Sangeet

Trividham--Sangeet, Vadhyam, Nrityam.
Anand in sangeet is called Raas.
Sam Ved has Gayan/sangeet subject. Mantras of Samved can be sung. Upved is Gandharv Ved.

How akshars are created: आत्मा बुद्ध्या समेत्यर्थान् मनो युङ्क्ते विवक्षया । मनः कायाग्निमाहन्ति स प्रेरयति मारुतम् ॥ मारुतस्तूरसि चरन् मंद्रम् जनयति स्वरम् ॥

Twenty two shrutis total.
Seven Sudha swars are Sa, Re, Ga, Ma, Pa, Dha, Ne
Four Komal swar are Re, Ga, Dha, Ne. These come before the sudha swar.
One tivr swar is Ma. It comes after sudha Ma.
There are totally twelve swarasthanams -
sa ,ri1, ri2,, ga1, ga2, ma1, ma2, pa, da1, da2, ni1 and ni2.
After ni2, the swara ‘sa’ comes again. This is a cycle.

Sa-shadja(षड्ज), Re-rishabh(ऋशभ), Ga-gandhar(गांधार), Ma-madhyam(मध्यम), Pa-pancham(पञ्चम), Dha-dhaivat(धैवत) and Ni-nishad(निषाद), and are shortened to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the sargam or seven notes of sur.
Significance of these seven swaras is
SA(Agni Deva),Rishabha means RE( Brahamma Devta),Gandhar means GA( Sarasvati), Madhyam means MA(God Mahadev), Panchama means PA(Goddess Laxmi), Dhaivata means DHA(Lord Ganesha)and Nishad means NI( Sun God) are the seven basic sur in music.

Aaroh is the pitch going up from Sa to Ni
Avroh is the pitch going down from Ni to Sa

“Sur” is the feeling of pitch match with the reference “Sur" ( tanpura, harmonium, etc.). “Sur” is a note, it may be produced by any instrument, or by using vocal chords.
“Taal” is a way to measure time. There are many “Taals“, ways to measure time. The instruments differ, but basically have same “Taal” background. The “Taals” are composed of “bols".
The way to address the question is that, Taal and Sur have only one thing in common that they are part of Indian Classical Music. They compliment each other to create an enriching performance.
Bandish or Khayal, or cheese, or composition.

Speed-
Ati Vilambit-Slowest, Up to 25bpm
Vilambit-Slow, from 26- 80bpm
Madhya- Medium, from 81-150
Drut- Fast, from 151- 300
Ati Drut- From 301-700

Alankar- Swar ko Taal mai nibadh karna e.g. Sa sa re re ga ga Swar is single. Alankar is a set or series. Alankar increases beauty of swars. Alankaroti ithi Alankarah.

1. Sa, re, ga, ma--- Sa, ni, dha, pa
2. Sa, sa, re re......... Sa. sa, ni, ni, dha, dha
3. Sa, re, ga, re, ga, ma, ga, ma pa...
4. Sa, re, ga, ma, re, ga, ma, pa, ga, ma, pa, dha,......
5. Sa, re, ga, ma, pa, re, ga, ma, pa, dha.......
6. Sa, re, ga, ma, pa, dha, re, ga, ma, pa, dha, ni......
7. Sa, re, ga, ma, pa, dha, ni, re, ga, ma pa ......
8. Sa, ga, Re, Ma, Ga, Pa.....
9. S,g,r,m,g,p,m,d,p,n,d,s,n,r,s.....s,d,n,p,d,m,p,g,m,r,g,s,r,n,s
10. Sa, re, ga, ma, re, ga, ma, pa, ga, ma, pa, dha, ma, pa, dha, ni, pa, dha, ni, sa, dha ni, sa, re, sa.....Sa, ni, dha, pa, ni, dha, pa, ma, dha, pa, ma, ga, pa, ma, ga, re, ma, ga, re, sa, ga, re, sa, ni, sa.
11. S, r, g, m, r,g,m,p,g,m,p,d,m,p,d,n,p,d,n,s,d,n,s,r,n,s,r,g,s-----s,n,d,p,n,d,p,m,d,p,m,g,p,m,g,r,m,g,r,s,g,r,s,n,r,s,n,d,s.
12. sr,sg,sm,sp,sd,sn,ss...sn,sd,sp,sm,sg,sr,ss
13. sgr,rmg,gpm,mdp,pnd,dsn,nrs,sgr....nrs,dsn,pnd,mdp,gpm,rmg,sgr,nrs
14. Srsrg,rgrgm,gmgmp,mpmpd,pdpdn,dndns...snsnd,ndndp,dpdpm,pmpmg,mgmgr,grgrs
15. s,srs,srgrs,srgmgrs, srgmpmgrs......same while coming back
16. sS Ss, rRRr, gGGg, mMMm....MmmM, GggG, RrrR, SssS
17. sss rrr m, rrr ggg p, ggg mmm d, ......nnn SSS G, ddd nnn R, ppp ddd S, mmm ppp n.....
18. srg srg rg, sr sg rgrs; rgm rgm gm rg rm gmgr; gmp gmp mp gm gp mpmg..... GRS GRS RS GR GS RSRG....
19. sg sg sg mgrs,

Alankar notes.pdf

All the above with Aa Aa also and in three speeds (slow,intermediate, and fast speed) with sargam and aa aa.

iTabla Pro app-- Microphone, A3, MAster and Tanpura on, letter should be green.

