Rag desh recap- AQA/EDEXCEL
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This document provides information about the Indian classical music form of Rag Desh. It discusses the drone, tala (rhythmic cycle), and instrumentation used in three different recorded pieces. It also outlines various melodic and rhythmic playing techniques commonly found in Rag Desh performances, such as improvisation, meends, tans, chands, tihais, jhallas, and bols. The document compares and contrasts the different elements used across the three pieces.
Rag desh recap- AQA/EDEXCEL
- 1. Set Work 11: Rag Desh
- 2. Focus • Use of Rag – comparison of 3 pieces • Drone • Tala • Instrumentation • Technical playing devices • Compare and contrast (similarities as well as differences)
- 3. Rag notes NOTES C D F G B C ASCENDING Sa Re Ma Pa Ni Sa NOTES C Bb A G F E D C DESCENDING Sa Ni Dha Pa Ma Ga Re Sa You do not need to be able to quote the notes of the rag But be aware that the notes of the scale change on the way up and down
- 4. Drone • Sound usually heard first • Stating tonic note Sa • The drone can often use 2 notes – usually tonic and dominant notes • Drone often played these days by electronic box • Traditionally played by tanpura/tambura • This instrument has no frets and only 4-6 strings.
- 5. Drone use.. Anoushka Shankar (sitar) Chiranji Lal Tanwar (voice) Steve Gorn and Benji Wertheimer No tanpura/tambura so no No Tanpura/tambura Drone at start of Part 1 drone part (Alap) provides notes Sa and Pa (tonic and Drone strings on the sitar dominant) (sympathetic strings) are strummed to give added Sa and Pa in this case are D rhythmic effect called and A at concert pitch jhalla in the last part of the piece
- 6. Tala • Rhythmic cycles in Indian music • Tals or tala • Most common 6, 7, 8, 10 or 12 or 16 beats long • The beats are grouped into units of 2, 3 or 4 beats • Clap or wave on beats – clap on strong beats, wave on weak beats • Beat one is called Sam • Beats are called matras • Each tala has a different name
- 7. Tala used in Gat when tabla play Anouhka Shankar Chiranji Lal Tanwar Steve Gorn and Benjy Wertheimer Jhaptal tal (10 beats) Keherwa tal (8 beats) Rupak tal (7 beats) Enters 0.58 Enters 0.50 Enters in part 2 at 0.31 Tintal (16 beats) Ektal tal (12 beats) Enters 5.02 Enters in part 3 at 0.10 – this is when the sam is heard after a tihai
- 11. Instruments in Anoushka Shankar’s version Sitar Tabla
- 12. Chiranji Lal Tanwar’s version Cymbals Tabla Voice Sarangi Pakhawaj Sarod
- 13. Benjy Wertheimer and Steve Gorn’s version Bansuri Esraj Tambura Tabla
- 14. Playing Devices and Techniques • Improvisation • Meend – sliding between notes • Tan – rapid scalic flourishes on sitar/sarod or sarangi – virtuosic and used in later sections of Raga • Drone • Dialoguing between solo and tabla • Chand – triplets • Tihai – mark end of sections with 3 repeated phrases • Jhalla – striking rhythmic effect from strumming • Bols - Syncopated rhythm patterns independent of beat
- 15. Devices MELODIC RHYTHMIC Improvisation Bols Meend Chand Tan Tihai Jhalla (played by a stringed instrument not drums) Dialoguing Dialoguing