Workshop Handout - Music Yoga - Mantra - Kirtan - Raga - Hawaii 2024

Workshop overview:

1. Intro to Indian Classical Music (Hindustani) - grammar and ragas -  the flexibility of scales and notation, differences between Western and Indian music grammar
2. Brief tour of the different genres of music from the Indian subcontinent. Kirtan and Mantra.
3. Nada Yoga - Music as meditation, the importance of sound in Indian spirituality, vocalizing
4. Participation in singing vocals simple Raga phrases short sections of songs in a few ragas.  
 ( example - Bhoopali, Bihaag, Yaman, Bhairavi)
5. Group singing mantras/ kirtan interwoven with short 3-minute meditations.
 ( Wellness & Yoga  related singing)
6. Body movement opening up physically
 ( dancing with music as meditation)

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1. Intro to Indian Classical Music (Hindustani) - grammar and ragas -  the flexibility of scales and notation, differences between Western and Indian music grammar

        The standard keyboard scale in Western notation :

        This is a picture with labels for the Indian music notations

 

The notes are 

Sa , Re , Ga , Ma , Pa , Dha , Ni , Sa ( upper )

         in western music it corresponds to

Do , Re , Mi , Fa , So , La , Ti , Do ( upper )

         if you play these notes on a keyboard and start from the Middle 'C' they would correspond to

C , D , E , F , G , A , B , C ( upper )

 

 Note that the notation that I personally use -

(1)
I use the SUBSCRIPT "_"  underline for the Mandra Saptak ( lower octave )   and the
SUPERSCRIPT  "￣"   line on top for the "Tar  Saptak" ( higher octave )

 [ it is easier for writing on paper and way easier for understanding but might be difficult to type as I am facing....I still prefer it ]

(2)  I use "m" for Tivra (sharp) Ma   and "M" for the shuddh ( regular pure) Ma

so the notes would be noted as below

                                                  -   -   -   -  -    -   -   =

S R G M P D N  SRGMPDN  S R G M P  D  N  S

-  -   -   -  -   -   -


One critical idea that is very scientific and is core to Indian music is the fact that the system is a relative scale or a sliding scale.

In other words the Sa, Re,Ga,Ma etc are names of the notes on the relative scale and not fixed frequencies as C3 is in Western notation a fixed frequency. In Indian music Sa,Re,Ga,Ma are  actually equivalent to the 1st(root) , 2nd, 3rd ,4th etc notes of the scale.

So if you are playing or singing in the Key of C then
Sa, Re,Ga... etc are same as C,D,F...etc, but you can switch to Key of D then Sa,Re,Ga... will become representative for D,E,F#... and so on applicable to any key.


Raga:

Now the concept of Raga comes in which is a very very complex pattern or loose structures defined within which you can improvise. The ragas can be loosely thought of as major, minor, pentatonic, etc scales but there are a few hundred of them.

Indian Notation vs Western Music::  Flexibility vs Rigidity

Western and Indian music have different approaches to musical scales, notations, and tuning systems. One significant difference is in how they notate and use scales, and another is the concept of relative versus fixed scale frequencies. Let's explore these differences:

Notation Differences:

• Western Music:

  • Western music predominantly uses the Western staff notation system, which is based on a five-line staff and uses letters (A, B, C, D, E, F, G) to represent notes.
  • Accidentals (sharps and flats) are used to indicate deviations from the natural notes (e.g., C# for C sharp).
  • Western music often uses the equal temperament tuning system, which divides the octave into 12 equal parts.

