# Ragas and Talas/Taal

## Overview
This chapter introduces students to key concepts in Indian Classical Music, including the evolution of swaras from Vedic chants, the structure of ragas and talas in both Carnatic and Hindustani traditions, and practical compositions such as alankaras, swarajati, and Raga Bhairavi. It encourages active engagement through singing, tala keeping, pattern making, and rhythm recitation.

## Key Topics Covered

### 1. Origin and Evolution of Swaras
- Indian music notes evolved from chanting of the **Samaveda**.
- Original three Vedic notes:
- **Udatta** – medium tone
- **Anudatta** – lower note
- **Svarita** – higher note
- These transformed into the seven musical notes (Sapta Swaras):
- **Ṣaḍja (S), Ṛiṣabha (R), Gāndhāra (G), Madhyama (M), Pañchama (P), Dhaivata (D), Niṣāda (N)**

### 2. Carnatic Music

#### A. Sapta Tala Alankaras
- Vocal exercises combining swaras and talas to improve strength and rhythmic understanding.
- Each **laghu** has 4 beats in this level.
- Tala components:
- **Laghu (I)** – clap and finger count
- **Drutam (O)** – clap and wave
- **Anudrutam (U)** – single beat

#### B. Talas in Carnatic Music
- **7 Main Talas**:
1. Dhruva
2. Matya
3. Rupaka
4. Jhampa
5. Triputa
6. Ata
7. Eka

#### C. Alankaras with Tala
- Students learn to recite alankaras in **Matya** and **Dhruva** talas.
- Structure: combinations of S R G M P D N Ṡ in ascending and descending patterns.

#### D. Swarajati
- Composition style combining swaras and lyrics.
- Sections:
- **Pallavi** – refrain
- **Anupallavi** – secondary section
- **Charanams** – verses

#### E. Composition: “Ra Ra Venu”
- **Ragam**: Bilahari
- **Talam**: Adi (8-beat cycle)
- **Language**: Telugu
- **Composer**: Patnam Subramania Iyer
- Students practice singing this composition with Arohana (ascending) and Avarohana (descending) swaras.

### 3. Hindustani Music

#### A. Notes and Ragas
- Hindustani music uses:
- **7 Shuddha Swaras**: S, R, G, M, P, D, N
- **4 Komal Swaras**: r, g, d, n (lowered notes)
- **1 Teevra Swara**: M (sharp)

#### B. Time Theory (Samay Chakra)
- Ragas are associated with specific times of the day for emotional and aesthetic effect.
- Example: **Raga Bhairav** – morning raga
- **Raga Yaman** – evening raga

#### C. Talas in Hindustani Music
- Talas are rhythmic cycles with defined beats (matras) and bols (syllables).
- Common talas:
1. **Jhaptal** – 10 beats
- Bol: Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na
2. **Rupak** – 7 beats
- Bol: Tee Tee Na Dhee Na Dhee Na
3. **Ektaal** – 12 beats
- Bol: Dhin Dhin Dhage Tirkit Tu Na Kat Ta Dhage Tirkit Dhi Na
4. **Teentaal** – 16 beats
- Bol: Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha

### 4. Raga Bhairavi – Compositions

#### A. Sargam Geet (in Ektaal)
- A composition in pure swaras set to 12-beat Ektaal.
- Aroh: S R G M P D N Ṡ
- Avroh: Ṡ N D P M G R S
- Features both **komal swaras** (r, g, d, n) and **sampoorn jati** (complete scale)

#### B. Chhota Khayal (in Teentaal)
- A short song with lyrics, rhythm, and melody in Raga Bhairavi.

#### C. Tarana (in Teentaal)
- Fast-paced composition made of syllables like “Dir Dir Tan Dere...”
- Used in classical concerts to showcase rhythm mastery.

### 5. Ustad Zakir Hussain
- Renowned tabla virtuoso.
- Son of Ustad Alla Rakha.
- Began performing at age 7 and touring at age 12.
- Co-founded the world fusion band **Shakti**.
- Recipient of many awards including **Padma Vibhushan** and **Grammy Awards**.

---

## New Terms and Definitions

| Term | Definition |
|----------------|----------------------------------------------------------------------------|
| Swara | A musical note |
| Tala | Rhythmic cycle in Indian classical music |
| Raga | A melodic framework for improvisation and composition |
| Arohana | Ascending sequence of notes in a raga |
| Avarohana | Descending sequence of notes in a raga |
| Alankara | Patterned exercises in music to build vocal ability |
| Swarajati | Carnatic music composition with swaras and lyrics |
| Theka | A repeated cycle of tabla bols (rhythmic syllables) |
| Sthayi | The initial section of a composition (in both Khayal and Tarana) |
| Antara | The second or middle section of a musical composition |

---

## Practice Questions

### Easy (3)
1. **How many swaras are there in Indian classical music?**
**Answer:** 7
**Explanation:** The seven swaras are Sa, Re, Ga, Ma, Pa, Dha, Ni.

2. **Name any two talas used in Hindustani music.**
**Answer:** Jhaptal, Rupak
**Explanation:** These are rhythmic cycles used to structure music.

3. **What is the full name of the tabla maestro discussed in the chapter?**
**Answer:** Ustad Zakir Hussain
**Explanation:** He is a world-renowned tabla artist.

### Medium (2)
4. **What is the structure of a swarajati in Carnatic music?**
**Answer:** Pallavi, Anupallavi, Charanam
**Explanation:** These are the three parts of a swarajati composition.

5. **Which raga is traditionally sung in the morning in Hindustani music?**
**Answer:** Raga Bhairav
**Explanation:** Each raga has an ideal time of day for performance.

### Difficult (3)
6. **What are the three angas (parts) of a tala in Carnatic music?**
**Answer:** Laghu (I), Drutam (O), Anudrutam (U)
**Explanation:** These components help in defining rhythm patterns.

7. **List the komal swaras in Hindustani music.**
**Answer:** r, g, d, n
**Explanation:** These are lower versions of R, G, D, and N.

8. **In Raga Bhairavi, which swaras are komal (flat)?**
**Answer:** R, G, D, N
**Explanation:** These are the altered forms in this raga.

### Very Difficult (2)
9. **Describe the theka of Jhaptal with its beat cycle.**
**Answer:** Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na (10 beats)
**Explanation:** This is a 10-matra rhythmic cycle used in Hindustani music.

10. **Explain the significance of the Samay Chakra in Hindustani music.**
**Answer:** It relates ragas to different times of the day to enhance their emotional effect.
**Explanation:** Performing ragas at the right time is believed to bring out their full mood and impact.

---