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Asavari
Asavari () is a minor character from the Stri Parva in Mahabharata, the love life of Karna but due to her father's arrogance, the marriage did not take place. She belongs to the Asavari (thaat), Asavari thaat kingdom. In pre-Bhatkhande days Asavari used the Komal Rishab instead of Shuddh Rishab. When Bhatkhandeji created the that process, he changed that Asavari's Komal Rishab to Shuddha Rishab but the name remained the same. From that time the old or real 'Asavari' has been called the Komal Rishabh Asavari, and the new Shuddha Rishabh Asavari is simply called 'Asavari'. Raga Asavari and Komal Rishabh Asavari also appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Sikh Gurus Sri Guru Ramdas Ji and Sri Guru Arjun Dev Ji used these ragas. The Raga Komal Rishabh Asavari appears as 'Raga Asavari Sudhang' in Sri Guru Granth Sahib Ji. Structure Thaat: Asavari (thaat), Asavari Raga, Jati: Audava-Sampoorna Arohana ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asavari (thaat)
Asavari () 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. Description Adding a Komal Dhaivat to Kafi (thaat), Kafi Thaat results in the Asavari thaat. Raga Asavari is full of ''tyag'', the mood of renunciation and sacrifice as well as pathos. It is best suited for late morning. However important evening/night raga-like Darbari and Adana also use notes of Asavari thaat with different styles, stress points and ornamentation. Ragas in Asavari Thaat: #Asavari #Desi (raga), Desi #Darbari # Kaunsi Kanada #Adana (raga), Adana #Jaunpuri (raga), Jaunpuri # Devgandhar References {{reflist Hindustani music theory ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Komal Rishabh Asavari
Komal Rishabh Asavari (), often simply called Asavari, is a raga in Hindustani classical music Hindustani classical music is the Indian classical music, classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or ''Uttar Bhartiya shastriya sangeet''. The term ''shastriya sangeet'' .... As its name suggests, it differs from the raga Shuddh Rishabh Asavari by using a ''komal'' ("flat") ''re'' () while Asavari uses a shuddha (natural) ''re'' (). It is believed that Komal Rishabh Asavari was the original form of Asavari. Theory Arohana: Avarohana: Vadi: Samavadi: Notes References Sources * * Hindustani ragas {{India-music-stub ... [...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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaunpuri (raga)
Raga Jaunpuri is a rāga in Hindustani classical music in the Asavari thaat. Some musicians like Omkarnath Thakur consider it indistinguishable from the shuddha rishabh Asavari.Rajan ParrikarAsavari and Associates Its attractive swaras also make it a popular raga in the Carnatic circles with a number of compositions in South India being tuned to Jaunpuri. The name of the rāga may associate it with places of this name, such as Javanpur in Gujarat, close to Saurasthra region and Jaunpur in northern Uttar Pradesh Uttar Pradesh ( ; UP) is a States and union territories of India, state in North India, northern India. With over 241 million inhabitants, it is the List of states and union territories of India by population, most populated state in In .... History Jaunpuri was created by Sultan Hussain Sharqi of Jaunpur. Structure The Pakad is "m P n d P, m P g, R m P" It is usually performed in morning (9-12pm). In Carnatic music Structure and Lakshana * ... [...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, bu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanada Raga Group
Kanada (, (ISO 15919/IAST: ''Kānaṛā rāgaṅg'' Hindi: कान्हड़ा,Tamil language, Tamil: கானடா, Kannada: ಕಾನಡ, Bengali language, Bengali: কানাড়া)) also known as Kanhada is a group of ''raga''s in Indian classical music, Indian Classical Music . They are all believed to be derived from the Carnatic music raga Kanada. Some scholars suggest that all the raga's in the Kanada family are derived from individual aspects of Kanada. Shudda Kanada/Darbari Kanada is one of the most familiar raga's in the family and is considered to have the highest romantic,melancholy and longing aspect of Kanada in it. Ragas in this group belong to different thaats, but particularly to the Asavari (thaat), Asavari or Kafi (thaat), Kafi thaat. Sadharana/Komal Gandhar (svara), Gandhar (Ga) and Chaturshruti/Shudda/Komal Dhaivat (svara), Dhaivat (Dha) are vakra (zigzag) in descent and are used in phrases like gMR and dnP. List of ragas in the Kanada famil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asaveri
Asaveri (asāvēri) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 8th ''melakarta'' scale '' Hanumatodi''. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale, and has a ''vakra'' (zigzag) descending scale.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is a ''bhaashaanga ragam'', as its avarohanam contains chatushruti rishabham, a '' swaram'' foreign to the parent scale of ''Todi''. ''Asaveri'' is an ancient rāgam, which is mentioned in the ''Sangita Ratnakara''. ''Asaveri'' resembles ''Komal Asavari'' and ''Asa Todi'' of Hindustani classical music. The ''Asavari'' of Hindustani music resembles '' Natabhairavi'' of Carnatic music. Structure and Lakshana ''Asaveri'' is an asymmetric, bhashaga rāgam (has foreign notes) that does ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilaskhani Todi
Bilaskhani Todi is a Hindustani classical raga. It is a blend of the ragas Asavari and Todi, and has a close affinity with Komal Rishabh Asavari. Though being named Bilaskhani Todi, it does not belong to the Thaat Todi, but it belongs to the Thaat Bhairavi. It is named Bilaskhani Todi because of the Meend used while singing the notes 'Ga' and 'Re', a common feature of the Raag 'Todi'. Theory The Hindustani classical raga Bilaskhani Todi is an example of the flaws of the Bhatkhande thaat system because it is classified under the Bhairavi thaat based on the notes it uses, but it is actually a type of Todi, and permitting any Bhairavi during a performance kills the raga. Arohana and avarohana * Arohana: Sa re ga Pa dha Sa * Avarohana: re ni dha Ma ga re Sa Vadi and samavadi * Vadi: dha * Samavadi: ga Organization and relationships Thaat: Bhairavi Samay (Time) Morning, between 6 a.m. to 12 p.m. Seasonality Certain ragas have seasonal associations. Rasa Devotion ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sri Guru Granth Sahib
The Guru Granth Sahib (, ) is the central holy religious scripture of Sikhism, regarded by Sikhs as the final, sovereign and eternal Guru following the lineage of the ten human gurus of the religion. The Adi Granth (), 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 the 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.Adi Granth Encyclopaedia Britan ... [...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 The samavadi or samvadi 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 (Hindustani classical music), vadi''; the vadi and samavadi are i ... 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 ''melakar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the piano, using only the white keys, it is the scale that starts with A and continues to the next A only striking white keys. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), a scale would be played beginning in A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (), a coastal district of Anatolia. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleoni ... [...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 References Hindustani music theory Carnatic music Carnatic music terminology Hindustani music terminology {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
