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ALANKARS
Alankars are different sets of the swars that will enable you to practice and familiarize yourself with the different sounds. You should practice these till you can play them correctly without looking at the keyboard. While you practice how to play, please sing-along too so that you can improve your voice and can learn how to sing more in tune. The term Alankar literally means an ornament or decoration; it is the repetition of musical notes from a Raga in a particular pattern. +
Alankars are extremely useful for practice and are a great way of getting familiar with your keyboard or harmonium. Here are some Alankars for practice; try to play them continuously for an extended period of time; its extremely important that your fingers move smoothly on the keyboard because when you are playing a metered melody, an extra second's hesitation is enough to send you out of synchronization with the taal or rhythm. In the context of Indian classical music, the application of an alankar is essentially to enhance the inherent beauty of the genre. Or we can say when a group or cluster of notes embellishes another swar, they form the alankar. There are almost 33 types of alankars but few are being used these days, for example, meend, andolan and murki.
Andolan
The Andolan alankar is a gentle swing or oscillation that begins from a fixed note and touches the periphery of an adjacent note. Specialty about andolan is that in the course of the oscillation, it touches the microtones or shrutis that exist in between. The note that is being oscillated within an Andolan is known as andolit swar. It must be noted that these andolit swars are raga specific and should not be applied to any raga that uses these notes.
Murki
Murki is cluster of notes that sounds like a short, subtle taan. A murki can also comprise a series of such short clusters. A combination like RRSnS could be a murki depending on the force of delivery. Although some special murkis are used in khayal singing, it is really a very handy device for a thumri singer. In fact, the bols of a thumri, the ragas they are normally set to and the mood of this form of singing especially demand the usage of murkis. Thus, thumris are often built around this alankar.
General Message
Keyboard or harmonium are supposed to be same. First of all we select best sound or voice in keyboard to play. Here we select strings which is best for learners. Some keyboards are equipped with floppy drive and some are without. For Harmonium first open at least 3 big knobs and then blower. In alankar lessons we have used right hand for playing. In Harmonium never blow air until any note is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere. In harmonium we use our left hand to blow air and right hand is used for playing keys. Use right hand finger to play black keys only and adjacent three fingers on black and white keys both. Thumb is very rarely used on black keys. For keyboard you need to use right hand.
About Diagrams:
Here we have shown arohi notes (ascending notes) and amroi notes (descending notes) in madh saptak. We have shown one diagram in raga yaman because there are seven notes in ascending and seven notes in descending. In raga asavari we have shown notes in two separate diagrams because there are five notes in ascending and seven notes descending. In arohi of raga asavari two notes "ga" and "ni" are not used. Note:- In any raga you will only practice ragas with a single diagram of arohi and amrohi notes.
Arohi: S R m P d S' Amrohi: S' n d P m g R S Note:- Click play button and let the music to fully download. After fully download you can listen complete music smoothly. To listen again press play button again. Asavari Do not forget to push blower to blow air otherwise no sound will be heard. To push blower, use your left hand near the left edge of harmonium. Play or sing-along below given five raga asavari alankars with harmonium or keyboard. Sample raga asavari alankar 1audio file is provided for your listening.
Note:- More Alankar lessons of important ragas are provided in Sargam Book for your
practical practice. Oder sargam book which is very essential for a sing-along singer and harmonium player. You can also practice these lessons with your electronic keyboards using strings instrument. For Yamaha PSR keyboard owners, tabla styles with teen taal is also available. You can enjoy more with alankar using real tabla styles of Yamaha. Order now for sargam book and tabla styles package.
Arohi: 'N R G M D N S' Amrohi: S' N D P M G R S Download Yaman Alankar (Adobe pdf Zip with mp3) 882 Kb Mp3 links in pdf will work if Unzipped and opened in same folder
Note: Do not forget to push blower to blow air otherwise no sound will be heard. To push blower, use your left hand near the left edge of harmonium. Play or sing-along below given five raga yaman alankars. Raga yaman alankar 1 sample audio file is also provided for your listening.
1. 2. 3. 4. 5.
