Taan
To improvise and to expand weaving together the notes in a fast tempo is a taan. Taans are very technical and shows the training, practice and dexterity in weaving complicated patterns of the notes with variations in the rhythm. Taans also are sung in Akaar. Speed is an important factor of the taan. Some important […]
Raag vs Thaat
Alaap
The gradual exposition of Raag emphasizing Vaadi, Samvaadi and other salient features of the raag in a slow tempo is known as Alaap. The word alaap means a dialog or conversation. Alaap is a dialog between the musician and the raag. Alaapreflects the depth, the temperament, creativity and training of the musician. In alaap, the […]
Raag
Have you seen our Raagabase – A list of raags in Indian Classical Music yet ? Raag is the backbone of Indian Classical Music. The word raag comes from Sanskrit word “Ranj”which means to delight, to make happy and to satisfy. Here it’s necessary to clarify that not all raags project ahappy mood. The raag […]
Thaat Systems in ICM
According to Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the twentieth century, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, […]
Drone (Tanpura)
Since the Indian Classical music is modal music based on relations between a fixed sound, the tonic and the successive notes. The tonic needs to be heard continuously.The sustained accompaniment of the tonic allows the performer to check his/ her voice to avoid dissonance. This constant tonic is provided by the instrument Taanpura. It has […]
Saptak (Register)
In Indian Classical music 3 saptaks (Octaves) are usually utilized. Saptak : When the set of seven notes is played in the order it is called a Saptak (i.e. Sa , Re, Ga, Ma, Pa, Dha, Ni) Maddhya Saptak : The normal tone of human voice, which is neither high nor low. It is called Maddhya Saptak […]
Swar (Note)
Shudhha, Achal, Komal, and Teevra Swar Achala Swar : The notes Shadja and Pancham are fixed on the scale. They are referred to as Achal swara (immovable). Vikrut Swar : The other notes viz. Rishabh, Gandhar, Madhyam, Dhaivat and Nishad are Vikrut (Movable). Komal Swar : In Vikrut swaras Rishabh, Gandhar, Dhaivat, Nishad can be moved below there […]
Patti (Scale)
Patti is the scale in which a performer sings his songs/ragas. The table below, shows the different scales that can be used. The marathi notation is in the form of Pandhri (means White) or Kali (means Black) . The next part is equivalent number in Marathi/Hindi. The following table shows the pattis with equivalent western […]
Update from SwarGanga Music Foundation
After 20 years, we have decided to revamp this website. We are currently looking for volunteers to help us with the upgrade, if you are interested please contact me via email.