Playing Harmonium

7/24/2019 Playing Harmonium

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Keyboard Keys Specifications

Mandra Saptak: *s *r *g *m *p *d *n

Madhya Saptak: s r g m p d n

Taar Saptak: s* r* g* m* p* d* n*

Sharp Notes in Madhya Saptak: R G M D N

Sharp Notes in Mandra Saptak: *R *G *M *D *N

Sharp Notes in Taar Saptak: R* G* M* D* N*

For madhya saptak, notes are given as s, r, g, m, p, d, n for sa re ga ma pa dha ni sa.

For mandra saptak, a star (*) symbo is atta!hed before the note so, notes are presented

for mandra saptak as " *s *r *g *m *p *d *n.

For taar saptak, star symbo is atta!hed after the note, so for taar saptak, notes are givenas : s* r* g* m* p* d* n*.

Notes for ba!k keys or sharp notes are #ritten as !apita etters.

Tu Pyar Ka Sagar Hai


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$osted on Febr%ary &', &

For synthesier key spe!ifi!ations " Click here

Keyboard Notes for Tu Pyar Ka SagarHai

++++++++++++++++++++++++++++++++++++++++++++++++++++++++

g mgr grs r rgm pd Ndp dpm pmg% pyaar+ka saagar hai teri ek boond+ke pyaase h%m

gmg rg rsr rgm pdNd pdpm pmg

-a%ta+o diya t%ne !hae aayenge ahaan+se h%m

g mgr grs r rgm pd Ndp dpm pmg

% pyaar+ka saagar hai teri ek boond+ke pyaase h%m

M%si! " *d *N *d mgrR *d *N *d pmgr *d *N *d Nd

dr* s* Ndp dNs* N dd mmp ds* Nd

Ghaaya mann+ka paaga pan!hhi %dne+ko be/araar

dr* r* s ndpp dNs* N ddd

$ankh+hai koma aankh+hai dh%ndi

mmp ds* Nd d g* r* Npmg pmgr r

aana+hai sagar paar aa aana+hai sagar par

gg mg rg rsr gm pdNd pdpm p mg

0b t%+hi isse samha raah bhooe the kahan+se h%m1


r* r* Npp dNs* Ndd

2dhar+hoomti gaaye indagi

mmm mpd Nd pNpmg ggm pd Nd3dhar+hai ma%t khadi 444 %dhar+hai ma%t khadi

r* r* s* Ndp dNs* N dd

5oi+kya aane kahan+hai seema
http://www.synthesizernotes.com/devotional-songs/tu_pyar_ka_sagar.htmlhttp://www.synthesizernotes.com/keys.htmlhttp://www.synthesizernotes.com/devotional-songs/tu_pyar_ka_sagar.htmlhttp://www.synthesizernotes.com/keys.html


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mmmm mpd Nd g* r* Nppm gp mgr

3han aan padi 44 3han aan padi


+++++++++++++++++++++++++++++++++++++++++++++++++++++++

Movie : 6eema

6inger : Manna Dey

M%si! Dire!tor : 6hankar 7aikishan-yri!ists: 6haiendra

http:88###.hit9p.!om8keyboardm%si!notes8hindisongs8t%pyarkasagarhaiseema

keyboardm%si!notations8

http:88###.synthesiernotes.!om8devotionasongs8t%+pyar+ka+sagar.htm

Harmoniumis a keyboard, and so these lessons apply equally to tto the electronic synthesizer keyboard. The important difference is that yoelectronic keyboard with your LEFT hand also; but for harmonium, your lepumpin the bellows to force air under pressure into the inside of the harm

left hand is used for chords. "n ordinary keyboard is sufficient to master afollow. !f you already ha#e a keyboard, you do not need to buy anythin eperformances, you can use a synthesizer keyboard or a harmonium, depecon#enience and a#ailability. $armonium traditionally suits better for accoperformance of %hazals, Thumri, !ndo &akistani classical music, and sommusic. For accompaniment to mo#ie sons, and all #arieties of sons, this the preferred choice. 'eyboard offer a wide #ariety of instrument soundare i#en below(

