RAAG PARICHAY PDF

Raag Darbari Kanada The Language of Music One of my favorite things about Indian classical music is that you learn it very much the way you would learn a language. In Indian classical music, once you have learned the basic notes, you are introduced to ragas which are like musical themes , and then you are encouraged to start improvising and making your own melodies. A performance must have a clear structure, it must feature certain elements, it must progress coherently, attain climax, and be brought to a conclusion, and it must measure up to certain standards. Achieving all that takes many decades of study and training, and only rarely will you find an artist who can be taken seriously before the age of

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Raag Darbari Kanada The Language of Music One of my favorite things about Indian classical music is that you learn it very much the way you would learn a language. In Indian classical music, once you have learned the basic notes, you are introduced to ragas which are like musical themes , and then you are encouraged to start improvising and making your own melodies.

A performance must have a clear structure, it must feature certain elements, it must progress coherently, attain climax, and be brought to a conclusion, and it must measure up to certain standards. Achieving all that takes many decades of study and training, and only rarely will you find an artist who can be taken seriously before the age of Raga also "raag" and Raga Performance Superficially, a raga can be thought of as a scale — a musical theme created by choosing a specific set of notes from within an octave.

Music has the power to move us because it can speak to our deepest emotions through the moods it creates. Different sets of notes evoke different moods and inspire different feelings. Here are a few examples. About five hundred ragas are known or known of including historical ragas today. Sometimes ragas die out if people stop performing them, but then new ragas are born all the time, and some of them endure. So, the number of ragas is not fixed.

Students first learn all the important ragas, then spend many years mastering the ragas of their choice. Here is an analogy to help you visualize a raga. If you think of the octave as being like the light spectrum, the musical notes would be like the colors in the spectrum, and ragas would be like color schemes.

By restricting yourself to only a few of the colors in the spectrum, you get a ready-made theme to work with. Say you choose a color scheme including violet, indigo, green, yellow, and red. You could come up with any number of creative ideas for how to combine these colors for a beautiful effect. Every time you paint with this color scheme, the result could be something different. Give the same color scheme to someone else, and they would add their own imagination to the equation and create a whole new dimension of variety.

The possibilities of what can be done with any given color scheme are endless, and yet, all paintings in that color scheme would share an easily recognizable underlying quality that is distinct from paintings based on other color schemes. And that is how it is with a raga. All Indian classical music performances are presentations of one raga or another just search "raag" on YouTube, and it will give you over a million hits, mostly classical music performances.

An artist chooses a raga, which is the musical equivalent of a color scheme, and proceeds to paint a musical picture based on that raga for the audience. A performance can go on for well over an hour and is spontaneously improvised for the most part. The only precomposed portions are the refrains, which provide a structural framework for the performance.

Defining "Classical Music" in the Indian Context Many of the Indian classical ragas are derived from but much more evolved versions of folk tunes from various parts of India, and many of the popular and light-classical music forms in India are based on classical music, so how does one distinguish between classical and folk or popular music?

Folk tunes tend to be simple and repetitive even when they are lively and colorful. Rajasthani folk music vocal Genre: Folk Popular music forms may be based on ragas to a greater or lesser extent or borrow ornamentation techniques from classical music, but they are almost always precomposed and orchestrated, with lyrics and background music playing almost as prominent a role as the main melody line. Khilte hain gul yahan by Kishore Kumar Loosely based on Raag Dhani Genre: Popular movie song Semi-classical and light classical performances are like classical performances in that they involve considerable improvisation and minimal instrumental accompaniment.

The difference is that they are less complex and much shorter than serious classical performances. They also usually feature lighter ragas. Kaushiki Chakrabarty vocal Raag Mishra Charukeshi Genre: Semi-classical Thumri Classical music performances showcase the heights of musical creativity achieved by individuals through decades of rigorous training and discipline.

They are always extemporaneous and involve only rudimentary lyrics mainly featuring as refrains and the barest minimum of instrumental accompaniment tabla for rhythm, tanpura for harmonic resonance. Some unassuming melodic instrument may also be used to shadow the main artist as best as possible and fill the gaps when the main artist needs to stop for breath or a drink of water. The performance by Ravi Shankar below is set against the backdrop of Raag Pilu but features small samples of a number of other ragas weaving in and out deftly.

Ravi Shankar sitar Raag Mishra Pilu Genre: Classical It is also important to recognize that there are two distinct traditions of classical music in India.

Both the traditions have a common origin but have grown apart over the centuries and developed very distinct styles. This website mainly focuses on Hindustani classical music, but here is an example of Carnatic classical music. Subbulakshmi vocal.

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Rasa its emotive value Pakar its catch phrase Hints: Any special hints for keeping the swaroop image of the raga unique. Certain ragas have similar movements. Arohi - Ascending scale 2. Avarohi - Descending scale Now the first thing you should do is to play this on whichever instrument you are trying to learn. Use the full range of your instrument. Singers should try to use the full gamut of their voice. It gets a little addicting :- By all means keep singing or playing as long as you can bear it.

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