Monthly Archives: January 2008

Understanding Tetrachords

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Persian Music - The Evergreen Song
In essence, a Tetrachord is a series of four tones filling in the interval of a ‘perfect fourth’, a 4:3 frequency ratio. In modern Persian music, two Tetrachords come together to construct an octave. When Persian musicians came to India, they also brought the Tetrachord theory with them. In Indian music, these are known as the Poorvang and the Utrang (lower and upper half of octave).
Two Tetrachords of any octave are:

1. C D E F
2. G A B C

In Indian music, these will become:

1. S R G m
2. P D N S*

Here C and F in the lower, and, G and C in the upper Tetrachord are sitting at a 4:3. The positions of the middle notes are variable.
Now, let’s talk about the variables. Take the Poorvang, or the lower Tetrachord first.

S R G m

We know, that S and M (1st and fourth) have to stay permanently at an interval of fourth to make it a Tetrachord. So the only variables are the middle notes, R and G. These both notes can move freely between their two positions (Komal and Tivar). Knowing that, it is very simple to find that there are only four ways to write this Tetrachord:

1. S R G m
2. S r G m
3. S R g m
4. S r g m

If your Sa is on C, then these four variations are:

1. C D E F
2. C Db E F
3. C D Eb F
4. C Db Eb F

Here are four illustrations showing four variations of the ‘Poorvang’ or the lower Tetrachord.

tetrachords
tetrachords
1.
gap
2.
tetrachords
tetrachords
3.
4.

The Utrang or the upper Tetrachord also has four similar (or identical, technically speaking) variations:

1. P D N S*
2. P d N S*
3. P D n S*
4. P d n S*

If your Sa is on C, then the ‘Utrang’ variations are:

1. G A B C
2. G Ab B C
3. G A Bb C
4. G Ab Bb C

Here are four illustrations showing the four possible variations of the ‘Utrang’ or the upper Tetrachord.

tetrachords
tetrachords
1.
2.
tetrachords
tetrachords
3.
4.

Study them well. It seems so simple. However, thousands of scales (All possible Thaats and Raags) are hidden in the eight illustrations above.

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Kamal Heer’s New Album

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Kamal Heer-Chan Jiha Gabhru

A couple of weeks ago Plasma Records released Kamal Heer’s new album "Chan Jiha Gabhru". I prepared the music for this album. It is a full on music heavy album. Still, Kamal Heer’s master voice comes through beautifully. The following is the second video from this album. The song’s title is Mar Gaye Majajne. I also wrote the lyrics for this song. I hope you will enjoy it.
 

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32 Thaats (Scales) Flipped – Part IV

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Cave Carvings 500 AD Ajanta Alora Here is one last look at creating 32 Thaats by flipping the scales.
The 12 notes of Indian music are:

S, r, R, g, G, m, M’, P, d, D, n, N

As you can see, S and P (1st and 5th) are immovable. Both of these notes have only one permanent position in the scale.
The other five notes have two positions each, lower and upper position or Komal and Tivar position. When we flip a Thaat, we simply change the positions of these five notes. We move the Tivars to Komal position and the Komals to Tivar position.

The all Tivar scale is: S, R, G, M’, P, D, N, S (Kalian) and
The all Komal scale is S, r, g, m, P, d, n, S. (Bhairavi)

The entire secret to understand this theory lies in understanding these two scales. If one scale is made by lowering a certain note in Kalian, in essence, its flipped Thaat is made by making the same note Tivar in Bhairavi.

In the following table, I have written the Flipped Thaats opposite of each other. Notice how the positions of these five notes (R, G, M, D and N) are swapped. Then there is also an interactive flash movie below to visualize these notes on a keyboard.

