WORLD RHYTHMS
Issue 10. Winter 2007
North Indian Raga Applied to Contemporary Music
===============================================
Welcome to the text only edition of the World Rhythms News, an
infrequent newsletter dedicated to world music education. This issue
is dedicated to Hindustani raga, which is the melodic basis for the
classical music of northern India, Pakistan, Nepal, and Bangladesh.
Due to its content, this particular issue only is also being sent to
subscribers to the Northern California, Indian Subcontinent, and
Uknown Area editions of the Ancient Future News.
=================
North Indian Raga
=================
A raga is a melodic recipe for a mood. In Hindustani music, each raga
has certain moods associated with it, and usually has a specific time
of day and/or season in which it is meant to be played. Raga could be
described as a "super scale" using a set of notes in ascending (arohi)
and descending (avarohi) order, sometimes including prescribed
alternate or zig zag routes (vakra chal), a hierarchy of note
importance including king notes (vadi) and prime minister notes
(samvadi) a fourth or fifth apart, and a key phrase that shows the
heart of the movement of the raga (pakar).
This ancient system is both an art and a science of how musical notes
create certain moods. Western music also recognizes that note order
and hierarchy create a mood, with some theory texts noting that songs
in major keys tend to communicate happiness while songs in minor keys
show a feeling of sadness. But the rags show precisely how to create a
specific mood. The recipe for each raga holds the key to an unlimited
number of potential melodies, each perpetuating the mood contained in
the raga, but each a unique work of art.
Study of this system can be of great benefit to any composer or
improvising musician.
======
Sargam
======
Indian raga uses a system of solfeggio called sargam. There are seven
note names per octave, just as in the Western "do re mi fa so la ti
do" system, starting with "sa," the tonic note that is also the main
drone note. Indian music does not utilize the concept of "perfect
pitch" where absolute note values are recognized. Sa can be set to any
note, and is normally set to the most convenient place for the
instrumentalist or vocalist. For example, a sitar is normally tuned
with sa at a Western equivalent near C# or D because that is the most
practical place for that instrument. The other notes are then found in
relationship to sa.
Sargam: Sa Re Ga Ma Pa Dha Ni Sa
Scale degree: 1 2 3 4 5 6 7 8
If sa is D: D E F# G A B C# D
Just as in Western music, there are 12 main tones per octave, but
there are also microtonal ornaments similar to the use of quarter
tones in the blues. Indian raga uses a non-tempered tuning system
where Sa and Pa are tuned a perfect just fifth apart. The other notes
are close to the Western just tuning system, but the tuning of
individual notes can vary from raga to raga.
The note name system is much less confusing than the interval system
in use in Western music. Each scale degree needs only one name because
ragas do not change key. The word komal is used for the minor or flat
version of a note, shuddh means natural or major, and tivra
corresponds to sharp or augmented. Sa (1) and pa (5) cannot be
modified. Re (2), ga (3) dha (6) and ni (7) can be either shuddh
(normal or natural, corresponding to the Western major intervals) or
komal (flat, corresponding to the Western minor intervals). Ma (4) can
only be shuddh (the natural perfect 4th) or tivra (sharp,
corresponding to the Western augmented fourth).
The main 12 tones are notated in sargam as follows:
S r R g G m M
sa komal re shuddh re komal ga shuddh ga shuddh ma tivra ma
perf 1 minor 2 major 2 minor 3 major 3 perfect 4 aug 4
.
P d D n N S
pa komal dha shuddh dha komal ni shuddh ni sa
perf 5 minor 6 major 6 minor 7 major 7 perf 8
A dot is added above a note to indicate an octave higher, and a dot is
added below a note to indicate an octave lower. The modifying words
"shuddh, komal, and tivra" are not sung as part of the sargam system,
but are used in instruction for clarification purposes. One learns to
know whether a note is shuddh, komal, or tivra by how it sounds.
Learning the sargam system is a great aid to developing excellent
relative pitch skills.
