Video of the event:
Flyer of the event:
Attendees Handout of the event:
Workshop topics:
1. Intro to Indian Classical Music - grammar and ragas - scales
and notation, differences between Western and Indian music
grammar.
2. Brief tour of the different genres of music from the Indian
subcontinent. For example Kirtan and Mantra.
3. Nada Yoga - Music as meditation, the importance of sound in
Indian spirituality, focus on vocalizing.
4. Demonstration (plus 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 mindfulness
meditations.
( Wellness & Yoga related singing)
6. Body movement for opening up physically
( dancing with music as meditation)
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1. Intro to Indian Classical Music - grammar and ragas - scales
and notation, differences between Western and Indian music
grammar.
At the very highest level of categorization of Indian Classical Music, there are two categories:
(1) Hindustani Classical Music - from Northern part of India. Influenced by other Central
Asian/Persian music traditions
(2) Carnatic Classical Music - from the Southern part of India. Quite similar to the Hindustani
but has certain aspects different from it.
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 )
Indian Notation vs Western Music:: Flexibility vs Rigidity:
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 or similar to
Do-Re-Mi-Fa-So-La-Ti.
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.
● 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 the notes (Swara) are not always 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. There are also 10 more additional micro-tones or Sruti that can be used.
● 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.
● In Indian music, scales are not rigidly defined; they are a set of relative pitch
relationships that can vary within a raga.
● Western music often employs harmony and chords more prominently, while Indian
music focuses on melody and intricate ornamentation.
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.
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2. Brief tour of the different genres of music from the Indian
subcontinent. For example 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.
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.
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.
Thumri:
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:
Dadra is a light classical form with a 6/8 rhythm cycle. It's often used in semi-classical and lighter
musical compositions.
Kajri:
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:
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:
Geet refers to songs with a simple structure and lyrical content, often focusing on various
emotions and themes. It can be simply translated as a song.
Bollywood Music:
Bollywood music refers to the songs and musical compositions featured in Indian films which is
by far the most popular form of music listened to in the country. It's a fusion of various styles,
including Indian classical, folk, pop, and Western influences.
Devotional/Spiritual:
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.
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 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.
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...."
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.
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.
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3. Nada Yoga - Music as meditation, the importance of sound in
Indian spirituality, focus on 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 ...
● Indian Music connects to Spirituality because a lot of emphasis is on Vocal/singing
and vocalizing the melody or the raga. The voice is treated as an instrument playing just
the one sound of an open “aa’ for example for most part of a 30 minure recital for
example.
● 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.
● It is a metaphysical concept that the entire cosmos is built on vibrations which is
the energy and is same as the Nada. Om sound is associated with this base vibration.
● In the Nada yoga concepts there are two types of sounds or vibrations (1) Anahat
(2) aahat. The first one is internal sounds that cannot be heard by our ears but are
perception after certain meditative practices The second one refers to the external
sounds that are processed by our ears.
● 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!
● Vibrations created by 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.
● 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.
● Frequency, rhythm and pattern connects to Beta, Alpha, Theta, and Delta
frequencies at varying levels over a day as your brain modulates them to match your
activities . It also has effects on health mainly in terms of blood pressure, release of
toxins, pain relief etc.
Workshop practice: Individuals try vocalizing -
Sa practice in vowels primarily Aaakar
Aaa / Eh / Eee / Oh / Ooh
Humming - Hmmm
Omkar - Om
[ some bravery is required! singing is natural! and without inhibitions! ]
<page>
4. Demonstration (plus Participation) in singing vocals simple
Raga phrases short sections of songs in different genres and in
different ragas.
( example - Bhoopali, Bihaag, Yaman, Bhairavi)
Raag Bhoop / Bhoopali
Notes played - pentatonic scale: S RG PD S
Geet :
- Phoolon ki rang se ( pop / film )
Mantra:
- Om bhur bhuvaswaha
Bhajan:
- Payo ji maine (in Pahadi raga similar to Bhoop)
Kirtan:
Hari Om tat sat , maha mantra hai
Or
He Govind, Hey Gopal, He daya nidhaan
Praan nath Anaath Sakhe , deen dard nivaar
Raag Bihaag
Notes played - pentatonic scale: S G M P N S
Geet:
- Zindagi ke safar me guzar jaate hain ( pop / film )
Chhota Khayal: (Classical presentation)
- lat uljhi suljha ja balam
Raag Yaman
All 7 notes but sharp Ma : S R G m P D N S
Geet :
-Chandan sa badan ( pop / film)
Rabindra Sangeet: ( Tagore composition)
-Mohabishye Mohaakashe
Ghazal:
-Ranjish hi sahi (5th beat, Dadra 6 best 120 bpm)
-Aaj jaane ki ( starts 4th beat, Deepchandi 14 beat 160 bpm )
Raag 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
<page>
5. Group singing mantras/ kirtan interwoven with short mindfulness
meditations. ( Wellness & Yoga related singing)
[1]
Yaman
Key - C ; (With Tanpura only)
Anandmayee Chaitanyamayee Satyamayee Parame
[2]
Bhupali/Pahadi
Key - C ; suggested beat - Bhajani(8) - basic- 120 bpm
He Govind, Hey Gopal, He daya nidhaan
Praan nath Anaath Sakhe , deen dard nivaar
[3]
Malkauns:
Key C , starts from Ma
suggested beat - Bhajani(8) - Shuffle- 150 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]
<page>
6. Body movement for opening up physically
( body movement with music as meditation)
[ With Dholak beats loops tempo depending on mood variations ]
[1]
Lyrics/chant: [ version in Dm chords ]
Om Mani Padme Hum
[2]
Lyrics/chant: [ Govinda starts at Ga ]
Govinda Bolo Hari Gopala Bolo.
Radha Raman Hari Gopal bolo
[3]
Lyrics/chant: [ many different versions ]
Hare Krishna Hare Krishna Krishna Krishna Hare Hare
Hare Rama Hare Rama Rama Rama Hare Hare
Namaste !!!
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