strings set to the two Shadjas making the octave, the Panchama (and sometimes Madhyama). As a default, based on the Indian classical tradition, the two Shadjas and the Panchama can clearly define the octave; the Shadjas and the Panchama swaras are called as Prakruthi (meaning natural) swaras; they are also called Achala (literally meaning fixed non moving) swaras. In raagas with out Panchama, but may be one of the Madhyamas, the appropriate Madhyama may be played. For those who understand chords in the western classical music system, this is like playing chords; however, the swaras are not played simultaneously, unlike the western chords; secondly, the same swaras are played through out the composition, and may even be for the whole musical concert in Indian system. While this could be considered excessively monotonous from the perspective of the Western system, the Indian tamboora is mean not really as a chord, but just the most important shruthi reference.
I am proposing the following way to innovate the use of tamboora, further adding many harmony features:
Jeeva swara
The Jeeva swara is the most vital swara in a raaga around which the complete raaga expounding is done from beginning to end. This is also called the Vaadhi swara; the Vivaadhi swara is the second most important swara in the raaga. Therefore, it would make musical harmony sense to play the Vaadhi and the Vivaadhi swaras, along with the Shadja and the Panchama. This would be fully relevant supporting and reinforcing the raaga expounding.
Nyaasa swara
The Nyaasa swara is the swara played at the end of different phrases and also at the conclusion of the raaga. Therefore the tamboora may be constructed with additional strings to be played at the end of the phrases, with the striing tuned to the Nyaasa swara based on the raaga.
Seven strings may be strung to the tamboora, so that all the swaras of the raaga being played could be used to in the playing of the tamboora. The tamboora player normally uses the forefinger and the middle finger to play the strings in a sequence. Therefore, the tamboora player could be an experienced musician, instead of very passive play style currently used. The Shadja, Panchama, Vaadhi and the Vivaadhi swaras may be played giving relatively higher importance by plucking it prominently. The remaining strings, when seven strings are used, may be plucked relatively softly.
In addition to using tanmboora, new instruments could be developed, specially designed to quickly select and tune the appropriate strings to suit the raaga being played. In general, this new instrument may have 12 strings, so that the required strings are selected in playing to support the expounding of the chosen raaga. This approach reinforces and assists the other artists in maintaining to the framework of the chosen raaga.
As some of you may have experienced with Indian classical music by now, there are standards in some areas, while there are a lot of local variations, depending on the part of India - mostly, south or north. Some people may consider this difficult to resolve, especially when one wants to make a choice of one way; fortunately, you are ‘gifted‘ with many choices.
I have selected some references for you to read at this time. I have read all the websites I have given.
I am not bound by traditions, like most Indian musicians; I enjoy inventing, experimenting and at least understand things from a fundamental perspective.
It is time to get feedback from other musicians; please give me your feedback.
http://www.carnatica.com/sangeet/tambura.htm
http://www.mid-east.com/Info/tamburas.html
http://www.eyeneer.com/World/Sa/Instruments/tambura.html
http://www.makar-records.com/siteus/frameinstrument.html
http://www.larkinam.com/MenComNet/Business/Retail/Larknet/india
http://www.kalakendar.com/strings.html
http://www.ragascape.com/Ragascapes/4.html
http://www.bhatiamusical.com/string.htm
http://trumpet.sdsu.edu/M151/Music_of_India2.html
http://www.indianshore.com/tanpura.htm
http://www.geocities.com/tamburica_vorarlberg/english/instruments.htm
http://www.eraydinsazevi.com.tr/saz.htm
Indian Music to a Foreign Ear
Indian Classical music fundamentals may seem very different for a westerner in the beginning. If you look closely, there are a lot of commonalities between, Indian music, Western Classical music, Jazz and even the blues.
If you want to hear Indian classical music (also modern film and light music from India) FREE, you may visit www.musicindiaonline.com
The website has Hindustani (north Indian) and Karnatak (south Indian) styles, categorized by vocal and instrumental. You will notice that the Indian musical tradition is very rich.