S R G M P D N S' S' N D P M G R S SS, RR, GG, MM, PP, DD, NN, S'S' S'S' NN, DD, PP, MM, GG, RR, SS SRG, RGM, GMP, MPD, PDN, DNS' S'ND, NDP, DPM, GMP, MGR, GRS SRGM, RGMP, GMPD, MPDN, PDNS' S'NDP, NDPM, DPMG, PMGR, MGRS SG, RM, GP, MD, PN, DS' S'D, NP, DM, PG, MR, GS
This might look extremely difficult, but its not, its actually a sequence of Asthayee alankars. If you break it up you will see the following pattern:
S SRS SRGRS SRGMGRS SRGMPMGRS SRGMPDPMGRS SRGMPDNDPMGRS S R G M P D N {S}, {S} N D P M G R S 7. 8. 9. 10. 11. S G R M G P M D P N D S' S N D P M G R S S D N P D M P G M R G S S R G M P D N S' S G R S S M G R R P M G G D P M M N D P P N D N S' S' D P M G R S S' D N P P D N M M P D G G M P R R G M S S R G M P D N S' S D P M R N D P G D P M M N D S' S' D N P D M P G G P M G R G R S
MUSIC Free download of Pakistani Indian MP3 Karaoke Songs. Listen, Make Your Own Music CD, Midi Music Of India And Pakistan.
The Poorvi Raga is sung between 12 noon and 12 midnight. The Uttar Raga is sung between 12 midnights and 12 noons. The variations on the dominant or King note helps a person to find out why certain raga are being sung at certain times. This raga classification is about 500 years old and it takes us to Mughals era. The beauty of the raga will not be spoiled by the time of the day it is sung. It is the psychological association with the time that goes with the mood of the raga. The object of a raga is to express a certain emotional mood and sentiment without any reference to time and season. For a student of classical music, this classification may give an idea as to how to base his reasons for the traditional usage of raga.
and thus in the same raga. Raga is also identified typically by pattern recognition, if you are not willing to do detailed decomposition into the basic keys of their scale. Thus, a raga is described as the unmeasured music and it has a rich variety of classifications. A Raga may also be characterized by a series of melodic notes pattern called challan, which means movement or by a key set of notes called pakad. These form the melodic outlines of a raga and include consecutive ascending and descending phrases. The challan discloses the basic grammar and the progression of a raga. Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note. Similarly there is another note from vadi that is called samvadi or the consonant. This note is usually the fourth or the fifth note from the vadi.
helps if you can play an instrument, something visual. Harmonium is perfect, some persons learn on electronic keyboard, so the possibility is obviously endless. If you know theory and are just finding it hard identifying the ragas, then just stick with it and practice. You should try and improve your memory and memory association skills. Watch patterns, solve pattern puzzles, they all help. There are certain clues to look for; here is a short suggestion on how to identify raga notes: First listen to how the raga alaap starts off or the song, it must always begin with the raga identification. Its not like you can just sing without telling the audience what the raga of the song is. Listen closer to each note sang. Listen very carefully, and note down which notes are higher and lower, then slowly approximate the scale. Make it thorough first. For example if you are listening a song you just try to sing-along with the song. Slowly try to get what are the swars inside that song. Ok you just think that you got the swars.
