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to the electronic synthesizer keyboard. The important difference is that you can - and do play the electronic keyboard with your LEFT hand also; but for harmonium, your left hand is used in pumping the bellows to force air under pressure into the inside of the harmonium. In keyboard our left hand is used for chords. An ordinary keyboard is sufficient to master all the lessons that will follow. If you already have a keyboard, you do not need to buy anything else as of now. For solo performances, you can use a synthesizer keyboard or a harmonium, depending upon your taste, convenience and availability. Harmonium traditionally suits better for accompaniment during performance of Ghazals, Thumri, Indo Pakistani classical music, and some other types of Indian music. For accompaniment to movie songs, and all varieties of songs, the synthesizer keyboard is the preferred choice. Keyboard offer a wide variety of instrument sounds. Types of keyboards are given below: Chordophones • • • • •
Clavichord Electric piano Piano Clavinet
Aerophones • • • • •
Accordion Harmonium Pipe organ Reed organ
Electrophones • • • • •
Electronic keyboard Electronic piano Music workstation Synthesizer
In a keyboard the instrument sound you choose is called a voice. Before you play a song, choose a voice that you like. Practice selecting different voices, and remember the setting for the ones you prefer. Look your keyboard owner's manual to help you. When you play the songs you can use any sound you wish. The rhythm controls provide drum beats to play along with. These rhythm beats are also called styles. The drum rhythms or kits can be changed to suit the kind of song. If you have a keyboard equipped with floppy drive or flash usb media then you may copy rhythm styles in your keyboard which can be played using user style button. Melody keys are used to play the tune by right hand. The chord keys are used to play along with the melody with your left hand. Chords make the song sound full and harmonic. If you do not know how to play chords then you may use auto chord accompaniment.
Learning Keyboard in Desi Style
The article here is to teach you keyboard in Desi Style and in the end you will be able to play Indian and Pakistani raga based film songs. Harmonium, keyboard and synthesizer keyboard are taken to mean the same thing, and are called simply the "keyboard". The notations are used to describe the keys on the keyboard: In our lessons for convenience, the reference note, called the tonic or the Sa, is assumed to be the first black key, indicated by the letter "S". If you want to sing-along music then you may assign any key as "Sa", according to your voice scale. In this article the fingering system of keyboard and harmonium is kept same so, that we will be able to play both instruments. Most people who play harmonium find keyboard difficult due to different finger assignments. Some musicians use first white key as starting or reference note (Sa) but we will use first black key as our starting reference note for quick learning..
Keyboard And Computer Music
Music can be defined as collection of small pieces of regular sound played at predefined time interval. It is the small water droplets that make the ocean, likewise music is also an ocean that is made up of small parts, it is called a “note”. An ingenious collection of these notes played over a period of time results in a melody which could be a Mehdi Hassan or A . Rahman song. Hence both western and Indian music has a set of basic notes from which they grow, something like alphabets. There is new concept evolving called “computer music” where a musician explores beyond the basic notes that are defined in music. In cubase it is possible to explore beyond basics. Today almost all the keyboards are computerized and produce MIDI music. MIDI means musical instruments digital interface. Midi music is editable in computer or in MIDI keyboards and midi music can be produced with 16 individual tracks of different
instruments. Let us see more on Notes. “Notes” what are they? Note can be technically explained as a sound frequency. Actually the sound that is produced when you press a key on musical keyboard is called as “NOTE”. It does not matter if you press the white key or the black key. Each key plays a predefined frequency. A frequency is number of cycles per second. The note gets its shape by the amount of time you hold down the key and release it. This is called the note length or duration. Hence to make a “tune” or a “melody” or “song” you should play a bunch of these notes at proper duration and length.
Western Music Notes Verses Indian
Indian classical music has 7 basic notes (Sa Re Ga Ma Pa Dha Ni), with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and inter-tonal gaps may also vary. Before we can learn how to play scales chords and various progressions it is vital that we learn the notes on keyboard or harmonium and how they relate to each other. The best way to describe the notes on the keyboard is by comparing them to the notes of the alphabets. The first seven notes of the keyboard are ( A - B - C - D -E - F - G ). Each note differ with each other in sound. Notice that the seven notes of keyboard repeat themselves over and over again. The notes sounds the same but the pitch differs. For example if you play C and move to the right until you find the next C, you will notice that if you play them simultaneously, both notes sounds the same but one is higher than the other. It is a well-known fact that Indian music is based on melody and Western Music on Harmony. This does not mean that Western Music does not include melody. In western music, the harmonizing effect of different instruments and voices given to a certain melody plays the important role. In a similar manner in Indian music the melody has an upper hand. Usually, it is said and believed that harmony doesn’t play a role in Indian music. But, to my way of understanding, harmony is equally important in Indian classical music performance though, not the way it is used in western music. In Indian music the harmony effect is a steady continuous drone effect created usually by a ‘Taanpura’.
