SHARPS, FLATS & FREQUENCY

In Music, so many times we come across the terms SHARP & FLAT. Some one says the note is F SHARP & some one says the scale is A FLAT etc. By practice we just accept & say C SHARP, E FLAT, F SHARP & A FLAT like that. Often during the rehearsals we hear that the guitarist adjusting the strings & listening to the pitch of the singer screams out the scale is B FLAT. Now let us understand what are these SHARPS & FLATS. By practice we identify a note as F# but why dont we say G FLAT for this when both are true because when the note F ascends it becomes F# or when the note G descends it becomes G FLAT. Finally F# & G FLAT are the same.
By the word SHARP we mean something ' pointed ' or ' piercing'. Imagine we are at the base of a steep mountain. Standing at the ground level we observe the tip of this cliff & we say its pointed or its sharp. It means we are at the base & our point of concentration is the highest level being our point of observation. It means by making a travel from base & proceding forward/ higher we acheive the highest point which we have confirmed as SHARP. Putting the same logic in music when we take a NOTE of a particular frequency & give an increment to its frequency we arrive at a particular frequency where the note gets SHARPENED, at that instant we say that the second note is the SHARP of the first one. The reverse order is also true. Thats,when we start decresing the frequency of the note we get the lower frequency where we say the Note is FLAT of the first one. Therefore SHARP & FLAT are inter related.
We conclude that the increase in frequency of a note to a particular value is the SHARP of that note & the decrease in frequency of a note to a praticular value is the FLAT of that note.
For example when note F steepens it becomes F# & when the same note F# widens that becomes note F.

Now coming to the word FREQUENCY & what does it mean in actual. The word frequency is dervied from the word 'Frequent' which means OCCURING OF AN ACTIVITY DURING A PARTICULAR TIME WITH AN INTERVAL. When the time interval , which we say GAP as a lay man , is more than the occurence , we say its less frequent & Vice versa. In music, frequency means the vibration of sound waves & the time interval is considered as one second. Therefore the frequency of a particular musical note is the vibration of its sound waves per second. Internationally the frequency of the note A is taken as the reference & all the rest of the notes have been designated with respect to this A note. The frequency of vibration of sound waves for this note A has the value 440 Cycles per second. According to the name of the scientist of its discovery the unit of frequency is also known as HERTZ & in short written as HZ.. Note A has the frequency of 440 HZ. This A belongs to the fifth octave & denoted as A4. About the OCTAVES it will be explained in the future posts. This note A has been taken as the reference because in olden days A was taken as the start with the notes of the scale as A,B,C,D,E,F,G & A of the next octave. You can observe in a key board all these notes are the white keys. Gradually due to the advent of the Major & minor scales this notes pattern of A scale became the A minor scale. This A was replaced by the note C as the threshold creating the C scale with the notes as C,D,E,F,G,A,B & C of the higher octave in the ascending order of the scale. This C scale has all the white notes on a key board making it the C Major scale with all the notes being the natural ones.
As regards the concept of OCTAVES, MAJOR , MINOR SCALES & CIRCLE OF FIFTH etc we will discuss in the future posts.

BAHARON PHOOL BARSAO - SARGAM

I am herewith giving the notations of the song in SARGAM. Please note that these are the notations when you play a C chromatic harmonica creating the scale of A minor. Please dont get confused that the note ' GA ' is not the komal ' ga ' of the base raag Shivranjani. With these notations note ' C ' becomes the ' ga ' of scale A minor. Therefore ' GA ' here, is the ' PA' of A scale.Please note that this ' PA ' position remains unchanged irrespective of the scale being a Major or a minor.
Some friends have requested for the hole numbers, since the notation pattern is still to be learnt by them. Our next posting of the same song identifying the hole numbers for practising this song.

