Vocal Impurities and Remedies in Indian Classical Music- Part I

 

In the domain of Indian classical music, voice disorders significantly affect a singer's tonal quality and performance. These disorders are broadly classified into two categories: Organic and Functional. Organic disorders involve physiological abnormalities in the vocal apparatus and necessitate medical attention. Functional disorders, however, pertain to how the vocal mechanism is used and should be addressed by a trained vocal pedagogue.

Common functional voice disorders include:
(a) Throatiness
(b) Unsteadiness
(c) Breathiness
(d) Breaks in voice registers
(e) Voice fatigue
(f) Thin or feeble voice
(g) White tone
(h) Nasality
(i) Huskiness
(j) Hoarseness
(k) Register weakness
(l) Uneven voice

These defects can be corrected through accurate diagnosis and appropriate remedial training. As noted by M.M. Babcock:
"Vocal culture is an individual matter, and the methods of treatment of the voice must be as carefully differentiated according to the needs of the individual as the methods of treatment of any other bodily ailment."

A. Throatiness

Cause:
Throatiness occurs due to excessive tension in the jaw, neck, and chest muscles, which interferes with the optimal functioning of the laryngeal muscles. In this condition, singers often forcefully squeeze the larynx between the jaw and neck muscles to approximate the vocal cords, resulting in a constricted and muffled tone.
Improper tongue posture and tension in its muscles also contribute, as does the raising of the larynx against the hyoid bone or the contraction of swallowing muscles during phonation.

Cure:
To alleviate this tension, begin by relaxing the jaw muscles. Lower the head slightly with the chin tucked inward. Gently move the head side-to-side and let the jaw drop down and back. This relieves tension in the jaw and neck. Yawning with a closed mouth helps lift the soft palate and open the throat passage, further relaxing the laryngeal region.

The tongue should rest flat with its tip touching the lower gum ridge; the base of the tongue must be pulled forward to avoid constriction. Correct breathing—especially avoiding the use of swallowing muscles to close the glottis—is essential. The larynx must stay freely lowered, while the hyoid bone remains elevated, maintaining adequate space between the two.

B. Unsteadiness

Cause:
An unsteady or wobbling voice arises from poor breathing habits and psychological factors such as nervousness or self-consciousness. Using swallowing muscles to close the glottis, having a jumpy jaw, or a trembling tongue also contributes to vocal instability. As V.E. Negus notes in The Comparative Anatomy and Physiology of the Larynx, effective air control relies on a combined lower thoracic and diaphragmatic mechanism.

Cure:
Adopt diaphragmatic breathing to control airflow evenly. This approach prevents tension in the chest and throat and avoids the downward pull of abdominal muscles. Ensure the jaw is tension-free, and relax the mylohyoid muscle at the tongue’s base to prevent quivering. Singing softly within a comfortable pitch range also aids in developing steadiness. Lastly, overcoming mental blocks such as fear or self-consciousness requires dedicated focus on the music itself, shifting attention away from the singer and onto the performance.

Note : The article is based on the book by Prof. SAK Durga " Voice Culture - The Art of Voice Cultivation" 

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Sarangang and its associated Ragas

 I apologise for being late in update the blog ... i was not well to focus mind to write new things because of few emergency. and busy office schedule. 

I appreciate your patience and thank you all for support . now i will update regularly 

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Khamajaang and its associated Ragas

In the vibrant tradition of Hindustani classical music, raga-ang plays a vital role in grouping ragas based on shared musical features. Among these, khamajaang holds a special place for its expressive nature, semi-classical flavor, and flexible melodic possibilities. But what exactly is khamajaang, and which ragas fall under this ang? Let’s delve into this musical framework and uncover its aesthetic identity.

The term "khamajaang" refers to a stylistic family of ragas that either belong to the khamaj thaat or display melodic behavior resembling raga khamaj. It is not limited by thaat alone; rather, it is a practical categorization based on performance style, note treatment, and emotional flavor. Raga khamaj is known for its sweet, romantic, and graceful character. It generally uses shuddha Ni (natural seventh) in ascent and komal ni (flat seventh) in descent. This blend adds a semi-classical nuance, which makes it versatile for light classical forms like thumri, dadra, and bhajan.

Khamajaang ragas are identified by certain common traits. While they are mostly drawn from the khamaj thaat, their key feature is the use of both shuddha and komal ni, typically treating shuddha Ni in ascent and komal ni in descent. The notes patterns like Sa Ga ma Pa, Ga ma Pa Dha ni Dha Pa, Dha ma Ga, Ga ma Pa Ni Ni Sa....... Sa ni Dha Pa Dha ma Ga, ma Ga Re Sa..  These ragas evoke moods associated with romance, devotion, or gentle charm and are often performed in the evening or night. Because of their expressive nature, they are equally suited to classical and semi-classical renditions.

