Session 20: Indian Music II — Advanced Ragas
Overview
Section titled “Overview”- Phase: 4 — Genre & Creativity
- Duration: 75 minutes
- Prerequisites: Completed Sessions 1-19. Raga Yaman mastered (aroha, avaroha, alankars, meend). “Ek Pyaar Ka Nagma Hai,” “Lag Ja Gale,” “Tujh Mein Rab Dikhta Hai” learned. CT-X9000IN Indian tones and rhythms explored. Lead sheet reading. Improvisation basics.
Learning Objectives
Section titled “Learning Objectives”By the end of this session, you will be able to:
- Play Raga Bhairavi (“queen of ragas”) — aroha, avaroha, and keyboard mapping
- Play Raga Des — aroha, avaroha, and its romantic/devotional character
- Explain taal (rhythmic cycle) basics — Teentaal (16 beats) and Keherwa (8 beats)
- Demonstrate CT-X9000IN Indian tones and rhythms mastery
- Perform “Kabira” (Yeh Jawaani Hai Deewani) with complete transcription
- Perform “Kun Faya Kun” (Rockstar) with complete transcription
- Compose a simple melody using Raga Bhairavi notes
Materials Needed
Section titled “Materials Needed”- Casio CT-X9000IN keyboard (Indian tones — Sitar, Santoor, or Bansuri)
- Sustain pedal connected
- Pitch bend wheel accessible for meend
- CT-X9000IN Indian rhythms ready (Keherwa, Teentaal)
- This lesson plan open beside you
Warm-Up & Review (10 minutes)
Section titled “Warm-Up & Review (10 minutes)”Raga Yaman Review (4 minutes)
Section titled “Raga Yaman Review (4 minutes)”Play Raga Yaman aroha and avaroha, RH, with LH Sa-Pa drone, at 60 BPM:
Play one alankar (groups of 3) to keep Yaman fresh. 2 times through.
Bollywood Quick Play (3 minutes)
Section titled “Bollywood Quick Play (3 minutes)”Play the mukhda of “Ek Pyaar Ka Nagma Hai” (measures 1-8), both hands. Is the F# automatic now?
Interval Ear Check (3 minutes)
Section titled “Interval Ear Check (3 minutes)”Play these intervals and name them — precision matters for raga work:
- C to Db — minor 2nd (this interval appears in Bhairavi)
- C to Eb — minor 3rd (also in Bhairavi)
- C to E — major 3rd (in Des)
- C to F# — tritone (in Yaman)
Theory / Harmony (10 minutes)
Section titled “Theory / Harmony (10 minutes)”Raga Bhairavi — The Queen of Ragas
Section titled “Raga Bhairavi — The Queen of Ragas”Raga Bhairavi is called the “queen of ragas” because of its depth, versatility, and emotional power. It is a morning raga associated with devotion, compassion, and a gentle sadness. Many of the most beloved devotional and Sufi songs are based on Bhairavi.
Bhairavi uses all komal (flat) notes except Sa and Pa:
Sa’ Ni(komal) Dha(komal) Pa Ma Ga(komal) Re(komal) Sa
Key characteristics:
- Bhairavi is essentially the Phrygian mode (C Db Eb F G Ab Bb C)
- The half-step between Sa and Re komal (C-Db) gives it a distinctive, plaintive quality
- Vadi (king note): Ma (F) — linger on this note
- Samvadi (minister note): Sa (C) — the tonic is also important
RH Fingering for Bhairavi — 1 octave:
Play ascending and descending 3 times at 50 BPM with LH Sa-Pa drone (C and G).
Raga Des — The Evening Romantic
Section titled “Raga Des — The Evening Romantic”Raga Des is an evening raga with a romantic, devotional quality. It is lighter and brighter than Bhairavi, with a yearning, hopeful character.
(Note: Des skips Ga and Dha in the ascending form)
Sa’ Ni(komal) Dha Pa Ma Ga Re Sa (Note: Des uses komal Ni (Bb) in descent, plus Dha and Ga which are absent from the aroha)
Key characteristics:
- Des is a mixed raga — it uses different notes ascending vs descending
- The skip of Ga and Dha in the aroha gives it a distinctive, open quality
- The komal Ni (Bb) in descent contrasts with the shuddh Ni (B natural) used in ascent
- Vadi: Pa (G), Samvadi: Re (D)
RH Fingering for Des — ascending:
Play 3 times at 50 BPM with drone.
Taal — The Rhythmic Foundation
Section titled “Taal — The Rhythmic Foundation”Taal is the Indian system of rhythmic cycles. Every piece of Indian music is set to a taal — a repeating pattern of beats with specific accents.
