Rag Desh

Indian MusicA long history, over 2000 yearsClosely linked to Hinduism and religious beliefsHindu Gods are worshiped through Raga, both

instrumental and vocalThe God, Shiva, is associated with music and dance

in Hindu philosophy and there are many pieces in honour of Shiva

Indian music can be divided into 2 traditionsMusic of Northern India (Hindustani tradition)Music of Southern India (Carnatic tradition)This particular piece is taken from the Hindustani

tradition.

The Hindu God

Shiva

The Oral TraditionIndian music is not written down in

traditional western notationTaught through listening and playing by ear

= oral traditionSystem of master-pupil teaching, known as

Gharana i.e. a father teaching his son, and in turn him teaching the music to the next generation.

Playing styles subsequently change as new techniques are added by each generation

It is a duel and a consolidation of playing skills

Elements of RagaThree important elements in Raga

1: Melody – improvised from the notes of a particular rag. Can be sung or played by a melody instrument, such as a sitar or sarod

2: Drone – usually made up of 1 or 2 notes played by the tambura

3: Rhythm – repetitive, cyclic pattern played on the tabla

Rag – The melodyA set melody which is improvised uponA cross between a collection of pitches and a scaleAscends and descends, but pitches often differ in

each direction (like a harmonic minor scale)Number of notes in a rag will differ considerably

(unlike the number of notes in a western scale)Some have 5 notes, like a pentatonic scaleOthers have seven or eight

Vibhas Rag – Early morning rag

Kalyan Rag – Night time rag

Drone accompanimentNo sense of harmony in Indian raga music,

emphasis is on melody, linear in conceptDrone on the tambura is supportiveUsually play the tonic and dominant of the

chosen ragaFunction is to keep a sense of tuning and

intonation for the melody line playerAlso adds to the texture of the piece.

Tala – The rhythmProvided by the small tabla drumsPlays a repeated rhythmic cycle known as

talaMost common tala is the Teental (or Tintal)

which is a 16-beat pattern, organised into 4 groups of 4.

Each beat is called a matrasThere are many other talas with different

numbers of beats per cycle.

Tala continuedComplex rhythms sound exciting against the

steady rhythm of the tabla and instrumentalist or singer.

Rhythm patterns, or bols, are independent of the beat and can be inventive

Accents off the beat create syncopation.Rhythms must start and end precisely

together on the first and last beat of each tal. First beat is called sam.

This need to keep within each tal can lead to competitiveness between the drummer and instrumentalist as they attempt to out do eachother.

Tintal, or TeentalTintal is without any doubt the most common tal in the north

Indian classical system of music.  These names all reflect the three claps of its vibhags structure.

It is composed of four vibhags of four matras each.  These vibhags are represented by a clap, clap, wave, and a clap.

The structure of tintal is shown below:

Clapping/ Waving Arrangementclap, 2, 3, 4, clap, 2, 3, 4, wave, 2, 3, 4, clap, 2, 3, 4

Structure of a raga performanceSection Tempo Metre/Rhythm Musical Features

Alap Slow, meditative Free, no sense of metre •Soloist explores the note of the Rag•Accompanied by tambura•Improvised

Jhor Steady, moderato Regular pulse established •Improvised, but more rhythmic•Melody is more elaborate and tempo increases

Jhalla Lively, presto Fast pulse with exciting, complex rhythms

•High point of the piece•Virtuosic display of advanced playing techniques

Gat/Bandish Moderato - Allegro Tabla introduced the cyclic tala

•The ‘fixed’ composition section. If a Gat, then a fixed solo. If a Bandish, then a song•Dialogue between instrumentalist and drummer

•Sections may be omitted i.e. Only have an Alap and Gat.•Can vary greatly in length. Some performances last all evening!

Indian instruments - Sitar7 principal strings, 2 of which are drone

notesBelow are up to 12 sympathetic strings,

which vibrate when the top ones are playedPlayed with a wire plectrumPlaying techniques include the meend/mind

which is sliding between notes in intervals of a quarter-tone or less.

Plays rapid scalic flourished called tan, typically played in the jhalla or gat

Other instrumentsSarangi: Smaller than the sitar, fretless and

uses a bow. Ideally used to accompany singersSarod: Like the sitar it has 2 sets of string. It

is fretless and has a metal fingerboardTambura: Made of 4 strings and a resonatorTabla: 2 drums of different sizes. Smaller one

is made of woos, larger one is made of metal. The drum heads are skin and the centre black circle is made of a paste of iron filings and flour.