============
Raga Example
============
As an introduction to the raga concept for Western improvisors, we
will examine Rag Alhaiya Bilawal, the raga that Ancient Future leader
Matthew Montfort's popular composition "Dawn of Love" is based on.
Rag Alhaiya Bilawal
Time: late morning (9 am-noon)
Moods: sringar (joy and love), karuna (pathos, compassion, sadness)
Vadi (king note): Dha (major 6)
Samvadi (prime minister note): Ga (major 3)
Vadi-Samvadi (king and prime minister notes, listen via MIDI):
http://www.ancient-future.com/midi/vadi.mid
View sheet music: http://www.ancient-future.com/images/vadisamvadi.gif
Pakar (heart phrase, listen via MIDI):
http://www.ancient-future.com/midi/pakar.mid
View sheet music: http://www.ancient-future.com/images/pakar.gif
Arohi-Avarohi (ascending and descending, listen via MIDI):
http://www.ancient-future.com/midi/arohi.mid
View sheet music:
http://www.ancient-future.com/images/arohiavarohi.gif
Alhaiya Bilawal is the most commonly known raga of the Bilawal group
of ragas, which are based on the same intervals found in the major
scale. Bilawal is portrayed in ragamala paintings as a lady waiting in
anticipation for her lover to arrive.
Ma, the perfect fourth, is normally omitted in ascent except for when
it is used in an oblique manner. Komal ni, the minor seventh, is only
used in descent in an oblique manner, as shown in the avarohi for the
raga, where it appears sandwiched between two major sixths (dha).
=================
Asthai and Antara
=================
Written late one morning after practicing Alhaiya Bilawal as taught by
Ali Akbar Khan, the following melody illustrates the concepts of
asthai and antara. The asthai is the primary theme, similar to the
refrain in Western music, and is usually performed in the middle
register. The antara is the second, higher part of a composition,
showing the upper register. This composition stays fairly close to the
raga (even using the heart phrase intact), but yet exploits the
natural tendencies of the guitar as well. It is an example of how
ragas contain compositions just waiting to be discovered.
Dawn of Love (composition showing asthai and antara, listen via MIDI):
http://www.ancient-future.com/midi/dawn.mid
View sheet music: http://www.ancient-future.com/images/dawnlove.gif
====================================================
Guitar-Sitar Jugalbandi Performance of Dawn of Love
====================================================
Play Video: http://www.youtube.com/watch?v=GDJet-KlQLU
Play Audio Only:
http://www.jukeboxalive.com/audio_play_off...amp;skin=329644
"Jugalbandi" is a classical North Indian musical duet (literally "tied
together"), in this case with the unusual configuration of sitar and
guitar accompanied by tabla. This performance of "Dawn of Love" was
rendered by the Guitar-Sitar Jugalbandi variation of Ancient Future
featuring Pandit Habib Khan on sitar, Matthew Montfort on scalloped
fretboard guitar, and Arshad Syed on tabla. It is an example of how
the melodic elements of raga can be used in contemporary concert
situations where it may not be feasible to explore one raga for an
hour or so. The performance does not employ the full traditional
unfolding form of Hindustani classical music: alap (the first section
in which the notes of the raga are introduced and explored without
rhythmic accompaniment), jor (second section included in or succeeding
the alap, in rhythm, but without fixed meter), and jhala (the last
section played with rapid strokes in a fast rhythm before the tabla
enters), followed by a slow gat (fixed instrumental composition
following the alap, jor and jhala, that signals the tabla player to
join the performance), a fast gat and jhala (this time with tabla
accompaniment). Instead here there is simply an introduction without
tabla accompaniment (a loosely defined alap) by each melodic
instrument followed by the main melody (gat) and solos with tabla
accompaniment. The compositional form used here as closely resembles
that of a jazz standard as it does that of Hindustani classical music.
Interestingly, in this performance Montfort stays within the notes of
the raga in his solo improvisations, while Pandit Habib Khan was moved
to briefly explore a blues scale during his solo (from 6:02 to 6:33).