Thaat
Scale
flip
Scale
Thaat
Vachaspati
S,R,G,M’,P,D,n,S
flip
S,r,g,m,P,d,N,S
Dhenuka
Latangi
S,R,G,M’,P,d,N,S
flip
S,r,g,m,P,D,n,S
Natakpirya
Rishavpirya
S,R,G,M’,P,d,n,S
flip
S,r,g,m,P,D,N,S
Kokilpirya
Dharamvati
S,R,g,M’,P,D,N,S
flip
S,r,G,m,P,d,n,S
Bakulabharan
Hemvati
S,R,g,M’,P,D,g,S
flip
S,r,G,m,P,d,N,S
Bhairav or Malavgaud
Sahinder Madhyam
S,R,g,M’,P,d,N,S
flip
S,r,G,m,P,D,n,S
Chakarvak or Ahir Bhairav
Shanmukhpirya
S,R,g,M’,P,d,n,S
flip
S,r,G,m,P,D,N,S
Suryakant or Anand Bhairav
Gamanpirya or Marava
S,r,G,M’,P,D,N,S
flip
S,R,g,m,P,d,n,S
Asavari
Rampirya
S,r,G,M’,P,D,n,S
flip
S,R,g,m,P,d,N,S
Kirvani
Kamvardhani or Pooravi
S,r,G,M’,P,d,N,S
flip
S,R,g,m,P,D,n,S
Kafi or Kharharpirya
Namnarayani
S,r,G,M’,P,d,n,S
flip
S,R,g,m,P,D,N,S
Gauri Manohari
Swaranangi
S,r,g,M’,P,D,N,S
flip
S,R,G,m,P,d,n,S
Charukeshi
Shadvidhmargani
S,r,g,M’,P,D,n,S
flip
S,R,G,m,P,d,N,S
Sarsangi
Shubh Pantuvarali or Todi
S,r,g,M’,P,d,N,S
flip
S,R,G,m,P,D,n,S
Khamaj or Harkambhoji
Bhavpirya
S,r,g,M’,P,d,n,S
flip
S,R,G,m,P,D,N,S
Bilaval or Shankrabharan
Bhairavi
S,r,g,m,P,d,n,S
flip
S,R,G,M’,P,D,N,S
Kalian

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32 Thaats (Scales) Flipped – Part III

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Ustad Baba Allaudin

Finally, here is the same illustration explained in plain text:
1. Kalian is the first Thaat in this system. All notes in Kalian are in their upper position or are Tivar. Kalian’s notes are: S, R, G, M’, P, D, N, S.
2. Lowering the seventh (N Komal) in Kalian creates ‘Vachaspati’ mail or Thaat. Vachaspati is S, R,G,M’, P, D, n, S. In this Thaat, no suwar is in perfect harmony (4th or 5th) with the seventh.
3. Flipping Vachaspati gives us Dhenuka Thaat. Dhenuka is: S, r, g,m, p, d, N, S. Again, the Seventh or Nishad of Dhenuka has no Samvadi suwar.
4. Lowering the sixth (Dhaivat) in Kalian Creates Latangi. Latangi is: S, R, G, M’, P, d, N, S.
5. Flipping Latangi makes it Natakpirya. Natakpirya is S, r, g, m, P, D, n, S. There is no Samvadi of Dhaivat in Natakpirya.
6. Lowering Dhaivat and Nishad in Kalian gives us Rishavpirya. Rishavpirya is: S, R, G, M’, P, d, n, S. Rishavpirya lacks a Samvadi suwar for its Gandhar.
7. Flipping Rishavpirya gives us Kokilpirya. Kokilpirya is: S, r, g, m, P, D, N, S. Dhaivat has no Samvadi note in Kokilpirya.
8. Lowering Gandhar or third in Kalian creates Dharamvati. Dharamvati is: S,R,g,M’, P,D, N, S.
9. The opposite of Dharampati stands Bakulabharan. Bakulabharan is: S, r, G, m, P, d, n, S.
10. Lowering Gandhar and Nishad in Kalian gives us Hemvati. Hemvati is: S, R, g, M’, P, D, n, S.
11. Thaat Malavgaud is on the flip side of Hemvati. Malavgaud’s notes are: S, r, G, m, P, d, N, S. Thus, Malavgaud is current Bhairav Thaat of Hindustani music.
12. Lowering Gandhar and Dhaivat in Kalian gives birth to Sahinder Madhyam. Which is: S, R, g, M’, P, g, N, S.
13. Thaat Chakarvak is the flip side of Sahinder Madhyam. Chakarvak is same as Ahir Bhairav, the notes are: S, r, G, m, P, D, n, S.
14. When Gandhar, Dhaivat and Nishad or third, sixth and seventh are komal in Kalian, it becomes Shanmukhpirya Thaat. Shanmukhpirya’s notes are: S, R, g, M’, P, d, n, S.
15. Flipping Shanmukhpirya creates Suryakant or Anad Bhairav. The notes are: S, r, G, m, P, D, N , S.
16. Lowering just the second or Rishav in Kalian makes it Marva Thaat. Marva is: S, r, G, M’, P, D, N, S. Marva is also known as Gamanpirya Mail of Carnatic music.
17. Flipping Gamanpirya makes it Asavari. Asavari’s notes are: S, R, g, m, P, d, n, S.
18. Lowering Rishav and Nishad in Kalian creates Rampirya Thaat. Rampirya is: S, r, G, M’, P, D, n, S.
19. Flipping Rampirya gives us Girvani. Girvani is S, R, g, m, P, d, N, S. This can also be called Adana Thaat.
20. Lowering Rishav and Dhaivat in Kalian makes it Poorvi or Kamvardhani. The notes are: S, r, G, M’, P, d, N, S.
21. Kafi Thaat or Kharharpirya is the flip side of Kamvarshani. The notes are: S, R, g, m, P, D, n, S.
22. Lowering Rishav, Dhaivat and Nishad make it Namnarayni. Namnarayni is: S, r, G, M’, P, d, n, S.
23. Gauri Manohar is the flipped version of Namnarayni. Gari Manohari’s notes are: S, R, g, m, P, D, N, S.
24. Lowering Second and Third or Rishav and Gandhar in Kalian makes it Sawarnangi. Sawarnangi is: S, r, g, M’, P, D, N, S.
25. Thaat Charukeshi takes shape when we flip Sawarnangi. Charukeshi is: S, R, G, m, P, d, n, S.
26. When we lower Rishav, Gandhar and Nishad in Kalian, we create Shadvidhmargani thaat. Pronounce it Shad-Vidh-Mar-Gani. Shadvishmargani’s notes are: S, r, g, M’, P, D, n, S.
27. Thaat Sarsani takes shape by flipping Shadvidhmargani. Sarsangi is: S, R, G, m, P, d, N, S.
28. Lowering Rishav, Gandhar and Dhaivat in Kalian creates Shubhpantuvarali or Todi Thaat. The notes are; S, r, g, M’, P, d, N, S.
29. Flipping Todi makes it Khamaj or Harkambhoji. Khamaj’s notes are: S, R, G, m, P, D, n, S.
30. Lowering 2nd, 3rd, 6th and 7th (r, g, d, n) in Kalian creates Bhavpirya Thaat. The notes of Bhavpirya look like this: S, r, g, M’, P, d, n, S.
31. Our modern natural scale Bilaval is the flipped version of Bhavpirya. Bilaval is also known as Shankrabharan mail in the southern music. The notes of this Thaat are: S, R, G, m, P, D, N, S.
32. Now the final thaat has all five movable notes in the lower position. When we lower Rishav, Gandhar, Madhyam, Dhaivat and Nishad in Kalian, it creates Bhairavi Thaat. So if Kalian is all Tivars, then Bhairavi is all Komals. Flipping Bhairvi takes us back to our number one Thaat Kalian. Bhairavi’s notes are: S, r, g, m, P, d, n, S.

