AOS:4 Indian Music

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AOS4Indian Music

• Lesson 3 Versions 2 and 3 of Rag Desh

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STARTER ACTIVITY Matching terms and definitions

• Match each of the Indian Music key terms on the
  left with its correct definition (or
  definitions!) from the right. Write the correct
  letter in the answer column.
• Discuss answers

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• Learning Outcomes
• Grade E (working towards) All Pupils
• Know the meanings of the terms
• Grade C (working at) Most Pupils
• Identify some musical features from set work in a
  listening task
• Show some awareness of the differences in
  performance between different performances of Rag
  Desh
• Grade A (working beyond/GAT) Some Pupils
• Answer most questions correctly in a listening
  task from set work

• Learning objectives
• Revise terminology
• Analyse versions 2 and 3 of Rag Desh, in terms of
  musical features and the elements of music.
• To answer a GCSE-style Section A listening
  question based on Rag Desh

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Recap of Rag Desh Quick fire questions

• When is this Rag normally played?
• What does Rag Desh mean?
• What is the word for mood?
• What are the moods expresses by this Rag?
• What is the meaning of thumri?
• What is rasa?
• What is meend?
• What is tan?

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What is the Structure of a raga performance

• Section 1-
• Section 2-
• Section 3-
• Section 4-

• Slow - Free time (no pulse or rhythm
• Exploring the notes of the rag asc desc
• Improvised -Ornamentation
• SITAR TAMBURA

Alap

• Improvised music becomes more rhythmic
• Music becomes more elaborate
• Tempo increases - sense of pulse
• SITAR TAMBURA

Jhor

• High point in piece - Gradually gets faster
  and faster
• Virtuoso display using advanced playing
  techniques
• SITAR TAMBURA

Jhalla

• Fixed composition - Moderate to fast
• Tabla enters, introduces the rhythmic cycle-
  tala
• SITAR,TAMBURA TABLA

Gat
Bandish if its a Song
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Recap Notes used in Rag desh

• The notes used in rag desh are based on the
  Indian system known as sargam in which the notes
  are named
• Sa Re Ga Ma Pa Dha Ni Sa
• The tonic note is C (Sa) and this forms the
  principal drone note.
• The notes in Rag Desh are
• C D F G B C Bb
  A G F E D C

Sa Re Ma Pa Ni Sa Ni Dha Pa Ma Ga
Re Sa
5 notes in ascending part pentatonic
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Version 2 Mhara janam maranperformed by
Chiranji Tanwar (voice)

• Instruments voice, sarangi, pakhawaj, cymbals
  and tabla

The Pakhavaj, also called Mardal, Pakhawaj,
Pakuaj, Pakhvaj, Pakavaj or Mardala, is an Indian
barrel-shaped, two-headed drum, the North Indian
equivalent to the Southern mridangam. It is the
standard percussion instrument and is widely used
as an accompaniment for various forms of music
and dance performances. The pakhavaj has a low,
mellow tone, very rich in harmonics.
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Version 2 Mhara janam maran

• This song is a Hindu devotional song from
  Rajasthan and is known as a bhajan.
• The song tells of tender waiting in longing
  anticipation of the arrival of Lord Krishna in
  the morning.
• The words in translation from the Hindu are
• You are my companion through life and death and I
  cannot forget you night and day.
• My heart pines for you and I feel totally
  restless when I am not able to see you.
• Structure
• Two movements- alap, bhajan (song)

Lord Krishna
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Version 2 Mhara janam maran

• Keherwa tal (eight beats) (2 2 2 2)
• 1 2 3 4 5 6 7 8
• Clap clap wave clap

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Listening and Understanding Version 2 Mhara
janam maranperformed by Chiranji Tanwar (voice)

• Watch the video of V2 and annotate your score or
  make notes in your green book

http//www.youtube.com/watch?vZBDr5Rpqm0Qfeature
related
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Version 2 Mhara janam maran

• Features

Time Section Features
0.00 0.50 Alap Short introduction as the sarod player, then the singer, vocalises a melody in free time based on the notes of the rag. This is a version of the chorus from the song.
0.50- end Bhajan Fixed composition- song in verse form. The tabla joins in at 0.50. Short sarod solo at 1.10. Short sarangi solo at 1.22. The dynamics and tempo increase and the music becomes fast and exciting. The pattern established is a verse (heard at 1.32/3.04 and 4.50) followed by the first line used as a refrain (chorus), followed by more solos for sarod and sarangai.