Please read carefully:
Middle C marks the center of the keyboard. As you will notice the C major is the easiest and simplest scale of the twelve. It consists all the white keys from any starting C to the next octave C. A standard semi professional music keyboard has 48 keys. You will see 4 sets of 12 keys. This 12 set of notes is technically called an octave. Why 12, why not 13?, Good question. The aim of this article is to keep it simple; Western is based on logarithmic division. You can start playing Indian or Pakistani song from any note and starting note will always become our reference note or Sa. Remaining notes will be arranged according to thaat or scale of the song. It is more easy to start our Hindi scale or thaat from first black key. In western music also, fifth note from C is as 5th . In Indian music “Sa” note is based on your reference note or the key you selected for starting point as Sa. We can further go in deep by playing song in raga of that particular thaat. In the western music system the “C note” itself does not change and “scales” denotes the pitch changes. Western music system has an “absolute” naming for the keys whereas in Indian the notation is “relative. Desi music have combined both. In the seven tone-scale the second, third, fourth, sixth, and seventh notes can be sharp or flat, making up the twelve notes in the Western scale. However, ragas can specify microtonal changes to this scale: a flatter second, a sharper seventh, and so forth. Furthermore, such variations can occur between styles, performers or simply follow the mood of the performer. In Indian music there is no absolute pitch; instead, each performance simply picks a ground note, and the other scale degrees follow relative to the ground note. Note: “Sa” does not “map” always onto “C”. It could start at F and still form a S R G M P D N scale in which case the corresponding western notes also change. Presently you may relate the “Sa” of Indian to “C” of Western which is fortunately identical to each other . A scale is a set of 7 notes in a proper order and intervals. Just remember this, a scale is set of 7 notes with predefined intervals. The distance between each note is called as interval. It is true that scales and ragas are not same. You will learn about ragas in raga section of our book. Apart from having seven different notes, there are not many similarities. There is a huge difference between a scale and raga in tonal quality or the sound density. Raga has many dimensions to it. First, it has an emotional overtone. Just simply going over Sa to Sa can be called as a major scale or Cmaj. Though the notes and intervals are just the same. A raga can have 4 or more notes with intervals. This kind of reduction of notes
The note belonging to the lower octave has an apostrophe to its LEFT. the P in the lower octave is represented as: 'P. for example. The rule of achal. 12x3=36 *In the following diagram 'S means lower octave note ( left side of middle octave) and S' means higher octave note of harmonium or keyboard ( right side of middle octave). for example. First White Key As Our Sa Diagram 1 Fourth Black Key Selected As Our Sa Diagram Lower Octave or Mandar Saptak 'S 'r 'R 'g 'm 'M 'P 'd 'D 'n 'N . the P in the higher octave is represented as: P'. for example. Whereas a note belonging to the middle octave has no sign of apostrophe ( ' ) when represented on the paper. This comes by good practice and understanding of note usage. Thus. Now you will be ready to believe that it is not possible to play Indian songs with only western training. Again. Selection of first note On the keyboard.. and the Taar (higher/upper). the area S through N is called a saptak or an octave. The upper octave is situated to the right of the middle octave and is shown with a sign of apostrophe ( ' ) on the right side of the note. There are three octaves: the Madh (middle). komal and tiver will apply to all three diagrams in this page. The note belonging to the higher octave has an apostrophe to its RIGHT. Desi Style music lessons is the mixture of Western & Indian system. this is clearly shown in the diagram.in a scale is called as modes in western classical music. It is the reason that western music is fast.g. A western trained first-rate musician will be able play a phrase of 1/64 note at a good speed but will find it difficult to play raga without proper training. Experts believe proper training is required to play ragas fluently. The lower octave is situated to the left of the middle and is shown with a sign of apostrophe ( ' ) on the left side of the note. Chords produce harmony. the P of the middle octave is represented simply as: P. The 36 keys represent the notes in all three octaves e. Thus. the Mandar (lower). Indian music is melodic in nature while western music is harmonic in nature.
We can also play melody in chords saptak but the sound of melody will show base sound. It is important that you learn achal. in a harmonium mostly there are three saptak and 36 keys but in a professional keyboard there are four to five saptak and 48-60 keys. a comma ( . Lastly. It should be noted that in both instruments while playing songs you will usually deal with three saptak. n & are shown in small letters. So.Note Numbers Middle Octave or Madh Saptak Note Numbers Higher Octave or Taar Saptak Note Numbers 1 S 1 S' 1 2 r 2 r' 2 3 R 3 R' 3 4 g 4 g' 4 5 6 7 P 7 8 d 8 d' 8 9 D 9 D' 9 10 11 n N 10 11 n' N' 10 11 m M 5 6 m' M' P' 5 6 7 First Black Key Selected As Our Sa Diagram 2 There may be five saptak in a keyboard. In keyboards you will also use chords saptak which is located to the extreme left of keyboard. In keyboards or harmonium most of the songs begin from madh or middle saptak. d. g. The saptak to the left of the keyboard is for playing chords and to the extreme right is one more taar saptak but with very sharp voice.m. Tiver or Sharp Swar: These notes are noted as R. komal and tiver swar we get 12 notes of a complete saptak. Achal. Komal. The chords saptak and extra taar saptak to the right side is not perfect for playing melody.D.N and shown in capital letters. komal and tiver system of 12 music notes of any saptak. and notes of Taar-saptak are succeeded by ( ' ) sign apostrophe. Notes of Mandar saptak are preceded by ( ' ) sign of apostrophe. All notes belong to madh-saptak by default and have no sign of apostrophe.M. In a complete saptak there are 12 notes which are seven white keys and five black keys.G. S r R g G m M P d D n N Achal swar Sa and Pa are also shown in capital letters. To summarize: Achal or Qyme Swar: These notes are notated as S and P (the swar without saathi swar) Komal or Flat Swar: These notes are notated as r. Note: . Tiver Swar: By combining achal. ) represents a pause between notes.
. for convenience. in a or thaat. Sargam means seven notes in ascending and descending order. and back that is. In a saptak there are total 12 keys which consists of 5 black keys and seven white keys as mentioned below: You are going to use only your right hand to play melody on harmonium/keyboard. Ma. You will find that there are sets of 5 black keys on the keyboard. All the 8 notes are always included. Ni There are twelve swar in one saptak because five swar also have their saathi swar. Re. Since there are several sets of 5 black keys. The first white key is that white key which lies immediately to the left of the first black key. Know Your Swars In music there are seven notes in a ‘Sur’ which are Sa. S' N D P M G R S. we have assumed the first white key to be the Sa (S). A thaat is the ascending and descending movements from S R G M P D N S'. The right hand fingers are numbered as follows: The thumb is numbered 1 The index finger is 2 The middle finger is 3 The ring finger is 4 The little finger is numbered 5. Fingers: In western system there are 12 scales while in desi system there are ten thaat. that is. natural. Pa. Ga. For a complete sargam we also include 8th note of the next saptak which is Sa'. But from now we will use black key as our first starting point for Sa (S). Dha. As mentioned earlier in Fig 1. The Achal swars are Sa and Pa. Each set of those 5 black keys is made up of 2 + 3 black keys. in that order. We will always fix our first note from first black key in madh saptak which is easier for sargam practice and playing songs.This arrangement is also for keyboard in which you use your both hands but you use right hand in playing harmonium. In these lessons thaat uses only " first black" key as starting point. Only two swar are called achal swar (fixed swars) because they do not have any saathi swars. there will also be several "first white" keys.