Teentaal (16 beats): The most common taal in Hindustani music. 16 beats divided into 4 groups of 4:
| Group | Beats | Pattern | Clap/Wave |
|---|---|---|---|
| 1 (Sam) | 1-2-3-4 | Dha Dhin Dhin Dha | CLAP |
| 2 | 5-6-7-8 | Dha Dhin Dhin Dha | CLAP |
| 3 (Khali) | 9-10-11-12 | Dha Tin Tin Ta | WAVE (open hand) |
| 4 | 13-14-15-16 | Ta Dhin Dhin Dha | CLAP |
Sam (beat 1) is the most important beat — it is where phrases begin and end, where the melody resolves. In Indian music, Sam is like the “home” beat.
Keherwa (8 beats): The most common taal for Bollywood and lighter music. 8 beats:
| Beat | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
|---|---|---|---|---|---|---|---|---|
| Pattern | Dha | Ge | Na | Ti | Na | Ka | Dhi | Na |
| Action | CLAP | WAVE |
Keherwa has a lilting, swinging feel — perfect for love songs and devotional music.
Clapping exercise: Clap Teentaal: 4 claps, each separated by 3 taps on your knee. Count 1-2-3-4 for each group. Clap on beat 1 of groups 1, 2, and 4. Wave (open hand) on beat 1 of group 3.
Technique (15 minutes)
Section titled “Technique (15 minutes)”Bhairavi Alankars (5 minutes)
Section titled “Bhairavi Alankars (5 minutes)”Alankar 1 — Simple ascending/descending in groups of 3:
Then descend in reverse groups.
Play at 50 BPM, 3 times. Speak the sargam: “Sa, Re komal, Ga komal…”
Alankar 2 — Characteristic Bhairavi phrases:
- Ma Pa Dha(komal) Pa — F(1) G(2) Ab(3) G(2) — the “rocking” Bhairavi phrase
- Ga(komal) Ma Pa Ma Ga(komal) Re(komal) — Eb(3) F(4) G(5) F(4) Eb(3) Db(2) — a complete descending phrase
- Sa Re(komal) Ga(komal) Ma Pa — C(1) Db(2) Eb(3) F(1) G(2) — the full ascending phrase
Play each phrase 4 times. These are the “words” of Bhairavi’s musical language.
Des Alankars (3 minutes)
Section titled “Des Alankars (3 minutes)”Alankar 1 — Des ascending phrases:
Alankar 2 — Des descending phrases: Sa’ Ni(komal) Dha Pa — C(4) Bb(4) A(3) G(2) — note komal Ni (Bb) and Dha appear only in descent
Play each 3 times at 50 BPM with drone.
CT-X9000IN Indian Tones Mastery Exercise (4 minutes)
Section titled “CT-X9000IN Indian Tones Mastery Exercise (4 minutes)”Play the Bhairavi aroha/avaroha on these Indian tones, listening to how each transforms the raga:
- Sitar: Bright, buzzy. Play Bhairavi aroha/avaroha. Add meend on Re-Ga (Db to Eb) and Dha-Ni (Ab to Bb).
- Santoor: Shimmering, bell-like. Play Des aroha/avaroha. The clarity of santoor suits Des’s open quality.
- Bansuri: Breathy, warm. Play any Bhairavi phrase. The flute tone makes Bhairavi sound deeply devotional.
Choose your favourite tone for each raga. This personal choice is part of developing your musical taste.
Taal Clapping Practice (3 minutes)
Section titled “Taal Clapping Practice (3 minutes)”Teentaal practice: Set CT-X9000IN rhythm to Teentaal (find it in the Indian rhythms section). Start at 80 BPM.
Clap along: Beat 1 (clap), 2-3-4 (tap knee), 5 (clap), 6-7-8 (tap), 9 (wave open hand), 10-11-12 (tap), 13 (clap), 14-15-16 (tap).
Once comfortable with clapping, play the Bhairavi aroha/avaroha timed to the taal — start on Sam (beat 1), reach the top note around beat 9, and return to Sa by the next Sam.
Repertoire / Genre (25 minutes)
Section titled “Repertoire / Genre (25 minutes)”Piece 1: “Kabira” — Complete Arrangement (12 minutes)
Section titled “Piece 1: “Kabira” — Complete Arrangement (12 minutes)”“Kabira” is from the 2013 film “Yeh Jawaani Hai Deewani,” composed by Pritam, with lyrics inspired by the Sufi poet Kabir. The song has a folk-Sufi quality with a modern Bollywood arrangement. Its melody uses elements of Raga Bhairavi, creating a devotional yet contemporary feel.