I am simplifying much to provide a very quick overview and ramp up to the general understanding of Indian music and the raaga concept - the pivotal concept. For simplicity, I am taking the case of a 12-note scale, even though Indian music uses many more notes with in an octave. However, you can still preserve the qualities of the Indian music with 12 notes in a scale, even though it only limits to the granularity and the number of possible raagas in a scale.
A raaga can have five, six or seven of the 12 notes taken at a time. A simple way to get introduction to a raaga is to take a raaga with five notes taken out of seven. It is VERY IMPORTANT to note that you do not have to start at any given point on the scale at all. I have given examples with C as the starting (reference) point on the scale. Examples are:
1. C, D, E, G, A, C - The ascending and descending orders are same. This raaga is called Mohana.(means pleasant or sweet to the mind). It is called `Bhoopaali or Bhoop in the Hindusthaani tradition.
2. C, D, E, G, B. C - The ascending and descending orders are same. This raaga is called Hamsadhvani (means voice / sound of the white swan)
In principle, you can get many raagas by taking various combinations of five at a time out of the 12 notes. There is really no rhythm in aalaapana part of a musical concert.
In aalaapana, which is a freestyle way of expounding a raaga to unveil its various aspects, you have to simply follow some guidelines. The raaga examples I have chosen have the same ascending and descending order, with almost any loci for your traverse.
Tangent and other electronic music software packages may be ideal for Indian raaga system. A random / pseudo random sequence generator used to traverse between the specified notes can create the raaga.
My web site is at:
http://murthymusic.tripod.com
Please look at the section ‘Raaga Profile in Indian Classical Music‘ and aalaapana. You may also look at the frequency chart and the cyclic notation for Mohana raaga given by me for examples.
If you want to hear Indian classical music (also modern film and light music from India) FREE, you may visit www.musicindiaonline.com
You will see Hindustani (north Indian) and Karnatak (south Indian) styles, categorized by vocal and instrumental.
You can hear Hamsadhvani raaga by Prasanna on guitar at:
http://www.musicindiaonline.com/music/l/000115
Go to the following location on the webpage which says on that page:
Vathapi Ganapathim (Name of the song)
Ragam: Hamsadwani Thalam: Adi
The word ragam = raaga
Mohana raaga can be defined as follows:
1. Start anywhere on the 12 note scale. The particular note you decide as the reference note is called Shadja denoted as Sa. Please keep in mind that a single letter in English cannot equate to a single alphabet in Indian script. That is why I have use two letters s and a to make ‘sa‘.
2. Once Sa is fixed, you can use a Piano for reference and move up the 12-note scale up to the higher octave equivalent of ‘sa‘.
3. For easy understanding to be neutral between Indian and Western names for notes (called swara in Indian music), let us use numbers. I use 0 (Zero) for the reference note / swara. Counting from this point the 12-note octave scale can be denoted by numbers: 0, 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12(higher octave equivalent of 0(Zero). Here ‘sa‘ is 0 (Zero).
4. Mohana raaga - a raaga with ‘5 taken out of 12‘ is defined by the following format:
ascending order: 0, 2, 4, 7, 9, (12)..... descending order: 12, 9, 7, 4, 2, (0) .....
These are the only notes used for this raaga, others being ‘prohibited‘ or unused. You do not even dwell on any other note / swara than these five notes when you transition - for example in violin or vocal between the ‘permitted‘ swaras. If you stayed in any other note / swara, you would have ‘violated‘ the raaga personality.
PLEASE NOTE THIS IS A SIMPLE RAAGA WITH IDENTICAL ASCENDING AND DESCENDING ORDERS. However, there are other raagas with different combinations and orders, including curvilinear orders.