Making of an Alaap
The laws governing the performance of vocal and instrumental music are much the same. The purpose of including an alaap in a composition is for the singer to set the scene for the composition itself. In order to tell a story, the storyteller is required to set the scene for the listener, the point being to engage the listener emotionally and mentally to listen to their story. The alaap also serves this purpose; to prepare the listener to receive the emotions and the story from the singer. Suspense is also being built up through the alaap for the listener. In order to create an alaap it is essential to distinguish what raga is to be performed. Every raga is unique and has its own characteristics. First of all it is crucial to know which notes are allowed to be used: Arohi ascending notes Amrohi descending notes
Vaadi 1st Samvaadi 2nd Niyas 3rd Anuvaadi 4th Vivaadi 5th In order to compose an alaap for any raga, it is important to initially establish the Sa. The closest most important note to Sa will be second important note (samvaadi). Once the Sa has been established, the singer is then required to establish the first, second, third and fourth important notes respectively. In brief in all alaap compositions, Sa of madh saptak is considered to be a very important note and therefore must be established reasonably quickly. Sa cant be directly established and has to be approached from either the vadi or samvadi. The vivadi is also an important note that must be used but too much emphasis on this note will change the raga. In alaap, the musician improvises each note gradually. Beginning with the lower octave and in a slow tempo. The alaap is sung in the beginning of the raga at the time of a performance. When the musician starts rendering a bada khayal or chotaa khayaal (bandish) the tabla or any other percussion instrument joins. Alaap is used again with the composition, some time with the rhythm and is slightly faster. Some times the words of the song are also improvised with notes. This is known as bol alaap. This process of establishing the important notes and thus revealing the raga step by step is known as a barat. Finally the alaap must end on the most important note in all ragas, that is the madh saptak Sa. Alaap is usually sung in Aakaar i.e. without pronouncing any syllables only using the sound "aa" of the vowel. Sometimes syllables like teri, Nom, Tom are also used for singing the alaap. Vilambit alaap presented in sections from low notes to high.
Raga Yaman
Arohi S R G, R G M, G M P, M P D, P D N, D N S', Amrohi S' N D, N D P, D P M, P M G, M G R, G R S, Fingering Yaman Arohi: S = Finger 1, R = Finger 2, G = Finger 3 R = Finger 1, G = Thumb, M = Finger 1 G = Thumb, M = Finger 1, P = Finger 2 M = Thumb, P = Finger 1, D = Finger 2 P = Finger 1, D = Finger 2, N = Finger 3 D = Finger 1, N = Thumb, S' = Finger 1
Aaaaaaa......Match your voice frequency with the sound coming out of Harmonium or Keyboard while pressing the right key. At comma ( , ) stop for a short while but at dash ( - ) and ( , ) both together, take out breath completely and take in again. Raga Yaman Kalyan has all 7 notes, all of which are pure (normal) notes except M which is Tiver (Sharp) and represented as M. Normally S and P are not used in ascending order e.g. 'N R G or M D N. In descending order all the notes are used in the below given raga.
About Diagrams:
Here we have shown arohi notes (ascending notes) and amroi notes (descending notes) of madh saptak. In raga yaman kalyan there are seven notes in ascending and seven notes in descending. First note Ni belongs to mandar saptak and our allaap will begin from mandar saptak note 'N. In the following diagrams we have shown note 'N in mandar saptak and our alaap starting point.
Mandar or left octave Note shown as ('S) - Madh or middle octave as (S) - Taar or right octave (S') Arohi: 'N R G M D N S' Amrohi: S' N D P M G m G R S
4. Normaly S and P are not used in ascending order. In descending order all the notes are used.
b. G M' D N S' - , N R. S' - , S' N D P - , M D N S Alap 3: a. M D N R S' - , N R G - R S' - , S' N D P - , M' D N - , M D N R S' b. G M D N R. S' - , N R G - , R S - , N R M G R G R S' - , S' N D P - , M D
N S'
'S 1
'r 2
'd 8
'D 9
'n 'N 10 11
Middle Octave or Madh Saptak Note Numbers Higher Octave or Taar Saptak Note Numbers
S 1 S' 1
r 2 r' 2
R 3
g 4
m M 5 6
P 7
d 8 d' 8
D 9 D' 9
n N 10 11 n' N' 10 11
Legend of all three saptak of harmonium or keyboard Song: Chu Kar Mere Man Ko, Movie: Yaarana Singer: Kishore Kumar Music Director: R D Burman Thaath: Bilawal
Below Yellow Highlighted notes/sur will be used for playing this song from 1st black as your Sa or starting note.
