Music

SUNDAY, FEBRUARY 15, 2009

Harmonium Guide

Originally a
reed organ
with Western
origin, the
harmonium
has been a
very integral
part of Indian
music. Except
for
instrumental
and South
Indian music,
virtually
every genre
will have a
spot for the
harmonium,
due to its
simple and
versatile
nature. This
guide discuss
the
introductory
theory of
North Indian
music,
musical
scales,
practice
exercises,
and fourteen
Gaudiya
Vaisnava
bhajans and
kirtans to
practice and
make good
use of all the
theory and
skills taught
in this
course.
UNIT ONE:
INTRODUCTI
ON TO THE
HARMONIU
M
Chapter 01:
History of
the
Harmonium
Unlike the
instruments
that have
been
previous
taught or
examined in
the music of
India, the
harmonium is
one of the
most
frequently
used
instrument
that has no
Indian origin.
The
harmonium
was actually
a European
organ that
was used in
churches
during the
medieval
time frame.
The look of
the
harmonium
then was
almost
similar to a
piano. There
is was a huge
number of
keys, a chair
to sit down,
and a foot
pump for the
air. This way,
the musician
could play
the
harmonium
with both
hands.
European
music
requires this,
it is mostly
harmonic
through the
use of
chords. A
chord is when
three or more
notes are
played
simultaneousl
y.

When the
British came
to India in the
18th century,
they brought
their
harmoniums
also.
Although the
foot pedal
was still
retained, the
hand pumped
version was
introduced.
When the
harmonium
came across
to North
Indian
musicians,
they
immediately
favored this
instrument
for few
reasons.
When the
hand pumped
version came
out, it did not
require foot
pedals. For
an Indian
musician, it
was discipline
and practice
to sit on the
floor. Thus,
this format of
a floor organ
worked well.
Secondly, the
harmonium
was able to
go with the
flow of the
voice pretty
well. Thirdly,
it was much
easier to
learn than
sarangi.
Sarangi is a
bowed
instrument
which was
used to
accompany
vocalists.
However, it
was very
difficult to
play. Even
though one
hand was
required to
pump air, it
was not a
problem,
because
Indian music
does not
have chords.
Since Indian
music is
primarily
melodic, only
hand was
needed to
pump and
one hand was
needed to
play the
melody.

Despite its
European
origin, the
instrument
has found its
use really
well in an
Indian
musical
setting. With
the exception
of South
Indian music,
the
harmonium
has been
used in
almost all
genres of
music in
India.

The
harmonium is
not strictly
limited to
Indian styles.
Western
forms, in
terms of
chord
changes, are
currently
integrated
into the North
Indian forms
of music.
Chord
progressions
introduce a
different form
of modality.
Chord
progressions,
however, will
not be found
in North
Indian
classical or
semi
classical.
BELLOWS-
the bellows is
a series of
metal
tongues
which allow
the air flow.
The bellows
must be
pumped by
hand allow
air to flow
into the
harmonium
to produce
sounds. The
left and right
ends of the
bellows
usually has a
metal bar or
latch. These
latches are
on both sides
to assist right
and left
handed
players at
their comfort.
More about
left and right
handed
positions in
the next
chapter.

KEYBOARD-
This is the
most
important
and unique
feature of a
harmonium.
The keyboard
allows one to
play
melodies.
Each key,
when played,
produces a
unique
sound. The
structure and
format of the
keyboard
resembles a
piano. The
function and
theory will be
discussed in
great detail
in the second
unit.

MAIN
STOPS- Main
stops are the
bigger knobs
on the
harmonium.
The purpose
of the main
stops is to
direct air
flow.
Selecting a
certain
number of
stops in a
certain order
can affect
how the
sound comes
out. If no
stops are
pulled out,
then no
sounds will
be produced,
regardless of
the amount
of air being
pumped into
the
harmonium.
There are a
few things
that your
harmonium
might not
have. Stops
are one of
them. If you
do not have
stops, dont
panic. You
will still get
sound, but
the whole
harmonium
will be having
a uniform
sound.
DRONE
STOPS (not
shown)
The
function of
these stops
are to
produce a
constant
sound of a
single note.
Again, not all
harmoniums
will have this
feature.

COUPLER
(not shown)
 Some
harmoniums
have this
special
feature of the
coupler.
Whenever a
key is played,
the same key
one octave
lower will be
played. This
will allow a
richer sound.
If the coupler
knob is pulled
out, then the
coupling
feature will
be disabled.

SCALE
CHANGER
(not shown)
Some
harmoniums
will have a
scale changer
which will
change the
pitch and
positioning of
the keys. The
scale
changer,
although a
nice tool,
often causes
problems for
the
harmonium.

Even though
you may not
know
anything
about how to
exactly play
the
harmonium,
do practice
getting some
sort of sound
by opening
the bellows,
pumping it
with one
hand, and get
some sort of
sound by
pressing the
keys from the
keyboard. If
you have
stops, use
the main
stops and see
how selecting
stops can
affect the air
flow as well
as the
sounds.
Experiment
the changes
when the
coupler
feature is
active or
disabled. If
you have a
scale
changer,
however, do
not
experiment
with that.
Many
newcomers
to the
harmonium
do not know
how to work
with
 changing the
scale and the
chance of
breaking it is
really good. It
is very useful
to know how
to operate
the
harmonium,
before you
learn
anything to
play it.

Chapter 02: Correct Postures

There is not much needed to be

said about
postures. Its
all about
good
judgment. If
you sit in a
proper
posture, you
will probably
be able to
play for hours
without a
backache.
There are
many
scenarios
where
postures will
change.
Before we
discuss
postures, let
us consider
the fact that
not everyone
has the same
hand
orientation.
Some
harmonium
 players are
right handed
and some are
left handed.

The simple trick is that the

stronger
hand plays
the keys on
the keyboard
while the
wear hand
goes to pump
the bellows.
A right
handed
person will
plays the
keys using
the right
hand and
pump the
bellows with
the left hand.
Likewise, the
left handed
person will do
everything
vice versa.

TABLES
If you are
playing your
harmonium
on a table, it
all depends
on whether
you will be
sitting or
standing. If
you are
standing, you
wont have to
worry about
standing
straight. If
you are
sitting and
with the
highest point
of the
harmonium
reaching your
stomach line,
then it is
suggested
that you
stand or get
a higher seat.
Playing a
harmonium
too high will
be a great
strain to you
hand and
even your
ability to play
nicely.

GROUND
The ground
will be the
most
common
place you will
play your
harmonium.
It depends on
two real roles
the
harmonium
player could
assume. The
first role is
that the
harmonium
player will be
singing while
playing. If
that is the
case, the
harmonium
should be as
close to you
as possible in
a comfortable
position. In
that case,
you could
place the
harmonium
directly in
front of you
and play and
sing. I,
personally,
do not like
this idea
because for
people who
have short
hands, it will
be somewhat
difficult to
reach all the
way for the
bellows, play
the keys, and
sing with a
bent back.
Singers
should sing
with a
straight back
to get the
maximum
accuracy.
This is the
reason why
singers tend
to keep the
harmonium
to their side
with the hand
of least
strength. A
right handed
person who
wishes to try
this posture
will place the
harmonium
 to his or her
left side. The
distance from
the right
hand to the
harmonium is
shorter than
the left hand
to the
harmonium.
Imagine a
right handed
person taking
a harmonium
to the right
side. It would
be quite
painful, if not
impossible, to
play the keys.
This way, the
diaphragm is
free from any
obstacle and
the back is
remained
straight to
produce
maximum
strength in
voice as well
as accuracy
in playing the
harmonium.

If you are not singing, but

playing the
harmonium
to
accompany
someone,
then you may
place it in
front of or off
to the side.
Either way
will be
 acceptable,
since the
harmonium is
playing, not
your voice.
Whichever of
the two ways
is
comfortable
for you, use
that.

