FCP3

Rohee

A Musical Journey

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Rohee

A Musical Journey

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First published 2022 by Penguin Random House
© 2022 Devina Pagay and all authors referenced
The right of Devina Pagay to be identified as the illustrator
and author along with all authors referenced for this work in
accordance with the Copyright Act 1957.
This edition was printed in India by Kadam Printers in 2022.
Al rights reserved.
ISBN- 123-4-567890-1
www.penguinrandomhouse.com

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6 14 Introduction to 18 Sub styles in
Carnatic music Hindustani music
Content
9 Preface- The idea behind

the book

11 Introduction- Overview 15 Nature of Carnatic 21 Introduction to
on Indian classical music music Gharanas

12 The styles of Indian 17 Introduction to 22 Dhrupad style of
classical music Hindustani music Gharanas

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24 Khayal style of 32 Raags based on times 48 Benefits of Indian
Gharanas of the day classical music

26 Concepts of Music- 40 Seasons and Indian 51 Inference
Swar classical music

32 Introduction to Raags 41 Raags based on 52 Glossary
and Thaats different seasons

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Preface

Music is a very spiritual experience but can also be a social activity. Indian classical music originated from the ancient
Indians’ deep admiration for the spiritual power of music. Indian music results from intricate interaction between
people from many racial and cultural backgrounds. Indian classical music is a heritage of unsuspected richness and is
one of the most elaborate musical systems.
Characterized by melodic vocals and harmonizing instrumentals, Indian classical music theory has been built on the
cornerstone of expression and spirituality. With a meditative and uplifting quality, Indian classical music has reached
a popularity that makes people want to listen to it more to gain a sense of peace and calmness.
“Rohee- A musical journey” is for those who feel music is an essential need to understand our roots and go back to
them when the world has gravitated and adopted a western life- especially with music and lifestyle. The book is to
understand the journey and history of Indian Classical music.

“Music has a power to produce a special pleasure which human nature cannot do without.”
-Confucious

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Raja Ravi Verma’s Galaxy of Musicians 11

Introduction

One of the longest-surviving musical traditions in the world is
found in India. The ideology has its roots in the Vedas; namely
the Sama Veda that laid the basis for Indian classical music.
It consisted of hymns, mantras and poetic texts that were
chanted during Vedic rituals, sometimes with instrumental
accompaniment. Numerous tales have emerged with the
beginnings and progression of Indian classical music that
highlight the significance of music in Indian culture.
Its origins are in many different genres, like folk music, old
religious Vedic hymns, tribal chanting, and devotional temple
music. It is melodic in nature, in contrast to the harmonic
nature of Western music. Indian classical music has a strong
connection to the natural world. It draws inspiration from
various seasons and times of the day to create ‘ragas,’ or
musical moods, as well as numerous time cycles, or ‘taals,’
which have been further arranged.

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Styles of Music

The classical music tradition of the ancient and medieval
Indian subcontinent (modern Bangladesh, India, Pakistan) was
a generally integrated system through the 14th century, after
which the socio-political turmoil of the Delhi Sultanate era
isolated the north from the south.
The two styles of Indian music emerged in the 12th and 13th
centuries but were considered distinct traditions only after the
16CE. The styles are categorised based on the region- North
Indian music is termed as Hindustani Music, whereas South
Indian music is termed as Carnatic/Karnatic music.
Many regional forms have historically been incorporated into
and evolved into Indian classical music. Due to this openness
to new ideas, regional folk innovations and influences from
beyond the subcontinent were assimilated. Hindustani music
incorporated Persian and Arab influences. This fusion of ideas
was based on the raga, tala, matra, and other ancient classical
foundations, in addition to the use of musical instruments.

