dhrupad elementary exercises table of contents and...

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DHRUPAD ELEMENTARY EXERCISES:

TABLE OF CONTENTS AND GUIDE TO THE MATERIALS

Introduction 1

Lesson 1 2

A – D: Sargam syllables and the shuddh (“pure,” or major) scale

E: Introduction to dhrupad syllables

Sing exercises B, C, and D in the sequence B C D C B.

Sing the syllables of exercise E on any comfortable pitches, particularly middle s!.

Lesson 2 3

A: Expanded “aum”

B – C: Repeated notes and scale fragments

D: Exercise for pitch accuracy

A phonetic transcription of exercise A’s expanded “aum” is: a o u m

(in Devanagari: )

Lesson 3 4

A: Omission exercise: six-, five-, and four-note scales

B: The komal (“flat,” or phrygian) scale

C: Juxtapositions of shuddh and komal scales and tetrachords

D: Chromatic exercise

Lesson 4 5

A – C: Scale fragment exercises involving chains and slopes of notes

D – E: Intervals

F: The four varnas (types of melodic movement)

G – H: Exercises with repeated scale fragment and descent to pa

I: Scales with one accidental

See lesson 5, exercise A for an explanation of accidentals in Hindustani music.

Lesson 5 8

A: Altered notes

B: Range exercise

C: Introduction to m!nd (Slow slides)

ii

Sing the slides in exercise C should slowly and smoothly, though not mechanically; a

graph of the change of pitch from one note sliding to the next looks more like

than the straight line of the score’s glissando. Take a full breath for each slide.

Lesson 6 9

A: Wedges

B: Mind with larger intervals

C: Gamak (ornament) exercises

Again, the m"nd should be smooth:

rather than

Gamak in exercise C refers to ornamentation with grace notes, not the complex vibrato

characteristic of North Indian singing and also called gamak; see lesson 7 exercise B and

the gamak exercise on page 16 for an introduction to the complex vibrato.

Lesson 7 9

A: More gamak exercises

B: Complex vibrato

Experiment with changing the parameters of exercise B to create other complex periodic

sounds.

Lesson 8 11

A: Polyrhythm exercises in dugun (double speed) and caugun (quadruple speed)

B: Ornamented variations

Lesson 9 14

A: Introduction to the nom-tom syllables

The exercises of lessons 9 and 10 introduce four model sequences of four syllables each,

and then show how to expand these sequences into longer ones by adding ra’s and na’s.

The basic principles are expaning ra na into longer patterns by adding more na’s, and

appending ra na, ra na na, etc. to existing sequences. (For a more detailed description,

please see Sanyal and Widdess’s Dhrupad, page 152.) For example, ta ra ra na (the first

model phrase) can expand to

1. ta ra, ra na na

iii

2. ta ra ra, ra na na (see note below)

3. ta ra ra, ra na na na

4. ta ra ra na, ra na na na (= ta ra ra na, ra na ra na; see note below)

5. ta ra ra na, ra na, ra na na

For sequences starting with a three-note group, ra is inserted after the first two syllables,

rather than na.

The four-syllable pattern ra na ra na is structurally interchangable with ra na na na—this

explains the transformation from step 4 to 5 in the example above. But ra na ra na is

always sung as ra na na na, which explains the irregular form of the fourth model phrase.

Appendix to the exercises 17

Gamak (vibrato) exercise

This is a vibrato exercise from lesson 20. The first two lines show the melodic outline of

the exercise, and the bottom line illustrates what the voice is doing to produce the gamak

effect, which is to slide from a note (substantially) lower than the focal pitch to one

(somewhat) higher. The simplified notation to show the approximate range of the slides is

a little misleading: the individual slides blend into a smoother oscillating figure than

appears on the page. (See Dhrupad, page 166, for a more literal transcription.) Even

though the slides hide the exactly pitches of the melody, the melodic outline is still clear:

as the melody ascends, so do the slides. The general range of the slide may be large or

small—from a microtone to over an octave—but the slides tend to get relatively smaller

as the melody ascends.

1

Introduction

Dhrupad singing lessons map out the Indian vocalist’s musical landscape in broad strokes before

zeroing in on particular r!gs to fill in the details.

I spent ten lessons learning simple musical exercises. Some of these focus on vocal technique and

sound production. The ideal voice of a male dhrupad singer stretches, roughly, from low C to the G about

middle C—two-and-a-half octaves, a range exceeding my natural capacity in both directions. The teacher

emphasizes early morning practice to develop the bass register, and prescribes scalar exercises for the

highest register. Glissando and grace-note exercises introduce the student to these dimensions of dhrupad

ornamentation, which require the ability to move between pitches quickly and accurately. The teacher

dictates exercises to develop the student’s vibrato, but in general, exercises are sung without vibrato, with

pinpoint pitch accuracy.1 (The constant tonic-dominant drone of the tambura makes subtle variations of

pitch and tuning easier to hear in Indian music than in tonal, modulating Western music.) All these

exercises condition the student’s voice.

