Transcript Rag Desh - Mr Searl

AOS:4
Indian Music
Lesson 2: Rag Desh
Version 1: Anoushka Shankar
Learning
objectives
•
•
•
Learn how an Indian raga is
structured into four different
sections and use the correct
Indian terms to describe the
different sections of a raga
Learn about the musical
characteristics in each section
of a raga
Attempt a GCSE-style listening
question
Learning Objectives
Grade E (working towards) All Pupils :
•
Understand that a raga is structured into
four different parts
•
Identify the instruments used in each part of
a raga
Grade C (working at) Most Pupils :
•
Know the correct musical vocabulary to
describe the four structural elements which
make up a raga
•
Identify rhythmic and melodic features used
in each part of a raga
Grade A (working beyond/GAT) Some Pupils :
•
Identify and recognise the different musical
features specific to the four different
structural elements which make up a raga
•
Correctly discriminate and distinguish
between the different sections of a raga
giving musical reasons for their choices
Analysis of Rag Desh
• This rag is traditionally played at night.
• Rag Desh (which translates as ‘country’) is also
known as a rainy season or monsoon raga.
• The primary moods (rasa) expressed are devotion,
romance and longing, with origins in courtly love
songs called thumri.
What is the Structure of a raga performance
• Section 1-
• Section 2-
• Section 3-
• Section 4Bandish if
it’s a Song
- Slow
- Free time (no pulse or rhythm
- Exploring the notes of the rag asc & desc
-Improvised
-Ornamentation
-SITAR & TAMBURA
- Improvised music becomes more rhythmic
- Music becomes more elaborate
- Tempo increases
- sense of pulse
-SITAR & TAMBURA
- High point in piece - Gradually gets faster
and faster
- Virtuoso display using advanced playing
techniques
-SITAR & TAMBURA
- Fixed composition - Moderate to fast
- Tabla enters, introduces the rhythmic cycletala
-SITAR,TAMBURA & TABLA
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
Sa Re Ma Pa Ni
Sa
Ni
A
G
Dha Pa
F
E
D C
Ma Ga Re Sa
Listening and Understanding
Version 1: Anoushka Shankar (sitar)
• Watch the video and annotate your score or
listen to the CD and annotate
•http://www.youtube.com/watch?v=Q-Gcq2S-He4
Version 1: Anoushka Shankar (sitar)
Instruments: sitar and tabla
Structure: 3 movements- Alap, Gat 1 and Gat 2
Time
Section
Features
0.00 –
0.55
Alap
• Slow and unmetered.
• Sitar is unaccompanied and explores notes of the rag.
• Rhythms are fluid and free and sound improvisatory
because there is no regular pulse.
• Some decoration to the notes of the melody line
0.55 –
9.27
Gat 1
• Sitar plays the fixed composition.
• Decoration is added to this composition.
• Tempo- medium speed (madhyalaya)
• Tabla enters at 0.58 seconds and plays the 10 beat
jhaptal tala.
• Jhaptal (10 beats): (2 + 3 + 2 + 3)
1 2
3
4
5
6
7
8
9
10
clap
clap
wave
clap
Version 1: Anoushka Shankar (sitar)
Gat 1 continued........
Time
Section
Features
0.55 –
9.27
Gat 1
• Tabla player adds decoration to this basic pattern.
• Flourishes and ornaments occur in the sitar part.
• Sitar part- complex patterns of scalic passages including
the dialoguing with the tabla in short melodic and rhythmic
improvisations.
• A tihai is heard to indicate the end of these
improvisations.
Tihai – short phrase played three times, across the beat,
before finishing on the first beat of the cycle (sam).
•Examples of these section endings can be heard in many
places, eg. At 3.40 – 3.50
3.55
• Sitar starts to improvise in triplets (called chand)
5.02
• Improvisations with four notes per beat. There are
passages for sitar followed by tabla in alternation. The tihai
is used to mark out the end of solo sections.
Version 1: Anoushka Shankar (sitar)
Gat 2
Time
Section
Features
9.27
Gat 2
• This is faster than the first gat and uses the common
teental (tintal) 16-beat tala.
4 + 4 + 4 + 4 Four, four-beat units.
10.10
• In this final part of the rag, drone strings are used on
the sitar in strumming fashion providing a striking
rhythmic effect called jhalla. The piece concludes with
a tihai.
Demonstrate your learning
• Listen to the piece which will be played 2x and
answer the exam style questions on the sheet.
Consolidate
• Discuss
• Evaluate your learning
Answers
1a
(i)Sitar;
(ii) 5;
(iii) Pentatonic;
(iv) Alap;
(v) any two of – unmetred/free rhythm, no beat or pulse, slow and
meditative tempo, soft dynamics, sitar explores the notes of the raga
improvising slowly; sitar provides its own accompaniment;
1b
(i) Tabla;
(ii) Gat;
(iii) faster tempo than previous extract; very fast tempo characteristic of
Gat section, exciting mood building to a climax, dynamics getting
louder, complex two-part polyphonic texture provided by sitar and
tabla virtuosic performances
PLENARY – SELF ASSESSMENT
KEY WORDS – Raga, Sitar, Tambura, Harmonium,
Tabla, Tala, Alap, Jor, Gat, Jhalla, Improvisation,
Glissando, Ornamentation, Texture, Drone
I know that an Indian raga is structured in four different
sections and can name them in the correct order
I can identify different musical features within and
distinguish between each of the four different sections of
an Indian raga when listening
I can identify the different Indian musical
Instruments in Rag Desh
I can talk about the musical features of Anoushka’s Rag
Desh
I can attempt a GCSE-style listening question based on
Indian Music which will help me with my set work