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Disciples playing music

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Carnatic Music

The musical style known as Carnatic is frequently connected
to South India. Most songs in Carnatic music are composed
to be sung, and even when played on instruments, they are
intended to be performed in gayaki (singing) style. Vocal
music is the primary focus of Carnatic music. Carnatic music
is mainly sung through compositions and is typically used for
teaching and learning. Most compositions in the development
of Carnatic music are in Telugu or Sanskrit, with a few in Tamil
and Kannada.
Carnatic music is usually performed by a small ensemble
of musicians, consisting of a principal performer (usually
a vocalist), a melodic accompaniment (usually a violin),
a rhythm accompaniment (usually a mridangam), and a
tambura which acts as a harmony.
Carnatic music rests on two main elements: rāga- the modes
or melodic formulæ, and tāla- the rhythmic cycles.
With a fixed structure, Carnatic music has a sequence that
artists follow. The opening piece is called a varnam and is a
warm-up for the musicians. A devotion and a request for a
blessing follow, then a series of interchanges between ragams
(unmetered melody) and Tanam (the ornamentation within a
melorhythmic cycle, equivalent to the jor). This is intermixed
with hymns called krithis. The pallavi or theme from the raga
then follows.

Raja Ravi Verma’s Saraswati

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Nature of Carnatic Music Thyagaraja

Carnatic music tends to be more rhythmically intensive and
structured than Hindustani music. The logical classification of
ragas into melakartas-collection of fundamental ragas and
the use of fixed compositions explains the structure.
Lyrics in Carnatic music are largely devotional; most of
the songs are addressed to the Hindu deities. Many songs
emphasize love and other social issues or rest on the concept
of sublimation of human emotions for union with the divine.
Carnatic raga elaborations are generally much faster in
tempo and shorter than their equivalents in Hindustani
music.Carnatic music represents a more ancient and refined
approach to classical music.

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Golconda

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A woman playing the Tanpura Hindustani Music

Hindustani classical music is the music of the northern regions
of the Indian subcontinent. Hindustani music arose during
a period of great Perso-Arabic arts influence, in the time of
Ganga-Jamuni Tehzeeb culture, thus combining the Indian
classical music tradition with Perso-Arab musical knowledge.
Hindustani music may have started during the 14th CE in the
courts of the Delhi Sultans. The development of Hindustani
music reached a peak during the reign of Akbar. During this
16th century period, Tansen studied music and introduced
musical innovations for about the first sixty years of his life
with the patronage of the Hindu king Ram Chand of Gwalior,
and after that performed at the Muslim court of Akbar. Many
musicians consider Tansen as the founder of Hindustani music.

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Sub Styles in Hindustani Music

Dhrupad / ु/zqkin Khayal / [k;ky

Dhrupad is considered as the mother of all sub styles. It is the Khayal or Khyal comes from a Persion-Arabic origin that
oldest known style in vocals. It is derived fromthe Sankrit term means an idea, imagination.
dhruva meaning immovable, permanent and pada meaning There are three main characteristics of khyal: various musical
verse. It is of Vedic origins and was developed in temples. ideas that can be employed, the selection of different types of
Dhrupad s performed by a solo singer or a small number of improvisation, and the placement of various ideas in order to
singers in unison to the beat of the pakhavaj or mridang. produce a balanced and aesthetically pleasing performance.

Dhrupad is solemn music, uplifting and heroic, pure and Khayal is a very free, flowery and is associated with romantic
spiritual. Its main theme revolves around religion, philosophy, poetry. Since its vert free, it allows the performer greater
devotion and celebration of seasons. freedom of expression.

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Tarana / rjkuk Thumri / Bqejh

Tarana is a type of composition in Hindustani classical vocal The term “thumri” is derived from Hindi thumuknaa, which
music in which certain words based on Persian and Arabic means “to walk with a dancing gait in such a way that the
phonemes are rendered at a medium or fast rate. ankle-bells tinkle.”
A Tarana form has a second, contrasting melody, usually with The style is connected with dance, dramatic gestures, mild
higher notes, that is introduced once before returning to the eroticism, evocative love poetry and folk songs. A thumri
main melody. singer goes straight to the emotional core of a composition
Tarana consists of a fast tempo, have an emphasis on and evokes each yarn of feeling, and sensuous sentiment
producing rhythm and requires specialisation and skill for Thumri is romantic or devotional in nature and is
rhythmic improvisation. characterized by its sensuality, great flexibility with the raga.