• Indian Music:

• Indian classical music primarily uses a system of syllables called Sargam, which includes Sa, Re, Ga, Ma, Pa, Dha, and Ni (equivalent to Do, Re, Mi, Fa, Sol, La, Ti in Western music).
• Indian classical music employs a different notation system where the focus is on the relative pitch relationships between notes rather than specific frequencies.
• • 
    The notation system in Indian music also includes ornamentation symbols and rhythm notations, which are not common in Western music notation.
Relative vs. Fixed Scale Frequencies:

Western Music:
In Western music, the 12-tone equal temperament system is widely used. This system divides the octave into 12 equal semitones. Each semitone is exactly 100 cents apart.This results in a fixed relationship between frequencies, making transposition and modulation between keys relatively easy.
Indian classical music traditionally doesn't rely on fixed frequencies. Instead, it emphasizes relative pitch relationships between notes.The concept of microtonal variations and just intonation is more prevalent in Indian music. Musicians adjust the pitch of notes based on the raga (melodic framework) and the context of the performance.This means that the exact frequencies of notes can vary depending on the musical context and the musician's interpretation.

Additional Notes

Western music often employs harmony and chords more prominently, while Indian music focuses on melody and intricate ornamentation.

• In Western music, scales are often thought of as a fixed set of notes with specific intervals between them (e.g., major scale, minor scale). In Indian music, scales are not rigidly defined; they are a set of relative pitch relationships that can vary within a raga.
• Indian classical music also uses a system of tala (rhythm cycles), which is integral to its performance but not found in Western classical music.
• 
  
• In summary, Western and Indian music differ not only in their notation systems but also in their fundamental approaches to scales and tuning. Western music relies on a fixed, equal-tempered scale with specific note frequencies, while Indian music emphasizes relative pitch relationships and allows for microtonal variations within its scales.

2. Brief tour of the different genres of music from the Indian subcontinent. Kirtan and Mantra.

The topic of "Indian Music" is a mixture of many different genres with  names  like 'Indian classical' ,'Hindustani classical', 'Karnatic', 'Thumri', 'Khayal', 'dadra','kajri', 'bhajan' , ghazal, 'geet' etc and even 'Bollywood'.

The reason being Indian music is a super set of all these different forms. 

These genres represent the diverse musical landscape of India, each with its own unique characteristics and cultural significance

Much like the country of India actually encompasses many different languages, peoples and cultures. It is similar to saying European music or if Europe was defined as one country. There would be so many different cultures and varied forms within that.

In any case, I guess you got the point about 'Indian Music'. If you are from India or that region it would be easier to comprehend the diversity within the overall form of music or the term used here i.e. Indian Music.

Indian classical music is a complex and ancient musical tradition that has two main branches: Hindustani and Carnatic. It emphasizes intricate melodies, intricate rhythm patterns, and improvisation.

Hindustani classical music is the classical music of northern India. It includes genres like Khayal, Thumri, Dadra, and Ghazal. Carnatic music is the classical music of southern India, with a strong emphasis on vocal performances.

1. • Khayal:
   • Khayal is a popular genre in Indian classical music.
   • It involves elaborate and improvisational singing, focusing on exploring the emotional content of a composition.

1. • Thumri:
2. • Thumri is a semi-classical genre that originated in North India.
   • It's known for its emotive and romantic expressions and often features light classical forms.
   • 
     
   • Dadra:
3. • Dadra is a light classical form with a 6/8 rhythm cycle.
   • It's often used in semi-classical and lighter musical compositions.
   • 
     
   • Kajri:
4. • Kajri is a folk-based genre associated with the rainy season.
   • Its lyrics often revolve around love and the emotions stirred by the monsoon.
   • 
     
   • Ghazal:
5. • Ghazal is a poetic and musical form that expresses emotions, often focusing on themes of love and separation.
   • It's characterized by its distinct rhyme and refrain pattern.
   • 
     
   • Geet:
6. • Geet refers to songs with a simple structure and lyrical content, often focusing on various emotions and themes.
   • It's commonly found in various Indian music styles, including classical, semi-classical, and light music.
   • 
     
   • Bollywood Music:
7. • Bollywood music refers to the songs and musical compositions featured in Indian films.
   • It's a fusion of various styles, including Indian classical, folk, pop, and Western influences. 

Differences between Mantra, Chanting, Bhajan, Kirtan

In the Yoga traditions and especially in the Western following of the traditions, there is sometimes confusion about what the practices of Indian Bhakti or Devotional music and chanting involve.