5. You can start the aalaapana from anywhere, but the tradition is to start from 0 (zero). To make it smooth, you can traverse any way up or down the scale, but avoid jumping too many notes. Just as an example, you may play 0, 2, 4, 7, 4, 7, 9, 7, 4, 2, 0, 2, 4, 2, 7, 9 ......... 12, 9, 7, 9, 7, 4, 2, 4, 7, 7, 7, 9, 7, 9, 9, 9, 7, 4, 4, 2, 2, 0. Please note that the movement is smooth.
6. Each raaga would also a ‘life‘ note swara(called jeeva meaning life). This is like the anchor note. The raaga will always revolve a lot around this ‘life‘ note / swara. For Mohana raaga, the ‘life‘ swara is 4. It only means that if you counted the number of times the raaga expounding dwells on all the swaras of this raaga (0, 2, 4, 7, 9), you would see 4 highest in the ranks to maintain the ‘personality‘ (true quality) of the Mohana raaga.
7. Even though Mohana raaga looks very simple, and straight up-and- down, good artists produce abundant variety. Much of Chinese music falls in the realm of Mohana raaga.
8. Each raaga has popular ‘characteristic‘ note sequences. However, Mohana being simple, is one of the raagas extensively used in the Indian music world. You may notice that other musical traditions also use this raaga, even though they may not call it Mohana.
Please remember that I am trying to make it simple and easy for our friends in this group to follow. Only when you listen to the music by experts, you will notice the complexity - complexity derived from simple rules and the magic of Indian musical delight.
I am giving more overview to introduce more concepts. I am providing the explanations to help musicians in this group to get simple basics to enable them to enjoy and appreciate Indian music.
A raaga is played on a musical instrument like violin, sitar, flute and many others. A composition, following the rules of a raaga, may be accompanied by one or more percussion instruments like tabla or an earthen / clay pot. The instruments I have given are meant only as examples.
The aalaapana is a presentation by the main artist (vocal or instrumental) to expound and expand a chosen raaga to unveil its various characteristics or personality. aalaapana is NOT accompanied by any percussion instrument. The aalaapana may also be expanded and expounded by the accompanying instrument (like a violin, other bowed string instruments native to India, harmonium, which is a simplified version of an accordion). The main artist and the accompanying artist may interleave during aalaapana - like a dialogue - showing of their talents, yet be supportive of each other.
Every concert, in Hindustani (north Indian) or Karnatak (south Indian) styles, will have at least one very long aalaapana - about half hour to hour, depending on the mood of the artists. They may choose one raaga to dwell during the aalaapana.
The aalaapana may start very slow and very easy going in the beginning, picking up speed during the aalaapana course.
The aalaapana is used to demonstrate the creativity of the artists. Please note Indian classical music - especially the aalaapana is completely impromptu like the jazz music.
The artist may decide to present a composition in the same raaga - as the one used for the aalaapana to follow the aalaapana. Percussion is used during a composition presentation. The artists may not even have met each other before many times, but can play together.
It is VERY IMPORTANT to note that even the percussion is played impromptu, and in response to be suitable to the composition, filled with continuous improvisation. The beat cycle - called ThaaLa - may be fixed for example total 8 beats, made up of two major half- segment of 4 beats each (1+3; 2+2). The percussionist keeps improvising routinely demonstrating a lot of variety possible in the 8 beat cycle. Zakir Hussain is one of the most talented, entertaining, creative and charming tabla players. www.musicindiaonline.com web site has Zakir Hussain.
In the later part, or the concluding part, of the concert, the artists may play shorter pieces.
Unlike Western classical music, Indian classical musicians do not refer to any book while playing. It is all impromptu playing of music in Indian classical music.
A swara is a note like a, g, c, c# ..... On a piano, the Western notes are fixed. c# really refers to a particular physical key. In Indian music the swaras are relative. Only when you fix the starting point called Shadja or simply abbreviated as ‘sa‘, then the remaining swaras get fixed with respect to the reference swara ‘sa‘.