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32 Thaats (Scales) Flipped – Part II

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Rajtyagi

In the last post, we found all 32 Thaats in a certain process. It went like this:

1. Kalian is the first Thaat,
2. Then we start to lower notes from the top systematically.
3. Every time we lowered one note, then we flipped the Thaat, to get the counterpart Thaat.
4. So we got 16 Thaats directly from Kalian, and got the other 16 by flipping these Thaats.

Here is a table explaining the same process. This may help to make better sense of the Flash animation. I am including the interactive flash animation again in this post. Read one line and follow the Thaats on the Flash animation below:

Kalian: S, R, G, M’, P,D,N (or all Tivar notes)

Lowered
(Komal)Notes
Resulted Thaat
Flip

New Komals

Resulted Thaat
n
Vachaspati
arrow
r,g,m,d,
Pilu or Dhenuka
d
Latangi
arrow
r,g,m,n,
Natakpirya
d,n
Rishabhpirya
arrow
r,g,m,
Kokilpirya
g
Dharamvati
arrow
r,m,d,n,
Bakulabharan
g,n
Hemvati
arrow
r,m,d,
Malavgaud or Bhairav
g,d
SahinderMadhyam
arrow
r,m,n,
Chakarvak or Ahirbhairav
g,d,n
Shanmukhpirya
arrow
r,m
Suryakant – AnandBhairav
r
Gamanpirya or
Marva
arrow
g,m,d,n,
Asavari
r,n
Rampirya
arrow
g,m,d,
Girvani
r,d
Kamvardhani or
Poorvi
arrow
g,m,n,
Kafi or Kharharpirya
r,d,n
Namnarayni
arrow
g,m
Gauri Manohari
g,r
Savanangi
arrow
m,d,n,
Charukeshi
r,g,n
Shadvidhmargani
arrow
m,d
Sarsangi
r,g,d
Shubhpantuvarali
or Todi
arrow
m,n
Harkanbhoji or Khamaj
r,g,d,n
Bhavpirya
arrow
m
Bilaval or Shankrabharan
r,g,m,d,n
Bhairvi
arrow
none
Kalian


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