Mantra, chanting, bhajan, and kirtan are all spiritual practices found in various cultures, particularly in the context of Hinduism and related traditions.

While they might have some similarities, they also have distinct characteristics:

1. Mantra:

• A mantra is a sacred sound, word, phrase, or syllable that is repeated either silently or audibly. It holds spiritual or transformative significance.
• Mantras are often used as a tool for meditation, concentration, or spiritual awakening. They are believed to have a specific vibrational energy that can influence the mind and consciousness.
• The repetition of a mantra can be done individually or as part of a larger practice.
• Examples of mantras include short ones "Om," "Hari Om"," Om Namah Shivaya", and "Hare Krishna", as well as longer Shlokas like "Asato ma sat gamayah...."
2. 
   

3. Chanting:

   • Chanting involves the repetition of words, phrases, or sounds rhythmically and melodically.
   • Chanting can be both devotional and meditative. It is used to connect with a higher power, express devotion, or create a calming effect on the mind.
   • Chanting might involve repeating the names of deities, verses from sacred texts, or affirmations related to spiritual teachings.
   • Chanting of a Mantra is also performed. Krishna devotees for example chant "Hare Krishna" repeatedly.
   • 
     

4. Bhajan:

   • A bhajan is a devotional song or hymn that is sung in praise of a deity, usually in a group setting. Bhajan is usually sung by one singer and has its grammar in Indian Classical music.
   • Bhajans are a common form of devotional expression in Hinduism. They are meant to invoke a sense of devotion, love, and surrender to the divine.
   • Bhajans often have a simple and repetitive structure, making them accessible to a wide range of people.
   • 
     

5. Kirtan:

   • Kirtan is a participatory musical practice that involves call-and-response singing of devotional chants, usually led by a main singer or group of singers.
   • Kirtan is prominent in Hinduism and is also practiced in Sikhism and some forms of Buddhism.
   • The main singer sings a line or verse, and the group responds with the same or a related phrase. This creates a communal and energetic atmosphere.
   • Kirtan is known for its uplifting and ecstatic nature, aiming to create a sense of unity and spiritual connection among participants.
   • Krishna devotees for example chant "Hare Krishna Hare Krishna Krishna Krishna Hare Hare ...." repeatedly in the form of a Kirtan.
   
   
   • 
     

In summary, while mantra, chanting, bhajan, and kirtan all involve repetitive spiritual practices that use sound and words, they have different focuses and contexts. Mantras are often used for meditation and transformation, chanting is about rhythmic repetition, bhajans are devotional songs, and kirtans are communal call-and-response chanting sessions with an emphasis on unity and devotion.

 

3. Nada Yoga - the importance of sound in Indian spirituality, vocalizing

Yoga means Union. Music is also a form of Yoga. Nada Yoga.

Music is God's universal language.  Hence... With Music comes Spirituality 

With a focus on your breath and your mind ...Every note of music can connect you to the Universe.... connect you to the present moment ....as well as to eternity.....

Through music, the Divine can manifest in us here on Earth. A true yogi in the traditional Eastern sense has achieved union with God.

True music is what you play or sing for the Supreme or Divine or Eternal which is also your own self or your Soul deep within you....that is what makes you happy ...

Yoga and Pranayama techniques combined with Vocal exercises provide unique benefits in singing, speech, public speaking, stress relief, and retaining optimum health......Everything that we see, every particle in our bodies are actually packets of energy which are vibrations.

Focusing on the sounds and notes penetrates the entire body and can be used for Healing! This treatment can be one of the safest methods of treatment as well as the most enjoyable!

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Nada Yoga -#2 - Brain Waves - Sync with rhythms

Vibrations created by rhythmic sounds have a profound effect on one's brain activity. In ancient traditions, for example, the Shamanic, drums were used to transport the shaman out of his or her body into other realms of reality through the use of constant rhythmic vibrations. Recently researchers studying the Shamanic State of Consciousness, found that the steady rhythmic beat of the drum striking four and one-half times per second was the key to transporting a shaman into the deepest part of his shamanic state of consciousness.