=================================================
Ancient Future Guitar-Sitar Jugalbandi in Concert
Larkspur Cafe Theatre March 31, 2007
=================================================
Saturday, March 31, 2007, 8:00 pm (doors open at 7:30)
Guitar-Sitar Jugalbandi
featuring Matthew Montfort (scalloped fretboard guitar, Glissentar),
Pandit Habib Khan (sitar), Arshad Syed (tabla, santur)
Larkspur Cafe Theatre
500 Magnolia Ave., Larkspur, CA, 94939
Adm: $22 adv. Tix: Larkspur Cafe Theatre Box Office, online at
http://www.larkspurcafetheatre.com or charge by phone at 415-924-6107.
Print poster: http://www.ancient-future.com/pdf/03_31_07.pdf
=================================================================
Additional music featuring Pandit Habib Khan and Matthew Montfort
=================================================================
The audio below is the song "Socha Socha" (Composed by Khan/Montfort),
which is this ensemble configuration's contribution to the Planet
Passion CD by Ancient Future:
http://www.jukeboxalive.com/player/cal_cus...tfuture_members
Purchase Planet Passion CD (Ancient-Future.Com AF 2001): $17.98 Buy 1
Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
iTunes:
http://phobos.apple.com/WebObjects/MZStore...yListId=6736242
=============
Further Study
=============
For further study of raga, a good next step is "The Raga Guide: A
Survey of 74 Hindustani Ragas" on Nimbus Records, which is basically a
raga fake book complete with CDs featuring performance examples.
Studying with a master Hindustani musician is also highly recommended.
For an explanation of tala, the recurring time-measure or rhythmic
cycle employed in Hindustani music, see World Rhythms Issue 8: North
Indian Tala (http://www.ancient-future.com/worldrhythms8.html). Play
close attention to the 8 beat folk tala, keharwa, that the "Dawn of
Love" melody is set in.
A good resource for learning North and South Indian rhythm is the book
"Ancient Traditions--Future Possibilities: Rhythmic Training Through
the Traditions of Africa, Bali, and India." The above rhythms are from
the audio guide tracks to this "world beat bible" by Matthew Montfort,
leader of the popular world fusion music ensemble, Ancient Future. The
book takes the student on a musical voyage through the traditions of
Africa, Bali, and India with a series of exercises that require no
instruments to perform. A must-have for all students of world music:
Ancient Traditions -- Future Possibilities: Rhythmic Training Through
the Traditions of Africa, Bali and India. By Matthew Montfort. Mill
Valley: Panoramic Press, 1985. ISBN 0-937879-00-2. Spiral Bound Book,
$29.95. Buy 1 Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
Book/Enhanced 2 Audio CD Set with MIDI Soundfiles:$52.95 (SALE!
Normally $74.95). Buy 1 Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
The rhythms are now also available in audio format:
Ancient Rhythms--Future Grooves: MIDI Percussion Groove Tracks from
the Traditions of Africa, Bali, and India PLUS Complete 2 CD Set of
Audio Guide Tracks. By Matthew Montfort. Kentfield: Ancient Future
Music (2005). Companion 2 Volume Enhanced Audio CD set with MIDI
Soundfiles, 27.95 (SALE! Normally $39.95). Buy 1 Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
This two CD/CD-ROM set of audio tracks and MIDI files helps reinforce
the material in the book and insures practicing correctly and in
rhythm. Volume I and covers the exercises in the West Africa and Bali
chapters of the book. Volume II covers the exercises in the India and
Future Possibilities chapters. The General MIDI sound files of the
exercises in the book can be used with a web browser for playback, or
can be loaded into a MIDI sequencer for greater control. The CD-ROM
even includes MIDI maps of West African, Balinese, and Indian
percussion sound assignments enable custom re-mapping to your patches
and instructions to turn your sequencer into a tabla machine using
VSTi plug-ins and included tabla samples.
All compositions, recordings, video, and text in this article are ©,
Patent 2007 Ancient Future Music. All rights reservered.