Chapter 03: Maintenance

and Care

Unlike the traditional Indian

instruments
in India, the
harmonium is
not as
delicate as
the tabla,
sitar, sarangi,
sarod, etc.
Remember
that the
harmonium is
not an Indian
instrument
by origin.
However,
regardless of
the
instruments
race or
origin, we
must treat it
with respect
and care.
There are not
too many
points in
discussing
the
maintenance
or care of the
instrument.
However,
these points
are very
important to
keep in mind.

DONT TAKE
IN MORE
THAN YOU
CAN PLAY

When little
kids see
adults or
harmonium
players
pumping the
bellows
constantly,
they indeed
get excited
and they
pump the
bellows to
their hearts
desires
without
touching the
keyboard.
Keep one
point in mind;
you are not a
little kid!
Dont ever
pump the
bellows if you
are not
playing
anything.
Pumping
excessive air
into the
harmonium is
comparable
to inhaling
excessive air
into your
lungs and not
breathing
out. You will
feel
uncomfortabl
e and feel
like you will
explode
inside. Thats
what
happens to
the
harmonium,
in fact. If too
much air
enters in
without being
released
properly, the
harmoniums
internal air
chamber will
explode.
Then,
whatever air
that comes in
will go out
immediately
without
having any
note
produced if
the keyboard
is being used.
The proper
way to go
about is use
enough air as
you need,
while playing
the keyboard.
This is very
crucial. Keep
in mind that
if you play
this properly,
the keyboard
serves as an
exhaling
agent. Once
a key is
pressed with
enough air,
air will blow
out of the
front.

BLOW OUT
ALL THE AIR
Whenever
you are done
with using
the
harmonium,
force all of
the air out.
The way to
do this is to
lock the
bellows using
a side lock
and play
three or more
notes of the
keyboard
simultaneousl
y. This way,
air will be
forced out
faster. If you
leave air
inside the
harmonium,
that air could
damage the
internal
features of
the
harmonium
and its rich
sound could
diminish and
even force
notes to
sound out of
tune. This is
very easy to
forget this
very
important
step!

STOP!
CLOSE
YOUR
STOPS!
With
harmoniums
having this
feature, it is
also very
easy to forget
to close stops
and lock
bellows
before
pushing the
harmonium
inside. The
stop knobs
and bellows
can break if
locks are not
pushed in
fully, or if the
bellows are
not locked.

DOUBLE
CHECK
SECURITY
BEFORE
TAKE OFF!
Most
harmoniums
have a
removable
top lid. Once
the lid has to
be placed it,
it is very easy
to do this
incorrectly,
and while
thinking it is
done
correctly, lift
it up and part
of the
harmonium
starts to fall
out and
damage is
done. The
sure way to
check if your
harmonium is
secure is to
make sure
the top locks
are locked,
the behind
has nothing
showing
inside, and
while locked,
attempt to lift
the top lid
off. If you
cannot lift
the top lid,
you will know
that your
harmonium is
safe for take
off.

RAIN OR
SHINE IS
NEVER
FINE!
Never put
your
harmonium in
direct
sunlight.
Sunlight has
enough
energy to
make the air
bellows weak
or destroy
the wooden
finish.

Likewise, do
not have any
contact with
water. Water
can make the
harmonium
sound ripped,
if not disable
the ability to
produce
sound. This
can be
compared to
water in
lungs.
Whenever
there is water
in your lungs,
you will feel
very
uncomfortabl
e and you will
cough a lot.

The sure sign

for safety is
to keep your
harmonium in
a carrying
case or bag
and leave it
in a room not
humid.

These tips
will help you
keep your
harmonium
clean, safe,
and have a
 longer
lifespan.

Chapter 04: Review

Here are just a few points to

keep track
of.

- Harmonium
was
introduced in
India around
the 19th
century.
- It was
integrated
into Indian
music, as it
was very
easy to play
and could go
along with
the voice
pretty well.
- It is used in
almost all
systems of
Indian music,
except South
Indian music.
- Here is a
diagram of
the
harmonium.
Remember
that air is
pumped in
through the
bellows. The
keyboard is
hit to
produce
sounds. The
main stops
control the
air traffic.
The drone
stops allow
one note to
be played
without using
the keyboard.
- Some
harmoniums
have a
coupler which
allows the
same note
one octave
lower to be
played
simultaneousl
y with the
note that has
been hit.
- Scale
changer is a
feature to
transpose or
change the
scale. The
scale changer
is not
recommende
d.
- You pump
the air in with
your weaker
hand and
play the keys
with your
stronger
hand.
- If you are a
lead singer,
you may put
your
harmonium
on the side of
your body
with the
weaker hand
and play. If
you are not a
 lead singer,
you may play
the
harmonium
directly in
front of you.
- Remember
the safety
tips from
Chapter 3. Do
not
overpump air
into the
harmonium,
remove all
the air when
finished,
push in all
open stops
and lock
bellows,
double check
for security
and
sturdiness,
and never
put the
harmonium in
a humid, hot,
or a wet
place.

UNIT TWO:
BUILDING
BLOCKS OF
INDIAN

Chapter 05: The Keys of the

Harmonium

We discussed the structure of

the
harmonium in
Chapter 2.
The most
essential part
of the
harmonium is
 a keyboard.
Without the
keyboard no
melodies
could be
played. A
harmonium
without a
keyboard is
called a sruti-
peti, or a
sound box.
One note is
played just
by pumping a
sruti-peti.

Figure 5.1

Look at
Figure 5.1.
This is a
keyboard.
Every
harmonium
has a
different
number of
keys. The
number of
keys on the
keyboard
describes the
range of the
harmonium.
A pitch-
distance
relationship
can also be
found. Press
any key from
the far right
end of the
 harmonium.
Compare that
sound to any
key on the far
left side. You
will see that
the right side
produced a
higher pitch
while the left
side
produced a
lower pitch.

A keyboard, in actuality, is a
repeating
series of a
certain
number of
keys. This
pattern
repeats
continuously.
Lets take a
closer look.

Figure 5.2

Figure 5.2
shows us the
fundamental
unit. There
are seven
white keys
and five
black keys. In
addition,
there is a
special
organization
of these keys.
There are two
black keys
between the
first three
white keys.
From the
fourth white
key to the
seventh key,
there are
three black
keys. This
order
continues
over and over
again. This
theory will be
explain in
detail in the
next few
chapters.

Take a
moment and
find the
starting key
of the unit.
From here,
press every
key in order.
Keep in mind
that it is
WHITE-
BLACK-
WHITE-
BLACK-
WHITE-
WHITE, etc
This is the
general
order.

Once you
reached the
seventh key,
the eighth
key is
actually the
first key in a
new pattern.
The first key
in the second
pattern is
eight keys
higher than
the first key
in the first
pattern. The
pattern of
seven notes
is called a
scale. Once
the seventh
key is
completed of
the first
scale, then
the first key
starts a new
second scale.

If one were to
chose the
fourth white
key, and go
one full scale
higher, then
one will reach
the fourth
white key in
the next
scale. The
unit of
measure of a
full scale with
eight notes is
 called an
octave. In
Western
music, the
octave is
used because
they consider
the first key
of a new
scale to also
be the last
key of the old
scale. In
Indian music,
however, the
seventh key
is considered
to be the last
and the first
key is
considered
the start of a
new scale.
Since we
have seven
notes, not
eight, our
octave is
properly
called a
saptak.
Here is Figure
5.3 a visual
demonstratio
n of the
concept of
octaves and
saptaks.