Key board:
My level is G/A3 sharp. It is the fourth black key out of five or second black in the set of three black keys.
There is no gap between Ga and Ma and also Ne and Sa.

1. C
2. C sharp
3. D
4. D sharp
5. E
6. F
7. F sharp
8. G
9. G sharp
10. A
11. A sharp
12. B

Saptak is group of seven.
Mainly of three types:

1. Mandra saptak
2. Madhya saptak
3. Taar Saptak.

There are atti mandra and atti tar saptaks also.

Gamakas:

Raags:
Mohanam--S, R, G, P, D
Hindolam--S, G, M, D, N
Madhyamavati--S, R, M, P, N
Abhogi- S, R, G, M, D
Shankarabhranam/Raag Bilawal/Shudha swara/ natural notes/ Major scale-
Hamsadhwani- S, R, G, P, N
Mayamalavagowla--
Sriranjani- S,R,G,M,D,N

Kaharwa is commonly used in bhajan singing with clapping. Rupak, Dadri, and Kaharwa are used in gazals. Teen taal, sixteen beats, is used in Raags.

Raag Yaman

Raag Yaman.pdf
Taan- Ni re ga re ga re ni sa, ni re ga re ni re sa-

Aalaps are alankars or sargams without words. Taans are faster.

http://learnraagabasics.blogspot.com/2011/01/raag-yaman.html

Yaman Kalyan Tori re bansuri.mp3

Yaman Drupad paar brahm parmeshvar.mp3

Raag Bhupali

Raag Bhopali.pdf

Aisi Kripa notes.pdf

1.1Rag Bhupali full.pdf

iTabla Pro- Teentaal(16), Volume 120, Everyline starts at 9, Tabla on.

Bhopali Aalap.mp3

Raag Bageshree

Rag Bageshree full.pdf

Bageshree Alaap.mp3

Raag Khamaz:

Khamaj.mp3

Raag Desh:

Raag Desh 1.mp3

Raag Kafi:

Kaafi.mp3

Raag Durga:

Durga.mp3

Raag Bhimpalasi:

Bhimpalasi 2.mp3

Raag Bhairav

Raag Kedar:

Hamko man ki shakti- notations

Hamko man ki taal and notes.mp3

Hamko Man ki prarthana.mp3

Gayatri Mantra Notes.pdf

The_Gods_Within_The_Vedic_Tradition_and.pdf

Tabla beats-- 16 beats in four equal parts.
Beats: 16
Khands: 4 (4, 4, 4, 4)
Taali: Beats 1, 5, & 13
Khaali: 9th beat
Sam: 1st beat
Dha Dhin Dhin Dha
Dha Dhin Dhin Dha
Dha Tin Tin Ta
Ta Dhin Dhin Dha

Eight limbs of Astang yog are Yam, Niyam, Asan, Pranayam, Pratyahar, Dharna, Dhyan, and Samadhi. Generally, our sensory organs help us perceive external information that becomes the aahar of the body. In Pratyahara, the practitioner tries not to use this mechanism. He withdraws from external stimuli and tries not to get affected by sensory perceptions. His inner self becomes dominant. This stage is Pratyahar.
If someone is learning Traditional music, singing, dancing, etc., is it against the Yog as they are using external stimulus(instruments and voice)?
I think the answer is No for the following reasons:

1. Dedicated singing is a step ahead of Pratyahar. It is Dhyan with sangeet as a focus.
2. There are many ways to attain Mokha. Astang yog, Bhakti Yog, Karm Yog, and Raj yog all lead to one ultimate goal.
   None of the yog is better than others. Different types of yog work for different people. One yog practice usually takes you to others.
   In Bhakti yog, there is no one in between Bhagwan and you. It is a direct relation.

Aanak:

Anak Book.pdf

Vamsi:

Murli:

Om jai Jagdish.mp3

Harmonium:

Aisa pyar baha de maiya.pdf

Vande Matram1.pdf
Vande Matram1.pdf

Rajnigandha phool tumhare:
Rajnigandha sargam .mp3
Rajni gandha.mp3





Rajnigandha sargam .mp3