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Vivadi
In Hindustani classical music, ''vivadi'' ( meaning " dissonant") refers to pitches that are not part of the ''arohana'' or ''avrohana'' of a given raga. In general, ''vivadi'' are not to be played during an improvisation on a given raga. So, for instance, if a raga had the structure S R G m P D N S', S' N D P m G R S; in that case, r, g, M, d and n would all be ''vivadi''. Although ''vivadi'' pitches are generally to be avoided during the playing of a given raga, they are occasionally added by skilled performers in order to introduce some color to an interpretation. In Carnatic music In Carnatic music, vivadi is used in ''vivadi swaram'', , ''vivadi ragam'', and by extension ''vivadi melakarta''. ''Vivadi'' term means going against the grain of thought or approach. Vivadi swaram A ''swaram'' is said to be ''vivadi'' in relationship with another swaram. There are twelve swarams in Indian classical music. But there are 16 notes. Thus some notes occupy the same frequencies. Viv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varali
Varali or Varaali (pronounced varāḷi) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is classified either as the 39th mela kartha raga or as a ''janya'' rāgam (derived scale) of the 39th ''melakarta'' scale ''Jhalavarali''. Even though it is a mela kartha, the scale is most often rendered with a ''vakra'' scale (zig-zag notes) in the ascending scale.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is a '' vivadi rāgam''. It is the 4th in the list of 5 ''Ghana'' rāgams ('' Nata (raga)'', '' Gaula'', ''Arabhi'' and '' Shree ragam'' being the others).''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications In olden times, this rāgam was called ''Varati'', and is said to be more than 1300 years old. It is with this name that it is referred in old musical texts like '' Sangita Makarandha'' and ''Sangita Ratnakara''. Structure and Lakshana ''Varali'' is an asymmetric rāgam due to the ''vakra p ... [...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] |
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'' literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century Common Era, CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Telugu language, Telugu, Kannada, Tamil language, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj Bhasha, Braj, Awadhi language, Avadhi, Bhojpuri language, Bhojpuri, Bengali language, Bengali, Rajasthani languages, Rajasthani, Marathi language, Marathi and Punjabi language, Punjabi. Knowledge of Hindustani classical music is taught through a network of classical musi ... [...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] |
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 in most cases a Perfect fourth, fourth or fifth (interval), 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 can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music terminology ... [...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] |
Vagadheeswari
Vagadheeswari (pronounced vāgadheeśwari) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 34th '' melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Bhogachhāyānāţa in Muthuswami Dikshitar school of Carnatic music.''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 4th rāgam in the 6th ''chakra Rutu''. The mnemonic name is ''Rutu-Bhu''. The mnemonic phrase is ''sa ru gu ma pa dhi ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The and are used in this scale. As is a rāgam, by definition it is a ''sampoorna'' rāgam (has all seven notes in ascending and descending scale). It is the equivalent of , which is the 70th scale. ''Janya'' rāg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nata (raga)
Nata (nāṭa), also known as ''Nattai'', is a rāgam in Carnatic music (musical scale of South Indian classical music), sometimes spelled Nattai. It is a ''janya'' rāgam (derived scale) from the 36th '' melakarta'' scale '' Chalanata''. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the descending scale. It is an auspicious raga, which is mostly sung in the early part of the concert.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications There is a raaga named Nata in Hindusthani music as well, and another raaga named Shuddha Nat. But they are sung rarely, and have no association with the Nattai of Carnatic Music. The closest comparable raga to be the Hindustani equivalent of Carnatic Nattai, is the Raga "'' Jog''", which is believed to be a derivative of the Kafi Thaat. Structure of Lakshana ''Nata'' is an ASYMMETRIC rāgam that does not contain ''gandharam'' and ''dhaivatam'' in the descending scale. ... [...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] |
Svara
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] |
