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Ramkali
Raga Ramkali is an early morning raga in Hindustani classical music which belongs to Bhairav Thaat. In this raga, as in Bhairav, Rishabh and Dhaivat are Komal( flat), but the Teevra and the flat nishad are added. The vadi-samvadi are Pancham and Shadja. The aroha is S r G M P, G M d N S' and the avroha is S' N d P m P, d (N)d P, G M r S. Flat nishad (seventh degree) and sharp madhyama (fourth degree) are used often. Raga Ramkali also appears in Sikh tradition in North India and is a part of Sikh Scripture Sri Guru Granth Sahib Ji. Another form of this Raga present in Sri Guru Granth Sahib Ji isRaga Ramkali Dakhni. Theory Arohana and avarohana Arohana: Avarohana: Vadi : Pa Samavadi : Sa Pakad In Hindustani music, a ''pakad'' (Hindi: पकड़) is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the paka .../ Chalan : Descriptio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guru Granth Sahib
The Guru Granth Sahib ( pa, ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ, ) is the central holy religious scripture of Sikhism, regarded by Sikhs as the final, sovereign and Guru Maneyo Granth, eternal Guru following the lineage of the Sikh gurus, ten human gurus of the religion. The Adi Granth ( pa, ਆਦਿ ਗ੍ਰੰਥ), its first rendition, was compiled by the fifth guru, Guru Arjan (1564–1606). Its compilation was completed on 29 August 1604 and first installed inside Golden Temple in Amritsar on 1 September 1604. Baba Buddha was appointed the first Granthi of the Golden Temple. Shortly afterwards Guru Hargobind added Ramkali Ki Vaar. Later, Guru Gobind Singh, the tenth Sikh guru, added hymns of Guru Tegh Bahadur to the Adi Granth and affirmed the text as his successor. This second rendition became known as the Guru Granth Sahib and is also sometimes referred to as the Adi Granth. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairav (raga)
Bhairav is a Hindustani classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat. Raga Kalingda in Hindustani and Ragam Mayamalavagowla in Carnatic music have the same scale as Raga Bhairav, although the moods they create can be quite different due to the way they are expounded. According to Indian classical vocalist Pandit Jasraj, Bhairav is a "morning raga, and solemn peacefulness is its ideal mood." It is grave in mood and suggests seriousness, introversion and devotional attitude. History Bhairav raga is an ancient raga that is considered to be extremely old and originated many centuries ago. The origin of Bhairav raga is disputed. According to some musicians, Bhairav raga was the first raga that originated from the mouth of Lord Shiva. While some musicians argue that Bhairav raga originated from the mouth of Lord Surya. This is why it was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairav (thaat)
Bhairav is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. But there is no connection in the similarity between in the names of the thaat and the raga. Description Ragas of the Bhairav thaat make use of Komal Rishabh and Komal Dhaivat. Bhairava is one of the names of Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The ragas too have some of these masculine and ascetic attributes in its form and compositions. The Bhairav raga itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valour to peace. There are many variations based on it including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. Ragas Ragas belonging to the Bhairav thaat include: * Basant Muk ... [...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] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flat (music)
In music, flat (Italian bemolle for "soft B") means "lower in pitch". Flat is the opposite of sharp, which is a raising of pitch. In musical notation, flat means "lower in pitch by one semitone (half step)", notated using the symbol which is derived from a stylised lowercase 'b'. For instance, the music below has a key signature with three flats (indicating either E major or C minor) and the note, D, has a flat accidental. : Under twelve-tone equal temperament, D for instance is enharmonically equivalent to C, and G is equivalent to F. In any other tuning system, such enharmonic equivalences in general do not exist. To allow extended just intonation, composer Ben Johnston uses a sharp as an accidental to indicate a note is raised 70.6 cents (ratio 25:24), and a flat to indicate a note is lowered 70.6 cents. In intonation, flat can also mean "slightly lower in pitch" (by some unspecified amount). If two simultaneous notes are slightly out-of-tune, the lower-pitch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sikhs
Sikhs ( or ; pa, ਸਿੱਖ, ' ) are people who adhere to Sikhism (Sikhi), a monotheistic religion that originated in the late 15th century in the Punjab region of the Indian subcontinent, based on the revelation of Guru Nanak. The term ''Sikh'' has its origin in the word ' (), meaning 'disciple' or 'student'. Male Sikhs generally have '' Singh'' ('lion'/'tiger') as their last name, though not all Singhs are necessarily Sikhs; likewise, female Sikhs have ''Kaur'' ('princess') as their last name. These unique last names were given by the Gurus to allow Sikhs to stand out and also as an act of defiance to India's caste system, which the Gurus were always against. Sikhs strongly believe in the idea of "Sarbat Da Bhala" - "Welfare of all" and are often seen on the frontline to provide humanitarian aid across the world. Sikhs who have undergone the '' Amrit Sanchar'' ('baptism by Khanda'), an initiation ceremony, are from the day of their initiation known as Khalsa, and th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
North India
North India is a loosely defined region consisting of the northern part of India. The dominant geographical features of North India are the Indo-Gangetic Plain and the Himalayas, which demarcate the region from the Tibetan Plateau and Central Asia. The term North India has varying definitions. The Ministry of Home Affairs (India), Ministry of Home Affairs in its Northern Zonal Council Administrative divisions of India, Administrative division included the states of Haryana, Himachal Pradesh, Punjab, India, Punjab and Rajasthan and Union Territories of Chandigarh, Delhi, Jammu and Kashmir (union territory), Jammu and Kashmir and Ladakh. The Ministry of Culture (India), Ministry of Culture in its ''North Cultural Zones of India, Culture Zone'' includes the state of Uttarakhand but excludes Delhi whereas the Geological Survey of India includes Uttar Pradesh and Delhi but excludes Rajasthan and Chandigarh. Other states sometimes included are Bihar, Gujarat, Jharkhand, Madhya Prade ... [...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] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. The specialty of any raaga depends on vadi swara and because of this, the vadi swara is also called the ''Jeeva swara'' or the ''Ansha swara''. A good artist uses vadi swara in different ways like singing vaadi swara again and again, starting a raga with vadi swara, to end a raaga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath. ''Vadi'' swara is al ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana 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 ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music terminol ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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