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Abheri
Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent, also known as ''janaka'') is ''Kharaharapriya'', 22nd in the 72 ''Melakarta'' raga system. ''Bhimpalasi'' (or ''Bheempalas'') and ''Dhanashree'' of Hindustani music sounds close to ''Abheri''.''Ragas in Carnatic music'' by S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana Abheri is an ''audava-sampoorna'' raga. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The ''swaras'' in this scale are ''Chathusruthi Rishabham, Sadharana Gandharam, Suddha Madhyamam, Chathusruthi Dhaivatham'' and ''Kaisiki Nishadham''. There are some differing views on swaras in the scale of Abheri. It is considered a ''Bhashanga'' rag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abheri
Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent, also known as ''janaka'') is ''Kharaharapriya'', 22nd in the 72 ''Melakarta'' raga system. ''Bhimpalasi'' (or ''Bheempalas'') and ''Dhanashree'' of Hindustani music sounds close to ''Abheri''.''Ragas in Carnatic music'' by S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana Abheri is an ''audava-sampoorna'' raga. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The ''swaras'' in this scale are ''Chathusruthi Rishabham, Sadharana Gandharam, Suddha Madhyamam, Chathusruthi Dhaivatham'' and ''Kaisiki Nishadham''. There are some differing views on swaras in the scale of Abheri. It is considered a ''Bhashanga'' rag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Vasudevacharya
Mysore Vasudevacharya (28 May 1865 – 17 May 1961) was an Indian musician and composer of Carnatic music compositions who belonged to the direct line of Thyagaraja's disciples. Vasudevachar's compositions (numbering over 200) were mostly in Telugu and Sanskrit. Some of his most popular kritis include ''Broche varevaru ra'' in Khamas raga, ''Devadideva'' in Sunadavinodini, ''Mamavatu Sri Saraswati'' in Hindolam, ''Shankari Ninne'' in Pantuvarali, ''Bhajare Re Manasa'' in Abheri and ''Ra Ra Rajeevalochana Rama'' in Mohanam. He was a recipient of the civilian honour of the Padma Bhushan. He is credited with two writings in Kannada, one of them an autobiography called ''Nenapugalu'' (memories) and ''Na Kanda Kalavidaru'' (the musicians I have met) in which he wrote the biographies of many well known musicians. Mysore Vasudevachar also taught in Rukmini Devi's Kalakshetra, (founded in 1936). He was already quite old by then, but thanks to Rukmini Devi he agreed to shift to Kalak ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhimpalasi
Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga. Raga Bhimpalasi belongs to the Kafi Thaat. Theory *Aarohana: *Avaroha: The raag has komal Ni and Ga. It is an Audava-Sampoorna jati raga, implying that it has 5 notes in Arohana and 7 in Avarohana. * Vadi Swar: * Samavadi Swar: *Thaat: Kafi *Pakad or Chalan: Prominent Bandish(Composition) by Niyamat Khan 'Sadarang' Sthayi: Jaa, jaa re apane mandiravaa Suna paave gi (mori) saas-nanadiyaa Antara: Suna ho sadaa-rang, tuma ko chaahata hay kya tum hamako chalana kiyaa, (or kya tum hamako Thagana diya) Jaa, jaa re Prominent Bandish(Composition) by Acharya Dr. Pandit Gokulotsavji Maharaj "MadhurPiya" The Bandish Initials(Bandish Name): "Gaao Bajao Sab Mil Ata Umang So" The Bandish is set in taal EkTaal Organisation and relationships Related/similar ragas: *Bageshree, Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki *In Carnatic music, Karnataka Devagandhari is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Udayaravichandrika Scale
Udayaravichandrika is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale ). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). Closer to ''Udayaravichandrika'' in Hindustani music is '' Dhani'' aka Gaundgiri.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras But Dhani has N2 while Udayaravichandrika N3 in theory. Structure and Lakshana ''Udayaravichandrika'' is a symmetric rāgam that does not contain ''rishabham'' or ''dhaivatam''. It is a pentatonic scale (''audava-audava'' rāgam in Carnatic music classification – ''audava'' meaning 'of five') and is equivalent to the minor pentatonic scale in Western music. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kharaharapriya Scale
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 Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasam, invoking pathos in the listeners. The ''Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease the lord, Ravana sang many hymns in praise of the lord, but hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bageshri
Raga Bageshri or Bageshree () is a Hindustani classical raga. It is a popular night raga, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century. In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music. The popular Hindi music director C.Ramchandra favoured 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 : S' n D m P D g m g R S Vadi & Samavadi : Vadi : Madhyam (Ma) :Samavadi: Shadja (Sa) Pakad or Chalan D n s, m, m P D, m g R S :Varjit Swara - P & R in Aaroh :Jati : - Audav-Sampoorna (Vakra) Organization & Relationships Thaat: K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhanashree
Dhanashree is the best friend of Neha raga that also appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Raga Dhanashree appears in the Ragmala as a ragini of Malkauns and currently is a member of the Kafi thaat. It closely resembles Bhimpalasi in musical content but the vadis and moods are different (Described Below). Dhanashree is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 101 hymns. The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes: * Aroh: ni Sa ga Ma Pa ni Sa * Avroh: Sa ni Dha Pa Ma Pa ga Re Sa * Vadi: Sa * Samvadi: Pa * Jaati : Audava – sampurana * samay : Third pehar of the day * Thaat : Kafi This Raag is almost exactly the same as the Classical Raga Bhimpalasi Bhimpalasi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasam, invoking pathos in the listeners. The ''Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease the lord, Ravana sang many hymns in praise of the lord, but his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janya
''Janya'' is a term meaning "derive". In Carnatic (South Indian) music a ''janya raga'' is one derived from one of the 72 ''melakarta'' ragas (fundamental melodic structures). ''Janya'' ragas are classified into various types based on a variety of features. ''Varja'' ragas Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale (''swaras'') of their parent ''melakarta'' raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending ''arohana'' and descending ''avarohana'' scale. Such scales are given the names listed below.''A practical course in Carnatic music'' by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications vrja a * ''Sampurna'' – 7 note scale * ''Shadava'' – 6 notes * ''Audava'' – 5 notes Since these terms are applicable both to the ascending and the d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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