The other exercises are not so physical; instead, they highlight different aspects of r!g construction, such as

omitted notes, combinations of accidentals, and characteristic melodic movements. The most complex and

difficult of these exercises builds on the simple foundation of ascending and descending scales, combined

with the idea of varying some patterns while leaving others unchanged. The student can combine and

overlap many of these exercises; this relieves the monotony of practicing the same thing again and again,

develops mental flexibility, and provides insight into the relationship between these musical building

blocks and an actual musical performance.

Note on transposition

In Indian classical music, the tonic pitch, or s!, is variable. My teacher’s middle s! is approximately the C-

sharp below middle C, which is fairly standard for Indian male vocalists. In my transcriptions, however,

middle s! is always the C-natural below middle C, to minimize accidentals.

Note on transliteration

Finale 2001, the program I’ve used for my transcriptions, doesn’t support the diacritical marks that

distinguish Devanagari’s long vowels !, ", and # ( , , ) from the short vowels a, i, and u ( , , ). For

this reason, I’ve written the long vowels as aa, ii, and uu.

Note on sargam

I’ve written sargam (Indian solfege) letters under the staff music to aid musicians who aren’t familiar with

Western music notation. The shuddh notes are all upper-case (S, R, G, and so on), and altered notes,

including t"vra ma, are lower-case. Notes in the upper octave (middle C to the B above) have an apostrophe

after the letter (such as S’ R’ G’) and note in the lower octave (from the C two octaves below middle C to

the B above) have a period after the letter (such as N. D. P.).

Thank you

My guru-ji, Prof. Ritwik Sanyal, taught me these wonderful exercises. I am indebted to him for his

knowledge, enthusiasm, and kindness.

1 Vibrato (gamak) in dhrupad is more variable than in Western classical music; in general, it is entirely

absent, but may span an octave or more in heavy gamak.

? c

a full breath for each note

Lesson 1

Sargam (solfege) syllables with the shuddh ("pure") scale;A

˙U ,

˙U ,

saaS

niN.

˙U ,

˙U ,

dhaD.

paP.

˙Usim.

˙U

maM.

gaG.

˙

U

˙

U

reR.

saaS.

˙

U

˙

U

saaS.

reR.

˙U

˙U

gaG.

maM.

˙U

˙U

paP.

dhaD.

˙U

˙U

niN.

saaS

? ˙U

˙U

saaS

reR

U̇ U̇

gaG

maM

U̇ U̇

paP

dhaD

U̇ U̇

niN

saaS'

U̇ U̇

saaS'

niN

U̇ U̇

dhaD

paP

U̇ U̇

maM

gaG

˙U

˙U

reR

saaS

?B Four notes per breath (in tempo)

sim.

œ œ œ œ,

S N. D. P.

œ œ œ œ

,

M. G. R. S.

œ œ œ œ

,

S. R. G. M.

œ œ œ œ,

P. D. N. S

œ œ œ œ,

S R G M

œ œ œ œ,

P D N S'

œ œ œ œ ,

S' N D P

œ œ œ œ,

M G R S

? .. ..

C Dugun (double speed): eight notes per breath

œ œ œ œ œ œ œ œ

,

S N. D. P. M. G. R. S.

œ œ œ œ œ œ œ œ,

S. R. G. M. P. D. N. S

œ œ œ œ œœ œ œ

,

S R G M P D N S'

œ œ œ œ œ œ œ œ,

S' N D P M G R S

? .. ..

D Caugun (quadruple speed): sixteen notes per breath

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ,

S N. D. P. M. G. R. S. S. R. G. M. P. D. N. S

4 times

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ

,

S R G M P D N S' S' N D P M G R S

?

Some dhrupad syllables, and their spacial associationsE

wU

wUU

wUvertical line

wUhorizontal line

wUpoint

wUcircle

(sa) aa naa rii nom aum

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Dhrupad Elementary Exercises

[Filename]

sing:

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Expanded "aum", with several vowels

smooth transition between vowels

Lesson 2

A see "Guide to the Exercises" for phonetic transcription

œ œ œ œ œ œ œ œaa uh aw o u uu ng m

? c

Repeated notes

accent a little

B

(sargam)

Expand the following exercises by descending to low sa and returning to middle sa.


