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Kafi (raga)
Kafi () is a ''raga'' in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music Vishnu Narayan Bhatkhande classified most ''ragas'' into ten ''Thaats''. Kafi ''Thaat'' is one of them. The ''raga'' Kafi is the principal ''raga'' of its ''Thaat''. According to Bhatkhande, its name first appears in the Raga Tarangini of Lochana Pandit, who lived in the Mithila district around the 15th century CE. Kafi has a direct lineage with the folk music of India. Folk music in Tappa, Hori, Dadra, Kirtan and Bhajans from different parts of India have been composed in this ''raga''. Many variations of Kafi exist. Contamination with ''vivadi swaras'' is common. This mixing has given rise to Mishra Kafi. Hence, a pure form of Kafi is seldom heard. Description Varna Kafi is a '' sampoorna-sampoorna'' or heptatonic ''raga'', with ''komal'' (half a note down) ''Gandhar'' (ga) and ''Nishad'' (ni). This is also referred to as the Bha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi (thaat)
Kafi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat. Description Kafi thaat makes use of the Komal Gāndhāra, Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj (thaat), Khamaj thaat. The Kafi (raga), Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime. Ragas Ragas in Kafi thaat include: * Abhogi * Bageshri * Bageshri-Ang Chandrakauns * Bahar (raga), Bahar * Barwa (raga), Barwa * Bhimpalasi * Brindavani Sarang * Dhani (raga), Dhani * Hanskinkini * Jog (raga), Jog * Kafi (raga), Kafi * Madhuranjani * Megh (raga), Megh * Malhar * Nayaki Kanada * Patdeep * Pilu (raga), Pilu * Jaijaiwanti * Ramdasi Malhar * Sahana (raga), Sahana * Surdasi Malhar * Ananda Sar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dadra
Dadra is associated with the Hindustani classical music of the Indian subcontinent. Dadra tala This is a Hindustani classical '' tala'' (rhythmic cycle), consisting of six beats in two equal divisions of three. The most commonly accepted theka or basic pattern for this tala is ''dha tin tin, ta dhin dhin''. There is a higher emphasis laid on the first swar in comparison the following two, that is, ''dha'' - higher emphasis following ''tin'' ''tin'' and again a higher emphasis on ''ta'' following ''dhin'' ''dhin''. Theka of Dadra Tala मात्रा भाग : 3-3. धा धिं ना - धा तीं ना It has a characteristic pattern of bols (theka). This can also be shown using the following figure Dadra (genre) In this context ''dadra'' is a light classical vocal form in Hindustani classical music, mostly performed in Agra and in Bundelkhand region. It was originally accompanied by dadra tala (from where the term for the genre was borrowed), but lat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bageshree
Raga Bageshri or Bageshree () is a Hindustani raga. It is meant to depict the emotion of waiting for reunion with one's lover. Being a very melodic raga it has gained popularity over the centuries. Like all ragas, Raga Bageshri traces its origins to the Samaveda, a sacred Hindu text with roots that likely date back to around 1500 BCE, though its oral tradition could be much older. Raga Bageshri is a night time raga (''madhya raatri'' Ragsamaya), written in '' Kaafi'' thaat, ''Ma'' Vadi, ''Sa'' Samvadi, 5/7 Jati, Hasya Rasa (associated with joyful, the comic, and happy emotions). In modern days, people like the popular Hindi music director C.Ramchandra favour composing songs in Bageshri, as he found it simple. In a 1978 interview at BBC studios with Mahendra Kaul, he explained this, while playing songs like ( Radha na bole – Azad, 1955) that were set to Bageshri. Theory The theoretical aspects of Bageshri are as follows: Scale : Arohana : S g m D n S' : Avarohana : ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 pakad a person who knows the raga is usually able to identify it. In many cases, the ragas contain the same swaras (notes), then the pakad also contains information about gayaki or chalan (the way the notes are to be ordered and played/sung). Usually, the pakad is formed from short convolutions of the arohana and avarohana, while in some cases it is quite different from them. The pakad for a particular raga need not be unique, its sole purpose is to clarify what raga it is. For example, here is a pakad for raga Yaman, a prominent raga from Hindustani 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 ''Utta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
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''; the vadi and samavadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. ''Vadi'' is often translated as the "king" note of a raga, while the ''samavadi'' is translated as the "prime minister" or "vizier" note. A performer will typically try to emphasize the ''samavadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samavadi'' 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 o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (Hindustani Classical Music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, fro ... (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] |
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] |
Arohana
Arohana, Arohanam, Aroh 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 high ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi
Bhairavi () is a Hindu goddess, described as one of the Mahāvidyas, the ten avatars of the mother goddess. She is the consort of Bhairava ( a form of Shiva). Etymology The name ''Bhairavi'' means "terrifying" or "awe-inspiring". Iconography Her dhyana shloka in the Devi Mahatmya describes her form. She wears red garments and wears a garland of severed heads around her neck. She has three eyes and her head is adorned with a crescent moon. Tripura Sundari and Tripura Bhairavi are closely associated but different. Legend Bhairavi is also a title for a female adept in Kundalini, Tantra. A yogini is a student of Tantra or an aspirant. A ''Bhairavi'' has succeeded in Tantra with the help of 64 yoginis. Yogini or Jogini are 64 in number. Yoginis, female supporting deities of Bhairavi. Bhairavi is the supreme leader of all 64 yoginis. Bhairav also has 52 supporting powers called ''52 Bhairav''. Bhairavi is the consort of Bhairava according to the Puranas and Tantras. In Tant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heptatonic
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include: * the diatonic scale; including the major scale and its modes (notably the natural minor scale, or Aeolian mode) * the melodic minor scale, like the Aeolian mode but with raised 6th and 7th ascending * the harmonic minor scale, like the Aeolian mode but with raised 7th * the harmonic major scale, like the major scale but with lowered 6th Indian classical theory postulates seventy-two seven-tone scale types, collectively called '' melakarta'' or '' thaat'', whereas others postulate twelve or ten (depending on the theorist) seven-tone scale types. Several heptatonic scales in Western, Roman, Spanish, Hungarian, and Greek music can be analyzed as juxtapositions of tetrachords.Dupré, Marcel (1962). ''Cours Complet d'Improvisation a l'Orgue'', v.2, p. 35, trans. John Fenstermaker. Paris: Alphonse Leduc. ASIN: B0006CNH8E. All heptatonic scales have all intervals present in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sampoorna-sampoorna
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'', ''Sankarabharanam'' and ''Kharaharapriya Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the Kat ...''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