BAHARON PHOOL BARSAO = GAGA MA DHA DHANISA... .SA..SASANISA

MERA MEHEBOOB AYA HAI = SASASASA NI- DHA-MAMADHANI-NI

MERA MEHEBOOB AYA HAI = NI - NIDHA DHANISA-SA-NISANI - DHA - DHA

HAWAON RAGNI GAO = GAGA MA DHA DHANISA... .SA..SASANISA

MERA MEHEBOOB AYA HAI =SASASASA NI- DHA-MAMADHANI-NI

MERA MEHEBOOB AYA HAI =NI - NIDHA DHANIre - re -NISANI-DHA - DHA
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O LAALEE PHOOL KI MEHENDI = GA'GA'MA'SA' - SA'- SA'GA'GA'MA'SA' - SA'

LAGAA IN GORE HATHONMEIN =SANISADHA - DHA MA SADHASADHASA-SA

UTAR AA EI GHATAA KAAJAL = GA'GA'MA'SA' - SA' - SA'GA'GA'MA'SA' - SA'

LAGAA IN PYARI AANKHONMEIN = SANISADHA - DHA MA SADHASADHASA - SA

SITARON MAANG BHAR JAO = GAGA MA DHA DHANISA - SA - SASANISA

MERA MEHEBOOB AYA HAI = SASASASA NI - DHA - MAMADHANI - NI

MERA MEHEBOOB AYA HAI = NI - NIDHADHANIre - re - NISANI - DHA - DHA

CROWDING OF NOTES

While writing the notes I have carefully adjusted the gaps & checked in the draft also. I found it to be in order, but after its published I was surprised to see them all getting crowded making very difficult to understand. I am again arranging in a phrased manner so that there wont be any confusion in understanding. I regret the inconvenience caused. As all of us have the conventional Chromatic harmonica in the scale of C you can play this song as per the notes. By doing so you will be playing this song in the scale of A minor in this C scale harmonica. Here you are taking the start ( Key note ) as E. To play this song in the scale of C minor in the same harmonica you have to take the start ( Key note ) as G which is 3 semitones ahead of E.

BAHARON PHOOL BARSAO = EEF#A ABC-C-CCBC

MERA MEHEBOOB AYA HAI = CCCC B-A-F# F#AB-B

MERA MEHEBOOB AYA HAI = B-BA ABC-C BCB-A-A

HAWAON RAGNI GAO = EEF#A ABC-C-CCBC

MERA MEHEBOOB AYA HAI =CCCC B-A-F# F#AB-B

MERA MEHEBOOB AYA HAI = B-BA ABC#-C# BCB-A-A

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O LAALEE PHOOL KI MEHENDI = E'E'F#'C'-C' E'E'F#'C'-C'

LAGAA IN GORE HATHONMEIN =CBCA-AF#CBCBA-A

UTAR AA EI GHATAA KAAJAL = E'-E'E'F#'C'-C' E'E'F#'C'-C'

LAGAA IN PYARI AANKHONMEIN = CBCA-AF#CBCBA-A

SITARON MAANG BHAR JAO = EEF#A ABC-C CCBC

MERA MEHEBOOB AYA HAI = CCCC B-A-F# F#AB-B

MERA MEHEBOOB AYA HAI = B-BA ABC#C# BCB-A-A

These are the basic notes. we can add flavour to it by vibrato or putting some accidental notes. please operate the slider gently either with your fore finger or the thumb. Please dont hit it with your palm since its very delicate.

We are open for any corrections and suggestions since we learn though our mistakes & errors.

NOTES , TONES & SCALES

Before proceeding into the notations & songs I would like to share a bit of my knowledge about the Scales, Notes & Tones from concept point of view which is highly essential for the inset of Concept.
TONE means a sound of a certain frequency. Sometimes the tone is pleasant to the ear & some times it is pungent to the ear. The pungent one we term as NOISE and the pleasant ones we chose to put them in order making a garland of NOTES which is known as SCALE. We identify each note by a name depending upon their frequencies. Putting these set of notes in ascending order of their frequencies & making a chain is the SCALE. As each NOTE has a name, similarly each SCALE has a name. Conventionally the scale starts with C as the reference having the notes ascending order staring with the note name C.
There are 12 NOTES viz C , C# , D, D# ( Eb ) , E , F , F# , G , G# ( Ab ) , A , A# ( Bb ) & B .
similarly 12 SCALES with the same names as the NOTES. In a particular scale there are seven notes in total.
Example Scale ' C ' = C , D , E , F , G , A , B & again C of the next octave.
The Major & Minor concept of the SCALE , FLAT & SHARP NOTES I will explain latter.

I will upload the song BAHARON PHOOL BARSAO with the original song then the play of the same song in the original scale on harmonica.

Finally for the understanding & grasp of the song I will give the notations of the song.