S S R R G G M M


P P D D N N S' S'


S' S' N N D D P P

œ œ œ œ œ œ œ œM M G G R R S S

? œœœ œ œ œ œ œ œ œ œ œ

S S S R R R G G G M M M

œ œ œ œ œ œ œ œ œ œ œ œ

P P P D D D N N N S' S' S'

œ œ œ œ œ œ œ œ œ œœ œ

S' S' S' N N N D D D P P P

œ œ œ œ œ œ œ œ œ œ œ œM M M G G G R R R S S S

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

S S S S R R R R G G G G M M M M

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

P P P P D D D D N N N N S' S' S' S'

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

S' S' S' S' N N N N D D D D P P P P

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œM M M M G G G G R R R R S S S S

?

Scale fragmentsC

Two-note fragments


S R R G G M M P


P D D N N S' S' R'


R' S' S' N N D D P

œ œ œ œ œ œ œ œP M M G G R R S

? Three-note fragments

œ œ œ œ œ œ œ œ œ œ œœ

S R G R G M G M P M P D

œ œ œ œ œ œ œ œ œ œ œœ

P D N D N S' N S' R' S' R' G'

œ œ œ œ œ œ!...

G' R' S' R' S' N

? cFour-note fragments

œ œ œ œ œ œ œ œ !...S R G M R G M P

Five-note fragments

Try to go up to high ga or ma, and down to low dha or ni, but don't strain the voice

œ œ œ œ œ œ œ œ œœ!...

S R G M P R G M P D

And so on, ascending and descending,until eight-note fragments:

œ œ œ œ œœ œ œ œ œ œ œ œ

œ œ œ!...

S R G M P D N S' R G M P D N S' R'

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? cPitch accuracy exerciseD


S R G M P D N S'

wU

S


S R G M P D N S'

wU

R

? 815œ œ œ œ œ œ œ œ

S R G M P D N S'

wU

G

...And so on, always raising the pitch

of the final note by one step, until:


S R G M P D N S'

wU

S'

? 815 89 cœ œ œ œ œœ œ

wU

R G M P D N S' S

Then repeating the exercise with the first note omitted:

œ œ œ œ œœ œ

wU

R G M P D N S' R

...etc. ...

This process of omission continues until

only the highest note of the scale remains:

JœwU

S' S

JœwU

S' R

...

? c

E The same exercise, inverted

œ œ œ œ œ œ œ œS' N D P M G R S

wU

S'


wU

N

...etc.

?

Omission exercise

Lesson 3

A

¿

(R)

œ œ œ œœ œ œ œ œ œ œ œ œ j

œU

S G M P D N S' S' N D P M G S

Sing scales leaving out individual notes

in turn: first re, then ga, etc. up to ni.

¿

(G)

œ œ œ œœ œ œ œ œ œ œ œ œ j

œU

S R M P D N S' S' N D P M R S

...

? bbbb

B

¿¿

(RG)

Then sing scales leaving out pairs of

notes: re-ga, re-ma, etc.; then ga-ma,

ga-pa, etc.; up to dha-ni (15 total).

¿¿

(RM)

¿¿

(RP)

... ¿¿

(GM)

... ... ¿¿

(DN)

¿¿¿

(RGM)

Then leave out groups of three

notes, from re-ga-ma to pa-dha-ni.

There are 20 combinations.

... ... ¿¿¿

(PDN)

? bbbb

Komal (flat) scale

w w w w w w w w

S r g M P d n S'

Repeat all previous exercises with this scale.

? bbbb c nnnn bbbb

Exercise juxtaposing shuddh and komal scales and tetrachordsC

1.


S r g M P d n S'


2.


S R G M P D N S'

œ œ œ œ œ œ œ œS' n d P M g r S

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? bbbb nnnn bbbb nnnn3.

œ œ œ œ

S r g M

œ œ œ œ

P D N S'

œ œ œ œ

S' N D P

œ œ œ œM g r S

? bbbb nnnn bbbb4.

œ œ œ œ

S R G M

œ œ œ œ

P d n S'

œ œ œ œ

S' n d P

œ œ œ œM G R S


œ œ œ œ

S r g M

œ œ œ œ

P D N S'

œ œ œ œ

S' n d P

œ œ œ œM G R S


œ œ œ œ

S R G M

œ œ œ œ

P d n S'

œ œ œ œ

S' N D P

œ œ œ œM g r S

?Chromatic exerciseD

œb œ œb œn œ œn œ œ#

r S g R M G P m

œb œ œb œn œ œn œb œ

d P n D S' N r' S'

œ œ œ œb œ œb œ# œ

N S' D n P d m P

œ œn œ œb œ œb œ œG M R g S r N. S

?Chain exercise

Lesson 4

A

œœœœœ œœœ œ œ œ œœœ œ œ œ œ œ œœœ œ œ œœ œ œ œœœœ œ œ œ

œ œ œœ œ œ œœœœ œ œœ œ œ œ œœ œ œ

S R S R G R S R G MG R S R GM P MG R S R GM P D P MG R S R G M P D N D P MG R S R GM P D N S' N D P MG

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

R G R G M G R G M P M G R G M P D P M G R G M P D N D P M G R G M P D N S' N D P M

...

