Free Alankar lessonsWhat is an Alankar? ALANKARS Alankars are different sets of the swars that will enable you to practice and familiarize yourself with the different sounds. You should practice these till you can play them correctly without looking at the keyboard. While you practice how to play, please sing-along too so that you can improve your voice and can learn how to sing more in tune. The term Alankar literally means an ornament or decoration; it is the repetition of musical notes from a Raga in a particular pattern. it is really a very handy device for a thumri singer. Here are some Alankars for practice. Some keyboards are equipped with floppy drive and some are without. Andolan The Andolan alankar is a gentle swing or oscillation that begins from a fixed note and touches the periphery of an adjacent note. which combines elements of the above types. its extremely important that your fingers move smoothly on the keyboard because when you are playing a metered melody. for example. otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere. For Harmonium first open at least 3 big knobs and then blower. In Harmonium never blow air until any note is pressed. About Diagrams: Here we have shown arohi notes (ascending notes) and amroi notes (descending notes) in madh saptak. meend. an extra second's hesitation is enough to send you out of synchronization with the taal or rhythm. thumris are often built around this alankar. In harmonium we use our left hand to blow air and right hand is used for playing keys. First of all we select best sound or voice in keyboard to play. A combination like RRSnS could be a murki depending on the force of delivery. Although some special murkis are used in khayal singing. the application of an alankar is essentially to enhance the inherent beauty of the genre. Proper rendition of meend not only depends on the accuracy of the starting and ending swars but also on the exacting knowledge of the kan-swars of the ragas. In the context of Indian classical music. Gliding from one note to another in a ghazal brings beauty which Ghulam Ali and Mehdi Hassan have shown in their performances. 3. subtle taan. Or we can say when a group or cluster of notes embellishes another swar. try to play them continuously for an extended period of time. For keyboard you need to use right hand. There are almost 33 types of alankars but few are being used these days. We have shown one diagram in raga yaman because there are seven notes in ascending and . Specialty about andolan is that in the course of the oscillation. Thus. Thumb is very rarely used on black keys. Alankars are extremely useful for practice and are a great way of getting familiar with your keyboard or harmonium. Use right hand finger to play black keys only and adjacent three fingers on black and white keys both. andolan and murki. In fact. 4. Types of Alankars Meend The term meend has a wider implication. In alankar lessons we have used right hand for playing. The note that is being oscillated within an Andolan is known as andolit swar. which is a descending sequence of notes Sanchari Alankars. A murki can also comprise a series of such short clusters. they form the alankar. Murki Murki is cluster of notes that sounds like a short. Only there types of alankars have been survived in this era of music. It must be noted that these andolit swars are raga specific and should not be applied to any raga that uses these notes. which returns to the initial note Arohi Alankars. 2. the ragas they are normally set to and the mood of this form of singing especially demand the usage of murkis. which is a ascending sequence of notes Amrohi Alankars. the bols of a thumri. It is generally understood as a glide from one note to another in instruments like sitar as well as vocal music. Here we select strings which is best for learners.Alankars are of four types: 1. Asthai Alankars. it touches the microtones or shrutis that exist in between. General Message Keyboard or harmonium are supposed to be same. To listen again press play button again. Asavari Do not forget to push blower to blow air otherwise no sound will be heard.Click play button and let the music to fully download. Number of sequence (Beats) Play Asavari Alankar1 Midi . In raga asavari we have shown notes in two separate diagrams because there are five notes in ascending and seven notes descending.In any raga you will only practice ragas with a single diagram of arohi and amrohi notes. Sample raga asavari alankar 1audio file is provided for your listening. To push blower. In arohi of raga asavari two notes "ga" and "ni" are not used. Raga Asavari Alankar: Arohi: S R m P d S' Amrohi: S' n d P m g R S Note:. use your left hand near the left edge of harmonium. After fully download you can listen complete music smoothly.seven notes in descending. Note:. Play or sing-along below given five raga asavari alankars with harmonium or keyboard. Number of sequence (Beats) 33 Play Asavari Alankar2 Midi Number of sequence (Beats) 32 Play Asavari Alankar3 Midi Number of sequence (Beats) 34 . You can enjoy more with alankar using real tabla styles of Yamaha. tabla styles with teen taal is also available. For Yamaha PSR keyboard owners. Oder sargam book which is very essential for a sing-along singer and harmonium player. Raga Yaman Alankar: .Play Asavari Alankar4 Midi Number of sequence (Beats) 32 Play Asavari Alankar5 Midi Note:. You can also practice these lessons with your electronic keyboards using strings instrument. Order now for sargam book and tabla styles package.More Alankar lessons of important ragas are provided in Sargam Book for your practical practice. To push blower.Arohi: 'N R G M D N S' Amrohi: S' N D P M G R S Download Yaman Alankar (Adobe pdf Zip with mp3) 882 Kb Mp3 links in pdf will work if Unzipped and opened in same folder Note: Do not forget to push blower to blow air otherwise no sound will be heard. use your left hand near the left edge of harmonium. Number of sequence (Beats) 18 Yaman Alankar1 Midi Number of sequence (Beats) 18 Yaman Alankar2 Midi . Play or sing-along below given five raga yaman alankars. Raga yaman