- Hindustani Classical music from northern India.
- 'rag' or 'raga; is sanskrit meaning colour and involves moods associated with the pattern
- This rag is preformed in the morning and portrays serenity and peacfulness
- Performances take place with few performers
- this piece is improvised but could last as long as it wants
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Performing Forces + Handling
- Sarangi: bowed instrument playing melody, has 3 strings which performer play and 35 sympathetic strings.
- Ram Narayan is playing Sarangi
- Tampura: long-necked, fretless, lute-like instruments with 4/5 strings. The strigns are tuneds to the main notes of rag and is plucked throughout performance.
- Tabla: hand drums one called dayan and one called bayan. They are played with heel of hand. The tablea uses improvisation in this piece but maintains rhythmic acompaniment to sarangi.
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- structure can be divided into rhythmic components like the tal and rag patterns
- can be divided into two sections alap followed by jhala
- May be a jhor at line 14
- alap- meants introduction and is slow and meditative, sarangi plays in free time with emphasis on important notes
- jhala- entry of tabla signals start of jhala and sarangi improvises around rag in rhythmically structured way.
- Alap - gat is valid as alap - jhala
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Texture and Melody
- opening consists of melody and drone
- sarangi plays sometimes 2 note chords
- texture changes line 19 with entru of tabla
- Hindustani music has 12 notes Rags have between 5-7 notes
- This rag has 7 notes so is sampurna or 'complete'
- rag has aroha (ascending) pattern and avaroha (descending pattern)
- Shruti (microtones)
- Sa and Pa are the aschal swaras (fixed notes) like tonic and dominant
- motif is a pakad
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- melody is largely improvised
- alap focuses on Sa and Dha line 3 Pa is highlighted
- meend (sliding between notes)
- tans (rapid scalic patterns)
- ornamentation prevades jhala
- lines 26 to 28 tan patterns climax
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Rhythm and Metre
- alap has no metre
- tabla performs tal which is a rhythmic cycle
- tal divided into vibhags and each vibhag could have a different no. of beats
- start of cycle called the sam
- khali contrasts vibhag
- Tal in Rag Bhairav is Tintal.
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Tonality and Harmony
- double stopping of sarangi creates harmony
- drone of tampura with melody or used to create dissonance
- tonality is never present emphasis on tones instead
- tabla is tuned by play to ensure notes match Sa
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