then Komal Ga Then Tiver Ga. The below given notes are shown only for understanding different notes arrangements. Dha. P. Tiver Dha. Ma. KOM = Komal Swars Here starting from first white key as our Sa the arrangement of notes will be as given below:Note : The first note or key just attached after Sa is always Komal Ray. 3. Ga. 5. Then Achal Sa. The reason is this that their saathi swars do not exist. Ma. then Tiver Ray. These tiver and achal swar are represented here as under:- Tiver Swars or Sharp Swars: R. M. . Ni Komal Swars are shown in small letters. Achal D. Komal Komal Komal Komal Komal Re Ga Ma Dha Dha ----------------------------------------r g m d n List of Tiver Saathi Swar of Re. (here S and P is called achal or qyme swar and without komal and tiver saathi swar). Tiver Re Tiver Ga Tiver Ma Tiver Dha Tiver Ni ----------------------------------------R G M D N Achal or Qyme Swars Achal or Qyme Swars are also shown by capital letters. In the below given diagram we have shown notes from all three saptak which are mandar. In the Sargam of Raga Aiman all swar will be tiver along with Sa and Pa which are achal or qyme swar. Achal Swars --------S and P We can also write the whole sargam by combining achal komal and tiver as S r R g G m M P d D n N S. Achal Pa Then Komal Dha. N S. madh and taar. There are total 12 notes in one saptak: 5 Komal + 5 Tiver+ 2 Achal = 12 This rule will apply to all three saptak in a harmonium and in all four or five octaves in a keyboard. Raga aiman or kalyan is same. TIV = Tiver Swars. then Komal Ma then Tiver Ma. Dha. Re Ga Ma Dha Ni Sa and Pa are not included in the above mentioned five swar. Komal Ni Tiver Ni. Ni Tiver Swars are shown in capital letters. To with capital lettesr as given below: distinguish komal and tiver we will write komal swar with the small letters and tiver swar List of Komal Saathi Swar of Re. When all the swar are tiver in a Sargam then it will become the sargam of Raga Aiman or Kalyan. 2. 4. Ga.The following five tiver swar have their saathi swars 1. G. These achal swar are not komal nor tiver. Playing arrangement (1) from first white key Here ACH = Achal Swars. These swar are called achal swar.
We can also explain in another way: After Achal Sa there will be Komal note then Tiver. Or we can write whole sargam as S r R g G m M P d D n N S In the Diagram arrangement (1) above we are starting from left side and from first white key. Thaat has only an Arohi.3.4.2. The system of classification for the raga in different groups is called a thaat. Komal Ni Tiver Ni.2. scale. A Thaat must have seven notes out of the twelve notes placed in an ascending or descending order.4. . Transposing Or Scale Changing Note: Transposing option in keyboards or Scale Changing option in harmonium is same. So there are total twelve swars in a complete sargam. . 5. and so on………….5……36. . But for a beginner 30 ragas are sufficient for perfection and practice. Tiver Dha. For harmonium beginners tent thaat practice is essential. For example bhairavi is a popular raga and the thaat of the raga bhairavi is named after the raga. Thaats are named after the popular raga of that thaat. With komal r the next immediate key just attached is tiver R with key number 3 and with again with tiver R the next key just attached is komal g with key number 4 and so on . Saptk: A saptak is the complete set of five komal and five tiver swars along with two achal swar which are Sa and Pa. We can play music of song with a thaat but beauty will only come if we play music with ragas. Then Achal Sa. 1. Komal Ma then Tiver Ma. ragas and song notation which will help you play a song. Out of ten thaat about 80 ragas are developed and performed these days. Thaat or Scales The set of Seven Notes which can produce a Raga is called a Thaat in Urdu or Hindi and ragas produce melodious songs. Ragas can produce many songs. The immediate key just attached to Sa is r with key number 2. 4. Beauty in playing a song appears when you use ragas. Tiver Dha and so on If you will recognize komal and tiver Swars then you will be able to understand thaat. .The keys attached with each other are show by numbering 1. . There are certain rules for these thaat. Many old and new song are composed in a particular Raga.The keys attached with each other are shown by numbering 1. Thaat have fix seven notes where in ragas notes can vary. Komal Ga Then Tiver Ga. Actual playing arrangement (2) from first black key in desi style Our actual playing arrangement for further lessons Here starting from first black key as our Sa the arrangement of notes will be same as mentioned in playing arrangement (1) above. Thaat is a desi scale of seven notes.Or we can write whole sargam as S r R g G m M P d D n N S In the Diagram. First try to learn ten thaat and try to play only thaat based songs. One can play song in a thaat but there are very few songs for a particular thaat. If you want to sing-along music notes then sargam and raga practice is important.2 we are starting from left side and from first white key. Note: The first note or key attached just after Sa is always Komal Ray Then Tiver Ray.3. Thaats are not to be sung and are for only playing music songs but the ragas produced from the thaat are sung. . Pa is also Achal and after Pa then there will be Komal Dha. If you learn thaat then you can learn raga and can play many songs. 2. Achal Pa Then Komal Dha. There are again several systems of classification of the raga. . Both the forms of the notes can be used.5……35 for your understanding only. With r the next immediate key just attached is R with key number 3 and with R the next key just attached is g with key number 4 and so on . If you want to learn keyboard or harmonium the practice of thaat is important. Without practice of thaat based songs never try to play raga based songs. . The immediate key just attached to Sa is komal r with key number 2. 3. .
We can play thaat bilawal songs with any key with transpose option and still song will not effect. There are also some ways to avoid having to do the transposition yourself. A good electronic keyboard or scale changer harmonium will transpose for you. S 1 S S r 2 X R 3 R R 1 g 4 X 3 G 5 G G m M 6 7 m X m 5 6 P 8 P P d 9 X 8 D 10 D D n 11 X N S' 12 13 N S' N S' 10 12 13 . Instrumentalists with transposing instruments will usually need any part they play to be properly transposed before they can play it. Selecting scale means transposing or selecting first note. play and print it in the new key for your singing or listening.We can select any key as our Sa and from that position of Sa our key combination will change in each below given diagrams.1 Building Thaat Bilawal Sargam From First White Key Note: . or changing the key of a piece of music. There are many reasons why you might want a piece to be in a different key. changing the key to put the music in their range will result in a much better performance. When we become perfect keyboard or harmonium player we can use any key for playing thaat bilawal but the arrangement of achal.Transposition: Changing Keys Transposition. and arrangers Why Transpose? The most common reason for changing the key of a piece of music is to put it in the right key for your vocalists. Music is transposed by raising or lowering every note by the same interval. you must decide what your new key will be. there are several transpose programs that will transpose it for you and display. Normally for thaat practice or playing songs as a beginner we start with first black key. Diagram. tiver and komal swar will remain according to system mentioned earlier. notes with cross sign (X) will be ignored and when we will play remaining notes in madh saptak and it will become sargam of thaat bilawal. Players of both bowed and plucked strings generally find fingerings and tuning to be easier in sharp keys. while woodwind and brass players often find flat keys more comfortable and in tune. but learning to transpose can be very useful for performers/singers. Some person cannot sing in loud scale so. Changing the key of a piece of music is called transposing the music. In madh saptak of diagram 3. Note that while playing sargam ascending and descending we also include next saptak note S'. 1. Instrumentalists may also find that a piece is easier to play if it is in a different key. composers. If your singer or singers are struggling with notes that are too high or low to sing. can be useful and is sometimes necessary to make music more sing able or playable. the musician will select suitable scale for them. and what kind of vocalists and instrumentalists you are working with. If your music is already stored as a computer file. This will depend on why you are transposing. If we want to sing a song in bilawal but our voice do not synchronize with the first black note then we may try other notes according to our voice pitch. Transposing scale beginning from first white key Usually we start thaat bilawal with first black key which is 'S'. Choosing Your New Key Or Scale Before you can begin transposing. In the following diagram we have transposed thaat bilawal from first black note to first white note and still thaat bilawal will remain bilawal thaat.