Chordophones

)la#ichord

Electric piano &iano

)la#inet

$arpsichord

Aerophones

"ccordion

$armonium &ipe oran

*eed oran

&ipe oran

Electr

E

ke E

+w
http://www.hitxp.com/keyboard-music-notes/hindi-songs/tu-pyar-ka-sagar-hai-seema-keyboard-music-notations/http://www.hitxp.com/keyboard-music-notes/hindi-songs/tu-pyar-ka-sagar-hai-seema-keyboard-music-notations/http://www.synthesizernotes.com/devotional-songs/tu_pyar_ka_sagar.htmlhttp://www.hitxp.com/keyboard-music-notes/hindi-songs/tu-pyar-ka-sagar-hai-seema-keyboard-music-notations/http://www.hitxp.com/keyboard-music-notes/hindi-songs/tu-pyar-ka-sagar-hai-seema-keyboard-music-notations/http://www.synthesizernotes.com/devotional-songs/tu_pyar_ka_sagar.html


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!n a keyboard the instrument sound you choose is called a #oice. efore you play a son, choosea #oice that you like. &ractice selectin different #oices, and remember the settin for the onesyou prefer. Look your keyboard owners manual to help you. /hen you play the sons you canuse any sound you wish. The rhythm controls pro#ide drum beats to play alon with. Theserhythm beats are also called styles. The drum rhythms or kits can be chaned to suit the kind of

son. !f you ha#e a keyboard equipped with floppy dri#e or flash usb media then you may copyrhythm styles in your keyboard which can be played usin user style button. +elody keys areused to play the tune by riht hand. The chord keys are used to play alon with the melody withyour left hand. )hords make the son sound full and harmonic. !f you do not know how to playchords then you may use auto chord accompaniment.

Learning Keyboard in Desi Style

The article here is to teach you keyboard in 0esi tyle and in the end you will be able to play!ndian and &akistani raa based film sons. $armonium, keyboard and synthesizer keyboard aretaken to mean the same thin, and are called simply the 1keyboard1. The notations are used todescribe the keys on the keyboard( !n our lessons for con#enience, the reference note, called thetonic or the a, is assumed to be the first black key, indicated by the letter 11. !f you want to

sin-alon music then you may assin any key as 1a1, accordin to your #oice scale.

!n this article the finerin system of keyboard and harmonium is kept same so, that we will beable to play both instruments. +ost people who play harmonium find keyboard difficult due todifferent finer assinments. ome musicians use first white key as startin or reference note2a3 but we will use first black key as our startin reference note for quick learnin..

'eyboard "nd )omputer +usic

+usic can be defined as collection of small pieces of reular sound played at predefined timeinter#al. !t is the small water droplets that make the ocean, likewise music is also an ocean thatis made up of small parts, it is called a 4note5. "n inenious collection of these notes played o#er

a period of time results in a melody which could be a +ehdi $assan or " . *ahman son.$ence both western and !ndian music has a set of basic notes from which they row, somethinlike alphabets. There is new concept e#ol#in called 4computer music5 where a musiciane6plores beyond the basic notes that are defined in music. !n cubase it is possible to e6plorebeyond basics. Today almost all the keyboards are computerized and produce +!0! music.+!0! means musical instruments diital interface. +idi music is editable in computer or in +!0!keyboards and midi music can be produced with 78 indi#idual tracks of different instruments.

Let us see more on Notes. 49otes5 what are they: 9ote can be technically e6plained as a soundfrequency. "ctually the sound that is produced when you press a key on musical keyboard iscalled as 49TE5. !t does not matter if you press the white key or the black key. Each key playsa predefined frequency. " frequency is number of cycles per second. The note ets its shape bythe amount of time you hold down the key and release it. This is called the note lenth or

duration. $ence to make a 4tune5 or a 4melody5 or 4son5 you should play a bunch of thesenotes at proper duration and lenth.

Western Music Notes Verses Indian

!ndian classical music has < basic notes 2a *e %a +a &a 0ha 9i3, with fi#e interspersed half-notes, resultin in a 7=-note scale. >nlike the 7=-note scale in /estern music, the basefrequency of the scale is not fi6ed, and inter-tonal aps may also #ary. efore we can learn howto play scales chords and #arious proressions it is #ital that we learn the notes on keyboard