Continue up to ni, then

invert the whole exercise

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?

Upward sloping stepsB

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ

œ œœ œ œ œ œ

œ œ œ

S R S R G S R G M S R G M P S R G M P D S R G M P D N S R G M P D N S'

First, starting from low sa, sing

scale fragments of increasing

length, until arriving at high sa:

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ

R G R G M R G M P R G M P D R G M P D N R G M P D N S'

Then, starting from re, repeat this process:

...



?

Downward sloping stepsC

œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

R S G R S M G R S P M G R S D P M G R S N D P M G R S S' N D P M G R S

This is similar to the preceding exercise,

but each scale fragment is inverted

...Continue up to ni, then


?Intervals upD

œ œ œ œ œ œ œ œ œœœœœœ

S R S G S M S P S D S N S S'

This is also similar to "Upward Sloping Steps," but it

removes all the middle notes of each scale fragment.

œ œ œ œ œ œ œ œ œœœœ

R G R M R P R D R N R S'

...



?Intervals downE

œ œ œ œ œ œ œ œœ

œœ

œœ

œR S G S M S P S D S N S S' S

...Continue up to ni, then


? c

Exercise highlighting the four varnas, F

or elements of melodic movement

œ œ œ œ ˙

S S R S R

The four varnas are:

level, or keeping to the same note (sthayi)

ascending (aroha)

descending (avaroha)

mixture of the above three (sanchari)

œ œ œ œ ˙

R R G R G

œ œ œ œ ˙

G G M G M

œ œ œ œ ˙

M M P M P

...etc. up the octave, then invert

? œ œ œ œ ˙

S S G S G

Gradually increase the melodic interval...

œ œ œ œ ˙

R R M R M

...etc. up the octave, then invert

œ œœœ˙

S S S' S S'

...until it emcompasses an octave:

œ œœœ˙

R R R' R R'

...etc.

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?Exercise with repeated scale fragment and descent to pa

G Ascending form:

œ>œ œ œ>

œ œ œ>œ œ>œ œ œ œ œ

U

S R G S R G S R G R S N. D.P.

œ>œ œ œ>œ œ œ>œ œ>œ œ œ œ œ œ

U

R G M R G M R G M G R S N. D.P.

œ> œ œ œ> œ œ œ> œ œ>œ œ œ œ œ œ œ

U

G M P G M P G M P M G R S N. D.P.

...

etc. up the octave

?Descending form:œ> œ œ œ> œ œ œ> œ œ> œ œ œ œ œ œ œ œ œ œ

U

G' R' S' G' R' S' G' R' S' N D P M G R S N. D. P.

œ> œ œ œ> œ œ œ> œ œ œ œ œ œ œ œ œ œ œU

R' S' N R' S N R' S' N D P M G R S N. D. P.

...etc.

?The same, with permuted scale fragment

H Ascending form:

œ>œ œ œ>

œ œ>œ œ

>œ œ>

œ œ>

œ œ œ œ œU

S R G S R S G R G S R G R S N. D. P.

...etc.

?Descending form:

œ> œ œ œ> œ œ> œ œ> œ œ> œ œ> œ œ œ œ œ œ œ œ œ œU

G' R' S' G' R' G' S' R' S' G' R' S' N D P M G R S N. D. P.

...etc.

? C b nbScales with one accidentalI

œ œ œ œ œ œ œœ

S R G M P D N S'

Accidentals in these non-standard key signatures hold for

all octaves, just like those in standard key signatures.



S r G M P D N S'

œ œ œ œ œ œ œ œS' N D P M G r S

? b n# nbœ œ œ œ œ œ œœ

S R g M P D N S'

œ œ œ œ œ œ œ œS' N D P M g R S


S R G m P D N S'

œ œ œ œ œ œ œ œS' N D P m G R S

? b nb nœ œ œ œ œ œ œœ

S R G M P d N S'

œ œ œ œ œ œ œ œS' N d P M G R S


S R G M P D n S'

œ œ œ œ œ œ œ œS' n D P M G R S

? .. ..œ œ œ œ œ œ œœThe same exercise, exapanded to two octaves

Change key signature at the bottom, and repeat 6

times to cycle through all the one-accidental

scales and arrive back at the major scale.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

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? c

Lesson 5

Altered notesA

w wA wA wa w wA wA w

S r/R g/G M/m P d/D n/N S'

In the Hindustani music system, there are only five accidentals: flat re, flat ga, sharp ma, flat dha, and flat

ni. This means that there are only thirty-two possible combinations of natural and altered notes: 1 pure

scale, 5 scales with one altered note, 10 with two, and so on. In this exercise, sing all the scales.

