{"id":17,"date":"2013-12-26T22:08:48","date_gmt":"2013-12-26T22:08:48","guid":{"rendered":"http:\/\/goddenmusic.com\/word\/?page_id=17"},"modified":"2024-10-10T23:51:05","modified_gmt":"2024-10-10T23:51:05","slug":"aacm-notation","status":"publish","type":"page","link":"https:\/\/goddenmusic.com\/index.php\/aacm-notation\/","title":{"rendered":"AACM Notation"},"content":{"rendered":"

Modern Indian Music Notation <\/span><\/b><\/p>\n

as developed at the Ali Akbar College of Music<\/span><\/b><\/p>\n

Shudha = Natural
\nTivra = Sharp
\nKomal = Flat<\/span><\/p>\n

The notes of the octave have names that are abbreviated into single letters. The upper case print: “G” or “GA” means natural and is called “Shudha G”. There is only one sharp or Tivra note and that is “Tivra MA ” – the sharpened 4th. The Natural 4th is called “Shudha ma”.<\/span>
\nLower case print means flatted – “Komal g”<\/span>.<\/p>\n

The names of the notes in the twelve note octave from India music, and Western music.<\/span><\/p>\n

\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

SHRUTI NAME<\/b><\/span><\/p>\n<\/td>\n

\n

INDIAN
\nNOTATION<\/span><\/b><\/p>\n<\/td>\n

\n

WESTERN
\nNOTATION<\/b><\/span><\/p>\n<\/td>\n

\n

SOLFEGE<\/b><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Shadaj ———–<\/p>\n<\/td>\n

\n

SA – S<\/p>\n<\/td>\n

\n

C<\/p>\n<\/td>\n

\n

DOH<\/p>\n<\/td>\n<\/tr>\n

\n

Komal Rishabh —<\/p>\n<\/td>\n

\n

re – r<\/p>\n<\/td>\n

\n

Db or C#<\/p>\n<\/td>\n

\n

\n<\/td>\n<\/tr>\n

\n

Rishabh ———-<\/p>\n<\/td>\n

\n

RE – R<\/p>\n<\/td>\n

\n

D<\/p>\n<\/td>\n

\n

RE<\/p>\n<\/td>\n<\/tr>\n

\n

Komal Ghandar —<\/p>\n<\/td>\n

\n

ga – g<\/p>\n<\/td>\n

\n

Eb or D#<\/p>\n<\/td>\n

\n

\n<\/td>\n<\/tr>\n

\n

Ghandar ———<\/p>\n<\/td>\n

\n

GA – G<\/p>\n<\/td>\n

\n

E<\/p>\n<\/td>\n

\n

MI<\/p>\n<\/td>\n<\/tr>\n

\n

Madhayam ——<\/p>\n<\/td>\n

\n

ma – m<\/p>\n<\/td>\n

\n

F<\/p>\n<\/td>\n

\n

FA<\/p>\n<\/td>\n<\/tr>\n

\n

Tivra Madhayam –<\/p>\n<\/td>\n

\n

MA – M<\/p>\n<\/td>\n

\n

Gb or F#<\/p>\n<\/td>\n

<\/td>\n<\/tr>\n
\n

Pancham ——–<\/p>\n<\/td>\n

\n

PA – P<\/p>\n<\/td>\n

\n

G<\/p>\n<\/td>\n

\n

SOL<\/p>\n<\/td>\n<\/tr>\n

\n

Komal Dhaiwat —<\/p>\n<\/td>\n

\n

dha – d<\/p>\n<\/td>\n

\n

Ab or G#<\/p>\n<\/td>\n

\n

\n<\/td>\n<\/tr>\n

\n

Dhaiwat ———<\/p>\n<\/td>\n

\n

DHA – D<\/p>\n<\/td>\n

\n

A<\/p>\n<\/td>\n

\n

LA<\/p>\n<\/td>\n<\/tr>\n

\n

Komal Nishad —<\/p>\n<\/td>\n

\n

ni – n<\/p>\n<\/td>\n

\n

Bb or A#<\/p>\n<\/td>\n

\n

\n<\/td>\n<\/tr>\n

\n

Nishad ———-<\/p>\n<\/td>\n

\n

NI – N<\/p>\n<\/td>\n

\n

B<\/p>\n<\/td>\n

\n

TI<\/p>\n<\/td>\n<\/tr>\n

\n

Shadaj ———-<\/p>\n<\/td>\n

\n

SA – S<\/p>\n<\/td>\n

\n

C<\/p>\n<\/td>\n

\n

DOH<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n

The TEN THAATS of North Indian Classical Music<\/span><\/p>\n

\n

 <\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Bilawal\u00a0 —-<\/span><\/p>\n<\/td>\n

