 You dove into Laurence and Arabia with a gasp and a sigh. You needed some water, the book was so dry. Go back to our stupid reaction to get some Corbin Oh, Rick And you follow me on Instagram and Twitter What did you think of it? It's so cool I think it's on Patreon, follow us on Twitter, count ring, bell over there, get squawked BAM! Follow us on our personal YouTube channels BAM! Links in the description below BAM! Today we're reacting to a Fight scene! No Oh This is called What is Rock? That's cool Yeah, so this is a video This is explaining Explaining Rock Cool To, uh, so Um, here, read this for me Good night Nice paragraph The video was about classical music Explained very nicely by a classically trained artist It explains what a rock is You've reacted to many Darbar videos And I have heard your comments about how a performer is saying random words Well, guess what? They're not random at all Rahat Fati Ali Khan, for example, does this really well You've reacted to his Coke Studio songs And then noticed how he plays with notes These notes are equivalent to Do Re Mi Fa So Which is fine in a Western context Indian classical, Hindustani, Carnatic, etc. Take these notes that are called Sargon Sa Re Ga Ma Pa Da Mi Sa I'm sure I mispronounced those In ascending and descending order To make a rock An artist can sing these notes in various permutations And combination To form a rock So, like they did in Rock simply means hue or color And if you ask me Music is nothing but a form of color which you can hear Cool Beautifully expressed and explained Uh, yeah So in that song from the sound of music She basically does with Do Re Mi Fa So La Ti Do What they do in a rock Where they take what their notes are And they mix them around Because when you listen to that song She says you can mix them up So Do La Fa Mi Do Re And they mix them all up And I'm guessing that's exactly what the description was Is they take those things And just move them around To make completely different Uh, intervals So it's about time for us to actually learn Since we've reacted so much All the time Um, so this is exciting And thank you for that description That was a magnificent description Here we go This was an attempt of mine in singing Raag Bhairav Uh, many of y'all might be having this doubt What exactly is a Raag? Hmm, why won't we take this up today? Well then, welcome to this episode The basic theory of making music Right where you are coming If you are watching this episode today Many of y'all might be acquainted to Indian classical music Many might not be But I'm sure that each and every one of y'all Must have heard this term Raag At least once in their lifetime Well, this term of Raag Is very unique to Indian classical music And it forms its backbone In Hindustani, it is called as Raag In Karnataka, it is called as Raagam And many people also call it Raaga Which is actually an anglicized version of the term Raag But it all boils down toward Or it all means the same thing Now coming back to the question What is Raag? Well, in the simplest terms Raag means a melody Which is used to express a feeling Now you will ask, what is a melody? Melody is a year-pleasing combination of musical notes But mind you that a Raag Is not a very random combination Or a random melody To understand the concept of Raag You will have to understand the three layers Which form a Raag Or the three steps in the formation of a Raag The first step is understanding that Raag is a set of notes Arranged in an ascending and a descending order The ascending order is called as Aroha While the descending order is called as Avroha There have to be minimum Five notes in the ascending and five in the descending The number of notes in a Raag Determine what we call as the jati of the Raag So if there are five notes in the ascending And five in the descending Raag is what we call as Odav-Odav-Jati-Raag Odav means five The example of Odav-Odav-Jati-Raag Is the Raag-Bhup Which has five notes in ascending Five in descending Sare-Gapad-Hasa, all original notes Sare-Gapad If there are six notes in the ascending And six in descending It is called as Shadav-Shadav-Jati-Raag And if there are seven notes In the ascending and descending Or just Sampurna-Jati-Raag Now interestingly there are some Raags Which have a mixed jati Like they have five notes in ascending And seven notes while descending So it is called as Odav-Sampurna-Jati-Raag Similarly many have five notes while ascending And six notes while descending Making it Odav-Shadav-Jati-Raag And so on and so forth A Raag is formed by the combination Of the notes in this set And while singing one Raag You cannot use the notes Beyond this set You have to use only the notes from this set If you use something which is not In this set then you will be Breaking the rules of the Raag Which is not at all acceptable Now comes step number two The second step is knowing that Every Raag has a chalan Or there are rules when it comes To combination of notes For western music students Exactly the difference between The western concept of scale Or mode and the Indian concept of Raag When it comes to a scale or mode You can have The combination of any note With any note in the set While in Raag You cannot combine randomly There are specific rules And at the same time there are Key phrases or Key combination of notes That one has to use Because these phrases Or combination of musical notes Give Raag its identity Now to take an example of the second step Let's take the Sampurna Jati Raag of Yaman Which has Because it is Sampurna it has The seven notes But instead of taking the original Positioned maa We are taking the variant of maa Which is tibra maa So the set sounds something like this Sare gama Or elaborating Raag Yaman Your teacher will tell you That Yaman does not Really take the phrase sare gav Instead The phrase nire gav Forms the identity of Yaman So instead of taking Sare gama Which gives Yaman its identity Is the combination of the notes Pa and re So it's something like this One is probably that While you are Ascending And you are going beyond the per You are not supposed to take the note per You are supposed to omit per So you can't sing it in this manner nire It should be nire All the seven notes So nire The concept of chalan in the raag is very interesting Because you know you can have two raags With the same set of notes Of each raag is different And that gives The flavor to the raag And distinguishes one raag from the other For example, let's take the raags Raag Maruwa and Raag Sohani They have exactly the same notes Six notes in ascending and six in descending But the chalan is different The set of notes sounds Something like this Sare gama Maruwa Your teacher will tell you to rest on re So it sounds like this Raag Maruwa Test on re and dho You see how the raag got a very contemplative feeling It's as if a man Is thinking about the meaning of life And thinking