Tempo: 80 BPM | Time Signature: 4/4 | Key: A minor (with Bhairavi colours)
Right Hand — Melody:
Mukhda — “Kabira maan ja, re maan ja”:
Antara — “Joh tujhe de re sabhi ka gham”:
Left Hand — Accompaniment:
Expression:
- “Kabira” has a Sufi, folk quality — play with warmth and simplicity, not virtuosity.
- The Bb (komal Ni) notes in measures 5-6, 11, and 15 give the Bhairavi colour. Lean into these — they carry the emotional weight.
- Keep the LH arpeggio gentle — this is folk music, not a concert piece.
- Try adding meend (pitch bend) on the D-to-E transition and the Bb-to-C transition.
Piece 2: “Kun Faya Kun” — Complete Arrangement (13 minutes)
Section titled “Piece 2: “Kun Faya Kun” — Complete Arrangement (13 minutes)”“Kun Faya Kun” is from the 2011 film “Rockstar,” composed by A.R. Rahman, sung by Javed Ali, Mohit Chauhan, and A.R. Rahman himself. It is a Sufi qawwali that builds from a quiet, devotional beginning to an ecstatic climax. The melody draws from Raga Des and Raga Yaman, creating a uniquely spiritual atmosphere.
Tempo: 72 BPM (building to 80 in later sections) | Time Signature: 4/4 | Key: D major (with Des/Yaman colours)
Right Hand — Melody:
Opening — “Kun faya kun, kun faya kun”:
Verse — “Sadho re yeh murdon ka gaon”:
Chorus build — “Tu raheem, tu kareem”:
Left Hand — Accompaniment:
Expression:
- “Kun Faya Kun” is sacred, devotional music. Play with reverence — soft and spacious at the opening, building gradually.
- Measures 1-4: pp (whispered, meditative)
- Measures 5-8: p to mp (the verse emerges)
- Measures 9-12: mf to f (the chorus builds to the peak on beat 1 of measure 12)
- Measures 13-16: f to p (the resolution descends gently)
- The C# in measure 11 (the leading tone) creates urgency before the final D. Let it pull.
- Use sustain pedal throughout, changing at chord changes.
Raga Bhairavi Composition Exercise (remaining time)
Section titled “Raga Bhairavi Composition Exercise (remaining time)”Now it is your turn to create music. Compose a simple 8-bar melody using Raga Bhairavi notes (C Db Eb F G Ab Bb C).
Rules:
- Start on Sa (C) and end on Sa (C)
- Use only Bhairavi notes
- Include at least one meend (pitch bend)
- Linger on Ma (F) — the vadi note
- The melody should sound “devotional” or “peaceful”
Structure suggestion:
- Bars 1-2: Ascending phrase (Sa Re Ga Ma…)
- Bars 3-4: Rest or hold on Pa
- Bars 5-6: Descending phrase (Sa’ Ni Dha Pa…)
- Bars 7-8: Return to Sa with a gentle closing phrase
Write your melody in your notebook as letter names:
Play it with the LH Sa-Pa drone. Record it on the CT-X9000IN MIDI recorder.
Creative / Ear Training (10 minutes)
Section titled “Creative / Ear Training (10 minutes)”Raga Comparison
Section titled “Raga Comparison”Exercise 1: Yaman vs Bhairavi vs Des (4 minutes)
Section titled “Exercise 1: Yaman vs Bhairavi vs Des (4 minutes)”Play these three ragas back-to-back, ascending only, 1 octave, RH:
- Yaman: B D E F# G A B C — bright, floating, romantic (evening)
- Bhairavi: C Db Eb F G Ab Bb C — devotional, plaintive, gentle (morning)
- Des: C D F G B C — open, yearning, hopeful (evening)
Each has a completely different emotional character. Play each twice. Then close your eyes and play one at random — can you identify which raga you are playing from the sound alone?
Exercise 2: Taal Awareness (3 minutes)
Section titled “Exercise 2: Taal Awareness (3 minutes)”Turn on the Teentaal rhythm on your CT-X9000IN. Feel the 16-beat cycle: 1-2-3-4, 5-6-7-8, 9-10-11-12, 13-14-15-16.
Now play a Bhairavi phrase starting on Sam (beat 1) — try to make your phrase last exactly 8 beats (half a taal cycle). Then rest for 8 beats. Then play another phrase starting on the next Sam.
This taal-aligned phrasing is fundamental to Indian music. Every melodic statement relates to the rhythmic cycle.
Exercise 3: Play Back Your Bhairavi Composition (3 minutes)
Section titled “Exercise 3: Play Back Your Bhairavi Composition (3 minutes)”Play back the recording of your Bhairavi composition from the Repertoire section. Listen critically:
- Does it use Bhairavi notes correctly? (No accidental sharps)
- Does it linger on Ma (F)?