Figure 5.3
Obviously,
we wont
change
saptaks
every
moment. We
will go within
the saptak, at
times go
below the
saptak, or
sometimes
go above, or
even do
both! To
describe the
distance, we
speak in
terms of
steps. The
simplest form
of a step is a
half step. A
half step is
the shortest
distance
between two
notes. For
instance, the
first white
key and the
first black key
have a
distance of
one half-step.
Be very
careful! The
distances
from the third
white to the
fourth white,
as well as the
seventh
white to the
new first
white, are
examples of
half steps
too. There
are no black
keys between
those two
examples. Do
not assume
that a half
step means
distance
between the
white key
and its
nearest black
key or vice
versa!

Two half
steps are
known as a
whole step.
For instance,
the first white
and the
second white
are one
whole-step
apart. Recall
from the two
exceptions
shown above.
Look at figure
5.4 to explain
the concept
of steps.
Figure 5.4 (small sector of the
fundamental
unit)

Recall how
we previously
stated that as
we go to the
right of the
keyboard, the
pitches will
be high.
Conversely,
on the left
side of the
keyboard, the
pitches will
be lower.
There are
three terms
that refer to
the relative
location of
the scale.

The normal
pitches and
the main
scale is
known as the
madhya
 saptak. The
octave above
the madhya
saptak is
known as the
tar saptak.
The octave
below the
madhya
saptak is
known as the
mandara
saptak.
Figure 5.5
shows a
keyboards
ranges of
these three
types of
saptaks.

Figure 5.5

These facts
are really
nice to know,
especially
when
communicati
ng to other
musicians
musically.
However,
these facts
alone will not
help you
define any
pitches or
keys or
melodies. In
order to put
 some sort of
meaning to
the notes and
keys, we
must know
the names of
the notes and
sounds of the
scale. The
next chapter
will go into
the
introduction
of Indian
music.

Chapter 06: Sargam: The

Indian
Solfege

According to the Srimad

Bhagavatam,
Lord Brahma,
by the order
of Lord Krsna,
created the
material
planet. He
also created
the first
sound wave.
The sound
wave is the
mantra om.
Om is the
single
syllable that
is used to
address to
the Supreme
Personality of
Godhead.
Meditation
and
recitations
took place
with three
swars or
notes. This
ancient
tritonal
system
expanded by
Brahmas
creation to
seven notes
which
replicate the
seven sounds
of the nature.
The seven
sounds of
nature are
sadaja,
rsabha,
gandhara,
madhyama,
pancama,
dhaivata and
nisada. These
notes are
commonly
called sa, r,
ga, ma, pa,
dha and ni.
Sadaja or
sa is the
most
important
note because
from sa, the
other notes
can be
formed. In
fact, sadaja is
the Sanskrit
word for
origin of the
six. The six
notes
describe the
distance from
 the main sa.

These notes
are indeed
defined by
nature. Sa
describes the
sound of the
peacock, r
describes the
sound of a
bull. The
goats sound
is described
by ga, and
the dove is
shown by ma.
Pa has the
sound of a
cuckoo. Dha
has the
sound of the
horse and ni
has the
sound of the
elephant.

Music has always used these

seven swars.
These seven
swars are
called the
saptak or
seven notes.
It is also
called a
sargam. The
sargam or
saptak has
been used by
voice, but
also in string
instruments,
and wind
instruments.
Recall from
the previous
 chapter how
we dealt with
fundamental
unit that
repeats
throughout
the
harmonium.
That
fundamental
unit consists
of seven keys
that are
white. These
seven white
keys
represent the
sargam in
order. Keep in
mind that the
harmonium
was designed
to keep the
natural notes
on white
keys.

Did you notice that between

some notes,
there are
some hidden
tones.
Technically,
between
every two
consecutive
notes, there
are infinite
numbers of
semitones.
However,
within the
sargam,
there are five
semitones
between the
natural notes
that are very
distinct.
These notes
are between
sa and re, re
and ga, ma
and pa, pa
and dha, and
dha and ni.
The note
between sa
and re is
called komal
re. The note
between re
and ga is
known as
komal ga.
The note
between pa
and dha is
called komal
dha, and the
the note
between dha
and ni is
called komal
ni. The note
between ma
and pa,
however, is
called tivra
ma. Komal
means flat
and tivra
means
sharp. The
reason why
ma is allowed
to be
sharpened is
a very
complicated
reason which
can be found
in a details
classical
musical book.

These five
altered notes
are known as
vikrta swars.
These five
vikrta swars
are
represented
by the black
keys. The
seven white
natural notes
are known as
suddha
swars. The
notes are in
the following
order:

Sa, komal re,

re, komal ga,
ga, ma, tivra
ma, pa,
komal dha,
dha, komal
ni, ni.

A faster way
to write these
notes is very
simple. All
suddha notes
except ma
are
capitalized.
For example,
suddha ga is
written with a
capital G. In
the case of
suddha ma,
that is
written as an
undercase m.
Tivra ma is
 written with a
capital M. Sa
and pa are
always
capitalized.

The entire
sargam is
written as the
following:
SrRgGmM
PdDnN
Play this in
ascending
and
descending
order.

This is assumed to be in the

madhya-
saptak. If we
were to
expand to the
tar-saptak,
we use an
apostrophe
after the
note.
Similarly, the
mandra-
saptak notes
have an
apostrophe
before the
note.

Here is a
keyboarded
diagram of all
we have
learned so far
in this guide.
This is
containing
the suddha
swars, vikrta
swars, the
 repeating
keyboard
sequence,
the three
ranges of
saptaks and
how to write
the swars.

Lets look at an example

sargam.

Raga Sri:
Ascending: S
r M P N S r
S
Descending:
r N d P M P d
M P r G r S N
S

This raga will

be taught
later on.
However, do
play this on
the
harmonium.
Look at the
keys on
Figure 6.3 to
help you. A
very useful
hint to play
these notes is
not to play
the keys with
the index
fingers alone.
Use the
index, thumb,
and middle
fingers to
help you play.
Do get
familiar on
how to play
 the natural
notes without
looking. Try
these
exercises.

S
SRS
SRGRS
SRGmGR
S
SRGmPm
GRS
SRGmPDP
mGRS
N S R G m P
D P m G R N
S

N D P D P
M P
P N S G R G
S

Practice
these
exercises
very
frequently to
get used to
know the
locations of
the sargam.

Even though we learned notes,

the notes
without a
proper link or
order are
without
meaning. The
next two
chapters will
deal with
very
important
concepts of
 developing
melodies.

Chapter 07: Tht: The Indian

Modal Form

A modal form is nothing more

than a scale.
However, the
scale we
discussed in
the previous
chapters was
defining a
scale as a
range. In
addition, we
were talking
about
straight
natural
scales. In
fact, the
natural scale
in itself is a
modal form.

However, not
every scale
will be pure
natural. We
will have
some
sharpening or
flattening of
notes. We will
work with ten
particular
scales. These
scales or
modal forms
are called
thts. The
ten thts
have seven
notes each.
The ten thts
along with
their swara
sets, also
known as
swarasthanas
, are shown
below.

Asavari
SRgmPdn
S

Bilaval: (the
major scale
that we
worked with)
SRGmPD
N S

Bhairava:
SrGmPdN
S

Bhairavi:
(komala tht)
SrgmPdn
S

Kalyana:
(tivra tht)
SRGMPD
N S

Khammaja:
SRGmPDn
S

Purvi:
SrGMPdN
S

Marwa:
SrGMPDN
S

Todi:
SrgMPdN
S
These ten
thts have
been
developed by
a 1910s
musicologist,
Visnu
Narayana
Bhatkhande.
Even though
these ten
thts have
some
shortcomings
to them; they
are an
excellent way
to study
developing
melodies. Of
course,
initially it will
be quite
difficult to
determine
whether the
note you wish
to chose is
going to be a
ga or a re.
It will take a
while to first
adopt to an
ear to
determine
what each
that sounds
like. Once
you chose
the right tht,
it will be a
while to
adopt a
sense of
which notes
to select
when you
accompany a
singer. First,
play each of
these ten
thts while
reciting the
name of each
tht and
singing the
swars along.
Practice three
rounds of
each tht.

