Indian Ragas:
Styles of Traditional Indian Music are based on the raga which is a composed scale that traditional says may have different ascending and descending forms similar to the western melodic minor scale. However, ragam are not scales or modes. Ragam have characteristic phrases called pakad if there is only one or swarup if there are several. Indians choose contrasting ragas for the next piece in a performance unlike Turkish musicians who usually say the next mode should be a direct development or Arabian music where frequent modulations should go unnoticed.
The introduction in Indian music is a long, long improvisation without a set meter. The composed section is in a particular rhythmic cycle. It has improvisational elements similar to jazz. The final movement uses speed picking. The first part of the fixed composition is confined to the lower and middle octaves. The second part extends from the middle to the upper octaves. A good musician should be able to play for more than one hour and not repeat the same phrase twice. Indian music does not allow multi-layered compositions. They say it would be rude to speak while someone else is speaking.
The most popular Indian Thaats/scales are;
Bilawal C D E F G A B1/4sharp. Its basically a major scale with a very sharp leading tone. ,
Bhairav C Db E F G A B1/8sharp. It has only a slightly raised leading tone.
Khamaj C D E F G A1/8sharp Bb1/8sharp. This is India's mixolydian.
Todi C Db Eb F# G Ab B1/8sharp.
Kalyan C D E F# G A1/4# B1/4#. This is India's Lydian mode.
Kafi CDEbF# G A1/4b B1/4#.
The indications for sharpedness and flatedness are only approximate.
Ragas often have two notes that are emphasized, usually a fifth apart, each appearing in a separate tetrachord. Both Persian and Indian music may have changing tones like the two versions of the melodic minor scale but Indian music never modulates. (There may be some recent exceptions).
Ornaments of Classical Indian Music:
The primary ornaments in Indian music which are some of the more beautiful available to the modern composer are portamento, a short grace not of low intensity, encirclement by microtones sometimes played in a series, fast oscillation but slight pitch variation and a lesser frequency oscillation but greater amplitude of vibration, three repeated notes and Andola and Murahan which have no western equivalent.
Indian Improvisation:
Classical Indian improvisation involves using the common motifs for a particular raga and standard ornaments. Motifs are turned into variations by rhythmic augmentation, diminution, retrograde, inversion and an unusual technique of adding notes such as playing the first not of a motif then playing the first and second, then playing the first, second and third etc…until the whole thing is revealed. This is also done in reverse order and backwards. Motifs are also sequenced through rhythmic displacement and note order permutations such as 1234, 1243, 1324 etc…
The moods created by music are carefully controlled. Indian musicians say that some sentiments are appropriate for music and others aren’t. Sadness and joy are proper but humor is not. Humor is o.k. in the theater however.
Thats the end of this discussion on Styles of Traditional Indian Music.
ไม่มีความคิดเห็น:
แสดงความคิดเห็น