AOS:4Indian Music

Lesson 2: Rag DeshVersion 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 ObjectivesGrade 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 4-

- 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 cycle- tala-SITAR,TAMBURA & TABLA

Bandish if it’s a Song

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 A G F E D C

Sa Re Ma Pa Ni Sa Ni Dha Pa 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 10clap clap wave clap

Version 1: Anoushka Shankar (sitar)Gat 1 continued........

Time Section Features0.55 – 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

Answers1a (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 musicalInstruments 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