Just for your

information,
Bhairavi is
known as the
komal tht,
because all of
the notes are
the flattest as
they can be.
S and P can
never be flat
as they are
fixed notes.
But, re, ga,
dha, and ni
are all flat, as
that as the
flattest as
they could
be. Between
ma and tivra
ma, ma is
flatter than
the two, so
ma is used.
Likewise,
Kalyana Tht
is known as
the tivra tht,
because
every note is
the highest
value
possible. Re,
Ga, Dha, and
Ni are all
suddha as
they are the
highest of
their notes.
Again,
between
Tivra ma, and

Lets assume
that you have
had some
experience
with these
thts. Lets
pick two
songs from
the Asavari
Tht. The two
songs are
Antara
Mandire Jago
Jago and a
mahamantra
tune. Notice
that even
though the
melodies are
entirely
different, the
same set of
notes of the
Asavari tht
is used.

Asavari Tht:
SRgmPdn
S

SnSRRRg
mRS
An ta ra
mandire
jago-- ja-go

RSSndnR
S
madhava
krsna gopala

mmPPndd
n S S n R S
S
nava aruna
sama jago
hrdoye mama

PnPmmP
mggmRR
S
sundara
giridhari la-a-
a-a-l

Here is a
Hare Krsna
melody

Ha re kr - sna
hare krsna
SRgRS
ndnP

Krsna kr - sna
hare ha
re-----
P P S S- R
SRggmg
RS

Since they
did not
deviate from
the scale of S
RgmPdn
S, it is of the
Asavari Tht.
Of course,
when
someone is
 singing, you
will have to
think, Which
of the ten
thts sound
the closest to
the melody I
am hearing?
Once you
develop that
kind of
mentality,
accompanyin
g an artist
will become
very easy. For
now, practice
the ten thts
in such a way
that you will
not forget
them.
Practice
playing the
ten thts
correctly with
their correct
names. Once
you master
this, you may
move onto
the next
chapter.

Chapter 08: Review

A great deal of very important

information
dealing with
the basics of
Indian music
was
discussed
here. Lets
take the
opportunity
to review
them.
 The keyboard
of the
harmonium
has a set of
three
fundamental
units of keys.

This structure of any keyboarded

instrument
has this
fundamental
unit
repeating
over and over
again. In
harmonium,
it usually has
three
repeating
patterns.

We discussed
a little later
that a
fundamental
unit is a
scale, which
consists of
seven notes.
Once eight
notes (7
notes +
starting note
of the next
fundamental
unit) are
completed, it
is known to
have
completed
one octave in
Western
music, or a
saptak
(seven notes)
 in Indian
music.

In understanding the
relationships
between any
two notes, we
talk about
half steps
and whole
steps. The
half step is
one-key
difference
from the first
note. A whole
step is a two
key
difference.
The half-step
is the
smallest unit
of measure in
describing
distance
between two
notes. Look
at this
diagram and
recall from
Chapter 5
that half-step
does not
always mean
from a white
to black (or
vice versa).
Likewise,
whole-step
does not
imply a
white-to-
white (or
vice-versa)
relationship.
The red
bracket is the
 half-step,
while the
blue is the
whole-step.

Then, the discussion of the

seven notes
were
described,
the notes
were sa, re,
ga, ma, pa,
dha, and ni.
They can be
abbreviated
as S, R, G, m,
P, D, and N.
They are
known as
suddha swars
and can be
represented
by white
keys. The
semi-tones
between
some suddha
swars, are
known as
vikrta swars,
and are
known as
komal re,
komal ga,
tivra ma,
komal dha,
and komal ni.
They are
abbreviated
as r, g, M, d,
and n

Lastly, here are the ten thats

Visnu
Narayana
Bhatkhande
developed.
Asavari
SRgmPdn
S

Bilaval: (the
major scale
that we
worked with)
SRGmPD
N S

Bhairava:
SrGmPdN
S

Bhairavi:
SrgmPdn
S

Kalyana:
SRGMPD
N S

Khammaja:
SRGmPDn
S

Purvi:
SrGMPdN
S

Marwa:
SrGMPDN
S

Todi:
SrgMPdN
S

Unless you
have
developed
full
knowledge of
the material,
do not move
onto the next
 unit. The next
unit will
develop on
more
theoretical
applications
which cannot
be
understood
easily without
understandin
g this
material first

UNIT THREE: DEVELOPMENT

OF
TECHNIQUE

Chapter 09: Alankars of the

Ten Thts
Before songs,
ragas, and
musical
pieces are
examined, it
is very
important to
get the
fingers truly
used to the
harmonium.
Since ten
different
musical
scales,
known as
thts, were
introduced in
Lesson 7,
these can be
used as
examples to
begin
practice.
Every
musical
instrument
will practice
exercises in
note
progression
which is
known as
alankra.
Alankras are
usually
mathematical
ly composed.
Here is an
example of
an alankra
practice set
for the Bilaval
Tht.

Aroha: S-R-G
R-G-m G-m-P
m-P-D P-D-N
D-N-S N-S-R
S-R-G R-
G-m G-m-
P
Avaroha: P-
m-G m-G-
R G-R-S R-
S-N S-N-D
N-D-P D-P-m
P-m-G m-G-R
G-R-S
This previous
example uses
three notes
per segment.
An example
of a segment
in the above
alankara is S-
R-G.

Here is a four
note per
segment of
Bilavala Tht.

Aroha: S-R-G-
m R-G-m-P G-
m-P-D m-P-D-
N P-D-N-S D-
N-S-R N-S-
R-G S-R-
G-m R-G-
m-P
Avaroha: P-
m-G-R m-
G-R-S G-R-
S-N R-S-N-D
S-N-D-P N-D-
P-m D-P-m-G
P-m-G-R m-G-
R-S

Do you see
the pattern?
This is a four-
note per
segment
alankara. The
first note of
the second
segment is
the second
note of the
first segment.
Thus, the first
note of the
second
segment is
R. The third
segment
starts off with
G and so
on. Usually,
three and
four note
segments are
good ideas
for alankar
practice.

Practice the
alankars
shown on this
page.
Practice
alankars for
Kafi tht. (3
note)
Aroha: S-R-g
R-g-m g-m-P
m-P-D P-D-n
D-n-S n-S-R
S-R-g R-g-
m g-m-P
Avaroha: P-
m-g m-g-R
g-R-S R-S-
n S-n-D n-D-
P D-P-m P-m-
g m-g-R g-R-S

Practice
alankars for
Kalyana
tht (3
note)
Aroha: S-R-G
R-G-M G-M-P
M-P-D P-D-N
D-N-S N-S-R
S-R-G R-
G-M G-M-P
Avaroha: P-
M-G M-G-
R G-R-S R-
S-N S-N-D
N-D-P D-P-M
P-M-G M-G-R
G-R-S

Practice
alankars for
Purvi tht
(4 note)
Aroha: S-r-G-
M r-G-M-P G-
M-P-d M-P-d-
N P-d-N-S d-
N-S-r N-S-
r-G S-r-G-
M r-G-M-P
Avaroha: P-
M-G-r M-
G-r-S G-r-
S-N r-S-N-d
S-N-d-P N-d-
P-M d-P-M-G
P-M-G-r M-G-
r-S

Practice
alankars for
Bhairava
tht (4
note)
Aroha: S-r-G-
m r-G-m-P G-
m-P-d m-P-d-
N P-d-N-S d-
N-S-r N-S-
r-G S-r-G-
m r-G-m-P
Avaroha: P-
m-G-r m-
G-r-S G-r-
S-N r-S-N-d
S-N-d-P N-d-
P-m d-P-m-G
P-m-G-r m-G-
r-S