Raagam Thaanam Pallavi
I wrote this and digressed a lot in response to the following question asked by Mr. Bob Van Belle:
I heard some Indian ‘scat vocals‘ accompanying tabla drumming. I assume - since only a few syllables are used, apparently, that there must be a certain discipline whereby one memorizes certain rhythmical patterns by learning these ‘scat vocals‘... or am I wrong, and is this just improvisation by some artists?
My response:
Scat vocals in Jazz is unique. There is nothing exactly like that in Indian classical music.
However, there are many colorful vocal music aspects in which singers sing with apparently no meaning to it as part of a VERY elaborate performance. I will explain some of the variations. I may cover the response in multiple postings, as Indian classical music both North and South have too many varieties.
1. As I have mentioned in my previous e-mails a musical concert that goes on for atleast three hours onwards to overnight sessions (total six to eight hours). The concert has many sub genres in it. Some are short in length, others being medium, whereas some go on for between 1 hour to 2 hours.
One of them, normally performed at the heat of the performance - after few shorter items - is called ‘Raagam, Thaanam, Pallavi‘; the three words refer to three parts of this very long piece of the performance.
The Raagam (means Raaga - ‘m‘ sound is used at the end to indicate particular grammar case in Sanskrit language) part focuses on presenting the chosen raaga. this is nothing but aalaapana with the chosen raaga. There is no percussion in this parts. It is only free vocal or the main instrument. After each elaboration by the main artist, an accompanying instrument (mostly violin, but harmonium is also used sometimes. Harmonium is an instrument like accordion). There may be competitive talent demonstration, or ‘dialogue‘ type of ‘interplay‘ between the main artist and the accompanying artist. The raaga part may go on for atlast half hour, but can be detailed to extend to more than an hour sometimes. Please note that there are absolutely no words in Raaga alaapana.
The second part called Thaanam is also impromptu and creative expounding on the same raaga; however, there are only few syllables used in this part. The word ‘Thaanam‘ really came from the original Sanskrit word ‘Anaantham‘. Notice the ‘m‘ sounding end to this word also because of the Sanskrit grammar.
Let me explain this case with an example, the best way I can to a person of non-Indian background. Let us take the sentence: Raama gave a flower to Krishna. In Sanskrit grammar, the subject Raama would be really written as ‘Raamam‘, with ‘m‘ sound at the end. The subject in any sentence has ‘m‘ sounding end to the word. Sanskrit grammar has many more cases than in English grammar!
The word ‘Anantham‘ means endless, with beginning or end. This refers to the ‘time‘ of this creation.
Simply using the variations of the syllables of the word Anantham - aa, na, an, tha, m - the ellaboration of the raagaa continues in the Thaanam part. You will realize the extraordinary impromptu and crative expounding only when you hear ‘Thaanam. The Thaanam may take additional 1 hour or more.
The third part is Pallavi, literally meaning the first stanza of a poem or song. This is the concluding part in which the artist may choose a song. Artists normally choose a small song. Indian classical music is ALWAYS devotional in nature. The compositions will always have lyrics in praise of God. The artists devote their whole life to serve God and sing devotional songs. Those who sing `commercial‘ love songs or even songs in films are looked down upon by the traditionalists.
I searched a lot but could only find one example available free on the web in public domain. This is mainly because the `Raagam, Thaanam. Pallavi‘ would take over 90 minutes for that genre. The singer is an old timer (October 25, 1912 - June 8, 1968). You can see his photo and artist profile on the web page. You will only hear very small portions of the raagam part, thaanam and a song at the end. You may notice the syllables: aa, na, an, tham. This will ONLY serve as very small sample. Look for the 12th piece from the top of the web page titled `Ragam Thanam Pallavi Ragam: Simhendra Madhyama Thalam: Adi The name of the raaga is Simhendra Madhyama. Simhendra means `The Lion King‘; Madhyama means `the middle‘.
Here it is:
http://www.musicindiaonline.com/music/l/00000C
You may also listen to a piece titled `English Note‘ on the same web page. By the title, he only means "It is sounding like a British / Western tune" It may not sound like it to you at all! Can you detect the key (s) in the western scale? Please keep in mind that he is conforming to an Indian raaga, but his claim is that it sounds like a `British Tune‘!
