Hindustani classicals free download

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It appears your browser does not have it turned on. Please see your browser settings for this feature. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! Correct approach is learning with the thaat and raga concept in which melodious film songs are being composed.

After learning thaat sargam its fingering practice in all three octaves is also necessary. In the beginning try to play songs in a particular thaat and after that listen and learn Ragas and play songs with ragas. Listen and play raga based film songs with notations provided with the book. Do, not try to play raga-based songs in the early stage of your learning. While practice, try to take help from the book repeatedly. I am sure within few weeks you will be able to play your favorite tunes yourself without any help but ragas require additional practice.

In the end do not forget to learn taal or rhythm theory along with melody. Gradually you will become master. If you want to become a singalong singer then practice sargam. Midi music will sound identical to Yamaha keyboard instruments in your computers if you play it using Yamaha sound cards.

Midi music can also be played with a floppy or with USB equipped keyboards. In the Yamaha keyboard you will listen real voice of Yamaha XG. Midi music is a digital music with 16 individual recorded tracks that can be edited in computers using cubase or cakewalk. You may sing- along with midi music and record your own audio song using Yamaha PSR S keyboard which also support audio recording using a mike.

Ten stages exercise. Raga kalyan arohi 18 Sargam exercise 2. Five stages exercise. Raga Kalyan Amrohi 22 Sargam exercise 3. Kalyan arohi amrohi 24 Alankar and their types 25 Kalyan sargam practice 25 Shuddh Kalyan 27 Notations on raga shuddh kalyan songs 28 Notations of raga kalyan songs 31 Sargam Chapter 2. Raga Bhairavi 42 Exercise 1. Six stages exercise 44 Exercise 2. Raga bhairavi amrohi. Three stages exercise 46 Exercise 3. Raga bhairavi arohi amrohi 48 Exercise 4.

Raga bhairavi tiver notes in mandr saptak 49 Exercise 5. Raga kalyan tiver notes in taar saptak 49 Exercise 6. Raga bhairavi komal notes in mandr saptak 50 Exercise 7.

Raga bhairavi komal notes in taar saptak 50 Exercise 8. Raga aiman tiver notes from mandr to taar saptaak 51 Exercise 9. Raga bhairavi komal notes from mandr to taar saptak 51 Notations of raga bhairavi songs 52 Sargam Chapter 3.

Raga Bhairav Bhero 56 Exericse 1. Raga bhairav or bhero six stages exercise 56 Notations of raga bhairav songs 59 Sargam Chapter 4 64 Exercise 1. Raga Kalyan up and down palte 70 Practicing sargam up and down Palte 70 Note numbers for fingering 71 Exercise 1. Five stages. Raga kalyan arohi up and down palte 71 Exercise 2. Ten stages. Four stages. Raga kalyan up and down four notes palte 77 Exercise 4. Raga kalyan five notes practice 79 Exercise 5. Two stages.

Raga kalyan up and down arohi amrohi 81 Exercise 6. Raga kalyan up and down mandr to taar 82 Exercise 7. Raga Kalyan palte in middle octave 83 Exercise 8. Three stages. Raga bhairavi up and down palte 84 Exercise 2. Raga bhairavi up and down palte 85 Exercise 3. Raga bhairavi up and down five notes 87 Exercise 4.

Raga bhairavi arohi amrohi. Practicing 88 Exercise 5. Raga bhairavi arohi amrohi practice 89 Note numbers for fingering 71 Exercise 1. Raga kalyan arohi amrohi 73 Exercise 3. Raga bhairavi arohi amrohi practice 89 Exercise 6. Raga bhairav bhero arohi amrohi palte three notes 91 Exercise 2. Raga bhairav in taar saptak, three notes arohi amrohi 92 Exercise 3. Raga bhairav arohi amrohi 4 notes palte.

Two 93 stages Exercise 4. Raga bhairav arohi amorhi 5 notes palte. Two stages 94 Exercise 5. Raga bhairav two notes palte. Two stages 95 Exercise 6. Raga bhairav practice from mandr to taar and back 96 Exercise 7. Raga bhairav practice in middle notes 97 Exercise 8. Raga bilawal sargam arohi amrohi practice 98 Exercise 2. Raga bilawal sargam arohi amrohi palte 98 Exercise 3.

