|
Gavambhodi
Gavambodhi (pronounced gavāmbōdhi, meanin ''The teacher of the cows'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 43rd '' Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called or in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 1st rāgam in the 8th ''chakra Vasu''. The mnemonic name is ''Vasu-Pa''. The mnemonic phrase is ''sa ra gi mi pa dha na''. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : (the notes used in this scale are ''shuddha rishabham, sadharana gandharam, prati madhyamam, shuddha dh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gavambhodi Scale
Gavambodhi (pronounced gavāmbōdhi, meanin ''The teacher of the cows'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 43rd '' Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called or in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 1st rāgam in the 8th ''chakra Vasu''. The mnemonic name is ''Vasu-Pa''. The mnemonic phrase is ''sa ra gi mi pa dha na''. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : (the notes used in this scale are ''shuddha rishabham, sadharana gandharam, prati madhyamam, shuddha dh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Graha Bhedam
''Graha Bhedam'' in Carnatic music is the process (or result of the process) of shifting the Tonic note (''śruti'') to another note in the rāgam and arriving at a different rāgam. Its equivalent in Hindustani classical music is called a ''murchhana''. Expressed in Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key. ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or drone), it is also sometimes called ''Swara Bhedam'' or ''Śruti Bhedam'' though ''Śruti Bhedam'' and ''Graha Bhedam'' have some technical differences. Definition Modal shift of the Tonic note to higher notes of a rāgam, while retaining the note's positions ( swara sthānas – sthāna means position/ pitch), results in different rāgams. This is called ''Graha Bhedam''. Practical demo A simple practical demonstration of ''Graha Bhedam'' can b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melakarta
Mēḷakartā is a collection of fundamental musical scales (ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be generated. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter term is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the '' thaat'' is equivalent of ''Melakartā''. There are 10 ''thaats'' in Hindustani music, though the commonly accepted ''melakarta'' scheme has 72 ragas. Rules for ''Mēḷakarta'' ragas Ragas must contain the following characteristics to be considered ''Melakarta''. *They are '' sampurna ragas'' – they contain all seven '' swaras'' (notes) of the octave in both ascending and descending scale''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''A practical course in Carnatic m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Senavati
Senavati (pronounced sēnāvati) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 7th '' melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Senāgrani in Muthuswami Dikshitar school of Carnatic music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 1st rāgam in the 2nd ''chakra Netra''. The mnemonic name is ''Netra-Pa''. The mnemonic phrase is ''sa ra gi ma pa dha na''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The ''swaras'' in this ''rāgam'' are ''shuddha rishabham, sadharana gandharam, shuddha madhyamam, shuddha dhaivatham'' and ''shuddha nishadham''. As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all seven ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hatakambari
Hatakambari (pronounced Hātakāmbari''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 18th '' Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Jayashuddhamālavi in Muthuswami Dikshitar school of Carnatic music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 6th rāgam in the 3rd ''chakra Agni''. The mnemonic name is ''Agni-Sha''. The mnemonic phrase is ''sa ra gu ma pa dhu nu''. Its structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (the notes used in this scale are ''shuddha rishabham, antara gandharam, shuddha madhyamam, shatsruthi dhaivatham, kakali ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. Although there are stylistic differences, the basic elements of (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulæ), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muthuswami Dikshitar
Muthuswami Dikshitar (Mudduswamy Dikshitar)(, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer and veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1775 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu in India, to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha which is also his mudra (and can be found in each of his songs). His compositions are widely sung and played in classical concerts of Carnatic mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or '' saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''niruk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arohana
Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner. Scale In Hindustani classical music, the ascending scale's notes are S R G M P D and N. Lower forms of notes are written in lower case, like r g m d n (S and P are fixed notes), while the first scale given above is that of higher form of the notes. The English notes C D E F G A and B correspond to S R G M P D and N, when C is taken as the tonal note (S is sung at C). In Carnatic music, the ascending scale's notes for the variant notes R G M D and N have a subscript number indicating the specific variant (see examples below). Examples In Multani, the aroha is 'N S g M P N S' (lowercase notes are the lower forms, while uppercase notes are the higher f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avarohana
An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch from the upper tonic (taar shadja or Sa) down to the lower tonic, possibly in a crooked (vakra) manner. Examples In raga Darbari, an Asavari- thaat raga with vadi- samvadi R-P, the avroha is R' n S' d~ n P, m P g~ m R S, with andolan on the dhaivat and gandhar. In Malahari, which is '' janya'' raga of 15th ''melakarta'' Mayamalavagowla, the avarohana is ''S D1 P M1 G2 R1 S''. See swaras in Carnatic music for description of this notation. In Sahana, a ''janya'' raga of 28th ''melakarta'' Harikambhoji Harikambhoji (pronounced harikāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 28th ''Melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. One of the first scal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sampoorna Raga
In Indian classical music, Sampūrṇa rāgas (संपूर्ण, Sanskrit for 'complete', also spelt as ''sampoorna'') have all seven ''swaras'' in their scale. In general, the swaras in the ''Arohana'' and ''Avarohana'' strictly follow the ascending and descending scale as well. That is, they do not have ''vakra'' swara phrases (वक्र, meaning 'crooked'). In Carnatic music, the Melakarta ragas are all ''sampurna'' ragas, but the converse is not true, i.e., all ''sampurna'' ragas are not ''Melakarta'' ragas. An example is Bhairavi raga in Carnatic music (different from the Bhairavi of Hindustani music). Some examples of ''Melakarta'' ragas are ''Mayamalavagowla'', ''Todi Todi () is a town and ''comune'' (municipality) of the province of Perugia (region of Umbria) in central Italy. It is perched on a tall two-crested hill overlooking the east bank of the river Tiber, commanding distant views in every direction. I ...'', '' Sankarabharanam'' and '' Kharaharapriya''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