2. Part of an elaborate concert is devoted to the percussion instrument(s). In South Indian style, it is called `thani aavaarthanam‘; thani means solo; aavarthanam (essentially) means cyclic performance. People also call it simply `thani‘ meaning solo. The percussion instrument is played solo. The artist drummer- gets to exhibit talent and entertain the audience. If there are multiple percussionists, they take turn in a competitive and duet fashion with dramatic ending.
The thani part always trails a song performed by the main artist. The artist sings most of the song and hints the percussionist(s) to take over. Everyone on the stage and audience watch the beat; some will also maintain the beat by patting on their lap using the hand and four or five fingers to keep the count of the cycles of the chosen beat.
Towards the end of the percussion `show-off‘, the artist hums the last part of the song indicating the end. Most of the times, the song will have been `practically‘ finished. For the sake of formality, the main artist utters the lost words or simply hum for a graceful end. It is normally dramatic gaining a big ovation and applause from the audience.
If you heard only the thani / solo part and the humming at the end, it may sound like scat in Jazz music. However, there is a world of difference between the purpose and the traditions.
Palghaat MaNi Iyer (1912 1981) was a great Mridangam player. He is considered the legend. You may see his photo playing the instrument, read about his life and also hear him on the following web page:
http://www.musicindiaonline.com/music/l/00010X
You can hear two percussion instruments featured in the following web page.
http://www.musicindiaonline.com/music/l/00011D
You may notice that the complete orchestra is very sweet on all pieces on this web page. The instruments are Ghatam and Khanjira. Ghatam is a clay pot. Khanjira is a handheld instrument with single skin played with one hand mostly the right hand. However, the left hand is used to adaptively modulate the tension of the skin. Water is sprinkled on the inside on the skin to loosen it `very little‘ and then modulate the tension with the left hand.
One of the masters of Ghatam the clay pot is Suresh. You can downloaded a small performance piece at the bottom of following the web site:
http://www.webindia.com/ghatamsuresh/home.htm
You may read about this master Ghatam artist on the website. You will also see a photo him playing many clay pots for different tonal qualities at the same time. You will also hear in the background some one commending him with `vocal ovations to mean `Hey you are playing great / fantastic‘. This may also sound like scat vocal. However, they encouraging gestures by the main artist during a thani / solo part of a concert.
You may read and hear samples of Spanish type acoustic guitar with Indian percussion in the following website.
http://www.asianetwork.de/guitarduokcp/gdkcp.htm#kcp
Here is another international percussion group and some samples on the web site:
http://www.cam.org/~tala/cv.html
Tabla Trio - Three Great Masters
Friends,
Here is a great web page with three masters playing the tablas together.
http://www.musicindiaonline.com/music/l/01010N
The artists are:
Trio - Ustad Allah Rakha, Zakir Husain and Fazal Qureshi
Ustad Allah Rakha is the father, who was the constant percussionist for Sitarist Ravi Shankar. Zakir Husain is his son, who excels his own father; he is probably the greatest tabla player in the history.
You may notice a bowed string instrument called saarangi used in the piece in the background just as an accompaniment!
You will also hear the artists volaizing the beats with the approporiate names of the different tabla strikes / sound fonts.
There are many tabla solo pieces on the same web site.
Two branches of the same tradition
or should it be ‘When two branches of the same tradition meet and flirt with each other‘
The north and the south Indian classical music styles have evolved as two branches of the same tradition. The differences are in the msucal phrases used, the nuances played, and the ‘accent‘ of the distinctive yet same tradition.
The duet style play of two performers with equal importance in a concert is called ‘jugal bandi‘. The Sanskrit word ‘Yugala‘ means duet. Jugala is a derivative word in Hindi and few other Indian languages. Bandi means combined, here refering the intertwined nature of the play.
Here is one eaxmple of a flute duo:
http://www.musicindiaonline.com/music/l/010201
The south Indian flute is smaller. You will notice it with its higher pitch.