komal Ni.m P 5 6 D 8 N S’ Or we can write whole sargam as S R G 10 12 13 Arohi : Amrohi: S R G m P D N S’ S’ N D P m G R S 1 3 Thaat Bilawal sargam in ascending and descending order 2. We have selected first black key as a default key to play harmonium. komal Ga.3 . Or we can write whole sargam again as S R G m P D N S’ Again Thaat Bilawal sargam in ascending and descending order Arohi : Amrohi: S R G m P D N S’ S’ N D P m G R S 3. tiver Dha. then komal Dha. From now we will always select first black key as our starting point. komal Ma then tiver Ma. Now our key combination will become as given below: S 1 S S r 2 x R 3 R R g 4 x G 5 G G m 6 m m M 7 x P 8 P P d 9 x D n 10 11 D x D N S' 12 13 N S' N S' Note: Sa is always achal or qyme swar.2 Building Thaat Bilawal Sargam From First Black Key We can select any key as our Sa and from that position of Sa our key combination will change. 2. achal Pa. tiver Ni. then achal Sa as S’. The first swar or key attached just after Sa is always komal ray shown with cross (X) and with note no. Transposing scale beginning from first black key (default key) Diagram. then tiver ray with capital R. then tiver Ga. Transposing scale beginning from second white key Diagram.
All classical music follows this rule even if some completely different styles exist side by side. Note that by default we have selected our Sa as first black key throughout this website. In scale changer harmonium use scale changing option. the musician needs the presence of a drone. where classical means belonging to a period of time (approximately from 16th to 17th century). the East. Komal Ma then Tewar Ma. North and South. is called classical . Classical music is mainly divided into two branches. Komal Ni Tewar Ni. These numerous Gharanas all over North India have developed very different styles of classical music. which produce the singer's tonic and dominant (SA and PA). Komal Ga Then Tewar Ga. You are required only to learn 10 thaat which begin with first black key therefore transpose option have made scale changing easy for singing.Now we have selected our first key from 2nd white key for playing a song or harmonium We can select any key as our Sa and from that position of Sa our key combination will change in each diagram. Transpose option of keyboard and harmonium: For keyboard learners the option of transpose in keyboards have made it easy to change scale according to voice pitch of singer or song. Many styles and genres have been developed and encouraged by a family system now called Gharana. The first Sur or key attached just after Sa is always Komal Ray shown with cross and with note no. Only learn to play music from first black key and change your required scale by transpose option. the corresponding notes will change according to a fixed system of achal. Then Achal Sa as S’. History of classical music Of The Sub-continent North Indian Classical music (some people know as Hindustani) in reference of the Hindi speaking region going to North-West Frontier and to Poorab. If we do not play notes with cross sign in diagram 5 then it will also become another Thaat. S 1 S S r 2 x R 3 R R g 4 x G 5 G G m 6 m m M 7 x P 8 P P d 9 x D n 10 11 D x D N S' 12 13 N S' N S' Note : Sa is always achal or qyme sur. Singers are always accompanied with the tanpura or the harmonium. Achal Pa Then Komal Dha. Now there is no need to learn playing from every white or black key. whatever the music. 2 Then Tewar Ray with Capital R. Or we can write whole sargam again as S R G m P D N S’ Again Thaat Bilawal sargam in ascending and descending order will be same. komal and tiver properties. To develop precisely a raga. genres and instruments. the things went like this (from a verse): First songs.in opposition to Western classical music. Tewar Dha. Raga And Its Concept: A music. which follows the characteristics of this tradition. Arohi : S R G m P D N S’ Amrohi: S’ N D P m G R S It is proved from above three examples that whatever note is selected as initial note to play sargam. then . In the development music.
Jahangir (1605-1627) and Shahjahan (1628-1658) The legendary composer Tansen (1492-1589) is believed to have been a member of the court of Akbar. First through rhythm is obvious.certain notes on the way up and certain notes on the way down . Raga is the dictator of melody and the "Taal" is the dictator of Rhythm. These ragas were named according to Lord Shiva's movements to east. Music was also becoming more popular and was no longer the preserve of the upper classes. it is a musical composition that functions within a structure and follows certain rules with relation to the kind of notes used in it. According to the scriptures. The raga never has less than five notes . Raga Kaushik was created by the Goddess Parvati herself. What is it that changing the pitch up and down in certain ways sounds musical.Braj Bhasa and Bhojpuri among them . we are forgetting something. the songs became more meaningful. then Sharutis and then the Jaties (ragas). Hindol. It is not something that is impossible to do without the knowledge of Sharuties. With the development of language. Birds have songs. . forms and instruments came to be introduced into Indian Music. Among the vocal forms. These are afterthoughts. Each raga creates an atmosphere. beauty and other things that affected us emotionally. This led to emergence of two forms of Indian Music. five ragas emerged while a sixth was created by the goddess Parvati. It is said that from the sleeping position (Shayanmudra) of his wife. The raga is an Indian scale which utilizes varying ascending and descending patterns . As a consequence new elements. Look around you. When the enlightened artists of the ancient world sang the songs. were the Qual which gave rise to the Qawali and the Tanpura. Nowadays notes are always mentioned in ascending (such as C D E or Sa Re Ga) order. A villager in India or a Gypsy in Europe cannot stop singing just because they do not know the difference between just intonation and chromatic intonation. melody is the product of sound and the rhythm is product of time. In addition. When we say that the songs must have developed after humans were civilized. south and towards the sky and were called Bhairav. Hindustani (North Indian) and Carnatic (South Indian). The universe is full of sound. At a more academic level. The primal screams evolved into poems of love. Most compositions had initially been in Sanskrit but by the sixteenth century they were being composed in various dialects of Hindi . nature. The combination of several notes woven into a composition in a way. The time affects music in two different ways. The Persian poet Amir Khusrau is believed to have made a major contribution in the development of the Qawali as well as the Sitar. It is certain that as humans got civilized. a song erupts in us. separation. When something said through conversation does not capture the essence of our feelings. It was during this phase that two separate systems emerged as a result of the Islamic influence on the existing system in Northern and central India while the south remained free from this domination. the time is also at work producing the musical sounds that are useful in melody. Music flourished in India under Muslim rule and was subject to a number of new influences. their songs got complicated. west.but always in the set sequence. the beauty of changing pitch compelled them to find more about it. However. sage Narada practiced great austerities for several years and was honoured by Lord Shiva who taught him the great art of music. Goddess Parvati. is called a Raga. Any stray combination of notes cannot be called a Raga. Deepak and Shri. There are songs everywhere. Musical patronage reached its zenith under the Mughal emperors Akbar (1555-1605). Therefore. including those of the mystic Sufi sect. The sitar and the tabla also belong to this period. so do the other mammals. which is pleasing to the ear. Megh. but every sound is not musical.the minimum required for a tune. That is a primal instinct. Lord Shiva created the Rudravina (an instrument with a form similar to the sitar). His enchanting music is believed to have had the power to bring rains and light lamps. From his five mouths.notes. The first known theory of music in Indian Vedas (Samveda) contains four notes. north. ‘the music is the art of manipulating the ’sound’ through ‘time’.as well as Persian and Urdu. which is associated with feelings and sentiments. both of which are heard today.