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Kirana gharana 21

Gharanas

In Hindustani music (North Indian classical music), a Gharanas
is a system of social organisation in the Indian subcontinent,
linking musicians or dancers by lineage or apprenticeship and,
more importantly, by adherence to a particular musical style.
The word gharana comes from the Hindi word ‘ghar’ which is
derived from the Sanskrit word Griha, which means ‘house’.
It typically refers to the place where the musical ideology has
originated from.
The way the notes are sung is the primary variation between
Gharanas. Gharanas grow as a result of the idea of a
Guru-Shishya. The Gharanas result from a genius’s creative
flair, which gives preexisting structures a completely fresh
perspective, form, and interpretation.
In Hindustani tradition, a “distinctive musical style”
encompasses unique performance and repertoire
characteristics and a more comprehensive concept of music,
aesthetics, and education.

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Dhrupad style Gharanas

Dagar Gharana / Mkxj

The Dagar gharana (or Dagar vani) is a tradition of the
classical dhrupad genre of Hindustani classical music spanning
20 generations. For some generations its members were
associated with the courts of Jaipur, Udaipur, and Mewar.
The primary characteristic of the Dagar gharana is the
nuanced, subtle, calm, and rigorous presentation of alap-
jor-jhala, with a special emphasis on microtonal inflexion,
that highlighs the nuances of the raga that are frequently
neglected or lost in performance.

Darbhanga Gharana / njHkaxk

Darbhanga gharana is a tradition of the Hindustani classical
music dhrupad thought to have been started in the eighteenth
century by Radhakrishna and Kartaram who were musicians in
the court of the Maharaja of Darbhanga.
The style is notable for its vocal delivery and energetic
performances, as well how the songs are sung after the alap.
The Darbhanga Gharana was unique in using identical balance
in alap and bandish. It presented an equal proportion of the
melody as well as rhythm.

Bahauddin Dagar, Dagar Gharana

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Bettiah Gharana / csfr;k

The Bettiah Gharana was one of the oldest style of vocal
music in Dhrupad style.
The Court of Bettiah was the haven of music with intense
compositional activity with at least five different lineages of
dhrupad musicians actively composing and performing.
Bettiah gharana held a poetic form incorporated into an
extended presentation style marked by precise & orderly
elaboration of a raga.

Talwandi Gharana / rtoaMh

Talwandi Gharana is said to be the oldest gharana of Dhrupad.
The followers of this gharana claim to be the descendants of
the two Dhrupad singers, Syuraj Khan and Chand Khan.
The musical repertory of the Talwandi gharana includes many
different genres of vocal music- alap, dhrupad, khayal, ghazal.
Talwandi gharana was a leading gharana that immensely
contributed to retain the cultural and musical aspect and the
heritage of India.

Dagar Gharana

24 Ashwini Bhide, Khayal Gharana

Khayal style Gharanas

Gwalior Gharana / Xokfy;j

The Gwalior Gharana (Gwalior school of classical music) is one
of the oldest Khyal Gharana in Indian classical music. The rise
of the Gwalior Gharana started with the reign of the Mughal
emperor Akbar.
The Gwalior singers, who were experts in Dhrupad, played
a revolutionary role in the shift from Dhrupad to Khayal
style.They popularized it by bringing some changes to the
prevalent style.
A distinguishing feature of the gharana is its simplicity. The
singing itself places the composition at the heart.

Agra Gharana / vkxjk

Agra gharana was a Khayal gharana. It was also known as
Rangeela gharana. The gayaki (style of singing) of the Agra
Gharana is a blend of khayal gayaki and dhrupad-dhamar.
The gharana adopts a kind of voice production which relies on
a flatter version of the vowel sound “a”, which makes its music
agreeable to rhythmic variations and is best suited for a deep
masculine voice. Emphasis is laid on bold, full-throated and
robust voice production, and singing in the lower register.