The artists play aalaapana in the beginning. They transition to slightly faster paced circular type of musical phrases very common in the Hindustani (north Indian) style. By the term circular, I mean repetitive small phrases with a ‘longer tail‘ phrase; you may notice the whirling style of musical phrases. This would be ideal for producing using fractals.
Later you will hear the percussionsits tuning their instruments. The flutist aids this process by giveing the reference pitch for the percussionists to tune.
You will hear the tabla (North Indian) and the Mridangam (South Indian) instruments join.
The raaga is Hindolam (called Maalakauns in North Indian style). This is a five-note raaga: 0, 3, 5, 8, 10, (12). You will here the raaga revolving around pivotal phrases: 5, 3, 5, 8, 10; 5, 3, 5, 3, 8; 8, 10, 12, 17, 15, 17, 20, 22, 24.
3, and 5 are the most important keys.
The pace picks up with many imaginative phrases played interleaved by the these two great artists. It is NOT rehearsed. Many times, the artists may have not even met each other in their life at all, except on the stage.
It is like two people talking to each other when two strangers meet!
Musical duet - Mandolin and Saarangi
Two great masters on Jugalbandi - duet type of performance. They are performing Raagam Thanam Pallavi
The artists are Shrinivas on Mandolin and Ustad Sultan Khan on Saarangi. It is a melding of the two Indian musical siblings.
First part is the expounding of raaga Dharmaavathi. The second part is thaanam. The last part is made up of raaga maalika, which means ‘garland of raagas‘
The percussion for Mandolin is Mridangam, where as tabla is used with Saarangi.
You may try if you can notice the changes - actually nice transitions - between raagas.
Think if you have heard anyone in your life who may come close to Shreenivas on his Mandolin in control and sweetness. Saarangi is a heavenly instrument.
Here is the link:
http://www.musicindiaonline.com/music/l/01020A
Enjoy!
Thanks for this great forum and the opportunity. I would like to ask these questions to improve my singing. [film and light music]
1. The pitch in which one sings - is a person stuck with it for life or is it possible to gain a higer pitch thru practice.
2. When I try to sing higher notes it seems I am unable to sign freely - i.e. the notes come out stifled. What excercises are there to break this bottle neck so that the notes come out free and correct.
I appreciate any suggestions and advice. My back ground is - I have learnt upto a few keertanes in karnatic classical music.
thanks madhu
________________________________________
Murthy responds to Madhu
Dear Madhu,
Your situation is very common among all singers, especially when you try to extend your range of comfortable singing.
The vocal cord and voice box have muscles used to control, hold and traverse the desired musical tune. These muscles get stronger as you keep practicing. Like any part of our body, the muscles can build easily at the adolescent age range. It takes lot more effort after you cross a certain age.
Extend your range only little at a time; perfect it; move upward only after perfecting one swara at a time upwards or downwards.
This is true for actors also. As an actor I practiced a lot in my teens to extend my range. Once I built the muscles, it has remained over the years. I still practice my voice range for acting as well as singing. If you catch me driving on the road, you may think that there is a crazy guy driving the car; the only exception is when there is a good looking lady sitting next to me; I would be doing something else when beauty is sitting next to me!
Dear Murthy,
Thanks for your email. It is very encouraging to know that it is still possible to increase one‘s pitch.
Also thanks for sharing your earlier efforts at improving your voice.
Please allow me to ask one more question -:))
If in a song there is a classical alaapana [akaara], I find it easier to sing the alaapana if I know the swaras [notes]. So how do I work out the swaras for a alaapana.
Finally, I thought a beauty next to you in the car only inspires you towards more poetry and music. -:)).
thanks madhu Murthy with another answer to Madhu
Dear Madhu,
Unfortunately, all the girls I go out with have NO - I really mean NO - interest in music or poetry!