Hence it is no coincidence that 4.5 beats, or cycles, per second, corresponds to the trance-like state of theta brain-wave activity. In direct correlation, we see similar effects brought on by the constant and rhythmic drone of another ancient tradition - the Tibetan Buddhist chants that transport the monks and even other listeners into realms of blissful meditation.

The gentle pulsating rhythms of Brain Sync tapes act similarly, yet because the frequencies are computer generated, they are precise, and consistent and can be targeted to induce highly specific and desired brain states. Just as we can tune a radio to get a particular station, with Brain Sync technology we can tune our consciousness to dial in a wide variety of brain states.

You have your very own signature brain wave activity, unique to you. It has a rhythm and pattern - and it incorporates Beta, Alpha, Theta, and Delta frequencies at varying levels over a day as your brain modulates them to match your activities

Effects on Blood Pressure; Chakras

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4. Participation in singing vocals simple Raga phrases short sections of songs in a few ragas.  
 ( Bhoopali, Bihaag, Yaman, Bhairavi)

Sa practice in vowels primarily Aaakar
Aaa / Eh / Eee / Oh / Ooh

Also
Humming - Hmmm
Omkar - Om

Raga Bhoop / Bhoopali

Notes played - pentatonic scale: S RG PD S

Geet :

- Phoolon ki rang se

Mantra:

- Om bhur bhuvaswaha

Bhajan:

- Payo ji maine (in Pahadi)

Kirtan:

     He Govind, Hey Gopal,  He daya nidhaan 

    Praan nath Anaath Sakhe , deen dard nivaar

Raga Bihaag

Notes played - pentatonic scale: S G M P N S

Geet:
- Zindagi ke safar me guzar jaate hain

Chhota Khayal:

- lat uljhi suljha ja balam

Yaman

All 7 notes but sharp Ma : S R G m P D N S

Geet :
-Chandan sa badan

Rabindra Sangeet:
-Mohabishye Mohaakashe

Ghazal:
-Ranjish hi sahi (5th beat, Dadra 6 best 120 bpm)

-Aaj jaane ki ( starts 4th beat, Deepchandi 14 beat 160 bpm )

Raga Bhairavi

Notes played - All 7 notes but with many flattened  r g M d n  :  S r g M P d n S' 

 Geet:
-Babul Mora
-Mile sur mera tumhara
-Hame tumse pyar

Bhajan
-Jo bhaje hari ko sada

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5. Group singing mantras/ kirtan interwoven with short 3-minute meditations.
 ( Wellness & Yoga  related singing)

[  With  Tabla n Tanpura   ]

Malkauns:

suggested beat - Bhajani(8) - Shuffle- 100 bpm

(Malkauns is derived by doing a moorchhana from the gandhaar of Bhoop.  )

Om Namah Shivay Om Namah Shivay,  Har Har Bhole Namah Shivay

Maheshwara Shiva Maheshwara, Har Har Bhole Maheshwara

[ Maheshwara replaced by Rameshwara, Gangadhara, Jatadhara, Someshwara, Vishweshvara, Koteshwara]

Bhoopali:

suggested beat - Keherva(8) - Variation 2- 100 bpm / or Dholak Beat 1 ] 

[ Govinda starts at Ga ] 

Lyrics/chant:

Govinda Bolo Hari Gopala Bolo. 

Radha Raman Hari Gopal bolo

6. Body movement opening up physically
 ( dancing with kirtan music as a devotional practice)

[  With Dholak  beats  loops tempo depending on mood variations ]

-     Hare Krishna

Hare Krishna Hare Krishna Krishna Krishna Hare Hare

Hare Rama Hare Rama Rama Rama Hare Hare

-    Hari Bol Hari Bol Hari Bol Hari Bol

-    Bam Bhole Bholenaath   (Malkauns inverted)

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