Kirana Gharana / fdjkuk 25

Kirana gharana is one of the Indian classical khyal gharanas, Dipali Nag, Khayal Gharana
and is concerned foremost with perfect intonation of notes.
The individual notes of the raga are independent realms of
music capable of horizontal expansion. Emotional pukars in
the higher octaves form a part of the musical experience.
Kirana gharana’s unique feature is the intricate and ornate use
of the weaving patterns with the notations themselves.
Performers from the Kirana gharana are particularly fond of
the Komal Re note of the classical music scale.

Patiala Gharana / ifV;kyk

The Patiala gharana is one of the vocal gharanas of Hindustani
classical music, named after the city of Patiala in Punjab.
The Patiala gharana was inspired from and influenced by four
musical gharanas — Delhi, Gwalior, Riva, and Jaipur, and is
noted for its ghazal, thumri, and khayal styles of singing.
Patiala gharana is known for its creative improvisations by
borrowing freely from other gharanas and merging them
aesthetically to enhance the khayal form of singing.

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Concepts in music

The foundation of Indian classical music is melody. It can be characterised as
introspective and contemplative. There is no intentional harmonic structure
beneath melodic lines.
Indian classical music is based on five characteristcs which are Swara, Tala,
Raga, Alankaar and Shruti. Raga and Tala are the foundational elements of
Indian classical music and both have frameworks that are open for creativity and
allows for a large number of possibilites in terms of melodies.
Other than characteristcs, Indian classical music also has different concepts on
which music can be based on like Ritu and Ras.
Indian classical music usually avoids Western classical ideas like harmony,
counterpoint, chords, and modulation because the space between the sounds is
frequently more significant than the notes.

Swar / Loj

Swar is a Sanskrit word that is derived from Svar which means sound. It found
its use in the Vedic literature- Samveda. Swars are supposed to be pleasing to
the ear when heard. The melodic aspect of a song is entirely based on swars
or the musical notes. They are the building blocks of music and have their own
personality, determined by its colour, mood, origin and the animal it sounds like.

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Shadja / "kMtz Rishabh / fj"kHk

Shadja is the first swar in Hindustani and Carnatic music. It Rishabh is the second swar in Hindustani and Carnatic music.
is the fundamental swara in Indian calssical music. Shadja This swar could either be a pure note or be a komal or flat
is a swar that can only be a shuddha or pure note. It is said note. Rishabh is the name of the earliest and the very first
to be sourced from the sound of the cry of a peacock and is saviour of Jainism. It is said to be sourced from a skylark and is
associated with the planet Mercury and colour green. associated with the planet Mars and the colour red.

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Gandhar / xka/kkaj Madhyam / e/;e्यम

Gandhar is the third swar in Hindustani and Carnatic music. Madhyam is the fourth swar in Hindustani and Carnatic music.
This swar could either be a pure note or a komal or flat note. It This swar could either be a pure note or be a tivra or sharp
is said to be sourced from the sound of the bleating of a goat note. It is the only note that can be a sharp note. It is said to
and is associated with the planet Sun and colour golden. be sourced from the call of a heron and is associated with the
planet Moon and the colour white.

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Pancham / iape Dhaivat / /kSor

Pancham is the fifth swar in Hindustani and Carnatic music. Daivat is the sixth swar in Hindustani and Carnatic music. This
Pancham notes can never be komal or tivra, it’s always a pure swar could either be a pure note or be a komal or flat note.
note.It is said to be sourced from the call of a cuckoo and is It is said to be sourced from the neighing of a horse and is
associated with the planet Saturn and colour blue or black. associated with the planet Jupiter and the colour .

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Nishad / fu"kkn San

Nishad is the seventh swar in Hindustani and Carnatic music. The eight note is double the frequency of the first note and
This swar can be a pure note or komal or flat note. It is said thus is an octave higher. The dot represents the higher octave
to be sourced from the trumpeting of the elephant and is (rkj lIrd). The lower octave (eanz lIrd) is represented by a
associated with the planet Venus and multiple colours. dot below the swar.

