His tunes mainly had urban touch to them. The duo of composers Laxmikant-Pyarelal were his assistants in India before the independence. However, he is primarily remembered for his compositions in the voice of playback singer Ahmed Rushdi. After partition Nisar Bazmi migrated to Lahore. Nisar Bazmi also composed some of the most memorable national songs. Before you play a song, choose a voice that you like.
Practice selecting different voices, and remember the setting for the ones you prefer. The rhythm controls provide drumbeats to play along with. In these harmonium lessons learn harmonium with free harmonium lessons and with teach yourself harmonium eBooks.
The drum rhythms can be changed to suit the kind of song you are playing. Melody keys are used to play the tune of the song with your right hand. The chord keys are used to play chords with your left hand. This makes the song sound full and beautiful with harmonic voice.
If you do not know how to play chords then you may use auto chord along with the melody. A MIDI keyboard is a piano-style digital keyboard device used for sending MIDI signals or commands to other devices computer connected to the same interface as the keyboard. MIDI is an acronym for musical instrument digital Interface protocol. The basic MIDI keyboard does not produce sound. Instead, MIDI information is sent to an electronic module capable of reproducing an array of digital sounds or samples that resemble traditional analog musical instruments.
These samples are also referred as voices. An encoding scheme is used to map a MIDI value to a specific instrument sample.
MIDI data files are much smaller than recorded audio files. Keyboard is an electric version of the piano. The sounds from a piano are made by the mechanical action of the keys hitting mallets hammer on strings. Pianos are referred to as an acoustic mechanical instrument which produces its own unique sound.
Keyboards usually refer to electronic instrumentation with various digital voices, however the keys are laid out the same as the piano. It is important that the keys themselves should be the same size as piano keys. The harmonium was invented in the West, but today largely used in the East, particularly in the Indian subcontinent; so much so that many mistakenly think it to be an Indian instrument.
It is a modified version of the reed organ, with keys like the piano and bellows to pump air into the instrument. The harmonium is now widely used as an accompaniment in vocal music and also in religious music across the subcontinent.
The modified harmonium plays 22 micro tones that are used in Indian music but that cannot all be played on a standard harmonium. The modification consists knobs under every note other than the first and the fifth, to be pulled out when a higher micro tone is needed.
In order to understand the functioning of the Harmonium more closely, one can compare it to the Accordion, wherein air is similarly pumped into a closed space. The reeds that are affixed to the opening that produce the vibrating sounds. Even though one hand was used to pump the air, playing the harmonium was never difficult.
Moreover, Indian music is more melody-based and therefore one hand was enough to play. With the passage of time, Indian music has witnessed a change, as it has employed a lot of chords.
The harmonium too has been revisited by various composers and has grown in its popularity. Largely, the harmonium was used for a small scale ceremonies at home, and were more suitable for Bhajan singers who required a low pitch.
Classification of Melody. Music consists of three primary elements: melody, harmony, and rhythm. Melody provides a concise and natural description of music. Out of ten thaat about 80 ragas are developed and performed these days. But for beginner 30 popular ragas or less are sufficient to bring perfection in learning.
Presently in Indian classical music the thaat classifications of ragas is commonly known. It is important to point out that Bhatkande's thaat-raga theory is hardly infallible, but it is yet an important classificatory device with which to order, and make sense of, a confusing group of Ragas; and it is also a useful tool in the transmission of music to the students.
Practice all ten thaat unless you are very comfortable playing each of them correctly, without looking at the keyboard. Playing a thaat require particular fingering but playing a song of any kind, does not necessarily demand any specific finger placements. So, a particular finger does not play a particular note of the song. After you get familiar with the thaat sargam you may use your fingers according to the ease while playing a song.
However, there is a big, very big difference here. The difference is this: In the thaat, shown above, our playing was restricted to only to middle octave. But the song may take us beyond one octave. So, now, we need to practice in the three octaves, namely, the middle, the higher, and the lower octaves. For playing a song, the rules are: For ease and convenience of playing you should not run out of fingers whether you are playing to go up right , or to go down left.
Try using the first three fingers more frequently, try to reserve the fourth finger and especially the fifth finger for playing the last notes before you have to go descending. This requires that you keep moving your wrist, to the left or to the right as required, so that the fingers get re-arranged conveniently and you always have a finger to reach and play the note required by the song.