alankar 1 sample audio file is also provided for your listening. Number of sequence (Beats) 38 Yaman Alankar3 Midi Number of sequence (Beats) 42 Yaman Alankar4 Midi Number of sequence (Beats) 42 Yaman Alankar5 Midi PLAY ALANKAR MIDI MUSIC IN VANBASCO NOTATION PLAYER . first download the . e. RGM. 5.zip file. GMP. Vanbasco will teach how you will play alankar in harmonium and keyboards. MM. PP. DS' 2. PN. PDNS' S'NDP. PP. RGMP.What is Vanbasco Midi & Lyrics Notation Player? When you will play our Alankar midi file in Vanbasco Player then it will show real time notation lyrics being shown in the Karaoke window of Vanbasco Player. < Vanbasco Piano and Karaoke Window Practice according to raga yaman arohi and amrohi notes: 1. Now there is no need of music teacher. MM. GG. SS SRG. RM. RR. At the same time in Piano window of Vanbasco Player the particular notes will be shown being played in real-time. NDP.g. 3. GRS SRGM. RR. GP. S R G M P D N S' S' N D P M G R S SS. In other words paste unzipped bigger skin file in the programme folder of Vanbasco Player. PDN. DD. Vanbasco Player with SMALL PIANO download link: Download Vanbasco Player Vanbasco BIGGER PIANO Skin download link: Download Bigger Piano Skin To install a bigger piano skin. MD. DNS' S'ND. MPD. S'S' S'S' NN. NN. 4. NDPM. GG. DD. skin zip. GMP. MGR. DPMG. MGRS SG. PMGR. DPM. MPDN. Then extract the contents of the downloaded file to the installation folder of van Basco's Karaoke Player. GMPD. . PG. GS SRSSRGRSSRGMGRSSRGMPMGRSSRGMPDPMGRSSRGMPD N D P M G R S S R G M P D N S' S' N D P M G R S .S'D. NP. MR. DM. i. Ragas & Time: According to Indo Pak ancient theory. MUSIC Free download of Pakistani Indian MP3 Karaoke Songs. Anything that turns you off completely? Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece. Make Your Own Music CD. 10. Ragas are also allotted a particular time space in the cycle of the day. 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. Is there a piece that moves you? Puts you in a sublime or inspiring mood. Midi Music Of India And Pakistan. {S} N D P M G R S 7. If you break it up you will see the following pattern: S SRS SRGRS SRGM GRS SRGMPM GRS SRGMPDPMGRS SRGMPDND PM GRS S R G M P D N {S}. Listen .e. Time based ragas are divided into four types: . the time of the day denotes the raga sung at a particular time.This might look extremely difficult. its actually a sequence of Asthayee alankars. S G R M G P M D P N D S' S¶ N D P M G R S S¶ D N P D M P G M R G S S R G M P D N S' S G R S S M G R R P M G G D P M M N D P P N D N S' S' D P M G R S S' D N P P D N M M P D G G M P R R G M S S R G M P D N S' S D P M R N D P G D P M M N D S' S' D N P D M P G G P M G R G R S 8. 11. 9. but its not. Play some classical sounding music and try to see if any particular Raga thrills you. 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. Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance. Indian classical . different styles of classical compositions such as Dhrupad. instead. and so on. There is no absolute pitch. 4. The entire ragas are divided into two groups: 1. y Megh. Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis. Mid-day and Mid-night ragas that include the notes ga and ni (komal). Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave. This raga classification is about 500 years old and it takes us to Mughals era. da and ni (komal) For the last quarter of the day and night. the music sung in the north came in contact with Persian music and absorbed it. Traditionally. Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi. allowing for endless variation within the set of notes. It specifies rules for movements up (arohi) and down (amrohi) the scale. It is then that two schools of music resulted. which notes should figure more and which notes should be used more cautiously. Raganis are female and raga is male. the raga includes the notes Sa. The first derivatives of the ragas are called raganis. through the Pathans and the Mughals. ragas are based on a complex Vedic philosophy of sound. The most important th th advance in music was made between the 14 and 18 centuries. 3. For a student of classical music. The variations on the dominant or ³King´ note helps a person to find out why certain raga are being sung at certain times. each performance simply picks a ground note. other ragas are derived. Khayal. (There are also five ragnis for each class) y Deepak. The object of a raga is to express a certain emotional mood and sentiment without any reference to time and season. 2. etc. During this period. Classification of Ragas under five principals: y Hindol. y Maulkauns. 2.1. Every raga has a fixed number of komal (soft) or tiver (sharp) notes. In other words. Which phrases to be used and which phrases to be avoided. y Shri. this classification may give an idea as to how to base his reasons for the traditional usage of raga. Facts About Ragas: It took a long time for music to come to the form found in present day India. The beauty of the raga will not be spoiled by the time of the day it is sung. From these five ragas. Ragas for the first quarter of the morning and night that include the notes re. the Hindustani and the Carnatic. There are 25 raganis for the above five ragas. ma and Pa. from which the thaat can be recognized. Detailed melodic modes are used in Ragas. You can guess raganis and raga from the name of the ragas. were contributed to Hindustani music. ga. It is the psychological association with the time that goes with the mood of the raga. and each of the five ragas has five raganis under them. some ragas can vary greatly across regions. and the other scale degrees follow relative to the ground note. Poorvi Ragas Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight. As ragas were never codified but transmitted orally from teacher to student. traditions and styles. Dhamar. The Uttar Raga is sung between 12 midnights and 12 noons. The result is a framework that can be used to compose or improvise melodies. a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat. A raga is also basically a set of Vedic-rooted rules for how to build a melody. During