Terminology in Indian Classical Music
Navigating the Notes
The rich history and intricate structures of Hindustani and Carnatic music, as discussed in the Fundamentals of Indian Classical Music, boast a unique vocabulary. Understanding these terms is essential for appreciating the depth and artistry of this captivating tradition. So, let’s embark on a linguistic journey to explore some key terminology used in Indian classical music.
Swara (Notes): The foundation of melody lies in the seven notes (Swara) – Sa, Re, Ga, Ma, Pa, Dha, and Ni – that correspond roughly to the respective notes in the Western solfege system – Do, Re, Mi, Fa, Sol, La, and Ti.
Shruti (Microtones): Unlike Western music with its fixed intervals, Indian music incorporates Shruti, the subtle variations in pitch between the seven notes. These microtones add depth, emotional intensity, and a distinct character to the music.
Gamaka (Embellishments): The beauty of Indian classical music lies in its ornamentation. Gamaka refers to the use of grace notes, slides, vibrato, and other techniques that add expressive flourishes to the melody. These embellishments breathe life into a Raag and allow the musician to play with emotions and evoke vivid imagery.
Raag (Melodic Framework): The Raag, literally translating to “mood” or “color,” is the heart and soul of Indian classical music. It’s not just a scale; it’s a defined melodic framework that dictates the character of a piece. Each Raag has a specific set of notes (swara), a characteristic sequence of ascending (Arohana) and descending (Avarohana) movements, and prescribed emotional qualities (Rasa). A well-developed Raag can evoke a range of emotions, from serenity (Shanti) to joy (Aananda), or even sorrow (Karuna) to valor (Veer).
Taal (Rhythmic Cycle): While Raag governs melody, the Taal dictates the rhythmic framework of the music. It’s a system of beats and cycles played on percussion instruments like the Tabla or the Mridangam. The Taal provides a foundation for improvisation within the Raag, creating a captivating interplay between melody and rhythm.
Aalap (Improvisational Exploration): Aalap is the slow, introductory section of a performance where the musician explores the nuances of a chosen Raag. It allows the musician to establish the mood and gradually introduce the listener to the melodic intricacies of the Raag.
Taan (Fast Passages): Following the Alap, the musician might present Taan, which are fast-paced melodic passages showcasing their virtuosity and improvisational skills. Taan can be played on a single note or weave through the various notes of the Raag.
Swara (Syllables for Notes): While singing, musicians often use Swara, which are mnemonic syllables associated with each note (Sa, Re, Ga, Ma, Pa, Dha, Ni). This system helps with vocalization and improvisation.
Mridangam & Tabla (Percussion Instruments): These are the two main percussion instruments used in Indian classical music. The Mridangam, a South Indian drum, provides rhythmic accompaniment in Carnatic music. The Tabla, a set of paired drums, is used in Hindustani music.
Theka (Basic Rhythmic Pattern): The Theka is the basic rhythmic pattern played on the Tabla or Mridangam within a specific Taal. It serves as a foundation for improvisation and keeps the time for the melodic performance.
Gharana (Style/School): Indian classical music, particularly Hindustani, has evolved into distinct Gharanas or styles passed down through generations. Each Gharana has its unique interpretation of Raags and presentation techniques.
By familiarizing yourself with this terminology, you’ll gain a deeper appreciation for the artistry and intricacies of Indian classical music. So, lets delve into the world of Raags, Taals, and the captivating sounds of this ancient tradition.
In forthcoming articles, we will explore in detail the subjects like Melodic Forms, Gharanas and Renowned Artists of Hindustani Music as well as the Structure, Vaggeyakaras and Eminent Artists of Carnatic Music.