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12 noon Midnight 12 noon

Sa Re Ga Ma Pa Dha Ni Sa

Indian classical music is ruled by 7 octave musical notes. These Sapta Swaras are believed to
have originated from “Dumru” (Musical Instrument) of Lord Shiva.
The notes Sa, Re, Ga, Ma dominate the first half of the day- from 12 noon to 12 midnight. They
are referred to as Poorvang (iwokax). The notes Pa. Dha, Ni, Sa dominate the first half of the day
-from 12 midnight to 12 noon, and are referred to as Uttrang (mRrjkax).

A Raag literally translates to ‘which colours the mind’. It is a musical theme formed from a
set of swars. Raags are associated with different times of the day depending on the moods
that specific swars or combinations evoke. Only dudring this period is the raag at its height of
melodic beauty and majestic splendor.
To make a complete structural composition, a raga consists of the tala, which is the cyclical
system of beats, and sahitya which are the lyrics. The sahitya could either be sung or played on
instruments through a non-verbal language.

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Thaat / FkkV Raag / jkxाग

A Thaat is a “Parent scale” in North Indian music. The concept A Raag literally translates to ‘which colours the mind’. It
of the thaat is not exactly equivalent to the western musical is a musical theme formed from a set of swars. Raags are
scale because the primary function of a thaat is as a basis for associated with different times of the day depending on
classification of ragas. Thaats must fulfil the following rules- the moods that specific swars or combinations evoke. Only
•A thaat must have seven tones out of the twelve tones [seven dudring this period is the raag at its height of melodic beauty
natural, four flat (Re, Ga, Dha, Ni), one sharp (Ma)] and majestic splendor.
•The tones must be in ascending sequence. To make a complete structural composition, a raga consists
•A thaat cannot contain both the natural and altered versions of the tala, which is the cyclical system of beats, and sahitya
of a note. which are the lyrics. The sahitya could either be sung or
•A Thaat does not have any separate ascending and played on instruments through a non-verbal language.
descending lines.
•A thaat has no emotional quality.
•Thaats are not sung but ragas produced from the thaats are.

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Dawn

laf?kizdk'k

Ragas that are played at
dawn are said to be very
serene and devotional.

Raag played at dawn

Bhatiyar
Bhankar
Lalit
Bhairav
Kalingada
Gunkali
Ramkali

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Morning

izkr

Ragas played during the
mornings are said to be the
most evocative of the time
and are soothing and calm.

Raags played in the
morning

Bilawal
Deshkar
Devgiri
Hindol
Mudraki
Todi
Bahaduri Todi
Leelavati

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Afternoon

nASigj

Afternoon ragas tend
to create a pensive and
introspective mood.Theres is
a peaceful and sombre mood.

Raags played in the
afternoon

Peelu
Brindavani Sarang
Bheempalasi
Asavrai
Jaunpuri
Desi
Bhairavi
Bilashkani Todi
Dhanashri

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Dusk

laf?kizdk'k

The melancholy is evident in
ragas played at dusk. They
have a feeling that is unique
yet experienced by everyone.

Raags played at dusk

Marwa
Poorya
Jait
Poorvi
Shri
Poorya Dhanashri
Deepak
Gauri

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Evening

la/;k

Evening ragas have an
extensive melodic and
rhythmic range which
captures different moods.

Raags played in the
evening

Durga
Nat Bihag
Hamsdhwani
Yaman
Bhupali
Kedar
Khamaj
Tilak Kamod
Des
Malhar

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Night

jkf=A

Most of the ragas sung
during the night time are of
‘gambhir’ rasa; serious and
meditative in mood.

Raags played at night

Kafi
Bageshri
Darbari Kanada
Adana
Malkauns

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Seasons / _rq

Since the beginning of time, ragas have been connected
to specific seasons. Songs and dance were always a part of
celebrations honouring harvests, solstices, local deities which
solidified the link between music and season.
Vasant (spring), Grishma (summer), Varsha (monsoon),
Sharad (autumn), Hemant (pre-winter), and Shishir (winter)
are the six main seasons.
Mediaeval musicological treatises chose six fundamental
ragas to represent each of the six seasons. Although the raga-
season linkages in these treatises varied, the most widely used
system used the ragas Hindol (Vasant), raga Dipak (Grishma),
raga Megha (Varsha), raga Bhairav (Sharad), raga Shree
(Hemanta), and raga Malkos (Shishir).