Ancient Future · P.O. Box 264 · Kentfield · CA · 94914
Issue 10. Winter 2007
North Indian Raga Applied to Contemporary Music
===============================================
Welcome to the text only edition of the World Rhythms News, an
infrequent newsletter dedicated to world music education. This issue
is dedicated to Hindustani raga, which is the melodic basis for the
classical music of northern India, Pakistan, Nepal, and Bangladesh.
Due to its content, this particular issue only is also being sent to
subscribers to the Northern California, Indian Subcontinent, and
Uknown Area editions of the Ancient Future News.
=================
North Indian Raga
=================
A raga is a melodic recipe for a mood. In Hindustani music, each raga
has certain moods associated with it, and usually has a specific time
of day and/or season in which it is meant to be played. Raga could be
described as a "super scale" using a set of notes in ascending (arohi)
and descending (avarohi) order, sometimes including prescribed
alternate or zig zag routes (vakra chal), a hierarchy of note
importance including king notes (vadi) and prime minister notes
(samvadi) a fourth or fifth apart, and a key phrase that shows the
heart of the movement of the raga (pakar).
This ancient system is both an art and a science of how musical notes
create certain moods. Western music also recognizes that note order
and hierarchy create a mood, with some theory texts noting that songs
in major keys tend to communicate happiness while songs in minor keys
show a feeling of sadness. But the rags show precisely how to create a
specific mood. The recipe for each raga holds the key to an unlimited
number of potential melodies, each perpetuating the mood contained in
the raga, but each a unique work of art.
Study of this system can be of great benefit to any composer or
improvising musician.
======
Sargam
======
Indian raga uses a system of solfeggio called sargam. There are seven
note names per octave, just as in the Western "do re mi fa so la ti
do" system, starting with "sa," the tonic note that is also the main
drone note. Indian music does not utilize the concept of "perfect
pitch" where absolute note values are recognized. Sa can be set to any
note, and is normally set to the most convenient place for the
instrumentalist or vocalist. For example, a sitar is normally tuned
with sa at a Western equivalent near C# or D because that is the most
practical place for that instrument. The other notes are then found in
relationship to sa.
Sargam: Sa Re Ga Ma Pa Dha Ni Sa
Scale degree: 1 2 3 4 5 6 7 8
If sa is D: D E F# G A B C# D
Just as in Western music, there are 12 main tones per octave, but
there are also microtonal ornaments similar to the use of quarter
tones in the blues. Indian raga uses a non-tempered tuning system
where Sa and Pa are tuned a perfect just fifth apart. The other notes
are close to the Western just tuning system, but the tuning of
individual notes can vary from raga to raga.
The note name system is much less confusing than the interval system
in use in Western music. Each scale degree needs only one name because
ragas do not change key. The word komal is used for the minor or flat
version of a note, shuddh means natural or major, and tivra
corresponds to sharp or augmented. Sa (1) and pa (5) cannot be
modified. Re (2), ga (3) dha (6) and ni (7) can be either shuddh
(normal or natural, corresponding to the Western major intervals) or
komal (flat, corresponding to the Western minor intervals). Ma (4) can
only be shuddh (the natural perfect 4th) or tivra (sharp,
corresponding to the Western augmented fourth).
The main 12 tones are notated in sargam as follows:
S r R g G m M
sa komal re shuddh re komal ga shuddh ga shuddh ma tivra ma
perf 1 minor 2 major 2 minor 3 major 3 perfect 4 aug 4
.
P d D n N S
pa komal dha shuddh dha komal ni shuddh ni sa
perf 5 minor 6 major 6 minor 7 major 7 perf 8
A dot is added above a note to indicate an octave higher, and a dot is
added below a note to indicate an octave lower. The modifying words
"shuddh, komal, and tivra" are not sung as part of the sargam system,
but are used in instruction for clarification purposes. One learns to
know whether a note is shuddh, komal, or tivra by how it sounds.
Learning the sargam system is a great aid to developing excellent
relative pitch skills.
============
Raga Example
============
As an introduction to the raga concept for Western improvisors, we
will examine Rag Alhaiya Bilawal, the raga that Ancient Future leader
Matthew Montfort's popular composition "Dawn of Love" is based on.