Aastahi: Hmm G Chu G mmm mmm , hmmm mm mm mmm GPPDPm Gm DP m G kar, G mere RS ye mG mere RS man N ko, R kiyaa P D lage NN kiyaa P D tu ne kyaa ishaaraa N N S RG S pyaaraa N N jag DN saara. aaa S S N D S G
tu ne kyaa ishaaraa N N S RG S
Tere GP
Liye PD
Main nDP
Gaaoon PDDS
Likhtaa GPPD
Chalaa nDP
Jaaoon PDDS
Likhataa PDn
Chalaa D m
Jaaoonn, GRGP
Mein, D man N
Tujhe NN ko, R
Dhuundhe N N S N
Jag DN
Saaraa S S N D S G
tu ne kyaa ishaaraa N N S RG S
Song: Milte Hi Aankhein Dil Hua Movie: Babul 1950 Singer: Talat Mehmood / Shamshad Begum Music Director: Naushad Ali Thaath: Asavari Below Yellow Highlighted notes/sur will use for playing this song from 1st black as your Sa or starting note.
Aastahi: Milte Hi P PdP d Dewaana S R gm mg Aankhein Pmmg Kisi PmP Dil gmd Ka gmg Hua Pm
Afsaana Mera Ban Gaya d S R g m g R m g g Afsaana RSSRgR Antra 1: Poochho PPdn Hayee PdmP Na d Na gm Mohabbat PmmP Ka P Asar PP Kisi RS Ka S n S n d
Poochho S R g --- R m g R S
Gaya gg
Diwaana RSSRgRg
2nd Antra: (Play same note as Antra 1) Hanste Hi Na Aa Jaaye Kahi, Aankho Mein Aansoo Aankho Mein Aansoo Bharte Hi Chhalak Jaaye Na, Paimaana Kisika Bharte Hi Chhalak Jaaye Na, Paimaana Kisika Afsaana Mera Ban Gaya, Afsaana Kisika Milte hi aankhein dil huwa diwaana kisika Song: Sau Bar Janam Lenge Movie: Ustadon Kay Ustaad Singer: M Rafi Music Director: Thaath: Bhervi Raag: Based on Raag Malkouns Original Scale:
Below Yellow Highlighted notes/sur will use for playing this song from 1st black as your Sa or starting note.
Astahi: Sau Bar Janam S g Sg Sau S Bar g Faana Sg Lenge n S Honge n S Phir P Juda PdP Lenge n S Honge n S Bhi d Hongee m g m - Pmg
Bar Faana g Sg
Pyaar Ki S S S Gi R Kay n Ka P
Kab R S
Khud Pm
Hongee m g m - Pmg
Chaayii n S R S Se S
Hai nd
Armaan Bharay Do Dil d n S n d n d P m P Phirr Aik Jaga Hongee m P d P m P m g m - Pmg Song: Zinda Hoon Iss Tarah Movie: Aag 1948 Singer: Mukesh Music Director: Ram Ganguli Taal: Dadra Thaath: Behravi (Note: N & D are additional notes used by Music Director for making this melody more beautiful) Below Yellow Highlighted notes/sur will use for playing this song from 1st black as your Sa or starting note.
Astahi: Zinda S r Jalta S S Zinda S r Hoon S Hua ndn Hoon S Iss m Tarah SP Kay m Gham e - Zindagi d d S N S Magar P mgr Rosh ni rmgrg Nahin r S Nahin rS Nahin r S
Hoon m Kay m
Tarah SP
Gham e - Zindagi d d S N S
Antra: Aane S S Khud P d Ko S Uss d S Aaa nd kay n Chuka n S Pas dndn d Tha n Kina ra Bhi r S nDn d Saa mne Pdn d P Gayi Nahi grg rS
Zinda Hoon Iss Tarah Kay Gham e - Zindagi Nahin S r S m SP m d d S N S r S Song: Hum Tujh Se Muhabbat Kar Kay Singer: Mukesh Music Director: Thaath: Asavari Raag: Darbari Original Scale: Below Yellow Highlighted notes/sur will use for playing this song from 1st black as your Sa or starting note.