By practice, you will formulate your own fingering rules, in addition to given rules. Each Raga has its own scale consisting of minimum five and maximum seven notes swars. In today's Indian classical music raga is the backbone.
The word raga comes from Sanskrit word which means to delight or to make happy and to satisfy. Here it's necessary to clarify that not all ragas project a happy mood. The raga can produce various moods. Raga is neither a scale, nor a mode. It is, however, a scientific, precise and melodic form with its own peculiar ascending and descending movement that consists of either a full octave, or a series of six or five notes. Raga has its own principal mood such as tranquility, devotion, eroticism, loneliness, pathos, heroism, etc.
Each raga is associated, according to its mood, with a particular time of the day, night or a season. A music, which follows the characteristics of this tradition, is called classical - in opposition to western classical music, where classical means belonging to a period of time approximately from 16th to 17th century. All classical music follows this rule even if some completely different styles exist side by side. Indian classical music is based on the ragas "colors" , which are scales and melodies that provide the foundation for a performance.
Unlike western classical music, that is deterministic, where Indian classical music allows for a much greater degree of "personalization" of the performance, almost to the level of jazz-like improvisation.
Thus, each performance of a raga is different. The goal of the raga is to create a mood of delight. Thus they do not represent mind of the composer but a universal idea of the world. Another difference is that Indian music is monophonic, not polyphonic. Hindustani North Indian ragas are assigned to specific times of the day or night and to specific seasons.
Many ragas share the same scale, and many ragas share the same melodic theme. There are hundreds of ragas, but thirty are considered fundamental. A raga is not necessarily instrumental and if vocal, it is not necessarily accompanied. But when it is accompanied by percussion such as tablas , the rhythm is often rather complex because it is constructed from a combination of fundamental rhythmic patterns or talas.
The main instrument of the ragas is the sitar. To develop precisely a raga, the musician needs the presence of a drone, whatever the music. Singers are always accompanied with the taanpura or the harmoniums, which produce the singer's tonic and dominant Sa and Pa. Classical music is mainly divided into two branches, North and South. North Indian Classical music some people know as Indian in reference of the Hindi speaking region going to Northwest and to the East.
Many styles and genres have been developed and encouraged by a family system now called Gharana. These numerous Gharanas all over North India have developed very different styles of music, genres and instruments. What is a Raga? The combination of several notes woven into a composition in a way, which is pleasing to the ear, is called a Raga. The raga is an Indian scale that utilizes varying ascending and descending patterns — certain notes on the way up and certain notes on the way down — but always in the set sequence.
The raga never has less than five notes that is the minimum requirement for a tune. Each raga creates an atmosphere, which is associated with feelings and sentiments. Any stray combination of notes cannot be called a Raga. At a more academic level, it is a musical composition that functions within a structure and follows certain rules with relation to the kind of notes used in it.
We can assign to a raga certain meta-characteristics. Every raga is said to be born of a Thaat that is its parent. Every raga is composed of notes. A simple combination of notes is not a raga unless it sounds good. It is also difficult to accurately define what sounds good. Later we will attempt to describe what this means in terms of harmonies and melodies.
Minimum of five notes are necessary in a Raga. Therefore a Raga can have five, six or seven notes. There cannot be two notes that are adjacent on the octave in the same raga. But this is not strictly true, as we shall see in case of certain ragas like Lalit where there are two Madhym together. Every Raga has an Arohi and an Amrohi. The base note Sa cannot be absent from a Raga. The notes Ma and Pa cannot be absent from a Raga at the same time.
A raga is also identified by a Vadi main note and a Samvadi second note. The Vadi is a note that is stressed the most in the raga. The Samvadi is stressed after that. Two Ragas can have the same set of notes but differing vadis and samvadis that then make them different ragas.
For instance both the ragas Bhupali and Deshkar have the same set of notes and the same arohi and amrohi but they have differing pakads and also different vadis and samvadis that make them different ragas. Bhupali has a vadi ga and samvadi dha but deshkar has a vadi dha and samvadi ga. Every Raga has a Pakad that is a set of notes that uniquely identify that Raga. It has been said earlier that a Raga can have five, six or seven notes in the arohi and the amrohi.
A Raga sequence arohi or amrohi with five notes is said to be Odho five. A Raga sequence with six notes is called Shadav or Khado six and a raga sequence with seven notes is called Sampoorn since seven notes is the maximum number that the raga sequence can have.