Practice
alankars for
Bhairavi
tht (4
note)
Aroha: S-r-g-
m r-g-m-P g-
m-P-d m-P-d-
n P-d-n-S d-
n-S-r n-S-r-
g S-r-g-m
r-g-m-P
Avaroha: P-
m-g-r m-g-
r-S g-r-S-n
r-S-n-d S-n-
d-P n-d-P-m
d-P-m-g P-m-
g-r m-g-r-S

Practice
alankars for
Marwa tht
(3 note)
Aroha: S-r-G
r-G-M G-M-P
M-P-D P-D-N
D-N-S N-S-r
S-r-G r-G-
M G-M-P
Avaroha: P-
M-G M-G-r
G-r-S r-S-N
S-N-D N-D-P
D-P-M P-M-G
M-G-r G-r-S

Practice
alankars for
Todi tht (4
note)
Aroha: S-r-G-
M r-G-M-P G-
M-P-d M-P-d-
N P-d-N-S d-
N-S-r N-S-
r-G S-r-G-
M r-G-M-P
Avaroha: P-
M-G-r M-
G-r-S G-r-
S-N r-S-N-d
S-N-d-P N-d-
P-M d-P-M-G
P-M-G-r M-G-
r-S

Practice
alankars for
Asavari
tht. (3
note)
Aroha: S-R-g
 R-g-m g-m-P
m-P-d P-d-n
d-n-S n-S-R
S-R-g R-g-
m g-m-P
Avaroha: P-
m-g m-g-R
g-R-S R-S-
n S-n-d n-d-P
d-P-m P-m-g
m-g-R g-R-S

Practice
alankars for
Khamaja
tht. (3
note)
Aroha: S-R-G
R-G-m G-m-P
m-P-D P-D-n
D-n-S n-S-R
S-R-G R-
G-m G-m-
P
Avaroha: P-
m-G m-G-
R G-R-S R-
S-n S-n-D n-
D-P D-P-m P-
m-G m-G-R
G-R-S

Chapter 10:
Tala: The
Indian
Rhythmic
Cycle

Welcome to the second

cluster of this
journey in the
world of
tabla. This is
perhaps one
of the most
common and
most
interesting
sections. In
the previous
unit, we
talked about
the alphabet
and sounds
of tabla. The
fundamental
bols and
sounds very
important for
tabla will be
used
together to
make
rhythms and
many
interesting
elements.

In Indian
music,
generally,
there are
three
elements.
The elements
are the
melody,
drone, and
the rhythm.
The melody
is provided
by an
instrument of
the sushir
vadya (blown
air), tantri
vadya
(plucked
stringed
instruments)
and vitat
vadya
(bowed
instruments).
These three
instruments
have the
ability to play
Indian
melodious
modes known
as ragas. A
simple
definition of
raga provided
here can
never do full
justice to
define what a
raga really is.

The second
element is
the drone.
The drone is
a simple note
held
constantly.
The function
of the drone
is to help
provide a
constant
pitch. This
helps
vocalists find
their tonic.
Drones are
found in
instrumental
music either
by a drone
instrument or
in the melody
instrument
itself. The
tanpura and
sruti box are
the most
commonly
used
instruments
to act as
drones.

The final
element is
the rhythm.
The proper
word for
rhythm is
tala. This
comes from
the Hindi
word, tali
meaning
clap. This
provides the
time when
the raga is
played. Tabla
is a tala
episode.
Pakhawaj,
mridanga,
khol, and
dholak are
other
instruments
used to keep
tala.

Western
music tends
to describe
rhythm in
measures.
For instance,
every
measure in a
song can
have four
beats. In
Indian music,
we describe
rhythm as
cycles. A
piece can be
in a rhythm
of sixteen
cycles. Let us
examine the
elements of
the tala.

The tala can

be viewed
best as a unit
circle read
clockwise.
The
beginning of
the circle
indicates the
start of the
cycle. Each
cycle has
beats. The
Indian word
for beat is
matra. A
cycle has a
fixed number
of matras.
The first
matra
indicating the
start of the
cycle is
known as the
sam. By
convention,
the sam is
represented
by an X.
The circle is
thus divided
by measures
called the
vibhag. The
Western
concept holds
each
measure
bearing an
 equal
number of
beats.
Vibhags, on
the other
hand, may or
may not hold
equal
numbers of
matras.

Notice at matra 1, the X

representing
the sam is
indicated
there. Since
there are
sixteen
matras, and
four vibhags,
we can
assume that
each vibhag
has four
matras.
1+4=5.
Matra 5
starts the
second
vibhag.
5+4=9 Matra
9 starts the
third vibhag.
9+4=13.
Matra 13
begins the
final vibhag.
After matra
16, the cycle
repeats. One
completed
cycle is
known as an
avartan.

When we
discuss the
vibhag nature
of this tala,
we say, This
tala is
divided 4-4-4-
4. This set of
numbers is
called a
vibhag
division or
tala division.
This means
the first
vibhag is four
matras, the
second is
four matras,
the third is
four matras,
and the
fourth is four
matras. If you
add each of
the matras
up, you
should end
up with the
total number
of matras in
the cycle. In
this case,
4+4+4+4=1
6 matras.
Other
possible
divisions
could be 6-4-
2-4. This is
also four
vibhags, but
the first
vibhag has
six matras,
second
having four,
third having
two, and
fourth having
only four
matras. Add
6, 4, 2, and 4
together and
you also get
sixteen. This
means that
the divisions
occur at sam,
matra 7,
matra 11,
and matra
13.
Therefore,
just because
it has four
vibhags with
sixteen
matras does
not imply
four matras
in each
vibhag.

On Figure
10.1, there
are numbers
2, 0, 3, and
X. These
are accent
numbers.
Generally,
the sam is
the matra
with the
highest
accent. This
is thus,
indicated
with an X.
The number
2 and
numbers
after 2
represent
stress or
accents.
These are
called accent
numbers. The
accent
number 2
and accent
number 3 do
not represent
weight or the
amount of
stress. The
accent
numbers
simply
represent
position.
Shown on
Figure 10.1,
accent
number 2 is
placed on
matra 5. This
denotes
matra 5
having an
accent.
Similarly,
accent
number 3 is
placed on
matra 13.
This means
that matra 13
has an
accent. If a
matra
contains a
zero, this
denotes that
the matra
has no
accent. In
this case,
matra 9 has
no accent.
When
describing
talas, a
clapping,
waving
convention is
used. The
sam and
accent
numbers
receive claps.
Therefore,
the sam and
accent
numbers are
known as
talis. When
reciting the
tala, the
matra with
tali is given
with a clap of
hands. The
zero number
has no
accent. It is
considered
an empty
weighted
matra. The
matras with
zero number
are known as
khalis. Khalis
receive a
wave of
hands. This is
the most
accepted
approach to
describing
talas, more
than the unit
circle shown
on Figure
10.1. To use
the clap-
wave
approach for
the following
tala, you
recite and act
the following
words:

CLAP 2, 3, 4,
CLAP, 2, 3, 4,
WAVE, 2, 3,
4, CLAP, 2, 3,
4

When you
actually
recite the
tala using
claps and
waves, and
then play the
actual tala on
tabla, it is
very amazing
to see how
similar the
clap-wave
notation and
the actual
tabla sounds.
When
describing
talas in the
future, the
clap-wave
method will
be described
along with
the tala.

Some artists,
to emphasize
the number
of bols, will
count based
on
accumulating
matras. For
instance.

CLAP 2, 3, 4,
CLAP 6, 7, 8,
WAVE 10, 11,
12, CLAP 14,
15, 16.

This works
too. Either
way serves
the purpose
of keeping
accents,
vibhags, and
matras per
vibhag in
tact.