Aastahi: Hum P n Rote P d Khush P n Rote P d Antra 1: Yeh Dil Jo Jala Ik Aag Lagi ii ii ii ii Tujhse RRR Bhi n Ho R Bhi n Muhabbat RRSR Rahe S Key R Rahe S Kar Kay Sanam g g RS Bhi R Ulfat SRg Bhi R Rahe S Kay g Sitam RS
Hanste RRg
Rahe S
dn Jo R Jo dn Jo R
Pm
mg
Aansuu S P S Barsaat RgmgR Badal P n R Badal P n R Rote P d Antra 2: Aye P Ek S P Aye P Ek S P Dil d
Barsaat mPRg
Ki R Ki R Bhi n
Tarah RR Tarah RR Rahe S Aawara SRgg Hanste RRg the R Bhi R Hum S Rahe S
Ki dn
Tujhko mg Aai Rg
Khabbar rrr rr rr m m P mg mg R
Tujhko mg Aai Rg
Nazar RS
Nazar RS Hum R hum R Rahe S iss gham SR g Hanste RRg Bhi R ki g qasam RS
Rahe S
Kar Kay Sanam g g RS Bhi R Ulfat SRg Bhi R Rahe S Kay g Sitam RS
Hanste RRg
Rahe S
Song: Jane Kahan Gaye Wo Din Movie: Mera Naam Joker Singer: Mukesh Music Director: Shankar Jaikishan Thaath: Kafi Raag: Shivrangni Below Yellow Highlighted notes/sur will use for playing this song from 1st black as your Sa or starting note.
Aastahi: Jane S R Kahan g P Gaye D S Wo Din R g Yaad Mein PPD Bichayen Ge SSPPP Raho R g Umer PP Bhar D
Tum S Ko D
Chahein Ge R g R g R
Payen Ge PPP
Jahaaan P S D S The R S
Pare S S Ne R g
Yaar S R g
Sadje Kiye The Yaar R R R R R S S R g Mujhko g P P Jaati D S Jane S R Ruulaaa Ruulaa P P G G G R Hui DPR Kahan g P Bahaarr g gRSS Gaye D S Ne S
Kehteyy R g R g Nazron Ko P D P
Chahe S R
Tum S Ko D
Chahein Ge R g R g R
Payen Ge PPP
Style
Tempo
Special Notes: Pads on Shaker & Tamb + Elec Gtr comp On music improvise in old style use clarinet/flutr/guitar/accordion/violins try to use variety & not same all the time
Asthayee Notes
Antra Notes
Style Category
Style
Tempo
Start on C Start on F Latin Rumba 100 Add Rumba/Soka on Pad 1, use sounds on Violins/SaxophoneMadolin/Accordion Use Intro 2 & 3, but and fill ins on Asthayee & Antra begin/end
dil ke jharokhe me.n tujhako biThaakar E E E E E E E E E E E F#GB Em yaado.n ko terii mai.n dulhan banaakar SAME AS ABOVE rakhuu.ngaa mai.n dil ke paas, mat ho merii jaa.N udaas C# C# B G G F# G G G F# E NOTES IN BROWN Amaj Em B7 Cmaj B7 Em CHORDS IN BLUE kal tere jalave paraaye bhii ho.nge, E E E E Em lekin jhalak mere khvaabo.n me.n ho.nge F# F# F# B7 phUlo.n kii Dolii me.n hogii tU rukhasat, D C# B D C# Dmaj Amaj Em Amaj Em lekin mahak merii saa.nso.n me.n hogii E F# F#E G F# E C B7 C B7 dil ke jharokhe me.n ... ab bhii tere surkh hoTho.n ke pyaale, mere tasavvur me.n saaqii bane hai.n ab bhii terii zulf ke mast saaye, birahaa kii dhuup me.n saathii bane hai.n dil ke jharokhe me.n ... merii muhabbat ko Thukaraa de chaahe, mai.n koI tujhase naa shikavaa karu.ngaa aa.Nkho.n me.n rahatii hai.n tasviir terii, saarii umar terii puujaa karu.ngaa dil ke jharokhe me.n ...
Western Scale
Asthayee Notes
Antra Notes
Style Category
Style
Tempo
E minor
Starts with E- low Starts with E+ high World French octave octave Waltz Special Notes: Add pads of Congos in time (create)+add Elec gtr 6/8 on Variation D
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