understanding.A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave. worked with the Beatles while Ali Akbar Khan popularized the Sarod in the west. and these are the basis of the musical notes. A Saptak is a group of 7 notes. which further popularized music among common man. the notation is regarded as a matter of taste and is not standardized. Bhajans and Qawali also retain their popularity. Ma. These 7 notes of the scale do not have equal intervals between them. such as Ravi Shankar and Yehudi Menuhin. music development was limited and poetry developed. The 7 notes of the scale are known to musicians as Sa. on the basis of 22 intervals. NOTES IN A SAPTAK The Indian musical scale is said to have evolved from 3 notes to a scale of 7 primary notes. Amjad Ali Khan and Bismillah Khan brought finest traditions of Indian music. This merging of two streams of music is often referred to as fusion Music. the most popular music in India and Pakistan today and popular Indian films are seldom without songs. Pa. However. Ri. A significant development was the use of music to promote nationalism during the Indian freedom struggle. The twentieth century also saw collaborations between Indian and western musicians. In western music these seven notes are identified as C D E F G A B. Ga. The group of seven notes is called a saptak. The twentieth century also saw the arrival of Indian cinema. Total notes in a single saptak are 12 but when we practice arohi and amrohi then we also choose next saptak Sa. Urdu Ghazal also got popularity and populars Ghazal singers like Mehdi Hassan. in person. A scale is divided into 22 shrutis or intervals. one of the greatest players of the Sitar. Da and Ni. divided by the shrutis or intervals -. The rules of Indian music and compositions themselves are taught from a guru to a shishya.The arrival of British rule saw the violin entering the repertoire of South Indian music in the mideighteenth century. Jagjeet and many others emerged with a new style. See below given diagram. Ravi Shankar. INDIAN CLASSICAL MUSIC NOTATIONS Indian music is traditionally practice-oriented and until the 20th century did not employ notations as the primary media of instruction. By deleting other notes 12 notes saptak becomes bilawal thaat . The complexity of Indian classical music could not be expressed in writing. New generation of artists like Bhimsen Joshi. Ghulam Ali. The post independence period saw classical Indian music gaining global recognition. or transmission. The eighth note is a repetition of the first and is therefore an octave higher. In the time of Bahadur Shah Zafar the last King of Mughal empire. Film music is however. Thus there is no universal system of notation for the rest of the world to study Indian music.
Is there a piece that moves you ? Puts you in a sublime or inspiring mood ? Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance. and the laws laid down for the ragas have to be carefully observed to preserve and safeguard their integrity. The beauty of the raga will not be marred by the time of the day it is sung. be useful for music in an “octave”. Twilight raga when the notes re and da are used -. So if a raga which embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter. These are divided into four types -1.e. Thaat or sequence of notes. and inter-tonal gaps may also vary.e. i. leading to different raga. with five interspersed half-notes. Important group of notes 6. i. Ragas for the first quarter of the morning and night which include the notes re. The 22 Srutis are the only notes which can The first and fifth notes (Sa and Pa) do not alter their positions on this interval and are fixed. Raga are also allotted a particular time space in the cycle of the day. The right atmosphere responds to the raga as it were. Speed. the musician's task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga. Poorvi. All the raga are divided into two groups -. It is the psychological association with the time that goes with the mood of the raga. .Poorvi Ragas and Uttar Ragas.e. The Poorvi Raga are sung between 12 noon and 12 midnight. This raga classification is about 500 years old. the time of the day denotes the raga sung a particular time. Deepak. Pitch 7. For the last quarter of the day and night. 3. The following points are required in the construction of a Raga -1. According to Indo Pak ancient theory. Anything that turns you off completely ? Play instrumental or light classical music at first before getting on a heavy-duty vocal piece. Detailed lessons about saptak and notes are provided in Harmonium Lessons The other 5 notes can change their positions in the interval due to komal and tiver. King and Queen relation of the notes. the raga include the notes sa. 2. i. Raga The raga forms the backbone of Indian music. Arohi and Amrohi 5. ga. The Uttar Raga are sung between 12 midnight and 12 noon. For a student of classical music. resulting in a 12-note scale. Midday and Midnight ragas which include the notes ga and ni (komal). just as the sympathetic strings of a sitar vibrate to enrich the melody being played on the main strings. this classification may give an idea as to how to base his reasons for the traditional usage of raga. This is why particular times and seasons are deemed suitable for particular ragas. da and ni (komal). 4. the base frequency of the scale is not fixed. 3. Play some classical sounding music and try to see if any particular Raga thrills you. The Ascent and Descent of the raga. Unlike the 12-note scale in Western music. 2. Hindol. ma and pa. Another division of ragas is the classification of ragas under five principal: 1.Sa Re Ga Ma Pa Da Ni 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 Indian classical music has 7 basic notes (Sa Re Ga Ma Pa Dha Ni). The object of a raga is to express a certain emotional mood and sentiment without any reference to time and season. The variations on the dominant or ``King" note helps a person to find out why certain raga are being sung at certain times. Jaatis or classification 3. Vadi and Samvadi 4. 2. Megh.such as Raga Marwa.