CONCEPT OF MUSIC

I thank all the members of The Harmonica Club Of Gujarat for giving me this golden opportunity of sharing my rudimentary knowledge in music to one & all. My special thanks to Mr Nachiketa Desai & Mr Tapan Bhat for having a lot of confidence in me towards the successful implementation of these efforts .

As all of us know MUSIC is one of the important streams of Fine arts, which soothes the heart & gives total relaxation to the body & mind. As far as Science is concerned Music is the combination of certain sound frequencies set up in a particular order, which is very soothing & pleasing to the ears.And as far as Arts is concerned Music is DIVINE which is something beyond explanation.

Let us take a travel towards the Science Of Music, try to understand the rudiments, practice it & finally let us feel that we are blessed by Mother Saraswati to be successful in our efforts.

Finally let us utilise our scientific knowledge in Music to glorify this FINE ART.

hi chal turu turu

Kya chal hai aapki, bhai wah, maza aagaya....sings Sandip Patankar ( in public :- )

Group song

All time favorite song.

We all prefer to play this song in a group....

Suhani Raat Dhal Chuki.....

Every time one listens to this song, he would feel as if he is listening it for the first time.

So soothing, so pleasing, so Romantic, SO.....SO...... SO....

Please add your emotions and thoughts here...........in the comments box :-)

Dil tadap tadap : Devansh

We have seen Devansh growing up and maturing as a musician. And all of us give credit to his parents for promoting his interest in different musical instruments.

This was His first acid test of playing keyboard and providing the rhythm to the members in a public performance.

And he did it successfully just like this song he played.....

Dum maro dum : Mihir Chalishazar

Ladies and gentlemen hold your breath, we are introducing our young member Mihir Chalishazar.

Mihir influenced by Aditya, his elder brother, wanted to be a percussionist.

He has been given the duty to arrange the songs, their karaoke tracks, make list of the participants and play accordingly in the program.

Slowly but steadily he is getting into real hard job- playing harmonica...

Please enjoy !!!

Chho kar sab ke man ko : Bansi Gujjar

Bansikaka a very very large hearted person in the HCG, played this song.

One of the most dedicated members of the club...........

On every Sunday, all of us wait for Bansikaka to come with his water bag, the water that he brings is very motivating and energetic.

Next Sunday we will be practicing in Parimal at 9:30 AM...Please reach early, Bansikaka just called me and informed that he has replaced his big size water bag with a very small one ;-)

Hai Apna Dil To Awara

Sandip Patankar, Chandramohan Bahadkar and Manohar Vaidya, played this all time favorite song.

Immediately after the first song Jaya Stute, the trustees of the Vanikar Hall , arranged a short Pooja. We offered flowers at the lotus feet of Lord Ganesha and Maa Saraswati.

Vanikar Hall is located in the center of Ahmedabad. This area is known for the Lord Ganesha Temple.

Jaya Stute

Sandip Patankar, also known as Ice cream uncle, started the program with a marathi song Jaya Stute. This song was sung by Lata Mangeshkar.

All the members of HCG specially thank Devansh for the extra ordinary support on key board. He accompanied by playing the chords and soft rhythm.

The good Boys

During their college days, both these good boys used to compete, as who would first play this beautiful song.
I do not know , for whom they wanted to play ............................
On the screen, the left one is very notorious, hard to control and the right one , totally opposite...
This is the HCG.

Belly dance

I just noticed my big tummy moving in Jalebi Direction while playing this song. Now I can understand why the audience asked me to play the same song one more time. They really liked the belly dance , more than my playing.......
Anyway it is nice to see the rhythmic movement of Big Belly....enjoy and try the same style, People will love it !!!!!
Jiski Tummy badi, uska bhi bada nam hai, bistar pe letado gadde ka kya kam hai :-)

Tu jaane na

Aditya and Devansh on karaoke track.

Lakho hai yahan dilwale

Yogesh Bhatt, Manohar Vaidya and Sandip Patankar.

piya piya piya

Aditya, Bansi Gujjar, Manohar Vaidya and Devansh.

Ajeeb Dasta hai ye

Yogesh Bhatt and Manohar Vaidya.

Maang ke saath tumhara

Little wonder Aditya and Guru Vaidyaji played this lovely song. Aditya is coming up as a very matured player. His main choice of songs is the all time favorite old and golden melodious songs. We have to congratulate and thank Aditya's parents for their continuous encouragement.
His younger brother Mihir is the youngest member of HCG. He is the official DJ of our club. We all dance and play, only at his mercy.