- Does it start and end on Sa (C)?
- Does it sound devotional?
If you want to revise it, do so now. This is how composers work — create, listen, revise.
Review & Homework (5 minutes)
Section titled “Review & Homework (5 minutes)”Summary
Section titled “Summary”Today you:
- Learned Raga Bhairavi (“queen of ragas”) with complete aroha/avaroha and alankars
- Learned Raga Des with its distinctive ascending (skips Ga and Dha) and descending patterns
- Understood taal basics — Teentaal (16 beats) and Keherwa (8 beats)
- Performed “Kabira” with Bhairavi colours — folk-Sufi Bollywood
- Performed “Kun Faya Kun” with Des/Yaman colours — devotional Sufi qawwali
- Composed your first melody using Raga Bhairavi notes
- Mastered CT-X9000IN Indian tones and rhythm selection
Self-Check Questions
Section titled “Self-Check Questions”- What notes make up the Bhairavi aroha? Write in sargam and Western notes.
- What makes Raga Des unusual compared to Yaman? (Hint: ascending pattern)
- How many beats are in Teentaal? How are they grouped?
- What is Sam and why is it important?
- What is the vadi (king note) of Bhairavi?
Practice Homework (Before Next Session)
Section titled “Practice Homework (Before Next Session)”- Raga Bhairavi aroha/avaroha — 10 minutes daily. With drone. Say the sargam. Add meend on Re-Ga (Db-Eb) and Dha-Ni (Ab-Bb).
- Raga Des aroha/avaroha — 5 minutes daily. Note the skipped notes in ascent.
- “Kabira” — 10 minutes daily. Both hands, with Indian tone. Target: 80 BPM with Bhairavi expression.
- “Kun Faya Kun” — 10 minutes daily. Focus on the dynamic build (pp to f). Target: 72 BPM.
- Bhairavi composition — 5 minutes daily. Revise and extend your 8-bar melody. Try adding a second 8-bar section.
- Taal practice — 5 minutes daily. Clap Teentaal with the CT-X9000IN rhythm. Try playing Bhairavi phrases aligned to the taal.
- Total: ~45-50 minutes daily
Common Mistakes to Watch For
Section titled “Common Mistakes to Watch For”- Using naturals in Bhairavi: Every Re, Ga, Dha, and Ni in Bhairavi is komal (flat). If you accidentally play D natural instead of Db, or A instead of Ab, the raga character is destroyed. Drill until the flats are automatic.
- Skipping the wrong notes in Des: Des skips Ga and Dha only in the ASCENDING form. In descent, all notes are used with komal Ni (Bb) replacing the shuddh Ni (B) used in ascent. Do not skip notes in the descending pattern.
- Ignoring taal: Indian music is inseparable from taal. Practice your ragas and songs with the CT-X9000IN rhythm accompaniment. Feel the cycle. Land on Sam.
- Playing “Kun Faya Kun” too loudly at the start: This song builds from silence to ecstasy. The opening should be barely audible — pp. Let the dynamic journey unfold gradually.
CT-X9000IN Tips
Section titled “CT-X9000IN Tips”Advanced Indian Tones and Rhythms Mastery
Section titled “Advanced Indian Tones and Rhythms Mastery”You now know 3 ragas (Yaman, Bhairavi, Des) and 2 taals (Teentaal, Keherwa). Here is how to use your CT-X9000IN as a complete Indian music studio:
Tone recommendations per raga:
- Raga Yaman: Santoor (bright, shimmering) or Bansuri (breathy, warm)
- Raga Bhairavi: Bansuri (devotional) or Sarangi (intensely emotional)
- Raga Des: Sitar (romantic, resonant) or Santoor
Rhythm recommendations per song:
- “Kabira”: Keherwa at 80 BPM (folk, lilting)
- “Kun Faya Kun”: Teentaal at 72 BPM (devotional, structured)
- “Ek Pyaar Ka Nagma Hai”: Dadra at 66 BPM (classic, graceful)
Full Indian performance setup:
- Select your Indian tone
- Select Indian rhythm (Keherwa or Teentaal)
- Set tempo
- Set pitch bend to 2 semitones for meend
- Save to a Registration Memory slot
MIDI Recording Your Bhairavi Composition
Section titled “MIDI Recording Your Bhairavi Composition”Your composition exercise is worth saving:
- Set up your Bhairavi practice registration (Indian tone, drone, tempo)
- Press RECORD
- Play your LH drone first, then add the RH melody
- Press STOP
- Play back and listen — revise if needed
- If you are happy with it, this is YOUR music. You composed it using a framework that is thousands of years old.