What is a Raga? The combination of several notes woven into a composition in a way. Each raga contains 5 raganis. • There cannot be two notes that are adjacent on the octave in the same raga. komal and tewar is called a thaat. There are certain rules for these thaat 1. There are 25 raganis for the above five ragas. Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and uparaganis. A Thaat must have seven notes in ascending order. • . Therefore a raga can have five. a certain arrangement of the 7 notes with the change of shuddh. • A simple combination of notes is not a raga unless it sounds good. Beauty in playing harmonium or keyboard appears when you use raga. But this is not strictly true as we shall see in case of certain ragas like Lalit where there are two madhyms together. There are several opinions in this matter. and each of the five ragas have five raganis under them. 2. from which the thaat can be recognized. About Thaat or Scales The set of Seven Notes or Scale which can produce a Raga is called a Thaat in urdu or Hindi and raga produces a song. There are again several systems of classification of the raga. We can ascribe to a raga certain meta-characteristics that define a raga: Every raga is said to be born of a Thaat which is its parent. Thaat has only one Arohi. which is associated with feelings and sentiments. • Every raga has a Arohi and a Amrohi. The first derivatives of the ragas are called raganis. The base note Sa cannot be absent from a raga. Presently in Indian or Pakistani Classical Music the 10 Thaat (Scales) classification of raga is prevalent.the minimum required for a tune. six or seven notes. Every raga is composed of notes. As a beginner you can play music of film songs with thaat. 4. Thaat are not be sung only play but the raga produced from Thaat are sung. Every raga has a fixed number of komal (soft) or tewar (sharp) notes. The set of Seven Notes or Scale which can produce a Raga is called a Thaat in urdu or Hindi. other raga are derived. If you want to learn how to play keyboard or harmonium the practice of thaat is important. Any stray combination of notes cannot be called a Raga. Thaat are named after the popular raaga of that Thaat. At a more academic level.Maulkauns From these five ragas. If you learn one thaat or scale then you can play many songs in that particular thaat or scale. All the ragas are supposed to have been derived from their thaat. 3. For example Bhairavi is a popular raga and the thaat of the raga Bharavi is named after the raga. The raga never has less than five notes . Each raga creates an atmosphere. it is difficult to accurately define what sounds good. is called a Raga or Raag. • A minimum of five notes are necessary in a raga. As mentioned earlier though. The system of classification for the ragas in different groups is called a thaat. In other words. which is pleasing to the ear. If you want to bring beauty in music then raga practice is important.4.Shree 5. The raga is an Indian scale which utilizes varying ascending and descending patterns – certain notes on the way up and certain notes on the way down – but always in the set sequence. In another article we will attempt to describe what this means in terms of harmonies and melodies. it is a musical composition that functions within a structure and follows certain rules with relation to the kind of notes used in it.
Ragas are placed in three categories: • Odho or pentatonic. notes an octave apart are given the same name in Indian music. The intervals were measured with sharuties. the note is sharper. In ancient times. A Raga sequence with six notes is called Shadav or Khado (six) and a raga sequence with seven notes is called Sampoorn since seven notes is the maximum number that the raga sequence can have. Based on that principle. Or raga' belong to certain classes or categories called thaats. Ragas have their minimum requirements of five notes in an octave. such as stopping for some time on the note. Every raga is derived from some Thaat or scale. A raag is also identified by a Vadi ( main note ) and a Samvadi ( second main note). The principal note. And just like in western notation system. The seven notes that make up the thaat are picked from these twelve notes. 484 Ragas can be created mathematically from ‘Thaat’. however. The Samvadi is stressed after that. For instance both the ragas Bhupali and Deshkar have the same set of notes and the same arohi and amrohi but they have differing pakads and also different vadis and samvadis which make them different ragas. 2. (two things vibrating at the same rate). a composition of seven notes. A raga sequence ( arohi or amrohi ) with five notes is said to be Odho ( five ).• • • • The notes Ma and Pa cannot be absent from a raga at the same time. Ascending and descending do not make music. the highest note always vibrates at the double rate from the lowest note. For this reason. Raga Melody: Melody is based on our ability to hear and perceive changes in frequencies. In every raga. which makes it possible to separate one raga from another. Two ragas can have the same set of notes but differing vadis and samvadis which then make them different ragas. six or seven notes in the arohi and the amrohi. Now to another point of confusion. Based upon this a raag can be classified in to categories. Although it is more than just the pitch going up and down. Raga is the basis of classical music. the raga fails to produce the mood and sentiment peculiar to it. or stressing it. Whole art of music is hidden in phrasing. There are certain ragas which move in a certain pitch and if the pitch is changed. The Vadi is a note that is stressed the most in the raga. 3. Most musicians use the same notes as we see them on a guitar’s fret or on a piano. through the combination of notes. You must have . But it hasn’t been always like this. There are many special things about every raga. The human ear tends to hear both notes (upper and lower) as being essentially ‘the same’. but as the frequency goes higher. the octave is the simplest interval in music. Some raga in the same scale differ in ascent and descent. Every raga has its own personality. a composition of five notes Or Khado is hexatonic. After the unison. ``KING" is the note on which the raga is built. Melody of Northern Indian Music is based on the ‘Thaat’ (parent Scale) and ‘Raga’ theory. Indian music was based on the ‘Sharuti’ system. It is emphasized in various ways. there are many ‘phrasing’ secrets hidden in the ragas. a composition of six notes • Sampooran is heptatonic. There are twelve notes in the chromatic scale. The ascent and descent of the notes in every raga is very important. So an octave is the interval between one musical note and another with half or double its frequency. Secret Of Phrasing In Ragas Even though many popular musician do not study ragas and most of the popular music is not even in any certain ragas. A performer with sufficient training and knowledge alone can create the desired emotions. 1. It has been said earlier that a raga can have five. there is an important cluster of notes by which the raga is identified.Bhupali has a vadi ga and samvadi da but deshkar has a vadi da and samvadi ga. The same is true for Western Music. In any octave. A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave. A thaat is defined as that set of seven notes from which a raga can be made. Northern Indian music recognizes 12 places in one octave as notes. The second important note or the "queen" corresponds to the ``King" as the fourth or fifth note in relation to it.