this period. So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar. but you only hear the dominating notes or bandish of the song. Whenever a music director composes a song based upon a given raga. Also. Similarly there is another note from vadi that is called samvadi or the consonant. If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga. one should be vary careful of not using varjya swar. Raga is the essential concept of Indian classical music. Actually. which means movement or by a key set of notes called pakad. but all raga music is not necessarily classical. While rendering a raga. Some others learn by going to a guru. you can easily recognize the raga of the song. Since musical instruments do not utter words.music is always set in raga. then you should listen to it while you are farther away. The ragas form the basis of all melodies in India. Once you hear the bandish. Of course. Each raga has its own bandish. A Raga may also be characterized by a series of melodic notes pattern called challan. if you are very well versed in classical music. Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note. The outstanding feature of Indian classical music is the ³raga´ concept. then you can easily recognize a raga with ease even if you are listening to a vocal piece. Raga is the soul of Indian classical music. Identify Raga From Raga Based Film songs: Pakaad or bandish are the most dominating notes of a given raga. This sometimes makes it difficult to identify the raga of the song. A song based on a given raga can be composed in any one of 3 octaves. This is the precise reason why two songs composed on the same raga sound similar. one has to have prior knowledge of ragas before attempting to recog nize it using this technique. a raga is described as the unmeasured music and it has a rich variety of classifications. The concept of raga is proud contribution to the world music. This is because as you go farther from the source of vocal sound. you do not listen to any words from the song. Ragas are acoustic facts and every musician is aware of them. it might take some practice and some . Ragas are the artistic facts that can be recognized by a trained ear. The way some people have it easy. The challan discloses the basic grammar and the progression of a raga. he makes sure that he uses the bandish of that raga. one should listen to the same raga presented by different artists. although the progression of notes follows the same rules of raga in any octave. Raga is also identified typically by pattern recognition. They are the creative talents of a musician. and can directly see the patterns and recognize a raga. say about 30 to 50 feet away from the player. If you listen to a vocal song based on a raga. These form the melodic outlines of a raga and include consecutive ascending and descending p hrases. This note is usually the fourth or the fifth note from the vadi. If a varjya swar is accidentally used during performance of a particular raga. Each raga is a distinct musical entity or unit by itself and possesses welldefined characteristics. those are strictly excluded in rendition. and you want to identify the raga of this song. bandish is a common factor within all the tunes composed on a given raga. in order to grasp any given raga. it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music. Varjya swars in a raga are the notes. to understand the bandish of any raga. Of course. In a way. but for a casual listener. In today's Indian classical music raga is the backbone. Many popular Indian film songs are themselves based on ragas. The goal of absolute music is reached in the concept of raga. 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. Varjya swar is the enemy of the raga. the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune. say on radio or a in a computer. if you are not willing to do detailed decomposition into the basic keys of their scale. Also note that within any raga or a melody there is a definite relationship among the notes. it will spoil the atmosphere that a particular raga is supposed to create. Thus. It is defined as melody mould or melody style. Make it thorough first.intuitive thinking. you will have some of it down. Sing the song. Let me name some songs for you. any song of Raga Kalyan e. then there is a really good and easy way to try and learn ragas. There are certain clues to look for. but use your imagination to sing it. Once you've done this for a few songs. they all help. For example if you are listening a song you just try to sing-along with the song. then slowly approximate the scale. If you want to get theoretical however. It really and really helps if you can play an instrument. Listen very carefully.g Ranjish hi sahi. If you know theory and are just finding it hard identifying the ragas. get its lyrics. and already have a decent ear. Slowly try to get what are the swars inside that song. by listening to the song and try humming along with it. and try humming along the same tune. Harmonium is perfect. If you are finding trouble nailing the notes. You should try and improve your memory and memory association skills. play this song in your cd player. composed by Nisar Bazmi Sahib. here is a short suggestion on how to identify raga notes: First listen to how the raga alaap starts off or the song. continuously. but with variations. so the possibility is obviously endless. Listen to a song and get someone to identify the raga initially for you. something visual. Ok you just think that you got the swars. and then turn your cd player off. Then turn off the song. Its not like you can just sing without telling the audience what the raga of the song is. If you know the name of the raga. and note down which notes are high and er lower. . Learn this raga. And then slowly hum and let it loose. If you listen too much film music. Watch patterns. Listen closer to each note sang. Play it a couple of times. then learn the notes. Let us take for instance. it must always begin with the raga identification. some persons learn on electronic keyboard. then just stick with it and practice. solve pattern puzzles.