In a raga, notes can repeat. There are twelve notes in the chromatic scale. The seven notes that make up the thaat are picked from these twelve notes. Raga is the basis of classical music. A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave.
A performer with sufficient training and knowledge alone can create the desired emotions, through the combination of notes. Raga' belong to certain classes or categories called thaat. A thaat is defined as that set of seven notes from which a Raga can be made.
Odho or pentatonic, a composition of five notes, 2. Shadav Or Khado is hexatonic, a composition of six notes, 3. It is emphasized in various ways, such as stopping for some time on the note, or stressing it. The ascent and descent of the notes in every raga is very important. Some ragas in the same scale differ in ascent and descent. In every raga, there is an important cluster of notes by which the raga is identified.
There are certain ragas that move in a certain pitch and if the pitch is changed, the raga fails to produce the mood and sentiment peculiar to it. According to Indo Pak ancient theory, the musician's task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga.
So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter. Play some classical sounding music and try to see if any particular Raga thrills you.
Anything that turns you off completely? Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece. Is there a piece that moves you? Puts you in a sublime or inspiring mood. Ragas are also allotted a particular time space in the cycle of the day. Time based ragas are divided into four types: 1. Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi.
Mid-day and Mid-night ragas that include the notes ga and ni komal. Ragas for the first quarter of the morning and night that include the notes re, ga, da and ni komal. For the last quarter of the day and night, the raga includes the notes Sa, ma and Pa. The entire ragas are divided into two groups: 1. Poorvi Ragas 2. Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight. The Uttar Raga is sung between 12 midnights and 12 noons.
This raga classification is about years old and it takes us to Mughals era. The beauty of the raga will not be spoiled by the time of the day it is sung. It is the psychological association with the time that goes with the mood of the raga. The object of a raga is to express a certain emotional mood and sentiment without any reference to time and season. For a student of classical music, this classification may give an idea as to how to base his reasons for the traditional usage of raga. Classification of ragas under five principals: 1.
Hindol, There are also five ragnis for each class 2. Deepak, 3. Megh, 4. Shri, 5. Maulkauns, From these five ragas, other ragas are derived. The first derivatives of the ragas are called raganis, and each of the five ragas has five raganis under them.
There are 25 raganis for the above five ragas. Raganis are female and raga is male. You can guess raganis and raga from the name of the ragas.
Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis. Every raga has a fixed number of komal soft or tiver sharp notes, from which the thaat can be recognized. In other words, a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat.
Facts About Ragas: It took a long time for music to come to the form found in present-day India. The most important advance in music was made between the 14th and 18th centuries.
During this period, the music sung in the north came in contact with Persian music and absorbed it, through the Pathans and the Mughals. It is then that two schools of music resulted, the Hindustani and the Carnatic.
Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave. Detailed melodic modes are used in Ragas. Traditionally, ragas are based on a complex Vedic philosophy of sound. A raga is also basically a set of Vedic-rooted rules for how to build a melody. It specifies rules for movements up arohi and down amrohi the scale, which notes should figure more and which notes should be used more cautiously.
Which phrases to be used and which phrases to be avoided, and so on. The result is a framework that can be used to compose or improvise melodies, allowing for endless variation within the set of notes.
As ragas were never codified but transmitted orally from teacher to student, some ragas can vary greatly across regions, traditions and styles. Indian classical music is always set in raga, but all raga music is not necessarily classical. Many popular Indian film songs are themselves based on ragas. Raga is the essential concept of Indian classical music. Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics. The concept of raga is proud contribution to the world music.
It is defined as melody mould or melody style. The goal of absolute music is reached in the concept of raga. Ragas are the artistic facts that can be recognized by a trained ear. Ragas are acoustic facts and every musician is aware of them.
They are the creative talents of a musician. The ragas form the basis of all melodies in India. Raga is the soul of Indian classical music. If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga. Raga is also identified typically by pattern recognition, if you are not willing to do detailed decomposition into the basic keys of their scale.
Thus, a raga is described as the unmeasured music and it has a rich variety of classifications. A Raga may also be characterized by a series of melodic notes pattern called challan, which means movement or by a key set of notes called pakad. These form the melodic outlines of a raga and include consecutive ascending and descending phrases. The challan discloses the basic grammar and the progression of a raga.
Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note. Similarly there is another note from vadi that is called samvadi or the consonant. This note is usually the fourth or the fifth note from the vadi. Each raga has its own bandish. Whenever a music director composes a song based upon a given raga, he makes sure that he uses the bandish of that raga. This is the precise reason why two songs composed on the same raga sound similar.
In a way, bandish is a common factor within all the tunes composed on a given raga. While rendering a raga, one should be vary careful of not using varjya swar. Varjya swars in a raga are the notes; those are strictly excluded in rendition. Varjya swar is the enemy of the raga. If a varjya swar is accidentally used during performance of a particular raga, it will spoil the atmosphere that a particular raga is supposed to create. So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar.
Since musical instruments do not utter words, the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune. Of course, if you are very well versed in classical music, then you can easily recognize a raga with ease even if you are listening to a vocal piece.
Also, in order to grasp any given raga, one should listen to the same raga presented by different artists. If you listen to a vocal song based on a raga, say on radio or a in a computer, and you want to identify the raga of this song, then you should listen to it while you are farther away, say about 30 to 50 feet away from the player.
It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer. This is because as you go farther from the source of vocal sound, you do not listen to any words from the song, but you only hear the dominating notes or bandish of the song.
Once you hear the bandish, you can easily recognize the raga of the song. Of course, one has to have prior knowledge of ragas before attempting to recognize it using this technique.
Also note that within any raga or a melody there is a definite relationship among the notes. A song based on a given raga can be composed in any one of 3 octaves. This sometimes makes it difficult to identify the raga of the song, although the progression of notes follows the same rules of raga in any octave.
The way some people have it easy, and can directly see the patterns and recognize a raga. Some others learn by going to a guru, but for a casual listener, it might take some practice and some intuitive thinking. If you listen too much film music, then there is a really good and easy way to try and learn ragas.
Listen to a song and get someone to identify the raga initially for you. Learn this raga, by listening to the song and try humming along with it. Then turn off the song, and try humming along the same tune, but with variations.
Let me name some songs for you. Let us take for instance, any song of Raga Kalyan e. If you know the name of the raga, play this song in your cd player. Play it a couple of times, continuously, and then turn your cd player off. Sing the song, but use your imagination to sing it. And then slowly hum and let it loose.
If you are finding trouble nailing the notes, get its lyrics. Once you've done this for a few songs, you will have some of it down. If you want to get theoretical however, and already have a decent ear, then learn the notes. It really and really helps if you can play an instrument, something visual. Harmonium is perfect, some persons learn on electronic keyboard, so the possibility is obviously endless. If you know theory and are just finding it hard identifying the ragas, then just stick with it and practice.
You should try and improve your memory and memory association skills. Watch patterns, solve pattern puzzles, they all help. There are certain clues to look for; here is a short suggestion on how to identify raga notes: First listen to how the raga alaap starts off or the song, it must always begin with the raga identification. Its not like you can just sing without telling the audience what the raga of the song is.
Listen closer to each note sang. Listen very carefully, and note down which notes are higher and lower, then slowly approximate the scale. Make it thorough first. Slowly try to get what are the swars inside that song. Ok you just think that you got the swars. Sargam In this book we will practice sargam of Raga Yaman and detailed sargam lessons are provided separately in 80 pages of Sargam e-book.
We can learn how to play music with keyboard or harmonium but without practice of sargam we cannot sing-along while playing harmonium or keyboard. Practice of sargam is very important for a harmonium or keyboard singer. In raga Yaman Madhyam is Tiver and all other notes are Shuddh full.
Raga Yaman is an evening raga. It is also denominated variously by Iman, Eman and Aiman. It is to be noted that there is only a slight difference of notes between thaat kalyan ragas.
Although the Raga is as old as the hills, its historical background is not easy to pin down. Traditionally rendered in the first quarter of night, Yaman achieves its strong effect with tiver madhyam and shuddh nikhad forming a graceful symmetry amidst the other five-shuddh swarsof the saptak, and shuddh gandhar serving as the vaadi and nikhad as samvaadi.
The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. In our notation system tiver notes are shown in capital letters and with red dot. Achal fixed notes are also shown with capital letters but with blue dot. The arohi of sargam will be taught in ten stages. You have to spend five to ten minutes on each stage for practice. Our practice of arohi and amrohi will be in madh or middle saptak. Below given diagram is showing Raga Yaman notes in all three saptak.
