Knowing the Basic Notes
- Sa (Sadaj) = Do
- Re (Rishav) = Re
- Ga (Gandhar) = Mi
- Ma (Madhyam) = Fa
- Pa (Pancham) = So
- Dha (Dhaivat) = La
- Ni (Nishad) = Ti
- Sa (Sadaj) = Do
Welcome to our online vocal lessons, where passion for singing meets the convenience of learning from home! Our comprehensive program is designed for students of all ages and skill levels, from beginners discovering their voice to seasoned singers seeking to refine their technique.
We offer personalized instruction in a variety of styles, including Hindustani Classical, Bollywood, Ghazal, Light Music, Semi-Classical, and Rabindra Sangeet. Each style is taught with a focus on vocal techniques, breath control, pitch accuracy, and performance skills.
Through interactive live sessions we ensure a flexible and engaging learning experience. Join us on a musical journey that fits your schedule, nurtures your talent, and helps you reach your singing goals. Whether you're aiming to perform on stage or simply enjoy singing as a hobby, our online vocal lessons provide the perfect platform to unlock your vocal potential.
Pitch, tone, and volume are three most vital aspects of vocal delivery. Pitch is the highness or lowness of a voice, tone is the quality or mood of a voice, and volume is the loudness or softness of a voice.
A scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale.
Practice of proper breathing exercises to enhance the art of “throwing” the voice.
Voice modulation is the fine-tuning of the pitch or tone of a voice to adopt a particular genre of vocal music.
Palta is the permutation and combination of musical notes which form a pattern in regular vocal practice. It is the initial phase of learning Hindustani music, different levels of Palta’s are taught to students for better knowledge of Swaras or notes.
The Raga can be defined as a melodic structure of musical notes having specific character, and is governed by certain rules. The Raga is not merely a musical scale, but it is a characteristic arrangement of notes, its full potential and complexity can be realized only in its exposition. Ragas can be characterized by some features :
There are seven Shuddha (pure notes) and five Vikrit Svaras (modified notes) in a Saptak. A set of seven chosen notes out of these twelve notes (seven pure and five modified notes) forms a Thaat. In other words, a Thaat is a musical scale with the seven notes arranged in their order of ascent (aroha). However,only the skeletal musical structure and is not meant to be sung which eventually gives rise to the Ragas.
Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi.
A specific sequence of notes, that is peculiar to each Raga, is called the Pakad or a phrase by which a listener can instantly recognize a particular Raga. For example, Pakad of Raga Yaman – ni re ga re sa, ni dha ni re ga
The most prominent Swar in a Raga is known as the Vadi Svara. Its position is vital as it gives character to a Raga. This Swar is projected most frequently in the phrases of notes during the exposition of a Raga. For example, ‘Ga’ is the Vadi Swar of Raga Yaman.
The most important note next to Vadi Swar is called Samvadi Swar. The interval between the Vadi and Samvadi Swaras is either four or five notes. For example, Samvadi Swar of Raga Yaman is ‘Ni’.
Apart from Vadi and Samvadi Swaras, all other Svaras in a Raga are Anuvadi, i.e, the Swaras that follow (the Vadi and the Samvadi). Even though their role in a Raga is to follow Vadi and Samvadi Swaras, Anuvadi Swaras have their own importance in a Raga. In the exposition of the Raga, these Swaras help in improvisation through different kind of permutation and combination. For example, In the Raga Yaman, Sa, Re, Ma, Pa and Dha are the Anuvadi Swaras.
Vivadi Swaras are the swaras which are not used in a particular Raga, but are incorporated in certain combinations of notes. Vivadi Svaras are used to enhance the beauty of the Raga. For example, in Raga Yaman, Shuddha Ma is projected to bring the beauty of yaman, but it is grammatically a vivadi swar.
The Raga Samay or time specified for singing different Ragas is divided into eight parts of day and night. These are known as ‘Praharas’. There are four Praharas of the day and four Praharas of the night of three hours duration each in which Ragas are classified under three categories :
In Hindustani music, a composition is set to a particular ‘Taal’ or beat with definite intervals. The duration between these intervals gives us the measure of time. This is a virtual time that is created within the musical composition. The composition and elaboration of a Raga is rendered within the fixed cycle of the Taal.
The elements of Taal include :
Avartan, Matra, Laya, Bol, Theka, Vibhag, Sam, Khali and Tali.
The complete cycle of a given taal is called Avartan. It can be repeated more than once.
For Example, the Avartan of Teentaal is :
Matra | 1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16 |
---|---|---|---|---|
Theka | Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Na Tin Tin Ta | Ta Dhin Dhin Dha |
The unit of Taal which indicates the measure of musical time is called Matra. Different Talas have the same number of Matras to its respective presentation, but there is change in the ascent in theka.
The tempo of the musical time is referred to as ‘Laya’. There are three types of layas :
The words used to specify the sound produced while playing a Taal are called ‘Bol’. These are mnemonic syllables like Dha, Dhin or tirkit etc. The ancient term for these was 'Patakshara'.
The entire group of Bols or words of a Taal constitutes the Theka. Just as a ‘Bandish’ or composition in a musical form can be elaborated, Theka is the basic structure of a Taal which can be elaborated further using variations or improvisations.
The Theka of a Taal is distributed into divisions called ‘Vibhag’. On the basis of the number of Matras in a Taal, different Talas have different number of divisions. For example, TeenTaal has 16 Matras that are divided into four Vibhags.
The first Matra of a Taal upon which the entire emphasis of the rhythm is laid is called ‘Sam’. While singing and playing simultaneously the first beat is been given as the ‘Sam’.
The Matra of a Taal that indicates the place of striking is called ‘Tali’. These are usually the starting Matras of a Vibhag and are more than one. Thus, the Sam becomes the first Tali follow by the other vibhag.
The Matra of a Taal which acts as a counterpoise for the ‘Sam’ to balance the rhythmic cycle is called ‘Khali’. When the Theka of a Taal is recited orally along with hand gesture, the Khali is shown by palm facing upwards.
After learning the basics, a learner will be able to explore some mainstream ragas like – Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi as well as render the traditional compositions in Khayal form.
Steps to learn a raga to develop a Khayal Gayeki -