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Bilaval
Bilaval or Bilawal () is a raga and the basis for the eponymous ''thaat'' (musical mode) in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat. Bilaval has been the standard for North Indian music since the early 19th century. Its tonal relationships are comparable to the Western music C major scale. Bilaval appears in the '' Ragamala'' as a ragini of Bhairav but today it is the head of the Bilaval thaat. The Ragamala names Bilaval as a Putra (son) of Bhairav but no relationship between these two ragas are made today. Bilaval is a morning raga that is intended to be sung with a feeling of deep devotion and repose and is often performed during the hot months. The Bilaval is equivalent to the Carnatic raga melakarta, Sankarabharanam, as well as the Western Ionian mode (major scale), and contains the notes S R G M P D N S'. The pitches of Bilaval thaat are all ' (natural). Flat () or sharp () pitches always occur regarding the interval pattern in Bilaval ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist in the field of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilaval (thaat)
Bilaval or Bilawal () is the most basic of all the ten thaats of Hindustani classical music of the Indian subcontinent. All the swaras in the thaat are shuddha or all swaras in the natural scale. Bilaval as a raga is not rendered these days however a small variation of the raga called Alhaiya Bilaval is very common. This is a morning raga and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance. Ragas Ragas in Bilaval include: # Alhaiya Bilawal # Bhinna Shadja #Bihag #Bilaval # Deshkar #Devgiri Bilawal #Durga #Hamsadhvani Hamsadhvani (meaning "the cry of the swan"), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a ''janya'' rāga of the ... # Hemant # Kukubh Bilawal # Shankara # Sukhiya # Shukla Bilawal # Pahadi # Mand (raga) References {{reflist Hindustani music terminology ... [...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] |
Sri 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] |
Jana Gana Mana
"" (Sanskrit: जन गण मन) is the national anthem of the Republic of India. It was originally composed as '' Bharoto Bhagyo Bidhata'' in Bengali by polymath Rabindranath Tagore. The first stanza of the song ''Bharoto Bhagyo Bidhata'' was adopted by the Constituent Assembly of India as the National Anthem on 24 January 1950. Quote: "Adopted by the Constituent Assembly as the national anthem of India on January 24, 1950, the song Jana-gana-mana, in its Hindi version of the first stanza, was originally composed in Bengali by poet Rabindranath Tagore" A formal rendition of the national anthem takes approximately 52 seconds. A shortened version consisting of the first and last lines (and taking about 20 seconds to play) is also staged occasionally. It was first publicly sung on 27 December 1911 at the Calcutta (now Kolkata) Session of the Indian National Congress. History The National Anthem of India is titled "Jana Gana Mana". The song was originally composed in Ben ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gaud Sarang
Gaud Sarang is a raga in Hindustani classical music that combines characteristics of Sarang and the now extinct raga named Gaud. Unlike most other members of the Sarang family of ragas, Gaud Sarang is assigned to the Kalyan thaat rather than the usual Kafi. The Indian National Anthem Jana gana mana is sung in the raga Gaud Sarang. It is believed that the National Anthem of India is in raga Bilaval, but it isn't like that. There is a certain svara which is changes the whole raga of the Anthem. In the national anthem, the Madhyama svara is employed. Raga Bilaval doesn't have the svara of Madhyama (obviously, raga Bilaval is the raga of all Shuddha Svaras and no other types of svaras). But raga Gaud Sarang has the Madhyama svara. So from this, the National Anthem of India, Jana gana mana is in raga Gaud Sarang. Theory Arohana: Avarohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
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] |
Sankarabharanam (raga)
Dhīraśankarābharaṇaṃ, commonly known as ''Śankarābharaṇaṃ'', is a rāga in Carnatic music. It is the 29th ''Melakarta'' rāga in the 72 ''Melakarta'' rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as ''"Sarva Gamaka Maaṇika Rakti Rāgaṃ".'' By scale wise, the Śankarābharaṇaṃ scale corresponds to ''Bilaval'' in the Hindustani music system. The Western equivalent is the major scale, or the ''Ionian mode''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Hence this rāga is one of the most popular scales across the world, known with different names in different musical styles. Its nature is mellifluous and smooth. This rāga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation. Structure and Lakshana It is the 5th rāga in the 5th ''Chakra Bāṇa ... [...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] |
Svara
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] |
Ragamala Paintings
Ragamala paintings are a form of Indian miniature painting, a set of illustrative paintings of the ''Ragamala'' or "Garland of Ragas", depicting variations of the Indian musical modes called ragas. They stand as a classical example of the amalgamation of art, poetry and classical music in medieval India. Ragamala paintings were created in most schools of Indian painting, starting in the 16th and 17th centuries, and are today named accordingly as Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala. Also it originated in Rajasthan. In these painting each raga is personified by a colour, mood, a verse describing a story of a hero and heroine (nayaka and nayika), it also elucidates the season and the time of day and night in which a particular raga is to be sung; and finally most paintings also demarcate the specific Hindu deities attached with the raga, like Bhairava or Bhairavi to Shiva, Sri to Devi etc. The paintings depict not just the Ragas, but ... [...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] |
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