Raga bilawal five notes practice 99 Exercise 4. Harmonium - Keyboard The harmonium came to India through missionaries. The original form was that of a pedal organ. The harmonium is a reed organ, with bellows that are operated by hand. Over the years many vocalists preferred to be accompanied by the harmonium. The role of the harmonium is to provide a backup for the main melodic line, thus endowing it with a sort of strength and an added dimension.

Before playing the harmonium instrument it should be placed on a stool alongside of which the vocalist may sit or on a chair of equal height. Or if the gathering of listeners is organized on a carpeted floor, the instrument may be put in front of the vocalist. Harmonium and keyboard are similar for Indian music so these lessons are equally suitable for both instruments. For harmonium we have to blow air all the time when we play. For Keyboard it is not required. For keyboard we have to select the best sound out of or more available.

The sound should be pleasing and continuous. Suggested sounds are Flute, organ, Clarinet, Reed etc. Every keyboard is different; therefore every keyboard has different set of voices for selection. For harmonium first open at least 3 big knobs and then blower.

In some there is a straight blower, which is to be opened from both sides, and in other it should be opened only from left. In harmonium never blow air until any note black or white is pressed, otherwise air will not be able to go out from anywhere and the harmonium will start leaking air from sides or anywhere. Use left hand to blow air and right hand to play keys. Use right hand thumb to play white keys only and adjoining three fingers on black and white keys both.

In harmonium or keyboard thumb is very rarely used on black keys. For harmonium you need to use right hand only. In these lessons fingering position is same for harmonium as well as keyboard. What you need is really four notes in the lower octave from your chosen tonic note, and another four notes from upper octave from same tonic note. With the key of the tonic note Sa pressed, pull the bellow gently toward yourself, with the left to get the sound of this note. Along with the sound of this tonic Sa note try to sing your song at this moment, by aligning the tune with the tonic note.

Make a judgment of the pitch of the song in high as well as low places on the keyboard. Feel your way while singing; by touching the suitable keys on the harmonium with those notes, which are related to the song, you want to sing. At this point, the touching of fingers will produce two kinds of sounds.

One kind, which resemble the elements of your song and the second kind, which do not resemble. In fact second kind tones will sound boring, so you should avoid and pass over them.

As with solo alone playing of the keyboard, the fingers are made to skip over the notes besides other techniques, with self-accompaniment.

The same fingering is done by a method called legato in modern musical terminology which implies constantly keeping pressed, one of the appropriate keys along with singing, like a continuous flow of sound tones, exactly as a church organ. In this way you will produce sound effect of a harmonium in your keyboard while practicing sargam. With a little practice, the fingers will get accustomed, to synchronize with the vocal sounds controlled by the mind.

You get better knowledge of the technique of playing harmonium, before the actual accompaniment. Also a teacher, if available in the neighborhood, can help a lot to give a fairly good start or watch video lessons. Division of a saptak In Indian Classical music three saptaks Octaves are usually utilized. Saptak : When the set of seven notes is played in the order it is called a Saptak i. In the keyboard or harmonium the Sa gets repeated after Ni.

The frequency of 2nd Sa is twice the frequency of first Sa. Notes of this saptak are indicated by a sign of apostrophe on right side e. Mandr Saptak: The one below the madh saptak is called mandr saptak low. Notes of this octave are sung or played in a low deep tone. This comprises of the saptak that is below the lower Sa of the madh saptak. Notes of this saptak are indicated by a sign of apostrophe on left side e.

Madh Saptak: The normal tone of human voice, which is neither high nor low. It is called madh saptak middle octave. This has got no symbol in the notation system. The notes are high and sharp. The frequency of the second Sa is twice the frequency of the first Sa. The second Sa belongs to taar saptak and in this way the same saptak gets repeated. The Indian musical scale is said to have evolved from 3 notes to a scale of 7 primary notes, on the basis of 22 intervals.

A scale is divided into 22 shrutis or intervals, and these are the basis of the musical notes. These 7 notes of the scale do not have equal intervals between them. A Saptak is a group of 7 notes, divided by the intervals is as follows: The first and fifth notes Sa and Pa do not alter their positions on this interval.