Raga Yaman is the best thaat to start with. Keep pressure on the note while pressing bellow of harmonium with your left hand. You have to practice at least 5- 10 minutes on this first note of Sargam. In the beginning you may feel difficulty in synchronizing your voice with harmonium but gradually you will overcome this difficulty. All our basic lessons in Raga Yaman will begin from middle or madh saptak. Your index finger and middle fingers must remain over the notes.
In the picture below Rekhab note is mentioned with red circle. Do not raise your second finger much higher over Rekhab note and only decrease its pressure while approaching Gandhar. Now again try to synchronize your voice with Gandhar note and repeat this practice again and again at least 10 minutes.
In the picture below Gandhar note is mentioned with red circle. This repeated exercise from Sa to Ma should not be less than ten minutes of duration. It should be remembered that we would stay on each note for about five seconds. Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars.
Soon after that position place your index finger No. Duration of pressing each note in all above stages is not less five seconds. You should keep in mind that all above stages are linked and only one note is added in each stage.
You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence. 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. Ma Madhyam 5. Pa Pancham 6. Dha Dhaivat 7. Example, r g d n. 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: Copyright www. 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.
Sa and Pa are never sharp or flat. 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 Copyright www. 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.
Sa and Pa are immovable once Sa is selected , Don't think there is anything that you can practice that will have as much an impact on your playing as sargam. 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. You go to heavier and more complex exercises after you feel comfortable with the basic exercises.
When we say sargam, we don't just mean a scale of notes but it means the act of playing the sargam. Playing the sargam is the single most important thing you can do when you are learning harmonium or keyboard.
When beginning to learn harmonium, the teachers should not stress the playing of the sargam too much or enforce it. After all, there is nothing joyous about playing one note after the other in succession, over and over again. Students tend to hate sargam for this very reason. Getting students into sargam is a challenge. Sargam fixes everything. If your right hand is not strong enough, sargam fixes that. If you are not confident in class, sargam fixes that.
If you don't know where the notes are at the beginning, or how to sit properly for long periods of time or need discipline or you are trying to increase your speed or clarity or timing or rhythm or etc; sargam fixes all.
Sargam needs great practice, but it doesn't have to be boring. Nothing is more boring than playing the same notes over and over again, so spice up your sargam with some of the variations.
This will sound like you are actually playing something. There are various books written on harmonium or keyboard but no suitable book is available on basics. These books were for advance learning and lessons were difficult to follow. This lesson of sargam is the first effort to produce sargam lessons in easy and with simplified exercises. With these lessons you will be able to play and sing-along with your harmonium or keyboard. All the exercises are produced with simple diagrams and notations.
Thanks to great music composer Nisar Bazmi Sahib and all those colleagues who cooperated with me in producing these fundamental lessons. The system of classification for the raga in different groups is called a thaat.
Thaat system is an "artificial" way to classifying ragas. Classification in Thaat system is purely for academic purpose. It is not necessary that Ragas from the same thaat might have same or similar personality. The idea behind thaat is pretty simple. If one makes various permutations of these notes, one can think of 72 different combinations. Hindustani system, however, adds further restrictions on the way these notes are used.
It is usually not allowed to use both pure and corresponding flat note one after the other and since this is an evolved art form and not science, there are always exceptions to such rules. When such restrictions are factored in, the numbers of thaat reduce to ten. It is important for beginners to practice Kalyan thaat well to begin with.
As they get comfortable with it, they may switch to Behravi thaat. I also find from my own experience that Bhairav thaat too presents some interesting fingering challenges.
If one gets command on these three, the other thaat usually follow pretty easily. If you learn thaat then you can easily learn ragas and can play many songs in keyboard or harmonium. You can play few songs with thaat but unlimited songs can be produced with ragas and ragas produce beauty.
It is easy to play songs in a thaat that contain fixed number of ascending and descending notes. In a raga there may not be fix number of notes in ascending and descending order so, it is not easy to play songs in the first instance. There are certain rules for representation of thaat. These rules of classification of thaat are defined as under. A thaat must have seven notes out of the twelve notes placed in an ascending or descending order.
Both the forms of the notes can be used. Thaat has only one arohi and one amrohi. Thaat is not to be sung and is for only playing music songs but the ragas produced from the thaat are sung. Thaat is named after the popular raga of that thaat.
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