CLASSIFICATI
ON OF TALAS
By the
number of
matras in a
tala, a
general
assumption
of the flow
can usually
be made. In
Indian music,
we discuss
the
classification
of tala
length, by
considering
its multiples.
Usually, this
classification
allows many
substitute
talas for the
same
composition.
The
classification
of the tala is
called its jati.
Jati literally
comes from
the Hindi
word
meaning
caste.

Tisra jati
means that
the tala has a
cycle with a
multiple of
three matras.
Catastra jati
means that
the tala has a
cycle with a
multiple of
four matras.
Khanda jati
indicates a
multiple of
five matras.
Misra jati
indicates a
multiple of
seven, and a
rare jati,
sankirna,
indicate a
multiple of
nine. A tala
with nine
matras, even
though it is a
multiple of
three, has a
higher
priority with
nine. Usually,
a number
with multiple
choices for
jatis would
 opt for a
higher jati.
The only
exception is
twelve matra
talas. Prime
number talas
are named to
the nearest
jati. For
instance, an
eleven matra
tala is
classified as
a khanda jati,
since ten, a
multiple of
five, is the
closest. The
tala used in
Figure 10.1 is
catastra jati.

Be sure to
understand
these
concepts
very well.
These will be
used very
extensively in
our
development
of building
tala
knowledge.

Chapter 11: Reading Indian

Music

We have discussed a basis of

melody in
Chapter 7
through the
That. We
recently
learned about
the basis of
rhythm in
Chapter 10.
This chapter
will attempt
to unite these
two elements
together.

Traditionally,
Indian music
was always
taught orally
by master to
student. The
student had
their
instrument
with them
the whole
time
practicing
whatever
material the
teacher has
taught them.
There was no
concept of a
notebook or
taking notes
or reading
any textbook
or guide. Of
course, this
gurukula
system is
starting to be
phased out
and replaced
with
traditional
school or
tutor like
classes for
these
instruments
in India. To
 aid in the
education
process,
notation was
created.
There are
many forms
of notation,
but the one
presented
here is the
Bhatkhande
notation.

There are four important lines

shown here.
The first line
with red
numbers
represents
the tala
signs. These
signs were
described in
the previous
chapter. The
sam is
marked with
the X, the
subsequent
accents, or
talis, are
denoted by
their number
in order, and
the khali, the
deaccented
mark, is
represented
by a 0, as
shown on
matra 5
above.

The second
line is the
matra
numbers.
They
describe only
the positions
within the
cycle
described.
The third line
is the line
with melody
using the
sargam.
These are the
notes that
you actually
play on the
harmonium
or any
melodic
instrument
for that
matter.
Finally, the
last line
assumes that
you are
singing a
song and
gives the
words to the
song. This
song is jaya
radhe jaya
krsna. Notice
in matra 4,
two
interesting
things
happen. The
matra is
divided into
two sections.
This is
because two
different
attacks of
notes will
take place
evenly. You
can view
each section
as 4A and 4B.
The lyric
shows the
changes in
notes from
the word
radhe. Its
first syllable
started on
matra 2 and
the second
syllable
started on
matra 3.
However, the
second
syllable went
into matra 4
with some
note
changes. The
e lyrics
imply that
you hold that
vowel until
the start of
matra 5.

Given that
you have not
any real
experience at
playing
harmonium
or any
musical
instrument, it
will be quite
likely that
keeping time
will become
difficult. The
best bet is to
read the
sargam and
then play it
while singing
the lyrics
shown in
equal time.
Go really
slow if you
have to.
There is no
rush; slowly
you will
develop
speed in
singing while
playing the
respective
notes.

The lyrics are

from a Hindi
bhajan used
in a Golden
Avatar tape
released in
1981 called
Prabhupada
Krpa. The
lyrics read
kirtan karke
tihara man
yeh pavan ho
gaya. Read
this out loud
and try to
play this
piece note by
note. Notice
in line 2,
matra 3, we
start
introducing
half-beats.

Pay attention
to the lyrics
 line. Matra 5
on line 1 has
an S for a
lyric. The S
in the lyrics
line indicates
silence.
Silence
implies that
no word is
uttered from
the mouth,
although the
harmonium
will play
something. In
this case,
matra 5 is
playing Re on
the keyboard,
but nothing
will be sung
at that matra.

Study these
two mini-
songs. We
will learn
more songs
throughout
the guide,
but be sure
you know
how to read
music in this
form. This will
help us
throughout,
when we
learn new
songs and
new ragas
with new
talas.

Chapter 12: Introductory

Practice
There are other theories of
Indian music
which are yet
to be
discussed.
However,
before
getting to
that point, it
is important
to get
familiar with
harmonium
playing with
some songs.
Therefore,
the first
portion of
practice will
allow one to
get familiar
with songs
that use the
basics that
were
previously
mentioned.

The first song

that is the
easiest is the
Hare Krsna
mahamantra.
The words
are hare
krsna, hare
krsna, krsna
krsna, hare
hare; hare
rama, hare
rama, rama
rama, hare
hare.
This song
starts at
matra 7.
Matras 7 and
8 carry the
syllables ha
and re. One
may ask,
Why does
the song
begin at
matra 7
instead of the
sam? To
answer this
question
requires
some
knowledge of
talas. Matras
7 and 8 are
known as
upbeats,
because they
dont start at
the beginning
of the cycle.
Matra 7 will
be a very
important
matra as far
as our words
and
beginning of
melody is
concerned.
With this
common tune
of the Hare
Krsna
mahamantra,
it is not
uncommon to
use an eight
beat cycle. In
relation to
the
continuously
played eight
beat cycle,
the first
syllable falls
on matra 7.
Everything
else falls in
place.

While it is
important to
get the
correct
swars, it is
just as
important to
consider the
duration of
each swar. In
Line 2, say
kri-i-shna-a-
a-a-ha-re.
One must
really voice
out the
syllables,
even if they
are vowels.
Line 3 is very
similar, kri-i-
shna-a-a-a-
kri-shna.
Line 4 is the
same as Line
2. Line 5 is
said, ha-a-
re-e-e-e-ha-
re. Once one
can say the
words in
correct
timing and
meter, then
apply the
swars.

Notice that
the last lines
matras 7 and
8 are
italicized. The
italicized
swars and
lyrics indicate
that they are
part of the
next stanza
that will
either repeat
the musical
form or use
another
musical form.
For example,
Figure 12.1
presents the
tune for the
hare krsna
component of
the
mahamantra.
When one
sings the
hare rama
part, the
same tune
will be used
as the hare
krsna part.
Thus, to
indicate the
hare rama
component
that will
follow the
hare krsna
part, the
hare
syllables and
swars are
italicized.
After
completion of
hare hare
from the
hare rama
portion, then
 matra 7 will
begin with
hare from
the hare
krsna part.

nama om visnu-pdya krsna-

presthya
bh-
talermate
bhaktivednt
a-svmin iti
nmine

namas te
srasvate
deve gaura-
vn-
pracrinenirvi
esa-
nyavdi-
pctya-
dea-trine

(jaya) r-
krsna-
caitanya
prabhu
nitynandar
-advaita
gaddhara
rvsdi-
gaura-
bhakta-vrnda

hare krsna
hare krsna
krsna krsna
hare hare
hare rma
hare rma
rma rma
hare hare

Chapter 13: Song Practice (I)

The last chapter discussed the

mahamatra
which
involved only
one form
associated
with it. With
that one
form, one
could repeat
the chant
over and over
again. In
terms of
music, this is
the simplest
scenario. The
truth is that
songs will
have more
than one
form
associated
with it. In
some cases,
a song will
contain a
melody for
the refrain,
and a melody
for the
verses.
Sometimes,
the verses
will have two
melodies
which will
alternate
themselves.
A great
number of
combinations
can exist
when
examining
how songs
are
composed.
When
discussing
harmonium
or any
melodic
musical
instrument, it
is important
to be able to
break the
verses down
into distinct
melodic
patterns. The
principal
melody that
acts as a
refrain is
known as the
asthayi or
sthayi. Any
subsequent
musical
patterns that
follow the
asthayi are
known as
antar (lit.
verse).
Please keep
in mind that
asthayi
describes the
melodic,
musical form,
not the
actual lyrics.
For example,
the song in
this practice
is the
Gurvastakam
. The song
contains
eight verses,
which 1, 3, 5,
and 7 uses
 the same
principal
melody. Thus,
verses 1, 3,
5, and 7 are
known as
verses
contains the
asthayi,
although
lyrically, they
are not
refrains. In
the same
manner,
verses 2, 4,
6, and 8 are
verses that
that contain
the same
melody (a
sub-tune of
the asthayi).
Therefore,
they are
known as the
antara
melodies,
even though
lyrically,
there are
eight verses.