? c

Range exerciseB

1.

œœ œœ œ œ œ œ œ œ œ œS R S R G R G M G M P M

œœ œ œ œ œ œ œ œ œ œ œ

P D P D N D N S' N S' R' S'(expand the exercise by descending to low sa and returning to middle sa)

œ œ œ œ œ œ œ œ œ œ œ œS' R' S' N S' N D N D P D P

œ œ œ œ œ œ œ œ œ œœœM P M G M G R G R S R S

?2.

œ œ œ œ œ œ œ œ œ œS R G R S R G M G R

œ œ œ œ œ œ œ œ œ œG M P M G M P D P M

œ œ œ œ œ œ œ œ œ œP D N D P D N S' N D

œ œ œ œ œ œ œ œ œ œ

N S' R' S' N S' R' G' R' S'

...etc.

? ...3.

œ œ œ œ œ œ œ œ œ œ œ œ œ œS R G M G R S R G M P M G R

œ œ œ œ œ œ œG M P D P M G

High note of the original patterns sung twice:

...1a.

œ œ œ œ œ œ œ œS R R S R G G R

œ œ œ œG M M G

? ...2a.

œ œ œ œ œ œ œ œ œ œ œ œS R G G R S R G M M G R

œ œ œ œ œ œG M P P M G

? ...3a.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œS R G M M G R S R G M P P M G R

œ œ œ œ œ œ œ œG M P D D P M G

?High note of the original patterns sung four times:

...1b.

œ œ œ œ œ œ œ œ œ œ œ œS R R R R S R G G G G R

œ œ œ œ œ œG M M M M G

? ...2b.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œS R G G G G R S R G M M M M G R

œ œ œ œ œ œ œ œG M P P P P M G

? ...3b.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œS R G M M M M G R S R G M P P P P M G R

œ œ œ œ œ œ œ œ œ œG M P D D D D P M G

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?Slow slides ("miind")

CAscending form:

w,w wU

,

saaS

reS R

! w,w wU ,

reR

gaR G

! ...And so on, up tow w wU

niN

saaN S'

!

?Descending form:

w wU

saaS'

niN

!

w wU

niN

dhaD

! ...And so on, down to

w wU

reR

saaS

!

? C

Lesson 6

Wedges (practice in the upper and lower octaves seperately)A Four notes each

œ œ œ œœ œ œ œ

S R G M S' N D P


R G M P N D P M


G M P D D P M G

œ œ œ œ œ œ œ œM P D N P M G R

œ œ œ œ œ œ œ œP D N S' M G R S

?Three notes each


S R G S' N D R G M N D P

...œ œ œ œ œ œ

G M P D P M

Two notes each


S R S' N R G N D

? ...œ œ œ œ

G M D P

One note each

œœ œ œ œ œ œ œ

S S' R N G D M P


P M D G N R S' S

?Slide exercise of previous lesson with larger intervalsB

w w wUSsaa ga

S G

w w wU

reG

maR M

w w wU

gaM

paG P

... w w wU

dhaN

saaD S'

w wU

saaS'

dhaD

w w wU

niD N

paP

w w wU

dhaP D

maM

... w w wU

gaR G

saaS

? w w wU

saaS

maS M

w w wU

reM

paR P

w w wU

gaP

dhaG D

... w w wU

paN

saaP S'

w wU

saaS'

paP

w w wU

niP N

maM

w w wU

dhaM D

gaG

... w w wU

maR M

saaS

? 42 43

Gamak (ornament) exercisesC

melodically taut and rhythmically even

Do each exercise twice: first slow, then fast

1. One ornament

œ jœ>œ

saaS R

saaS

œ jœ>œ

reR G

reR

œ jœ>œ

gaG M

gaG

...œ jœ

>

œ

saaS' R'

saaS'

œ jœ

>

œ

saaS' R'

saaS'

œ jœ

>

œ

niN S'

niN

œ jœ

>œ

dhaD N

dhaD

... œ jœ>œ

saaS R

saaS

9/5/06 Page 9

And so on, with larger and larger intervals

? 43 c2. Two ornaments

œ jœ>œ jœ

>œ

saaS R

saaS R

saaS

œ jœ>œ jœ

>œ

reR G

reR G

reR

œ jœ>œ jœ

>œ

gaG M

gaG M

gaG

...