C D Eb F G Ab Bb Showing C minor scale in all five octaves Songs Of Thaat Asavari With Asthaee.. They still sound different from one another. This theory (music in phrases) was the origin of ragas.listened to hundreds of songs composed in ‘C’ or ‘E’ major. Ragas start with thaat in mind and grow from there. Playing Songs With Thaat Asavari Diagram. That is because music we hear affect us in phrases. To learn a raga you have to learn its ascending or descending etc. You will find yourself improvising in a certain raga in no time by mixing and shuffling its phrases and flow. Antra and Taal You can also play Asavari songs in C minor Scale Of Western Play songs according to diagram 1 of Thaat Asavari Mandr.1 Thaat Asavari Sargam: Ascending: Arohi: S R g m P d n S’ Descending: Amrohi: S’ n d P m g R S Thaat Asavari is C Minor Scale in Western Starting from first white key. but they have no practical value as one will never know how to proceed from there. but you also must know its flow and important phrases. not scales. Nisar Bazmi as a working music composer giving you the only information that is essential to ‘know and play’ Indian music in the real world. There are thousands of available lists of hundreds of ragas everywhere. A raga description without its phrases and flow is useless. left octave as ('S)-Madh or middle as (S)-Taar or right octave (S') Taal Kehrva Tu pyar ka sagar hai Asthayee RgRS RS 'nS Antra S'S' nP Taal Dadra gR 'nSS gRS Antra Pmg mPdn Taal Kehrva 'n 'd 'n SS 'n SR Antra PmPS' ndndp Taal Kehrva S PPP d n d PP Antra S' R' S' nnS'R' S'S'S' Taal Kehrva P m P S' S' Antra P P d n S' S' 1 2 Tumhara Chahne wala khuda ki dunya mein Asthayee 3 Be reham asmaa meri manzil bata Asthayee 4 Yoon kho gaye tere pyar mein hum Asthayee 5 Chale jana nahin naina milake Asthayee . 2.
The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. Gandhar. It is a late morning Raga. Dhaivat and Nishad are komal (flat) and the other notes are shuddh (full). the mood of renunciation and sacrifice as well as pathos. five in the ascent and seven in the descent. Following ragas are derived from Thaat Asavari: . It is best suited for late morning. stress points and ornamentations. However important evening/night raga like Darbari and Adana also use notes of asavari thaat with different styles. and uses all seven notes. Add Komal Dhaivat to Kafi thaat and you get Asavari Thaat. Raga Asavari is full of tyag.Ahmed Rushdi Asthayee Raga Asavari in brief: Raga Asavari belongs to Asavari Thaat.6 Meri yaad mein tum na Asthayee SS RR m m PPP Antra Taal Kehrva PP nnn S'S'S' Taaal Kehrva S g P mg mg RS Antra PP dR S'g' R' S' Taal Dadra R g R S n'd'n' RS Antra SS 'n gs n' d' Taal Kehrva mmPPPdndndP Antra R' S' S' S' S'S' S'S' Taal Kehrva g R S g RS 'n'd 'd'nRS Antra PS' Taal Kehrva 'n 'd 'n SSSRS 'n SRg Antra PdP mgmPndP Taal Kehrva SRgRS 'nSgRR S g P PP dn dPm Antra Antra PPP d P mm Taal Dadra Pn S' S' dPd S'S'S' Taal Kehrva S 'n SR SRRR PPd Pmg ndP SRgP dndP R S 'nS RSRgg PPd PdPm 'nSSS 'nRS 'nd Antra Antra Antra Antra Antra Antra Taal Dadra mmPP Taal Kehrva S' n S' ndP mg Pm Antra ddd dd Pdnn dP S 'n 'P 'n RSS Taal Kehrva Listen full midi music Taal Kehrva mPdn Pm Rn' R Teen Taal gRgg Taal Kehrva - 7 Tere pyar ki tamna ghame zindgi ke saee Asthayee 8 Tum zid to ker rehe ho Asthayee 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 1 7 1 8 1 9 2 0 Jadoon holi jae lenda mera naa Asthayee Sawan aya tum nehi aie Asthayee Oh dunya ke rakhwale Asthayee Jab bhi chahen ik nai soorat Asthayee Apno ne gham die to mujhe yaad Asthayee Tu jo nehi hai to kuch bhi nehi hai Asthayee Aitabar nahi karna Asthayee Ham chale to hamare sang sang nizare chale Asthayee Anokha ladla khelene ko maange chaand Antra We lageeyn di laj rakh ley kadhi bhul na jaween Asthayee Yeh ejaaz hai husan e awargi ka Asthayee Sun le oh Jane wafa Tu hai dunya meri .
Playing songs with thaat kafi Thaat Kafi Sargam: Ascending: Descending: Arohi: S – R – g – m – P – D – n . Bappi Asthayee Daag e dil ham ko yaad ayne lage log apne dye Asthayee 'P'n S SR S 'n Antra gmPmgPmm Taal Dadra gmPmg Pmm 3 4 Tumhara pyar chahaee mujhe Asthayee Taal Kehrva PP m g mP S' Pm Antra n'n'n'n'n'n'n'n' . left octave as ('S)-Madh or middle as (S)-Taar or right octave (S') Ghame dil ko in aankhon se chalak jaana bhi 1 Asthayee 'n'P SSS SS 'n SR Antra Play songs according to diagram 12 of Kafi Thaat Taal Kehrva mP 'S'S'S 'n SS Taal Kehrva SRRgRS Antra 2 Dil men ho tum ankhon me tum .S’ Amrohi: S’ – n – D – P – m – g – R – S Thaat Kafi is C Dorian Scale in Western starting from first white key. Antra and Taal You can also play thaat Kafi songs in C Dorian Scale Of Western Interlude or middle music of songs is also based on thaat kafi Mandr. C D Eb F G A Bb Showing C Dorian scale in all five octaves of keyboard Film Songs Of Thaat Kafi With Asthaee.Jaunpuri Desi Asavari Adana Darbari Kanhada 3.
5 Pyar bhere do sharmeele nain.Mehdi Hassan Asthayee Sab kuch luta ke hosh me Asthayee Ik situm aur meri jaan abhi jaan baqi hai Asthayee SSgmPP mgR Antra SRS 'n'n SRP gR Antra PmgmP mgmP Antra 'P'P SSS RS 'n 1 0 1 1 S' nP S'S' Taal Kehrva g mPPP nDP Taal Kehrva S'S'S' R'nDP Taal Dadra gmmPPP Taal Kehrva g R S 'n'n SS Taal. Asthayee Taal Kehrva SR Pmg S. PPm PDnD 'nRRRgm gRS Sn' S PPP mg mgR Antra PPPm Pmg Taal Kehrva S'S' nDD Taal Kehrva P S'S'S' R'S' nnn Taaal Kehrva S' nD nS' Taal Kehrva mDDnD mDDnD Taal Kehrva mSRS Taal Kehrva 6 Rim jhim rim jhim pere phawar tera mera nit ka pyar Asthayee Antra 7 Jalte hain arman mera dil roota hai Asthayee Antra 8 Sun wanjli di mithri taan way. The derivative ragas out of this structure are . Kehrva PPPm Pmg Taal Dadra 'S'S'S'S'S'S' 'R'R'R' 1 2 SSgSS 'n'n RSS Pmgg Antra 1 3 Antra 1 4 1 5 1 6 Sawan aye sawan jaye Asthayee gRSR mg madh-mandr Antra 1 7 Dil ke jhoroke mein tum ko bitha ke Asthayee SS SSSS SS SS RgP SS Antra Raga Kafi in brief: Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddh (full). Film Heer Ranjha Asthayee Antra 9 Lat uljhi suljha ja re baalam Asthayee SSg RS 'n'D madh saptak Antra Hamari sansoo me aaj tak woh hina kis kshboo Asthayee Yeh raat yea chandni Asthayee Tere bheege badan ki kshboo se Asthayee Ae dunya kia tujh se kehoon .