Several ragas fall under the umbrella of khamajaang. It is extensively used in thumri, hori, kajri, and bhajan compositions. Raga Desh, Tilak Kamod, Jhinjhoti, Raga Sorath, Tilang  falls uners the raga because these raga notes combination sometimes reflects notes that are prominently used in khamajaang. Like Sa ni Dha Pa , Dha ma Ga  in Raga Desh, Ga ma Pa Dha ni Dha Pa, Dha ma - in Ahir bhairav  shows the flavor of khamaj, especially in its melodic structure and treatment of ni. It is popular in monsoon compositions and even patriotic songs. Tilak kamod is a delicate and beautiful raga that often leans on the khamaj-ang for its graceful appeal. It shows the use of komal ni in descent and often features lyrical ornamentation.

Raga jhinjhoti is a widely used raga in light classical genres and strongly reflects the khamaj identity. It is known for its gentle, lilting movement and is favored for expressive and improvisational singing. Raga khambavati is another example; it shows khamaj-like features and is used in both classical and lighter genres. Raga jaijaiwanti, though structurally complex and also influenced by kafi-ang in places, often carries the melodic essence of khamaj through its ni usage and lyrical movements.

Khamajaang ragas form the core of semi-classical music traditions. These ragas serve as foundational frameworks in thumri, dadra, kajri, hori, and devotional compositions. The flexibility of these ragas allows performers to explore emotional depth and lyrical grace without being tightly bound by rigid rules. As a result, they are particularly well-suited for expressing subtle emotions and romantic or devotional sentiments.

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Ragaang Bhairav and associated Raga

Bhairav is one of the oldest Raga and supposed to be first 6 raga created in the history of Indian Classical Music. It is a morning raga having the deep nuances of peace and arise of energy through the notes. The appearance of the Raga Bhairav is sober and sedate that reflect the power of seriousness and stable setups. 

As we have talked what is Raga and Ragang so i supposed you have read by earlier posts to understand the terminology 

There is huge differnece between the Raga Bhairav and Bhairavang Ragas so lets come to the point thta clarify the difference 

Raga: Bhairav:

Aroh: Sa re Ga ma Pa dha Ni Sa 

Avaroh: Sa Ni dha Pa ma Ga re Sa 

By writing this much only we cannot say this one is actual Bhairav Raga because there are few more Raga whose ascent and descent are very much similar to Raga Bhairav i.e. Gauri, Kalingada, Ramkali, Jogiya etc. 

 In process 

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Classification and concept of 10 thaat in Hindustani Music #indianclassicalmusicvocal #music

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Todiang: Unique prespective of Hindustani Music

Todi is one of the major raga and associated ragang of hindustani music, Todi always resemble the softness and the symbol of separation-"Viyogant" can describe someone experiencing longing or sorrow due to separation from a loved one. Among the Todi Raga the prominent part" Todiaang" is the most crucial phrase that reflect and refract the Ragaang Todi is all adjoining raga of Todiaang.  

Here the Todi is : Sa re ga, re ga re Sa,  in Purbang and Ma da Ni da, Sa. Ni da Ni re. Ni da, Ma ga re ga re Sa 

Note : Komal swar/ Flat notes are written in small letter and Suddh/ natural notes are in Capital. Madhyan is Tivra sso sharp madhyan is written as "Ma". Higher octave notes are written followed by "dot" after the note. 

More or less the combination of these notes with any other "aang" in any of the Raga resemble the "Todiaang". There are many Ragas classified under the Todi Thaat but Todi Thaat is not the Todiaang. Raga Multani is not the Todiaang Raga but fall under the Todi thaat. we never use Pa Ma ga re ga re Sa in Multani. The phrase of Todiaang is called Todi Raganga and used in various note combination to create a new Raga. Like Gujari Todi, Pancham note is completely abandon and follow the similar sequence of Todi. Bhupal Todi, Bilashkhani Todi, Badhuri Todi, Hussaini Todi Parameshwari, Anjani Todi, Lachari Todi, Malgunji, Ahari Todi, Bairagi Todi  are few examples. these raga are create with mixing the todi in nay other Raganag . 

More Practical related knowledge and lectures you can catch me on https://youtube.com/shorts/IfD11CDeYJY?si=rTFLQ_CEyKTG6AGL

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