? c 423. Three ornaments

œ jœ>œ jœ

>œ jœ

>œ

saaS R

saaS R

saaS R

saaS

œ jœ>œ jœ

>œ jœ

>œ

reR G

reR G

reR G

reR

œ jœ>œ jœ

>œ jœ

>œ

gaG M

gaG M

gaG M

gaG

...

? 42 43 c 42Repeat the above with sustained sargam vowel

1a.

œ jœ>œ

saaS R S

...2a.

œ jœ>œ jœ>œ

saaS R S R S

...3a.

œ jœ>œ jœ>œ jœ>œ

saaS R S R S R S

...

? 42 43

Lesson 7

Examples of other gamak exercises

give more accent to larger intervals1.

A

œ jœ œ jœ

saaS R

saaS G

These are model phrases that can be varied with more

repetitions, like the first gamak exercise. Sing them slow and

fast; practice them with sargam and sustained "a" vowel.

œ jœ œ jœ

reR G

reR M

œ jœ œ jœ

gaG M

gaG P

...

? 43 42(Expansion:)

œ jœ œ jœ œ jœ

saaS R

saaS R

saaS G


reR G

reR G

reR M


gaG M

gaG M

gaG P

...

? 422.

jœ œ jœ œsaaN. S

saaN. S

jœ œ jœ œreN. R

reS R

jœ œ jœ œgaS G

gaR G

...3.

œ jœ œsaaS N.

saaS

œ jœ œreR S

reR

œ jœ œgaG R

gaG

...

? 4.

œ œ œ œ œ œsaaN. R S

reS G R

œ œ œ œ œ œgaR M G

maG P M

...5.

œ œ œ œ œ œsaaN. R S

reN.G R

œ œ œ œ œ œgaS M G

maR P M

...

? .. ..

BAn example of sustained complex vibrato,with a focal pitch and a range that extends above and below this pitch

œfocal pitch œœ

range

h»¡™º

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ!

aaP. R S R P. R S R P. R S R P. R S R

9/5/06 Page 10

?

Lesson 8

Scale patterns with two steps, in dugun and caugun

Dugun (2 notes per beat)

Model: three-note patternA

œSing

œ œ œ œ œ

S S R R R G

¿Clap ¿ ¿

œ œ œ œ œ œ

G G M M M P

¿ ¿ ¿

œ œ œ œ œ œ

P P D D D N

¿ ¿ ¿

œ œ œ œ œ œ

N N S' S' S' R'

¿ ¿ ¿

? œ œ œ œ œ œ

S' S' N N N D¿ ¿ ¿

œ œ œ œ œ œ

D D P P P M¿ ¿ ¿

œ œ œ œ œ œ

M M G G G R¿ ¿ ¿

œ œ œ œ œ œR R S S S N.¿ ¿ ¿

?Caugun (4 notes per beat, doubling the speed of the pattern)


S S R R R G G G M M M P¿ ¿ ¿


P P D D D N N N S' S' S' R'¿ ¿ ¿


S' S' N N N D D D P P P M¿ ¿ ¿

œ œ œ œ œ œ œ œ œ œ œ œM M G G G R R R S S S N.¿ ¿ ¿

?

Perform each of the following patterns in dugun and caugun, while clapping the pulse:

Another three-note pattern

œ œ œ œ œ œ

S R R R G G

...etc.œ œ œ

G M M

Four-note pattern


S S R R R R G G

...etc.

œ œ œ œ

G G M M

?

Five-note patterns

1.


S S S R R R R R G G

(Written in 16th notes to clarify the grouping, not to imply

that these patterns should be performed twice as fast)

...œ œ œ œ œ

G G G M M

2.


S S R R R R R G G G

...œ œ œ œ œ

G G M M M

?Six-note pattern


S S S R R R R R R G G G


G G G M M M

9/5/06 Page 11

[Filename]

?

Seven-note patterns

1.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

S S S S R R R R R R R G G G

...œ œ œ œ œ œ œ

G G G G M M M

?2.


S S S R R R R R R R G G G G


G G G M M M M

?Eight-note pattern


S S S S R R R R R R R R G G G G

...œ œ œ œ œ œ œ œ

G G G G M M M M

?

Patterns with three steps

Four-note patterns

1.


S S R G R R G M

...œ œ œ œ

G G M P

2.


S R R G R G G M

...œ œ œ œ

G M M P

? 3.