The song in this lesson is a

Sanskrit
astakam, or a
set of eight
verses. The
format, as
mentioned in
the last
paragraph, is
that 1-3-5-
and-7 contain
asthayi
melody and
verses 2, 4,
6, and 8 bear
the antara
melody.Did
one notice
any striking
resemblance
with the
antara and
the asthayi.
The last two
lines sounded
very similar.
It is not
uncommon to
have the
antara retain
various
properties of
the asthayi,
although very
different
melodic
forms are
acceptable
with antara.
Sometimes,
antara
portions will
have a
rhythmic
change from
the asthayi.

After
completing
the asthayi
and the
antara, what
is next? This
particular
song is an
example
where the
asthayi and
the antara
alternate.
It is common
to sing only
the first eight
verses only,
although
occasionally
the ninth
verse is sung
in the antara
form.

The following
is the lyrics
colored out.
The red
indicates that
the asthayi is
used, while
the orange
indicates that
the antara is
used.

(1)
samsra-
dvnala-
ldha-loka-
trnya
krunya-
ghanghanat
vamprptasy
a kalyna-
gunrnavasy
avande guroh
r-
caranravind
am

(2)
mahprabho
h krtana-
nrtya-gta-
vditra-
mdyan-
manaso
rasenarom
ca
-kampru-
taraga-
bhjovande
guroh r-
caranravind
am

(3)
r-
vigrahrdha
na-nitya-
nn-
rgra-tan-
mandira-
mrjandauy
uktasya
bhaktm ca
niyujato
'pivande
guroh r-
caranravind
am

(4)
catur-vidha-
r-bhagavat-
prasda-
svdv-anna-
trptn hari-
bhakta-
saghnkrtva
iva trptim
bhajatah
sadaivavande
guroh r-
caranravind
am

(5)
r-rdhik-
mdhavayor
apra-
mdhurya-ll
guna-rpa-
nmnmprati
-
ksansvdan
a-
lolupasyavan
de guroh r-
caranravind
am

(6)
nikuja-yno
rati-keli-
siddhyaiy
ylibhir yuktir
apeksanyta
trti-dksyd
ati-
vallabhasyav
ande guroh
r-
caranravind
am

(7)
sksd-
dharitvena
samasta-
strairuktas
tath
bhvyata eva
sadbhihkintu
prabhor yah
priya eva
tasyavande
guroh r-
caranravind
am

(8)
yasya
prasdd
bhagavat-
prasdoyasy
prasdn na
gatih kuto
'pidhyyan
stuvams
tasya yaas
tri-
sandhyamva
nde guroh
r-
caranravind
am

(9)
rmad-guror
astakam etad
uccair
brhme
muhrte
pathati
prayatnt
yas tena
vrndvana-
ntha skst
sevaiva
labhy
jusanonta
eva

Throughout
the song
practice
portions of
the website,
this colored
notation will
be used.
Generally,
asthayis will
be shown in
red, while the
other antaras
are colored
other colors.

HOW TO
PRACTICE
SONGS

The best way

to study a
new song is
to take each
line and say
it out loud in
terms of
rhythm. Do
not try to
sing it yet.

Therefore,
you would
say out loud:

(PAUSE) sam
s ra d v
nala l
dha lo o ka a

The PAUSE in
the beginning
indicates that
the first beat
is actually a
pause.
Therefore,
after the
rhythmic
instrument,
be it a
mridanga,
tabla, or
kartal, makes
it first correct
strike, then
one begins
playing or
singing.

The
breakdown
breaks the
line down
into its
matras. For
example,
nala
contains two
syllables in
its lyrics, but
it fits in one
 matra.
Likewise,
many of the
long vowels
would take
up two
matras, like
the syallable
d in
dv two
up two
matras. In
this manner,
break each
line down
into its
rhythmic
components
and then fill
the swars in.
It is the best
practice to
tackle most
songs.

The next
lessons will
not give
much
commentary,
but provide
only practice
for fingering
and
experience
for songs.

Chapter 14: Song Practice

(II)

After learning the Gurvastakam,

it is only
appropriate
to learn the
Nrsimha
prayers.
While there
are variations
 as to which
song is
defined as
the Nrsimha
prayers, this
song is the
song that
begins with
the first
words
Namaste
Narasimhaya.
There is
one asthayi
and one
antara form.
The asthayi is
repeated for
the first two
verses. The
antara
consumed
the third
verse.

Sometimes,
the asthayi or
antara might
be quite
lengthy.
Therefore, in
this
presentation,
it may split
up, as the
antara is split
up into two
parts.

LYRICS:
(1)
namas te
narasimhya
prahldhld
a-
dyinehirany
akaipor
 vaksah-il-
taka-
nakhlaye

(2)
ito nrsimhah
parato
nrsimhoyato
yato ymi
tato
nrsimhahbahi
r nrsimho
hrdaye
nrsimhonrsim
ham dim
aranam
prapadye

(3)tava kara-
kamala-vare
nakham
adbhuta-
rgam
dalita-
hiranyakaip
u-tanu-
bhrgamkea
va dhrta-
narahari-rpa
jaya jagada
hare

UNIT FOUR: CHORDS AND

ACCOMPANI
MENT

Chapter 15: Murchana and

Accompani
ment

From the world of practice in the

last five
chapters, a
nice break is
needed in
order to
discuss more
accompanim
 ent theory.
Everything
discussed up
to this point
existed only
in the perfect
world.

The actual keys have specific

pitches. Pitch
is a
qualitative
measure of
how high or
low it sounds.
Quantitativel
y, pitch is a
description of
frequency
which is
measured in
Hertz. In
Western
music, the
pitches are
represented
by letters of
the alphabet,
from A to G.
The pitches
or
frequencies
of all of the
other notes
are based on
the fact that
sound
frequency of
A equals to
440.0 Hertz.
This is the
Western
system of
tones. Maybe
Indian
musicians,
unfortunately
 , equate C, D,
E, F, G, A,
and B as the
Western
version of S,
R, G, m, P, D,
and N
respectively.
This is not
the case at
all.

Do, re, mi, fa, so, la, and ti are

the Western
equivalents
of the sa, re,
ga and ma
system. Both
do re mi
and sa re
ga are
examples of
solfeges.

INTRODUCTION TO
CHANGING
KEYS

WESTERN
TONE
WESTERN
SARGAM
INDIAN
SARGAM

C Do S

D Re R

E Mi G

F Fa m

G So P

A La D

B Ti N
This is true when your Sa = C.
When you
will be
accompanyin
g another
singer, they
might not
always be
singing using
the Sa being
equal to C.
Just as
people are
different, so
are their
natural
ranges and
singing
pitches.
Someone
could have
their Sa
being equal
to the pitch
of D. What
will happen
then? Figure
18.1 will have
absolutely no
use to you at
all. What will
you do?