A good way to deduce the swaras for any tune, to include alaapana or akaara, is to take a key board and try it out; it is OK to do it by trial and error; expect some hard work in the beginning, if you do not have experience on the key board.
Another way is to simply practice akaara and alaapana for different raagas, for the fun and pleasure of it. When you are having fun, you mind and voice starts thinking intuitively. Music is very intuitive.
Please let me know if I can be of any personal help when you do it.
Murthy
In Search of Randomness
How can we compose a `random‘ alaapana or composition using Cacophony? It is as simple as looking for randomness in all the places! Yes. There are randomness in many places we are familiar.
Any word document, e-mails and contents of the unlimited websites on the internet are all excellent sources for randomness. You may keep letters from A through G unchanged. Just take the document and map all other the letters, numbers and special characters like *. $. #. @ to any of the letters from A through G. You may use only five, six or all the seven letters from A through G depending on the raaga of you choice. You may use the global Find and Replace command in the MS Word EDIT menu. Based on the chosen raaga, make sure that Jeeva swara occurs much more frequently than other swaras. During the global replacement process, you may choose characteristic swara combinations of the chosen raaga appropriately distributed. For example, you may replace letters the letters, numbers and special characters other than A through G to the set of characteristic swara combinations with three, four, five or more swaras. You may use curvilinear or zigzag swara orders to highlight the vakra raaga characteristics. The choice may also depend on the frequency of occurrences of the individual letters in the original MS Word document. Generally the vowels appear more frequently in any document. Letters like S, M. N, or T appear more frequently than Z, Q, or X. The Find and Replace command in EDIT gives you the total number of occurrences each time you try to replace. At the end of these find and replace operations, you may verify the relative frequencies of occurrences of the required Jeeva swara and other swaras, as well as, combinations and sequences of combinations of the swaras. Then cut and paste the desired portions of the finished document in places for defining the different desired sequences on the Cacophony software routine.
Now imagine and realize that you have unlimited sources of randomness at arms reach all around you. You may be able to play any junk mail received in a raaga of your choice. You can turn your anger to the sender of the junk mail to a fun experience. You can hear the same junk mail in many raagas, by a simple global replace command. All web pages become musical to you.
You can have a `sixth‘ sense to everything in the world around you. You can convert garbage into music and stop hating those people who send you very long documents for you to read; you can now hear the document and enjoy the musical qualities of everything around you.
I am looking for a team to develop the software which can convert the alphabet garbage in the world to musical elegance. I have ideas to make all these things automatic. We can develop user friendly interface where you simply choose the name of the raaga, thaala and the name(s) of the instrument(s) you desire and the software will automatically do all the processing for you and present the complete orchestra for you.
RAAG: Reusable Automated Aalaapana Generator
This proposal addresses fundamental principals, features and functionalities of an automated aalaapana generator, which is built on a template and modular structure to enable the user to create / customize a music generator in very little time. Let us call it RAAG, always used with capital letters; Letter R implies many things to include reusable, recursive, regenerative and so on. Very important features of RAAG include:
1 Modularity at different indenture levels 2 Flexibility to change any one modular level or modular group 3 Flexibility to change at few indenture levels at the same time 4 Flexibility to change the raaga with a morphing effect 5 Flexibility to change the aadhaara shruthi 6 Flexibility to change the scale(s) of the composition 7 Flexibility to change the instrument(s) in the orchestra
The basic modules at the lowest indenture level are the swaras that define the raaga; it also includes the ascending and descending orders. The characteristic basic swara combinations, and further sequences / combinations of the basic combinations, are at the next higher indenture level. These can be defined by the SEQ definitions in Cacophony software routine; similar concepts and techniques apply for other music MIDI sequencing software packages also. We could use a standard naming format for the sequences. For example, SA1, SA2, SA3.SB1, SB2, SB3
could be the names of the sequences. Otherwise, a naming system shown in the example could be used.