S R G G R G M M

...œ œ œ œ

G M P P

Five-note patterns1.


S S R R G R R G G M

...œ œ œ œ œ

G G M M P

? 2.


S S R G G R R G M M

...œ œ œ œ œ

G G M P P

3.


S R R G G R G G M M

...œ œ œ œ œ

G M M P P

?Six-note patterns

1.


S S R R G G R R G G M M


G G M M P P

2.


S R R G G G R G G M M M


G M M P P P

? 3.


S R R R G G R G G G M M


G M M M P P

4.


S S R R R G R R G G G M


G G M M M P

? 5.


S S R G G G R R G M M M


G G M P P P

6.


S S S R G G R R R G M M


G G G M P P

9/5/06 Page 12

?7.


S S S R R G R R R G G M


G G G M M P

Seven-note patterns

1.


S S S R R G G R R R G G M M


G G G M M P P

? 2.


S S R R R G G R R G G G M M


G G M M M P P

3.


S S R R G G G R R G G M M M


G G M M P P P

?

Eight-note patterns

1.


S S S R R R G G R R R G G G M M


G G G M M M P P

? 2.


S S S R R G G G R R R G G M M M


G G G M M P P P

? 3.


S S R R R G G G R R G G G M M M


G G M M M P P P

?Nine-note patterns

1.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

S S S R R R G G G R R R G G G M M M

...œ œ œ œ œ œ œ œ œ

G G G M M M P P P

?2.


S S R R R G G G G R R G G G M M M M


G G M M M P P P P

? 3.


S S R R R R G G G R R G G G G M M M


G G M M M M P P P

?4.


S S S R R R R G G R R R G G G G M M


G G G M M M M P P

? 5.


S S S R R G G G G R R R G G M M M M


G G G M M P P P P

9/5/06 Page 13

?6.


S S S S R R G G G R R R R G G M M M


G G G G M M P P P

?7.


S S S S R R R G G R R R R G G G M M


G G G G M M M P P

?Every repeated note ornamented from above

B

œ jœ œ j

œ œ jœ œ œ j

œ œ jœ œ œ

jœ œ œ j

œ œ jœ œ j

œ œ œjœ œ j

œ œ œ jœ œ

saaS R

saaS R

saaS R

saaS

reR G

reR G

reR

gaG M

gaG

[sim.]R G R G R G R G M G M G M P M

For additional variations on the basic patterns, ornament them as in Lesson 6C

and 7A. The following two exercises are particularly good practice (using the

preceding nine-note pattern as an example):

...

?Every note in the pattern after the first ornamented from above

œ jœ œ j

œ œ jœ œ

jœ œ j

œ œ jœ œ

jœ œ j

œ œ œ jœ œ j

œ œ jœ œ

jœ œ j

œ œ jœ œ

jœ œ j

œ œ

saaS R

saaS R

saaS R

saaS G

reR G

reR G

reR M

gaG M

gaG

[sim.]R G R G R G R M G M G M G P M P M

...

Lesson 9

Introduction to the nom-tom syllables

Four model phrases:

1.

A

œ œ œ œ

ta ra ra na

2.

œ œ œ œ

ri ra ra na

3.

œ œ œ œ

te ta ra na

4.

œ œ œ œ

ra na na na(a)

?bb

One note per beat, in one octave

œ œ œ œ

Sta ra

rraG

na,M

Basic exercise: practice these phrases in the bhairav scale, at

normal speed, dugun and caugun, in one octave, two octaves,

and ascending to ma and descending to pa. Examples:

œ œ œ œ

riP

rad

raN

na,S

œ œ œ œ

teS

taN

rad

na,P

œ œ œ œ

raM

naG

nar

na;S

?bb

Dugun, in one octave

Clap


ta ra ra na, ri ra ra na,

¿ ¿ ¿ ¿


te ta ra na, ra na na na;

¿ ¿ ¿ ¿


ta ra ra na, ri ra ra na,

¿ ¿ ¿ ¿


te ta ra na, ra na na na;

¿ ¿ ¿ ¿

9/5/06 Page 14

?bb

Caugun, in one octave


ta ra ra na, ri ra ra na, te ta ra na, ra na na na;

¿ ¿ ¿ ¿



¿ ¿ ¿ ¿

?bbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ


¿ ¿ ¿ ¿



¿ ¿ ¿ ¿

?bb

One note per beat, over two octaves

œ œ œ œ

ta ra ra na,

œ œ œ œ

ri ra ra na,

œ œ œ œ

te ta ra na,

œ œ œ œ

ra na na na;

?bb œ œ œ œ

ta ra ra na,

œ œ œ œri ra ra na,

œ œ œ œte ta ra na,

œ œ œ œ

ra na na na;

?bb

One note per beat, ascending to ma and descending to pa

œ œ œ œ

ta ra ra na,

œ œ œ œ

ri ra ra na,

œ œ œ œ

te ta ra na,

œ œ œ œ

ra na na na;

?bbœ œ œ œ

ta ra ra na,

œ œ œ œ

ri ra ra na,

œ œ œ œte ta ra na,

etc.