There are
twelve keys
amongst
scales. It
would be
difficult to
write out
every single
raga with
each of the
twelve key
changes. The
simplest way
to convert
 between keys
is by
understandin
g the concept
of the whole
step and half
step. If you
dont
remember
from Chapter
5, half step is
the distance
from a key
and its next
consecutive
key. The
whole step is
the distance
from a key
and two keys
after it. Using
the suddha
scale, we will
examine the
step
differences.

Notice from the G to m and N to

S change,
there was a
half-step
difference.
Remember
this and we
will use this
application to
do our shift in
Sa.

Before we
move on, let
us examine
the Western
system of
tones. We
only looked
at the white
 keys. The
black keys,
which
correspond to
vikrta swars
in Indian
music, have
special
names. The
nomenclature
is a bit
difficult, but
# after a
note, means
a sharp,
while a b
after a note
means its
flat. Unlike
Indian music
where each
vikrta swar
has its own
name, each
vikrta swar in
Western
music has
two names: a
sharp name
(#) and a flat
name (b).

MURCHANA AND SUDHA

RAGAS

When Indian musical theorists

studied
scales,
experimentat
ion of
changing the
Sa with
respect to
any of the
other six
notes of the
sargam have
been done
 before. The
movement of
the Sa upon
any of the
notes is
known as the
murchana. If
one takes the
Bilawal Tht
of all suddha
notes, one
can clearly
see how six
other scales
are hidden.

TRANSPOSE SCALE
TRANSPOSE
D NAME OF
NEW SCALE

S S R G m P D N S Bilawal

S moves to R
SRgmPDn
S Kafi
S moves to G
SrgmPdn
S Bhairavi
S moves to m
SRGMPD
N S Kalyana
S moves to P
SRGmPDn
Khamaja
S moves to D
SRgmPdS
Asavari
S moves to N
SrgmMdn
S' Non-
existant

Notice how we moved the Sa

upon each of
the other six
notes of the
sargam. By
doing that,
we created
six other
musical
scales which
introduced
vikrta swars.
The way
these were
introduced is
through the
exact same
process we
did when we
found the
Bhairavi Tht
for Sa being
equal to E. In
that, we
noticed it is
all white
keys. This
should now
be no
surprise that
we expect
the white key
scale of E
(given that
Sa = C) will
have the
Bhairavi Tht.
This is not
only true for
Bhairavi Tht.
There are
others which
are white key
scales. In
fact, there
are seven;
given that Sa
equals each
of the seven
white keys.
1) Identify the raga or tht
If you can
identify what
is being sung,
then you are
a quarter way
there.
Knowing
what is being
played will
help you map
out your half-
steps, whole-
steps, as well
as the actual
keys which
will be played
after you find
the Sa.

2) Identify
the Sa
Once you
know what is
being played,
then find the
Sa. If you are
performing in
public, then
you should
collaborate
with the main
musician and
see what key
everything is
being played
in. If you
have a scale-
changing
harmonium,
change your
scale to that
key. If you
dont, then
find that
correspondin
g key on the
harmonium in
advance and
keep that as
your focal
point. If your
Sa will be
changing
from song to
song, then
keep that in
mind as well.
Dont worry,
as this is
Indian music;
traditionally
classical
Indian music
does not
believe in
changing Sa
in the middle
of a
particular
song. If the
song started
in Sa being
equal to F,
then the song
will end in Sa
being equal
to F. Of
course, raga
change and
grace-notes
may be used
here and
there but
remember to
keep your Sa
focused.

If you are
playing for a
crowd with
no advanced
planning,
then while
the singer is
singing, softly
pump some
air in the
harmonium
and test
some likely
notes.
Whichever
sounds the
most
compatible is
most likely
the Sa. Once
you feel
confident
that the note
is your Sa,
play Sa to
confirm that
your choice is
correct.

3) Map out
the rest of
the notes
slowly
This requires
some thought
as you will
have to
meditate on
the raga
being
performed
and the keys
which will
correspond to
it. Remember
to think of
half-steps
and whole-
steps to
decipher
where your
notes will fall.
For example,
 Raga
Malkauns has
a five swar
set of S, g, m,
d, and n. The
distance from
S to g is
three-half
steps. The
distance from
S to ma is
five half-
steps. Keep
thinking like
this, but do
so quickly,
because it
would be
pretty
embarrassing
to have the
song be over
by the time
you finally
get the gist
of the melody
on the new
Sa.

UNIT FOUR:
PRACTICE

Chapter 16: Song Practice

After taking a brief break from

learning new
songs, we
continue
learning more
bhajans and
kirtans. Just
as the last
unit had
bhajans and
aratis in the
morning, this
will focus on
common
bhajans sung
by Gaudiya
Vaisnavas.
The first in
the selection
is the Gaura
Arati, the
ceremony
glorifying
Lord
Caitanya.
There is one
asthayi and
two antaras.
Antara 2, as
in the
Gurvastakam
(Chapter
13), alternate
s with the
asthayi,
some may
reverse the
order. In
addition, a
few will sing
everything
with Antara
2. Antara 3 is
used for the
refrains
featured
below. Other
Gaudiya
Vaisnava
groups have
more
alankaras
(refrains in
the middle of
the song) so
the others
may have
different
tunes.
LYRICS:
(1)(kiba) jaya
jaya
gorcnder
ratiko
obhjhnav
-tata-vane
jaga-mana-
lobhjaga-
jana-mana-
lobh
(Refrain 1)
(gaurger
rotik obh
jaga-janer-
mana-lobh)

(2)dakhine
niticnd,
bme
gaddharanik
ate advaita,
rnivsa
chatra-dhara

(3)bosiyche
gorcnd
ratna-
simhsaner
ati koren
brahm-di
deva-gane

(4)narahari-
di kori'
cmara
dhulyasaja
ya-mukunda-
bsu-ghos-
di gya

(5)akha
bje ghant
bje bje
karatlamadh
ura mrdaga
bje parama
 rasla
(Refrain 2)
(ankha bje
ghant bje
madhur
madhur
madhur bje)

(6)bahu-koti
candra jini'
vadana
ujjvalagala-
dee bana-
ml kore
jhalamala

(7)iva-uka-
nrada
preme gada-
gadabhakativ
inoda dekhe
gorra
sampada

Chapter 17:
Song
Practice

A common bhajan sung is Bhaja

Hu Re Mana.
Structurally,
it is a very
simple song
based off a
sixteen matra
cycle known
as tintal
(though
many
mridanga
players tend
to play a slow
eight matra
Prabhupada
tala). Though
the easiest
way is to
 repeat the
asthayi and
Antara 1 over
and over
again, the
approach
taken here is
a refined
approach to
distinctly give
it a new
verse form.

(1)bhajah re mana r-nanda-

nandanaabha
ya-
caranravind
a redurlabha
mnava-
janama sat-
sagetaroho
e bhava-
sindhu re

(2)ta tapa
bta
barisanae
dina jmin
jgi rebiphale
sevinu
krpana
durajanacapa
la sukha-laba
lgi' re

(3)e dhana,
yaubana,
putra,
parijanaithe
ki che
paratti
rekamala-
dala-jala,
jvana
talamalabhaj
ah hari-pada
nti re
(4)ravana,
krtana,
smarana,
vandana,pd
a-sevana,
dsya
repjana,
sakh-jana,
tma-
nivedanagovi
nda-dsa-
abhilsa re
Note:

This arrangement is also for keyboard in which you use

your both hands but you use right
hand in playing harmonium.

As mentioned earlier in Fig 1, we have assumed the

first white key to be the Sa (S), for
convenience. But from now we will
use black key as our first starting
point for Sa (S). You will find that
there are sets of 5 black keys on the
keyboard. Each set of those 5 black
keys is made up of 2 + 3 black keys.
The first white key is that white key
which lies immediately to the left of
the first black key. Since there are
several sets of 5 black keys, there
will also be several "first white"
keys. 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.
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.