\n

SRGmPDNS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Khamaj —-<\/span><\/p>\n<\/td>\n

\n

SRGmPDnS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Kafi ——–<\/span><\/p>\n<\/td>\n

\n

SRgmPDnS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Asavari —-<\/span><\/p>\n<\/td>\n

\n

SRgmPdnS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Bhairavi —<\/span><\/p>\n<\/td>\n

\n

SrgmPdnS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Bhairav —-<\/span><\/p>\n<\/td>\n

\n

SrGmPdNS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Kalyan —–<\/span><\/p>\n<\/td>\n

\n

SRGMPDNS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Todi\u00a0 ——-\u00a0\u00a0<\/span><\/p>\n<\/td>\n

\n

SrgMPdNS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Purbi ——-<\/span><\/p>\n<\/td>\n

\n

SrGMpdNS<\/span><\/p>\n<\/td>\n<\/tr>\n

\n

Marwa —–<\/span><\/p>\n<\/td>\n

\n

SrGMPDNS<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n<\/div>\n

\u00a0<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 .\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 .
\n<\/span><\/b>A dot above a note means Upper Octave (Taar)<\/span>.\u00a0\u00a0 GA or G<\/span><\/b><\/p>\n

A dot below a note means Lower Octave (Mandra).<\/span>\u00a0\u00a0\u00a0\u00a0GA \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>
\n\u02d9
\n<\/span><\/b>Two dots below means 2 octaves below Middle Octave.\u00a0\u00a0<\/span>\u00a0\u00a0\u00a0\u00a0GA
\n<\/span><\/b>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u02d9\u02d9
\n<\/span>No dots means Middle Octave (Madhaya)<\/span>\u00a0\u00a0\u00a0GA<\/span><\/b><\/p>\n

Three Octaves of Bilawal That<\/span>
\n<\/span>\"\"<\/p>\n

In the modern notation system the beats are marked with a scoop underneath. Each beat can be\u00a0divided of into micro-beats of: one, two, three, four,\u00a0or more micro-beats.\u00a0 Below is an melodic example in\u00a0Bilawal Thaat. It is in the 8 beat rhythm cycle (Tala) called Kahava.
\nKahava has two tals of 4 beats each. The first beat is Sum –\u00a0 the struck beat which is marked with\u00a0<\/span>+<\/b>,\u00a0<\/span>and is shown with a clap of the hands.<\/span>\u00a0<\/span>In Kahava the half way beat (fifth beat) is Kali – the unstruck beat which is marked with\u00a0O,<\/b>\u00a0 and is shown by a wave of the hands. The phrase marks show a syncopated figure of: 123’123’123’123’1234, an often used sixteen note rhythmic pattern.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\"\"<\/p>\n

Below is a melodic example in Bhaivav That. It is in a seven beat rhythm cycle called Roopak. In Roopak the first bar of 3 beats is Kali Tal. It is shown with “0” over the first beat.\u00a0 The second and third tals of 2 beats each are marked with a “2” and “3” respectively.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\"\"<\/p>\n

There are several hundred talas and new ones are still being composed. Some of the most common are:<\/span><\/p>\n

Tintal 16 beats 4+4+4+4
\nJhaptal 10 beats 2+3+2+3
\nRoopak tal 7 beats 3+2+2
\nKahava tal 8 beats 4+4
\nEktal 12 beats 2+2+2+2+2+2
\nDadra tal 6 beats 3+3
\nChowtal 12 beats, 2+2+2+2+2+2
\nCharchar tal 14 beats 3+4+3+4
\nDhammar tal 14 beats,\u00a0 5+2+3+4
\nSitarkhani tal 16 beats 4+4+4+4\u00a0 (each tal has syncopated 8th note 3-3-2 beat pattern)<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Modern Indian Music Notation as developed at the Ali Akbar College of Music Shudha = Natural Tivra = Sharp Komal = Flat The notes of the octave have names that are abbreviated into single letters. The upper case print: “G” or “GA” means natural and is called “Shudha G”. There is only one sharp or … Continue reading AACM Notation<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-17","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/pages\/17","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/comments?post=17"}],"version-history":[{"count":3,"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/pages\/17\/revisions"}],"predecessor-version":[{"id":340,"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/pages\/17\/revisions\/340"}],"wp:attachment":[{"href":"https:\/\/goddenmusic.com\/index.php\/wp-json\/wp\/v2\/media?parent=17"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}