œ œ œ œ

ra na na na;

B

œ œ œ œ œ

ta ra ra na na

Expansion of syllables into longer patterns (see the guide for a description of this process):

Five-note patterns

œ œ œ œ œ

ri ra ra na na

œ œ œ œ œ

te ta ra na na

œ œ œ œ œ

ra na ra na na

9/5/06 Page 15

?bb

Clap


ta ra ra na na, ri ra ra

Complex exercise in dugun and caugun, singing

the five-note patterns while clapping the pulse:

Dugun

¿ ¿ ¿ ¿


na na, te ta ra na na, ra

¿ ¿ ¿ ¿


na ra na na; ta ra ra na

¿ ¿ ¿ ¿


na, ri ra ra na na, te ta

¿ ¿ ¿ ¿


ra na na, ra na ra na na;

¿ ¿ ¿ ¿

?bbœ œ œ œ œ œ œ œ

ta ra ra na na, ri ra ra

¿ ¿ ¿ ¿


na na, te ta ra na na, ra

¿ ¿ ¿ ¿


na ra na na; ta ra ra na

¿ ¿ ¿ ¿


na, ri ra ra na na, te ta

¿ ¿ ¿ ¿

œ œ œ œ œ œ œ œra na na, ra na ra na na;

¿ ¿ ¿ ¿

?bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ta ra ra na na, ri ra ra na na, te ta ra na na, ra

Caugun

¿ ¿ ¿ ¿


na ra na na; ta ra ra na na, ri ra ra na na, te ta

¿ ¿ ¿ ¿

?bbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

ra na na, ra na ra na na; ta ra ra na na, ri ra ra

¿ ¿ ¿ ¿


na na, te ta ra na na, ra na ra na na; ta ra ra na

¿ ¿ ¿ ¿

?bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

na, ri ra ra na na, te ta ra na na, ra na ra na na;

¿ ¿ ¿ ¿

C

œ œ œ œ œ œ

ta ra ra ra na na

Repeat this exercise with these syllable patterns:

Six-note patterns

œ œ œ œ œ œ

ri ra ra ra na na

œ œ œ œ œ œ

te ta re ra na na

œ œ œ œ œ œ

ra na na ra na na

9/5/06 Page 16

Lesson 10

Seven-note patternsA

1.œ œ œ œ œ œ œ

ta ra ra ra na na na

œ œ œ œ œ œ œ

ri ra ra ra na na na


te ta ra ra na na na


ra na na ra na na na

2.œ œ œ œ œ œ œ

ta ra ra na ra na na


ri ra ra na ra na na


te ta ra na ra na na


ra na na na ra na na

Eight-note patternBœ œ œ œ œ œ œ œ

ta ra ra na ra na na na


ri ra ra na ra na na na


te ta ra na ra na na na


ra na na na ra na na na

Nine-note patterns

1.

C

œ œ œ œ œ œ œ œ œ

ta ra ra na ra na ra na na


ri ra ra na ra na ra na na


te ta ra na ra na ra na na


ra na na na ra na ra na na

(etc.)2.œ œ œ œ œ œ œ œ œ

ta ra ra na ra na na ra na

3.œ œ œ œ œ œ œ œ œ

ta ra ra na na ra na na na


ta ra ra ra na ra na na na


ta ra ra ra na na ra na na


ta ra ra ra na na ra na na

Ten-note patterns

1.

D


ta ra ra na na ra na ra na na

2.œ œ œ œ œ œ œ œ œ œ

ta ra ra ra na ra na na ra na

9/5/06 Page 17

?bb

Later lesson

Gamak exercise

œgamak


S r S r S r G r G r


G M G M G M P M P M


P d P d P d N d N d


N S' N S' N S' r' S' r' S'

?bbœ œ œ œ œ œ œ œ œ œ

r' S' r' S' r' S' N S' N S'


N d N d N d P d P d


P M P M P M G M G M


G r G r G r S r S r

?bb

Ascending sounds like:

¿ ¿ ¿¿¿ ¿ ¿

¿¿ ¿ ¿

¿ ¿¿¿ ¿ ¿

¿¿ ¿

etc. Descending sounds like:

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿etc.

9/5/06 Page 18

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