The other 5 notes can change their positions in the interval, leading to different ragas Notes of a saptak Sa, Re, Ga, Ma The notes of the Indian gamut seven notes of music are known as sargam. Just as the English word "alphabet" is derived from the Greek letters "alpha, beta", in the same way the word "Sargam" is derived from "Sa-Re-Ga-Ma". Sa, Re, Ga, Ma, is simply the initial notes swar of the Indian musical gamut.

The intervals of the Indian scale are essentially the same as those of the western scale. The notes in the Western scale are evenly spaced; the ones in the Eastern scale follow the natural divisions of vibrational frequencies. Musical notes are chosen by certain names. However, the names do not refer to notes of fixed absolute pitch.

Having decided on the schedule and key in which the performance is to take place, the singer or musician determines the pitch, which will be the fundamental pitch, and designates it as the first note of the octave, calling it by the label " Sa ".

Re Rekhab 3. Ga Gandhar 4. Pa Pancham 6. Dha Dhaivat 7. Example, r g d n. Sa and Pa are never sharp or flat. Shuddh ma, however, is written with a lower case m.

It is the only note ever referred to as sharp. As tiver or "bright" Ma it is written with an upper case M. In addition there are of course, certain notes that are komal flat or tiver sharp versions of some of these. Here in the below given picture we have selected first black key as our khraj note. Mandr saptak is situated in extreme left of harmonium or keyboard and notes of mandr saptak have a sign of apostrophe on left side e. Middle saptak is without any sign and taar saptak is in extreme right.

Notes written in taar saptak are shown by a sign of apostrophe on right e. Full twelve tone scale in all three saptak We will use as the fundamental note the C which lies in middle octave in western system. This will correspond to Sa in madh saptak of Indian system. So by combining both systems the other notes will correspond as follows: Most of the singers sing in the particular scale according to their sound pitch.

Many male vocalists will use C or D as their fundamental starting note. Female vocalists tend to place their fundamental somewhere in the range from F to A. Female sound pitch is higher than male. Lowercase small letters are shown as "komal" or flat notes, and the uppercase capital letters are shown as "tiver" or sharp. All notes except for Sa and Pa have an alter ego, whose nature is either komal or tiver.

Shuddh Ma, however, is written with a lower case m. As tiver or "bright" Ma is written with an upper case M. Sa of Indian is equivalent to C of the western system. However, C, C are commonly used as Sa.

Most persons prefer to play music from the western C as their starting point. In other words, they select Sa from C , which is a common expression which is easy to remember.

It is suggested to use C if you are beginning to play harmonium or keyboard as a student of music for simplicity and ease. After learning you may start playing from any note and corresponding notes will change according to our chosen khraj note. Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, and modulation.

Before you begin your first lesson, you must go through the initial lessons above. When you have a basic understanding of the notes of a sargam, it will help you sing and play better. You will need the following: A good teacher is essential because this person will correct your mistakes and set a good example to follow. Your teacher should be someone capable of performing and have a good reputation for teaching. Treat your teacher with respect and consideration at all times, even when you are no longer learning from him.

Instrumentalists must be sure to learn from both a vocal and instrumental teacher. From the instrumental teacher you will learn techniques and from the vocal teacher to implement these techniques as though your instrument is singing the words. It is not enough to just attend a class once a week. Practice everyday, even for as little as half an hour. For those who wish to be performers, weekday practice should be hours.

You must be ready to listen carefully to your teacher and to other performers. Listening to great recordings of old semi- classical will help you learn faster. Attend concerts as well. Only these syllables are sung, and further designations are never vocalized.

A sign of apostrophe on the right side of a letter S' indicates the octave higher, a sign of apostrophe on the left side of a letter 'S indicates the octave lower. Re, Ga, Dha, and Ni may be either shudh or komal; Ma may be either shudh or tivar and is then called tiver Ma. Take the sargam challenge. Play the sargam every night for one month and then re-assess your playing skills afterward.

In other words Sargam is the collection of music notes or the swar of the scale. It has been mentioned earlier how notes of the sargam relate to the western scale. Practicing to play sargam in music is bit like weight training. Basic rules of weight training are to start with simple exercises with lightweights. As you get comfortable with lightweights, you increase repetitions or increase the weight you are lifting.

You also focus on muscle group you work on.