The MAIN SEQ would consist of different templates made up of the subordinate sequences like SA1, SA2, SB1, SB2 and so on. By simply changing the MAIN SEQ, the Meta flow of the composition changes; similarly, changing the subordinate sequences changes the basic raaga characteristics. Changing or substituting the basic swaras at the lowest indenture level sequence will morph the raaga, even though the high level Meta flow could be maintained, if desired. For example, at the Meta flow level, the user gets to choose on the ramp up pace of the composition from the slowest to the fastest tempo (vilambit through theevra gati). The user could also choose from a variety of starting and finish characteristics or styles. The length and the qualities of the main body of the composition could be another choice in the menu options; this refers to broader choices of composition styles to include keerthanas, raagam-thaanam-pallavi, devotional and light music styles.
Many templates could be prepared for the Meta flow MAIN SEQ, so that the user could choose from a menu of Meta flows components or the `prepackaged‘ templates. Similarly, many raaga templates may be offered for the user to choose from a long menu list of raaga templates, definable at the lower indenture levels.
I would be open for members of the aalaapana Yahoo virtual team to develop the different sequences and templates to make up the long menu list of choices for the user. Final assembly could be coordinated by some one with good experience in programming as well as music composition. The user interface design is very critical. I would also need team members to compile and test various combinations in the menu; this is like the raaga tasters‘ club!
SEQ Arohana C D E F G A B C SEQ END
SEQ Avarohana C B A G F E D C SEQ END
SEQ TWOUP CD RR DE RR EF RR FG RR GA RR AB RR CC SEQ END
SEQ TWODOWN CB RR BA RR AG RR GF RR FE RR ED RR ED RR DC RR CC SEQ END
SEQ TWO1 RR CD RR SEQ END
SEQ TWO2 RR DE RR SEQ END
Similarly set sequence definitions of SEQTWO3
..SEQTWO7 Similarly set up sequence definitions of SEQTHREE, SEQTHREEN (where N=1 to 7) Similarly set up sequence definitions of SEQNUMBER (where NUMBER = 2 to 7 and go to higher and lower octaves as needed), SEQNUMBERN (Where N=1 to 7 and go to higher and lowers octaves as needed)
SEQ CURVES Here use the characteristic curves (sequence of curves in linear or curvilinear orders) of the raaga, with 2, 3, 4, 5, 6 and 7 swaras in the curve. You can set up sequences for individual curves, combinations (2, 3
. N) of curves. These are basically characteristic groups of curves. SEQ END
SEQ METAX Here you can define the meta flows with many modules of meta flows made up of the sequences defined earlier. Further, you can also create variety of combinations / supersets of Meta flows. X=1 to any number based on the complexity of the composition template created by you. SEQ END
SEQ MAIN P P P . . . P (Each P is followed by the different sequences of choice; any sequence at any indenture or modular level may be used; the different P may have sequences from any modular level with a mix and match option; the modules / indenture levels can range from SEQ AROHANA or SEQ AVAROHANA to the highest Meta level) SEQ END
VOICE ANYINSTRUMENT (any instrument(s) can be selected from the library of sound fonts in Cacophony.) Rhythm and octave selections are available in Cacophony.
The SEQ CURVES and Meta flows METAX really define the `personality or character of your compositions. It is as if the templates get the signature of the musician / musicologist / programmer, further to be played for different compositions in different raagas.
A library of the sequences of different indenture levels built of sequence modules CURVES, and META groups could be prepared. The library could have an inventory of lower indenture level sequence sub modules making up special verticals for different raagas or raaga groups or meLakartha groups. In addition, templates for different type of compositions like keerthana, varNa, raagam-thaanam-pallavi, and thillana could be offered to users in the choice menu. After a template is selected by the users, they may also choose a raaga. If the user does not know how to choose a raaga, a further menu help is provided to choose by mood, or other group, so that they user can try the different raagas, before finalizing their choice. Based on the raaga, the template is used for the Meta flow and it is assembled with the lower indenture level sequences specific to the selected raaga.
Murthy‘s Promise: I promise to be creative in every task; otherwise, I would rather be mischievous!
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