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Manavati
Manavati (pronounced mānavati, meaning the bride) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 5th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th ''melakarta'' is Manōranjani.''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 5th rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Ma''. The mnemonic phrase is ''sa ra ga ma pa dhi nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (this scale uses the notes ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, chathusruthi dhaivatham, kakali nishadham'') As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all seven not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kantamani
Kantamani (pronounced ) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 61st ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Kuntalam in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 1st rāgam in the 11th ''chakra Rudra''. The mnemonic name is ''Rudra-Pa''. The mnemonic phrase is ''sa ri gu 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 ''chathusruthi rishabham, antara gandharam, prati madhyamam, shuddha dhaivatham, shuddha nishadham'') As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all seve ... [...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 (music), Tonic note (''Śruti (music), 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 Classical music, Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key, i.e, Modulation (music), modulation. ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or drone (music), 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 cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pavani (ragam)
Pavani (pronounced pāvani, meaning ''the purifier'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 41st ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Kumbhini in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Structure and Lakshana It is the 5th rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Ma''. The mnemonic phrase is ''sa ra ga mi pa dhi nu''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its ' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The notes used in this scale are ''shuddha rishabham, shuddha gandharam, prati madhyamam, chathusruthi dhaivatham'' and ''kakali nishadham''. It is a ''sampurna'' rāgam – a rāgam that has all seven ''swaras'' (no ... [...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 derived. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter usage is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the '' thaat'' is the rough 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 i ... [...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, veena player, and a prolific composer of Indian classical music. He was the youngest member of what is referred to as the Trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1776 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu, India. He was born to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. Dikshitar is credited with about 500 known compositions which are noted for their elaborate, poetic descriptions of Hindu gods, architectural descriptions of temples, and for capturing the essence of the raga forms through the vainika ( veena) style that emphasizes gamakas. They are composed in a slower tempo (chowka kala). He is also known by his signature name of Guruguha which is also his mudra which appears in each of his compositions. His compositions a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...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] |
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] |
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'', ''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 ...''. R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) 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 formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Venkatamakhin
Venkatamakhin (; ) or Venkatamakhi, was an Indian poet, musician, and musicologist of Carnatic music. He is renowned for his ''Chaturdandiprakashika'' in which he explicates the Melakarta (asampurna scheme), melakarta system of classifying ragas. Venkatamakhin composed geethams and prabandhas, as well as 24 ashtapadis in praise of Lord Thyagaraja of Tiruvarur. Biography Venkatamakhin or Venkateswara Dikshita was the son of the musician, scholar, and priest, Govinda Dikshita, a Hoysala Karnataka Brahmin, Kannada Hoysala Karnataka Brahmin from Honnali near Shivamogga, who was also a minister of Raghunatha Nayak of Thanjavur. He was instructed in the veena by his father and his brother, Yagnanarayan. He was later schooled in the scholarly aspects of classical music by Tanappacharya. Venkatamakhin was also versed in Sanskrit and equipped with knowledge in varied subjects such as astrology, logic, philosophy, and alankara. Like his father, Venkatamakhin served as a minister to Rag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