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or harmonium and how they relate to each other. The best way to describe the notes on thekeyboard is by comparin them to the notes of the alphabets. The first se#en notes of thekeyboard are 2 " - - ) - 0 -E - F - % 3. Each note differ with each other in sound. 9otice thatthe se#en notes of keyboard repeat themsel#es o#er and o#er aain. The notes sounds thesame but the pitch differs. For e6ample if you play ) and mo#e to the riht until you find thene6t ), you will notice that if you play them simultaneously, both notes sounds the same butone is hiher than the other. !t is a well-known fact that !ndian music is based on melody and/estern +usic on $armony. This does not mean that /estern +usic does not include melody. !nwestern music, the harmonizin effect of different instruments and #oices i#en to a certainmelody plays the important role. !n a similar manner in !ndian music the melody has an upperhand. >sually, it is said and belie#ed that harmony doesn?t play a role in !ndian music. ut, to myway of understandin, harmony is equally important in !ndian classical music performancethouh, not the way it is used in western music. !n !ndian music the harmony effect is a steadycontinuous drone effect created usually by a @Taanpura?.

lease read care!ully"

+iddle ) marks the center of the keyboard. "s you will notice the ) maAor is the easiest andsimplest scale of the twel#e. !t consists all the white keys from any startin ) to the ne6t

octa#e ).

" standard semi professional music keyboard has BC keys. Dou will see B sets of 7= keys.This 7= set of notes is technically called an octa#e. /hy 7=, why not 7:, %ood question.The aim of this article is to keep it simple; /estern is based on loarithmic di#ision. Dou canstart playin !ndian or &akistani son from any note and startin note will always become ourreference note or a. *emainin notes will be arraned accordin to thaat or scale of the son.!t is more easy to start our $indi scale or thaat from first black key. !n western music also, fifthnote from ) is as th. !n !ndian music 4a5 note is based on your reference note or the key youselected for startin point as a. /e can further o in deep by playin son in raa of thatparticular thaat.

!n the western music system the 4) note5 itself does not chane and 4scales5 denotes the pitch

chanes. /estern music system has an 4absolute5 namin for the keys whereas in !ndian thenotation is 4relati#e. 0esi music ha#e combined both. !n the se#en tone-scale the second, third,fourth, si6th, and se#enth notes can be sharp or flat, makin up the twel#e notes in the/estern scale. $owe#er, raas can specify microtonal chanes to this scale( a flatter second, asharper se#enth, and so forth. Furthermore, such #ariations can occur between styles, performersor simply follow the mood of the performer. !n !ndian music there is no absolute pitch; instead,each performance simply picks a round note, and the other scale derees follow relati#e to theround note.

9ote( 4a5 does not 4map5 always onto 4)5. !t could start at F and still form a * % + & 0 9scale in which case the correspondin western notes also chane. &resently you may relate the4a5 of !ndian to 4)5 of /estern which is fortunately identical to each other . " scale is a set of AB) is beieved to have been a

member of the !o%rt of 0kbar. Eis en!hanting m%si! is beieved to have had the po#er to bring rains and

ight amps. M%si! #as aso be!oming more pop%ar and #as no onger the preserve of the %pper !asses.Most !ompositions had initiay been in 6anskrit b%t by the si9teenth !ent%ry they #ere being !omposed in

vario%s diae!ts of Eindi ra hasa and hop%ri among them as #e as $ersian and 3rd%. 2t #as

d%ring this phase that t#o separate systems emerged as a res%t of the 2sami! inf%en!e on the e9istingsystem in Northern and !entra 2ndia #hie the so%th remained free from this domination. his ed toemergen!e of t#o forms of 2ndian M%si!. Eind%stani (North 2ndian) and arnati! (6o%th 2ndian).

he arriva of ritish r%e sa# the vioin entering the repertoire of 6o%th 2ndian m%si! in the mideighteenth

!ent%ry. 2n the time of ahad%r 6hah afar the ast 5ing of M%gha empire, m%si! deveopment #as imitedand poetry deveoped. 0 signifi!ant deveopment #as the %se of m%si! to promote nationaism d%ring the

2ndian freedom str%gge. he t#entieth !ent%ry aso sa# the arriva of 2ndian !inema, #hi!h f%rther

pop%aried m%si! among !ommon man. he post independen!e period sa# !assi!a 2ndian m%si! gaininggoba re!ognition. Ravi 6hankar, one of the greatest payers of the 6itar, #orked #ith the eates #hie


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0i 0kbar 5han pop%aried the 6arod in the #est. he t#entieth !ent%ry aso sa# !oaborations bet#een

2ndian and #estern m%si!ians. s%!h as Ravi 6hankar and eh%di Men%hin. his merging of t#o streams of

m%si! is often referred to as f%sion M%si!.

