Lesson 129 Different Types of Swar

Added: 2026-05-02

[00:00:00][music] [music] [music] >> Hello everybody.

[00:00:20]I hope you're all safe and well.

[00:00:24]Today I'm going to explain about few very important things.

[00:00:29]And you know that I always focus for the beginners.

[00:00:35]A lot of people, they ask me that what is swar or the note.

[00:00:42]So, notes or swar, whatever I say, these [bell] are the alphabet of music.

[00:00:51][music] Like we have A B C D, same as we have in music, sa re ga ma pa dha ni.

[00:01:02]With this sa re ga ma pa dha ni, you know that when like the kids start to that learning study, so they try to make different different word with the alphabet like C A T cat, B A T bat, something like this.

[00:01:21]So, same we do with the alphabet of music like sa re ga, re ga ma or sa ga, re ma, sa re ga ma, re ga ma pa, different different type of combination.

[00:01:37]After this like you know that the kids learn to make short sentence [music] like a cat, a bat, a rat.

[00:01:49]So, that's why some same we try to play something like sa re sa ga re sa, re ga re ma ga re, different different type of combination.

[00:02:00]Then they try to make with sentence like a cat is running, a dog is eating. So, with the notes we try to also make sentence like in different different ragas like ni re ga or sa dha sa. So, these are some kind of sentence. So, when [music] you can make a sentence, then you can mean something. You [music] can explain your emotion.

[00:02:28]And the note or the swar, these are like without emotion, emotionless.

[00:02:36]When you play these notes or the swar with emotion, that is music.

[00:02:42]So, we always try to create the emotion [music] on the note.

[00:02:48]Like I'm playing sa re ga ma, see?

[00:02:56]>> [music] >> So, just I'm playing that only the note, sa re ga ma pa dha ni sa.

[00:03:02]But when I play the same sa re ga ma in any composition, in any rag, then it change its color. Right?

[00:03:19]So, this sound is totally different.

[00:03:21]So, that's why when we play sa re ga ma or the sargam note to finger practice, these are just [music] emotionless sargams.

[00:03:31]But when we play the same [music] thing in the ragas and we try to create the emotion on the note. And this is the very [music] important thing. Sometime we try to create the emotion on the note by supporting, right?

[00:03:44]Ni re ga.

[00:03:49]So, if you play ni re ga without support, >> [music] >> these are just I play the alphabets of this music.

[00:03:59]>> [music] >> But when you play like this, that is music.

[00:04:08]So, we always try to create the emotion on the note.

[00:04:13]Then people ask me that what is the jati of rag.

[00:04:20]Jati, the meaning of jati is a Hindi word [music] like is a classification of ragas. There are some ragas with five note in ascending and descending.

[00:04:31]Some rags are six note [music] in ascending and descending.

[00:04:36]Some rags are like seven notes in [music] ascending and descending or we can say aroho abroho.

[00:04:45]So, when five notes in the ascending and five note in the descending, that means aroho and abroho, this kind of rags are known as audav jati.

[00:04:58]Audav jati.

[00:05:00]When there is six note in aroho and abroho, these are shadhav jati. And when there is seven notes in aroho and abroho, these are called sampurna jati. So, [music] jati is basically three type. Audav, shadhav and sampurna.

[00:05:20]Then also there are few rags that in the ascending five notes >> [music] >> and when it back descending seven notes.

[00:05:28]So, these kind of rags [music] are called audav sampurna.

[00:05:33]Like we have uh rags Bhupali, rag Hansadhwani, rag Durga.

[00:05:39]Rag [clears throat] Chandrakosh, rag [music] Malkauns, rag Kaushikdhwani, these are five note rags.

[00:05:46]And most of the five note rags I I I feel my myself get lot popular. When you have five note rags, you can have like more space [music] on the middle, so the meed gamak that using very nicely.

[00:06:01]Then sampurna jati like there a lot of rag with sampurna jati rag.

[00:06:06]Sa re ga ma pa dha ni sa, sa [music] ni dha pa ma ga re sa, rag Bilaval, rag Kafi, rag uh Bhairav, there a lot of rags.

[00:06:14]Shadhav jati rag like rag Marwa.

[00:06:17]So, and people ask me that what is like vadi, what is samvadi.

[00:06:24]So, swar or notes, they are different name of the notes. Vadi swar, the most important character of the rag.

[00:06:34]We have make variation and take standing, more standing on vadi. Samvadi is the next important note.

[00:06:41]After vadi and samvadi, there are a few notes that is called nyas swar. Nyas swar means that after vadi and samvadi, you can take little bit rest or standing on that kind of note.

[00:06:54]Some notes are known [music] as vivadi swar.

[00:06:58]Vivadi swar is very interesting character [music] because vivadi swar, that is that note is not on the rag, but a performer can very technically use the note and make more beauty.

[00:07:15]But vivadi swar, just you can make slight touch, not standing.

[00:07:19]So, this is a very skillful or you have to learn a lot of, >> [music] >> then you can use some vivadi swar.

[00:07:27]Then there is swar like I can explain vivadi swar in Shivaranjani, sometime you can use like shuddha ga.

[00:07:37]And there are like in Pahadi, there a lot of vivadi swar. That means that the swar is not in the rag, but a performer can use very technically.

[00:07:49]Then we have notes like we call varjit swar. Varjit, that is means that the note is not in the rag. Like in Bhupali, ma and ni, these are called the varjit swar.

[00:08:05]Not in the rag.

[00:08:08]So, and vadi, samvadi, then there is some note is called anuvadi.

[00:08:16]After vadi and samvadi, the other note that is in the rag, that is called anuvadi.

[00:08:23]Then swar notes that is called kanswar.

[00:08:27]Kanswar is that is the supporting note.

[00:08:30]Like when you use that sa re ga or So, I'm using like sa ga re ma ga ma.

[00:08:45]So, re is take support from ga and ma ga is take support from [music] ma.

[00:08:50]So, these are called the kanswar or the supporting note.

[00:08:55]So, the most important thing of like raga that how you can make the expressions.

[00:09:03]Ragas notes and you know that the sa sa is very very important.

[00:09:10]Sa just change its emotion in different ragas.

[00:09:16]So, to play the rag sa in correct way is very important that we take and we listen to our guru that how he play the sound because the sound is very important, not the note, not the fingering. You always try to focus on the sound that how the sound and the how the emotion that is [music] made.

[00:09:42]Like you can play sa dha sa or sa dha pa. Bhupali and rag Durga is very close.

[00:09:50]Sa re ga pa dha in Bhupali and sa re ma pa dha in Durga.

[00:09:55]But the emotion is totally different.

[00:09:59]Sa, so when you play in Bhupali scale, you can say >> [music] >> So this softness is in uh Bhupali.

[00:10:30]So Bhupali's swar is slightly, you know, it's it called like slightly flat than the like regular pitch.

[00:10:41]And then when you play Durga, because Durga is also have Sa, Dha, Pa, and Re also. So but the Durga's throwing is not like this.

[00:10:56]It a little bit strong.

[00:10:59]Okay, but Bhupali is more soft. So that's the way we all try to make the differences between same note with expression. We try to make the different between the ragas.

[00:11:11]I hope that this uh words that [music] what I'm saying you can feel it and you try to uh that play the way, try to create the emotion on the note.

[00:11:23]And I hope you enjoy the uh sound of the melody of the flute.