Thus in ancient and medieval times. . It is important that we learn the fundamentals of chords as used in Indian film music. Kafi is a late evening raga and said to convey the mood of spring time.grouped under the broad head of Kafi Thaat Kafi thaat makes use of the Komal Gandhar and Komal Nishad. therefore the music sounds fuller. So basically it adds Komal Gandhar to the Khamaj Thaat. Following ragas are derived from Thaat Kafi: Malhar Bhimpalasi Patdeep Chandrakauns Kafi Piloo Bahar Bageshri Megh Major & Minor Chords Of Harmonium Indian music is melodic and western music is harmonic so chords and chord progressions accompany the melodic lines. Kafi was considered as natural scale. raga Kafi is one of the oldest raga and its intervals are described as basic scale of the Natyashastra.
as key number 10. as key number 18. as key number 9. as key number 16. as key number 2. are formed by combining two or more notes. In this situation we will play chord and melody with the right hand only. A major chord is formed when we simultaneously play three notes S-G-P or you will play numbers numbers 1-5-8. but in our lessons we have assumed the first black key to be the Sa (S). All major chords are formed by playing simultaneously three notes.Harmonium major chords. Please see diagram above. as key number 19. A chord is a combination of three (or more) notes played at the same time. Sa S Komal r Tiver R Komal g Tiver G Komal m Tiver M ----. as key number 14. or any chord for that matter. Harmonium chords are also called desi chords. as key number 12. as key number 3. it is recommended you form them using the 2nd. as key number 4.P Komal d Komal D Komal n' Komal N' ----. S key number: 1 r key number: 1 R key number: 1 g key number: 1 G key number: 1 m key number: 1 M key number: 1 P key number: 1 d key number: 1 D key number: 1 n key number: 1 N key number: 1 S' key number: 1 r' key number: 1 R' key number: 1 g' key number: 1 G' key number: 1 m' key number: 1 M' key number: 1 P' key number: 1 . As we have already defined in our previous lessons that any key can become a Sa or our starting note. your left hand will be busy in pumping bellows. as key number 6. as key number 8. as key number 17. we will name this chord as SV. as key number 13. Since we are learning harmonium so. Your thumb is the first finger index finger is the 2nd and pinky is the 5th finger. Now. In keyboards chords are played mostly with left hand.1st and 5th fingers of your right hand. There are a number of chords in western music but In harmonium lessons we will only use only major and minor chords. as key number 20. according to definite rules.S' Komal r' Tiver R' Komal g' Tiver G' Komal m' Tiver M' ----. Harmonium komal and tiver notes with their numbers are given below as shown in the above diagram. as key number 11. as key number 15. for convenience and simplicity. when you from S major chord.P' as key number 1. as key number 7. as key number 5.
key nos. key nos. 15-8. 11-1518. notes S-G-P notes r-m-d notes R-M-D notes g-P-n notes G-d-N notes m-D-S' notes M-n-r' notes P-N-R' notes d-S'-g' D major chord. symbol SV. We will use the symbol 'V' for a major chord. symbol PV. key nos. This major chord is called S major. we will play key numbers 1-5-8.. Similarly. symbol MV. g major chord. G major chord.g. Now the S major chord will be written as SV and as on. key nos. symbol rV. r major chord. symbol nV. d major chord. symbol dV. symbol DV. 37-10. P major chord. the major chord "rV" will be formed as: r-m-d and can be shown by numbers 2-6-9. symbol GV. 610-13 key nos. M major chord. R major chord. 10-1417. key nos. symbol mV. key nos. 812-15. notes n-R'-m' . m major chord. 711-14. key nos.26-9. key nos.59-12. symbol RV. 48-11.Now to play the major chord S-G-P e. key nos. key nos. 913-16. symbol gV. Below given is the complete list of major harmonium chords: S major chord. notes D-r'-G' n major chord.
r-G-d. if we select first black key as our Sa. will maintain their key numbers as. symbol GL. 69-13. 25-9. for example. P minor chord. g minor chord. m minor chord. symbol gL. r minor chord will maintain their symbols rL. the minor keys will maintain their names similar to. 36-10. M minor chord. key nos. for example. symbol SL. symbol mL. Or we can write simply as: r minor chord. notes N-g'-M' 12-1619.key nos. symbol ML. key nos. key notes S-g-P notes r-G-d notes R-m-D notes g-M-n notes G-P-N notes m-d-S' notes M-D-r' notes P-n-R' . key nos. A minor chord is formed when we play three notes at the same time together example S-g-P with numbers 1-4-8. We have shown madh saptak chords and similar sets of notes will apply in mandar and taar saptak. symbol NV. symbol rL. for example. symbol RL. key nos. 47-11. 14-8.g. symbol PL. notes r-G-d S minor chord. Below given is the complete list of minor harmonium chords: Whatever is our beginning note to start playing e. N major chord. 58-12. G minor chord. key nos. key nos. key nos. Harmonium minor chords are shown by symbol L. R minor chord. r minor chord. 710-14. symbol rL. will maintain their notes combination as. 2-5-9. key nos. 2-5-9.
notes d-N-g' notes D-S'-G' notes n-r'-m' notes N-R'-M' How to play Indian songs with harmonium major and minor chords First of all break down the song into several very small phrases and try to play the various major and minor chords given above with each small segment of the song line. symbol dL. key nos. nos. 11-1418. key nos.d minor chord. Then you should check which chord sounds better with the word. You can partly mechanize this process by first playing the small segment of the song on the harmonium. symbol DL. Slowly you will be able to use or able to fill melody with harmony of chords. N minor chord. . key nos. 12-1519. symbol nL. 912-16. n minor chord. 811-15. key nos. D minor chord. symbol NL. 10-1317.