Ne# generation of artists ike himsen 7oshi, 0mad 0i 5han and ismiah 5han bro%ght finest traditions

of 2ndian m%si!. Fim m%si! is ho#ever, the most pop%ar m%si! in 2ndia and $akistan today and pop%ar

2ndian fims are sedom #itho%t songs. 3rd% Ghaa aso got pop%arity and pop%ars Ghaa singers ikeMehdi Eassan, Gh%am 0i, 7ageet and many others emerged #ith a ne# stye. haans and La#ai asoretain their pop%arity.

!90!"9 )L"!)"L +>!) 9T"T!92ndian m%si! is traditionay pra!ti!eoriented and %nti the &th !ent%ry did not empoy notations as the

primary media of instr%!tion, %nderstanding, or transmission. he r%es of 2ndian m%si! and !ompositions

themseves are ta%ght from a g%r% to a shishya, in person. Eo#ever, the notation is regarded as a matter of

taste and is not standardied. h%s there is no %niversa system of notation for the rest of the #ord to st%dy2ndian m%si!. he !ompe9ity of 2ndian !assi!a m%si! !o%d not be e9pressed in #riting.

9TE !9 " "&T"'The !ndian musical scale is said to ha#e e#ol#ed from notes to a scale of < primary notes, onthe basis of == inter#als. " scale is di#ided into == shrutis or inter#als, and these are the basis ofthe musical notes. The < notes of the scale are known to musicians as a, *i, %a, +a, &a, 0aand 9i. The eihth note is a repetition of the first and is therefore an octa#e hiher. The roup ofse#en notes is called a saptak. !n western music these se#en notes are identified as ) 0 E F % ". These < notes of the scale do not ha#e equal inter#als between them. " aptak is a roup of armonium ma?or chords,or any chord for that matter, are formed bycombinin two or more notes. 9ow, when you from maAor chord, it isrecommended you form them usin the =nd,7st and th finers of your riht

hand. Dour thumb is the first finer inde6 finer is the =nd and pinky is the thfiner. " chord is a combination of three 2or more3 notes played at the same time.

"ll maAor chords are formed by playin simultaneously three notes, accordin todefinite rules.

!n keyboards chords are played mostly with left hand. ince we are learninharmonium so, your left hand will be busy in pumpin bellows. !n this situation wewill play chord and melody with the riht hand only.

"s we ha#e already defined in our pre#ious lessons that any key can become aa or our startin note; but in our lessons we ha#e assumed the first black key tobe the a 23, for con#enience and simplicity. &lease see diaram abo#e. Thereare a number of chords in western music but !n harmonium lessons we will onlyuse only maAor and minor chords. " maAor chord is formed when wesimultaneously play three notes -%-& or you will play numbers numbers 7--C.we will name this chord as N. $armonium chords are also called desi chords.

$armonium komal and ti#er notes with their numbers are i#en below as shownin the abo#e diaram.

a as key number 7. key number( 7

'omal r as key number =. r key number( 7

Ti#er * as key number . * key number( 7

'omal as key number B. key number( 7

Ti#er % as key number . % key number( 7

'omal m as key number 8. m key number( 7

Ti#er + as key number


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Ti#er % as key number 7


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7armonium minor chordsare shown by symbol L. " minor chord is formedwhen we play three notes at the same time toether e6ample --& withnumbers 7-B-C. elow i#en is the complete list of minor harmonium chords(

/hate#er is our beinnin note to start playin e.. if we select first black key asour a, the minor keys will maintain their names similar to, for e6ample,r minorchordwill maintain their symbols rL, will maintain their key numbers as, fore6ample, /4-4@, will maintain their notes combination as, for e6ample, r434d. rwe can write simply as(

r minor chord+ symbol rL+ 'ey nos, /4-4@+ notes r434d

minor chord, symbol L,keynos. 7-B-C,

notes --&

r minor chord, symbol rL,keynos. =--Q,

notes r-%-d

* minor chord, symbol *L,keynos. -8-7,

notes *-m-0

minor chord, symbol L,keynos. B-


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nos. 8-Q-7,

+ minor chord, symbol +L,keynos.

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Playing Harmonium