Rag Alhaiya Bilawal
Time: late morning (9 am-noon)
Moods: sringar (joy and love), karuna (pathos, compassion, sadness)
Vadi (king note): Dha (major 6)
Samvadi (prime minister note): Ga (major 3)
Vadi-Samvadi (king and prime minister notes, listen via MIDI):
http://www.ancient-future.com/midi/vadi.mid
View sheet music: http://www.ancient-future.com/images/vadisamvadi.gif
Pakar (heart phrase, listen via MIDI):
http://www.ancient-future.com/midi/pakar.mid
View sheet music: http://www.ancient-future.com/images/pakar.gif
Arohi-Avarohi (ascending and descending, listen via MIDI):
http://www.ancient-future.com/midi/arohi.mid
View sheet music:
http://www.ancient-future.com/images/arohiavarohi.gif
Alhaiya Bilawal is the most commonly known raga of the Bilawal group
of ragas, which are based on the same intervals found in the major
scale. Bilawal is portrayed in ragamala paintings as a lady waiting in
anticipation for her lover to arrive.
Ma, the perfect fourth, is normally omitted in ascent except for when
it is used in an oblique manner. Komal ni, the minor seventh, is only
used in descent in an oblique manner, as shown in the avarohi for the
raga, where it appears sandwiched between two major sixths (dha).
=================
Asthai and Antara
=================
Written late one morning after practicing Alhaiya Bilawal as taught by
Ali Akbar Khan, the following melody illustrates the concepts of
asthai and antara. The asthai is the primary theme, similar to the
refrain in Western music, and is usually performed in the middle
register. The antara is the second, higher part of a composition,
showing the upper register. This composition stays fairly close to the
raga (even using the heart phrase intact), but yet exploits the
natural tendencies of the guitar as well. It is an example of how
ragas contain compositions just waiting to be discovered.
Dawn of Love (composition showing asthai and antara, listen via MIDI):
http://www.ancient-future.com/midi/dawn.mid
View sheet music: http://www.ancient-future.com/images/dawnlove.gif
====================================================
Guitar-Sitar Jugalbandi Performance of Dawn of Love
====================================================
Play Video: http://www.youtube.com/watch?v=GDJet-KlQLU
Play Audio Only:
http://www.jukeboxalive.com/audio_play_off...amp;skin=329644
"Jugalbandi" is a classical North Indian musical duet (literally "tied
together"), in this case with the unusual configuration of sitar and
guitar accompanied by tabla. This performance of "Dawn of Love" was
rendered by the Guitar-Sitar Jugalbandi variation of Ancient Future
featuring Pandit Habib Khan on sitar, Matthew Montfort on scalloped
fretboard guitar, and Arshad Syed on tabla. It is an example of how
the melodic elements of raga can be used in contemporary concert
situations where it may not be feasible to explore one raga for an
hour or so. The performance does not employ the full traditional
unfolding form of Hindustani classical music: alap (the first section
in which the notes of the raga are introduced and explored without
rhythmic accompaniment), jor (second section included in or succeeding
the alap, in rhythm, but without fixed meter), and jhala (the last
section played with rapid strokes in a fast rhythm before the tabla
enters), followed by a slow gat (fixed instrumental composition
following the alap, jor and jhala, that signals the tabla player to
join the performance), a fast gat and jhala (this time with tabla
accompaniment). Instead here there is simply an introduction without
tabla accompaniment (a loosely defined alap) by each melodic
instrument followed by the main melody (gat) and solos with tabla
accompaniment. The compositional form used here as closely resembles
that of a jazz standard as it does that of Hindustani classical music.
Interestingly, in this performance Montfort stays within the notes of
the raga in his solo improvisations, while Pandit Habib Khan was moved
to briefly explore a blues scale during his solo (from 6:02 to 6:33).