about Deep philosophy At the same time with the same set of notes You can create raag sohani Which is a chancharraag Which is a little restless raag Which sounds something like this Sare gama Who is contemplating about life Instead you will think of a person Who is a little zestful A little bit agitated And is always stores always So that is how The chalan is very important And it gives the flavor to every raag And makes the raags distinct Even if they have the same notes Now that I know about Step one and step two Let me try singing raag yaman for you I will sing the set of notes In yaman and Definitely I will combine the notes Using the rules of the raag Raag yaman Had the same set of notes I used the rules of combining But why didn't it sound like Raag yaman Well at this point the third step Is very important Raag is not complete Without the use of specific Ornamentation in the raag In classical singing In the singing of raag The ornamentation of kanaswar Is very important Now the notes in Raag are not taken plainly They have kanas Or the touch of other surrounding Notes and that is what Gives the beauty to the note Now for example Using raag yaman plainly This becomes very plain But using the kanaswar it becomes I actually gave the touch of Gurturi And then I was singing The notes in between also Kanaswar or the shadow notes Or the notes that you just touch They are not pronounced You just touch them and say You have it high and come back So that is the intricacy Of singing a raag The minute detail Huge differentiation between eastern and western That increases the beauty of raag And gives it its structure Just like how the human body Is made up of layers Like the layer of bones Layer of muscles and tissues And then the layer of skin And then only it becomes a human body Similarly a raag is also formed of The layer of the set of notes Then to add on it The layer of chalan and the layer of ornaments These elements together Combined together Interacting with each other will give you a raag I hope this episode was informative enough And all the doubts that you had Regarding the concept of Raag have been clarified Well if you found this episode interesting Then please do like the video Share the video And subscribe to my channel That's all for today's episode I will love to see you in my coming episodes Till then take care And please be with you She's delightful She was great, absolutely lovely I just went to like a college course On Raag It was magnificent Very well explained for an idiot like myself Who knows nothing of western Or eastern music outside of this It seems like Like I think there was a lot of That you think that Eastern music, just by hearing it Doesn't have a lot of rules Because it sounds so random So fluid and random And as we've learned From Zakira's saying There is some improvising But there is still the structured rules Which is why I think a lot of them From childhood This is what they're training to do With their guru It was very well explained for To somebody like me Who has no idea of eastern or western I feel like I understand That's wonderful I was going to ask you what that was like for you If it was something that made you feel lost Or if it was something that made you feel cause I can't I'm still lost obviously It's good to know that it came across that way Because for me who has a background With music There were things that I already come from A vantage point where I could understand You're not privy to And that just speaks all the more About how good she was at communicating that She was fantastic in that communication I knew there was structure Did not know it had The three layer aspect to it I knew ornamentation was in there But I didn't know what it was called Nor did I know how they apply it And it's funny The Not just the modality of the music Which is a term that has to do with The circle of fifths and the notes That are used or not used in western Versus eastern music but even our instrumentation Cause the majority of our music Is written Keyboard, again you know harps Accords and then pianos As well as Fred of instruments like guitars Which really don't give a lot of wiggle room For the in-betweens like she said I love the way she described that And says hello and gives a little touch A little kiss to the note that's in between there That in our music We only get to it if a soloist bends On an electric guitar Or a saxophonist bends Or a violinist does some type of a bend For the most part We stick within those particular Quarters You know, not quarter note But half steps between music Whereas Indian music and you're right It sounds so free flowing But the exact opposite is true It's quite Structured And it's amazing how free it sounds It reminds me My favorite form of poetry Is I am a pentameter Which is 10 beats per line So you say My friend is coming Over here today That's 10 lines And then the next line is 10 Add an 11th beat Which is called a breath Shakespeare did it in 2b or not 2b That is the question And Chaucer was like Captain of I am a pentameter One of my Favorite things about writing In I am a pentameter is that The structure Releases a creativity that wouldn't otherwise be It's one of my favorite things to talk about in art How it's one of the great Evidences That structure will release creativity When it feels Maybe it's prohibitive, it does the opposite And I think that's exactly what happens here These structures that inherently Feel prohibitive at first Once applied and learned Become freeing And that's what we get to hear It's amazing It was crazy while listening to her And her adding stuff You could just recollect all the stuff we've heard About people doing it And it was also reminiscent of The wonderful conversation we got to have with Ms. Drucker-Borthy Who was just an encyclopedia Of information and Intellect If you haven't seen that interview Please do Not for us because we didn't get to talk much Because she was just such a Encyclopedia of information It was lovely Loved talking to her The difficulty level 2 To go backwards To hit the notes that she hit Whether it was a 5 or 6 or a 7 Whatever it is I was listening to the specificity With which she has to hit those notes As she returns And she didn't just hit the notes She hit the embellishments, the ornaments That is so freaking hard I can't even begin to tell you guys She made it look so easy That takes years of training Years and years of training And pretty much needing to have Pretty close to perfect pitch It was also reminded of our lovely friend Who sang for us Who was lovely If you're watching Love you This was great I feel like we can now understand it And appreciate it even more than we already do We appreciated it quite a bit I love knowing this If there's more informational videos We can do stuff like this too So we can understand the art form Teach us more And he's a teacher so He's a bitch for teaching