Hindustani Classical Music- An Insight 

The music of India is perhaps one of the oldest in the world. India’s greatest cultural heritage  is in her music. It is considered to be an Upaveda and given the same respect that the Vedas received. It is also associated with Gods and Goddesses and rishis and considered to be the best of moksha sadhansas. Moksha is a state of mind. Hence there is moksha in this existence of outs and also life after. Indian music is essentially melodic and has retained this character.

Indian music is believed to have come from heaven. The first raga, Bhairav, has come from lord Mahadev. In fact five raagas (Bhairav, hindol, deepak, shree, megh) have come from the five faces of Lord Shiva and the sixth raaga (malkaus) has come from his consort Parvati. Lord Ganesha, Goddess Saraswati and many celestial rishis like sage Narada, have given us this wonderful music. And they were the celestial musicians also called Gandharvans. Thus it is called Gandharva Music. Later on the raaga-taala system had been developed by various great musicians of India. The highly developed and sensitive music was but the outcome of the ancient ecclesiastical and celestial music. Music is universal. It has no language, no religion. The earliest defined music that we know is that of Rigveda, the oldest was recited by using three tonal regions. Samadeva, which is the sung version of rigveda in its most developed state, was chanted in a descending manner with seven notes.

There are two systems of Indian classical music - one is Carnatic and the other Hindustani. Carnatic System is popular in Southern India. Hindustani is popular in North, West and East India. Due to difference of styles the systems have been thus named. There are many common raagas and some of them are derived from each other and thus made popular. Bharatiya Sangeet and ragas are derived from each other and thus made popular. Bharatiya Sangeet and ragas are inseparable. Raaga or melody is the arrangement of group is of swaras of notes, which by being rendered in a special way gives its personality.

Indian music formed of surs (tones) and taalas (times). Each is dependent upon the other for a complete arrangement of tune sung or played. The surs are seven in number and are named individually. First kharaj or Shadj, Rishabha, Gandhara, Madhyama, Panchama, Dhaivat, Nishadha, and collectively they are called sargam.  And to simplify their use in music they have abbreviated names to distinguish them such sa, ri, ga, ma, pa, dha, ni. These surs have interesting biographies, human and supernatural in composition. They are human in having temperaments, costumes and colours and like products of nature, they flourish in particular seasons. They descended from heavenly bodies and trace their lineage from above. Certain surs are dominant at certain stages of man’s life. They are produced from various parts of the body. The surs occur in certain animals from whom they are taken. These surs, which possess hot temperaments, have the mysterious faculty of curing those afflicted with rheumatism and such ailments and vice versa, provided they are sung by high minds and noble souls and at the specified season of the year and hour of the day. Any violation of the prescribed law is regarded as sacrilege. The seven notes are under the protection of the seven devatas who reside over them.

Kharaj or Sa:

The kharaj or sa sur is under the protection of Agni deva . It connected with the first heaven and the planet called Kamar (Moon in Arabic). It has a happy temperament. The effect is cold and moist. It’s complexion is pink. It is arrayed in most beautiful white garments and lovely ornaments and it’s seasons are all the seasons of the year. This note is produced from the abdomen. This sound has been taken from the cry of the bird ta-oos (peacock). It is prevalent in the voice of the human being when he is 70 years old. This tone is harmonious in all the ragas and raginis. It has four surats (semi tones), tivra, kamodvati, manda and chand-do-dhuti.

Rishabha or ri:

The rishabha or ri sur is under the protection of Brahma devata. This tone changes into tivra (sharp), komal (flat) as the occasion may require. It is connected with the second heaven and the planet called Retarid (Mercury in Arabic), it has a happy temperament. The effect is cold and dry. It’s complexion is pale green. It  is arrayed in a red costume and is decorated with beautiful ornaments. It’s season is the hot season. This note is produced from the heart. The sound has been taken from the cry of the bird Papiha. This note is prevailent in the voice of the human being when he is 60 years old. It is harmonious in the tunes desh, kanhra, etc. and quite unpleasant in malkaus, hindol, etc. It has tree surats – dayati, ranjini and ragtika.

Gandhar or ga:

The gandhar or ga sur is under the protecting divinity Saraswati. This changes into sharp as well as flat as an occasion may require. It is connected with the third heaven called Zuhrah (Venus in Arabic). It is of a sad temperament. The effect is cold ad moist. It’s complexion is orange and is arrayed in crimson garment. It’s season is the hot weather. This note is produced from the chest. It’s sound has benn taken from the cry of the animal goos-fund. It is prevelant in the voice of a human being aged 50. And is present in the tunes kalangra, khamach, etc. and is quite unpleasant in saranga. It has two surats – se-ve and kro-dhi.

Madhyam or ma:

The madhyam or ma sur is under the protection of the Lord Mahadeva. Changes into sharp and flat and is connected with fourth heaven and the planet calles Shams (Sun in Arabic). It has restless temperament. In effect it is warm and dry. It’s complex is pale pink and is arrayed in reddish black garment and is prettily ornamented. And it’s season is the rainy season. It is prevalent in the voice of a human being when he is 40 years old. This note is pleasant in malkaus, bhairav, etc. and is unpleasant in kalyans. It has four surats – vagnika, prasarini, priti and margini.

Panchama or pa:

The panchama or pa note is under the protection of Goddess Lakshmi. It is connected with the fifth heaven and the planet called Marrik (Mars). It has of a passionate temperament. In effect it is warm and dry. it’s complexion is red and is arrayed in yellow garments. It’s season is the rainy eather. This note is produced from the mouth. It’s sound has been taken from bird koyel (cuckoo). It is prevalent in the voice of a human being 30 years old. It ‘s sound pleasant in the tunes todi, asavari and is quite unpleasant in malkaus, hindol. It has four suratsragta, sandipani, alapni and rohiti.

Dhaivat or dha:

The dhaivat ot dha sur is under the protection of Ganesha. It changes into sharp and flat. It is connected with the sixth heaven and the planet called Mushtari  (Jupiter). It has an equable temperament. In effect it is warm and cold. It’s complexion is yellow and it  is produced from the palate. It’s sound has been taken from the mane of a horse. This note is prevalent in bilawal, alaiya, etc. and is harmonious in zeelaf, jogia, etc. It has three surats – mandati, rohini and ramya.

Nishadha or ni:

The nishadha or ni sur is protected by Surya. It is changeable into sharp and flat and is connected with the seven heaven Zahol (Saturn). It has a happy and passionate temperament. In effect it is cold and dry. It’s complexion is dark. It is arrayed in black garments and is most beautifully ornamented. It’s season is the cold weather. It is produced from the nose. It’s sound has been taken from trumpeting of an elephant. This note is prevalent in the voice of a human being when is he is ten years old. It is pleasant in behag, purya, puruj, etc. and is quite unpleasant in sorata, etc. It has two surats – qogara and dho-bi-ni.

Time or rhythm is an important factor in the science of music. Mantra is a unit of tala and varies in number in the different tales. The first or beginning point of a performance is called sam. Next comes laya (speed) – or regular intervals. They are of three kinds – bilambit (slow), Madhya (medium) and drut (rapid). The uniform of taal is broken by the performance changing the different taal is broken by the performer changing the different layas during the performance. There are different talas consisting of different mantras.

Singing is considered to be the highest form of musical culture in India. Human life is meaningful if it is utilized to realise the supreme Brahman, the ultimate reality who is also called the naad Brahman. Thus through naada one can reach naada Brahman.