=================================================
Ancient Future Guitar-Sitar Jugalbandi in Concert
Larkspur Cafe Theatre March 31, 2007
=================================================
Saturday, March 31, 2007, 8:00 pm (doors open at 7:30)
Guitar-Sitar Jugalbandi
featuring Matthew Montfort (scalloped fretboard guitar, Glissentar),
Pandit Habib Khan (sitar), Arshad Syed (tabla, santur)
Larkspur Cafe Theatre
500 Magnolia Ave., Larkspur, CA, 94939
Adm: $22 adv. Tix: Larkspur Cafe Theatre Box Office, online at
http://www.larkspurcafetheatre.com or charge by phone at 415-924-6107.
Print poster: http://www.ancient-future.com/pdf/03_31_07.pdf
=================================================================
Additional music featuring Pandit Habib Khan and Matthew Montfort
=================================================================
The audio below is the song "Socha Socha" (Composed by Khan/Montfort),
which is this ensemble configuration's contribution to the Planet
Passion CD by Ancient Future:
http://www.jukeboxalive.com/player/cal_cus...tfuture_members
Purchase Planet Passion CD (Ancient-Future.Com AF 2001): $17.98 Buy 1
Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
iTunes:
http://phobos.apple.com/WebObjects/MZStore...yListId=6736242
=============
Further Study
=============
For further study of raga, a good next step is "The Raga Guide: A
Survey of 74 Hindustani Ragas" on Nimbus Records, which is basically a
raga fake book complete with CDs featuring performance examples.
Studying with a master Hindustani musician is also highly recommended.
For an explanation of tala, the recurring time-measure or rhythmic
cycle employed in Hindustani music, see World Rhythms Issue 8: North
Indian Tala (http://www.ancient-future.com/worldrhythms8.html). Play
close attention to the 8 beat folk tala, keharwa, that the "Dawn of
Love" melody is set in.
A good resource for learning North and South Indian rhythm is the book
"Ancient Traditions--Future Possibilities: Rhythmic Training Through
the Traditions of Africa, Bali, and India." The above rhythms are from
the audio guide tracks to this "world beat bible" by Matthew Montfort,
leader of the popular world fusion music ensemble, Ancient Future. The
book takes the student on a musical voyage through the traditions of
Africa, Bali, and India with a series of exercises that require no
instruments to perform. A must-have for all students of world music:
Ancient Traditions -- Future Possibilities: Rhythmic Training Through
the Traditions of Africa, Bali and India. By Matthew Montfort. Mill
Valley: Panoramic Press, 1985. ISBN 0-937879-00-2. Spiral Bound Book,
$29.95. Buy 1 Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
Book/Enhanced 2 Audio CD Set with MIDI Soundfiles:$52.95 (SALE!
Normally $74.95). Buy 1 Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
The rhythms are now also available in audio format:
Ancient Rhythms--Future Grooves: MIDI Percussion Groove Tracks from
the Traditions of Africa, Bali, and India PLUS Complete 2 CD Set of
Audio Guide Tracks. By Matthew Montfort. Kentfield: Ancient Future
Music (2005). Companion 2 Volume Enhanced Audio CD set with MIDI
Soundfiles, 27.95 (SALE! Normally $39.95). Buy 1 Now:
http://ancient-future.com/miva?/Merchant2/...&Quantity=1
This two CD/CD-ROM set of audio tracks and MIDI files helps reinforce
the material in the book and insures practicing correctly and in
rhythm. Volume I and covers the exercises in the West Africa and Bali
chapters of the book. Volume II covers the exercises in the India and
Future Possibilities chapters. The General MIDI sound files of the
exercises in the book can be used with a web browser for playback, or
can be loaded into a MIDI sequencer for greater control. The CD-ROM
even includes MIDI maps of West African, Balinese, and Indian
percussion sound assignments enable custom re-mapping to your patches
and instructions to turn your sequencer into a tabla machine using
VSTi plug-ins and included tabla samples.
All compositions, recordings, video, and text in this article are ©,
Patent 2007 Ancient Future Music. All rights reservered.
Ancient Future · P.O. Box 264 · Kentfield · CA · 94914