Bansuri: Indian flute without keysShehnai: Similar to the western oboe

Rag Desh

sa re ma pa ni sa ni dha pa ma ga re sa

Version 1: Anoushka Shankar (Sitar)Instruments = Sitar and tablaStructure = 3 movements: Alap, Gat 1 and

Gat 2

0’00’’-0’55’’ = Alap: Slow and unmetered. Unaccompanied sitar explores the notes of the rag.

Rhythms are fluid and freeImprovisatory due to lack of a regular pulseSome decoration of the notes of the melody

line

Version 1: Anoushka Shankar (Sitar)0’55-9’27 = Gat 1Sitar plays fixed compositionDecoration is addedTempo is moderato (madhyalaya)Tabla enters at 0’58, playing the 10-beat Jhaptal.

(2+3+2+3)

Tabla player adds decoration to these basic patternsSitar and tabla have dialogue between complex scalic

passages and complex rhythmic improvisationsA tihai is heard at the end of each of these sections – a

short phase repeated 3 times across the beat before finishing on sam

1 2 3 4 5 6 7 8 9 10Clap Clap Wave Clap

Version 1: Anoushka Shankar (Sitar)3’55 = Sitar improvises in triplets (called

chand)5’02’’ = Improvisation with 4 notes per beat).

Tabla and sitar alternate. Tihai used to mark out the ends of solo sections.

9’27 = Gat 2: Faster than Gat 1 and uses the common Tintal (4+4+4+4)

10’10 = Drone strings are used on the sitar in a strumming fashion, providing a rhythmic effect called Jhalla. The piece concludes with a Tihai.

Version 2:‘Mhara janam maran’Performed by Chiranji Lal Tanwar (voice)Instrumentation = voice, sarangi, sarod,

pakhawaj, cymbals, tablaPakhawaj = A Large double-headed drumThis song is a Hindu devotional song from

Rajasthan and is known as a bhajan.Song tells of tender waiting in longing and

anticipation for the arrival of Lord Krishna in the morning

Version 2:‘Mhara janam maran’Translation – “You are my companion through life

and death and I cannot forget you night and day. My heart pines for you and I feel totally restless when I am not able to see you”

Structure = 2 Movements – Alap and Bhajan (song)

Tal = Keherwa tal (2+2+2+2)

1 2 3 4 5 6 7 8Clap Clap Wave Clap

Version 2: ‘Mhara janam maran’0’00-0’50’’ = Alap: Short introduction.

Sarod player then singer improvise a melody in free time on the rag. This is a version of the chorus of the song.

0’50-end = Bhajan: The fixed composition, a song in verse form. Tabla joins in at 0’50’’. Short Sarod at 1’10’’ and then the Sarangai at 1’22’’

Dynamics and tempo increasePattern established is the verse (1’32’’, 3’04

and 4’50’’) followed by the first line used as a refrain (chorus) followed by more solos for and sarangai

Version 3: Wertheimer and GornInstrumentation = Bansuri, Esraj, tambura and tablaEsraj = bowed fretted string instrument, played sat

on the floor, like a sarangi. Has sympathetic and drone strings

Structure: 3 movement: Alap, Gat 1 (slow), Gat 2 (fast)

Version 3: Wertheimer and Gorn0’00’’-8’35’’ – Alap: Slow and unmeasured. Drone is established by tambura, which plays

Sa (C) and Pa (G) – The tonic and dominant.Bansuri enters, plying the notes of the rag.Develops from trying out the pitches to a

more developed melodic part.

Version 3: Wertheimer and Gorn0’00’’-4’41’’ – Gat 1: Slow tempoLyrical unaccompanied melody for bansuri

and tabla playing the 7-beat rupak tala (3+2+2)

1 2 3 4 5 6 7

Fixed composition starts at 0’43’’. After this, music becomes more agitated as improvisation begins around the gat

Wave Clap Clap

Version 3: Wertheimer and GornBansuri plays the Gat repeatedly while the tabla

improvised around the TalaAt 3’32 the 2 instruments swap.Tihais are heard at the end of each section with the

last one leading into Gat 24’41’’-End = Gat 2: A fast tempo (Drut) in ektal tala

(2+2+2+2+2+2)1 2 3 4 5 6 7 8 9 10 11 12 CLAP CLAP WAVE CLAP WAVE CLAP

Bansuri plays an elaborate Gat with scalic runs, wide range of pitch and slides

Fast scales = TansSeveral tihais heard as the music finishes

Section A and B QuestionsComplete the Questions on Page 142 of the

textbook.

Section Ba) Which indian musical tradition is Rag Desh

from? (1)b) Name the 4 sections of a Rag (1)c) Compare and contrast the 3 performances

of Rag Desh, with particular reference to instrumentation, structure and rhythm.