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Winter

f'kf'kj

The main raga connected to
deep winter is Malkauns. It
ois one of the oldest ragas
and has a soothing and
intoxicating effect.
The raga is also sung during
small hours of the morning,
just after midnight.

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Spring

olar

The raga associated with
spring is Hindol raga. It is an
ancient raga that emerges
from the Kalyan thaat.
Hindol raga is sung during the
first part of the day.

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Summer

fx'z ke

The raga associated with
summer is called Deepak
raga. A raag made for
Lord Shiva with a myth
surrounding it that singing
the raaga can create fire.

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Monsoon

o"kZk

The main raga associated
with monsoon season is
Malhaar. According to
legend, the Malhar raga is so
powerful that when sung, it
can induce rainfall.

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Autumn

'kjn

The main raga associated
with autumn is Bhairav raga.
Indian Mythology suggests
that Raga Bhairav was the
first raaga to emanate from
Lord Shiva.

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Winter

gsear

The raga associated with
early winter is raga Shree. It is
full of grace and majesty, and
the main mood it creates is of
devotion and dedication.

Malkauns Hindol 47
Malhar Bhairav
Deepak
Shree

Music has the power to convey even the strongest of emotions. There is an emotional
connect to music and the main reason for that connection is nature. All sounds have
been derived from nature and when composed together, they create the most beautiful
ragas. To appreciate nature even more, ragas were composed in such a way that people
could admire nature through seasonal ragas. Each raga associated with a certain season
has a certain mood, emotion and history behind it and when heard at the right time, can
create wonders for the listener.

The three Ragas intended to be performed in spring according to North Indian tradition
are Basant, Bahar, and Hindol. The six primary Ragas—from which all other Ragas
derive—are connected to the day and season.
The ragas that each season is connected to are- Malkauns (ekydkSUl) connceted to
deep winter, Hindol (fgUMksy) to spring, Deepak (nhid) to summer, Malhar (eygkj) to
monsoon, Bhairav (HkSjo) to autumn and Shree (Jh)for early winter.

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Benfits of classical music

With how fast paced the world has become, it compels
humans to live a stressful life. With this life, it is advised to
learn Indian classical music. Classical music is an effortless
means to access the human spirit and connect people in a
way that nothing else can. It helps one get the peace of mind
that is necessary and thus overcomes depression and stress. It
encourages one to live a healthy life.

The best thing about classical music is that it combines impact on one’s mood and thus, helps in getting rid of
emotion and aesthetics, which creates a great vibe. It enables depression quickly.
the listener get inner peace. A few benefits of learning and • Improve Memory
listening to Indian classical music are- People listenIng to Hindustani classical music on a regular
• Minimize the Risk of Stress basis witness the stimulus impact on their brain that generally
The greatest advantages of learning Indian classical music is processes great spatial reasoning. It is something that works
reducing stress level. While listening to classical music, our in the greatest way of increasing memory. It also improves
heartbeat becomes slow, which makes our mind calm. thinking and capability of decision making.
•Make Blood Pressure Normal • Helps to cope with trauma
Many experts revealed that learning music has a greater Hindustani music is used as therapy for children who have
impact on blood pressure and makes it normal. This is the trauma. Singing helps them relax, the controlling of one’s
reason why classical music is highly beneficial for those who breath helps with the high levels of anxiety. Music is also used
are suffering from blood pressure disease. as a means of healing and energizing the different chakras in
•Improve the Presence of Mind the body. Each chakra symbolises different functions of the
Many experts believe that classical music makes a great body and the soul. The healing of these chakras helps cope
impact on the babies nurturing in the womb while improving with trauma and the unhealed wounds from the past. When
memory. It makes a better impact on increasing their IQ. music is channelized through a chakra, one suddenly feels
•Get Over Depression extremely relaxed and at ease.
Indian classical music tends to make blood flow normal and
also makes one’s mind peaceful. It also makes the greatest

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Ruknuddin

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