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Ashtapadi 1
''Ashtapadis'' or ''Ashtapadi'' refers to the Sanskrit hymns of the ''Gita Govinda'', composed by Jayadeva in the 12th Century. The ''ashtapadis'', which describe the beauty of Lord Krishna and the love between Krishna and the '' gopis'', are considered a masterpiece in esoteric spirituality and the theme of 'Divine romance'. The literal meaning of ''ashtapathi'', 'eight-steps', refers to the fact that each hymn is made of eight couplets (eight sets of two lines). It is also the source of the word '' ashtāpada'', an Indian board game, the forerunner of chess. Although the original tunes of the ''ashtapadis'' were lost in history, they remain popular and are widely sung in a variety of tunes, and used in classical dance performances, across India. Ashtapadis are regularly performed at Kerala temples in the accompaniment of an ''idakka;'' a genre of music called '' sopana sangeetham.'' The lyrical poetry of the ''Gita Govinda'' is divided into twelve chapters, each of which is sub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ashtapadi 1
''Ashtapadis'' or ''Ashtapadi'' refers to the Sanskrit hymns of the ''Gita Govinda'', composed by Jayadeva in the 12th Century. The ''ashtapadis'', which describe the beauty of Lord Krishna and the love between Krishna and the '' gopis'', are considered a masterpiece in esoteric spirituality and the theme of 'Divine romance'. The literal meaning of ''ashtapathi'', 'eight-steps', refers to the fact that each hymn is made of eight couplets (eight sets of two lines). It is also the source of the word '' ashtāpada'', an Indian board game, the forerunner of chess. Although the original tunes of the ''ashtapadis'' were lost in history, they remain popular and are widely sung in a variety of tunes, and used in classical dance performances, across India. Ashtapadis are regularly performed at Kerala temples in the accompaniment of an ''idakka;'' a genre of music called '' sopana sangeetham.'' The lyrical poetry of the ''Gita Govinda'' is divided into twelve chapters, each of which is sub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hanumatodi
Hanumatodi, more popularly known as Todi (pronounced hanumatōdi and tōdi), is a rāgam (musical scale) in Carnatic music. It is the 8th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in '' prayoga'' (phrases of notes and intonation). It is called Janatodi in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from ''Todi (thaat)'' of Hindustani music (North Indian classical music). The equivalent of the Hindustani raga ''Todi'' in Carnatic music is ''Shubhapantuvarali'' (which is the 45th ''melakarta'').''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamavati
Madhyamavati (madhyamāvati) is a rāga in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāga (or ''owdava'' rāga, meaning pentatonic scale), as it does not have all the seven musical notes (''swaras''). It is a ''janya'' rāga (derived scale). The equivalent of ''Madhyamavati'' in Hindustani music is ''Madhumad Sarang''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It also has other equivalents in Hindustani music such as ragas Megh and Megh Malhar. It is considered a very auspicious rāgam and every Carnatic music concert ends with either a song in ''Madhyamavati'' or the ending of the last song is sung in this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is very suitable for elaboration and exploration due to even spacing of notes. The scale uses the first three notes of the cycle of fifths ''S, P and R2'' and fourths ''S, M1 and N2''. Structure and Lakshana ''M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyani (raga)
Kalyani is a melakarta raga (parent musical scale) in the Carnatic music. It was called Kalyan but is now more popularly called Yaman (raga), Yaman in Hindustani Music. Its Western equivalent is the Lydian mode. Kalyani in Carnatic music In South Indian weddings it is a very prominently played raga. The word ''Kalyani'' means ''she who causes auspicious things''. It is the 65th melakarta raga under the Katapayadi Katapayadi sankhya, sankhya. It is also called ''Mechakalyani''. The notes for Kalyani are S R2 G3 M2 P D2 N3. Kalyani is the first Prathi Madhyama raga that was ever discovered. It was obtained by the process of Graha Bhedam or modal shift of tonic of the ancient Shadja Grama. Specifics on this raga Kalyani has scope for elaborate alapana. One should not remain too long on panchamam (pa) or alternate between shadjamam and panchamam too frequently. Kalyani is prominently known among the public. It is often performed at the beginning of concerts because it is conside ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mukhaari
Mukhari (pronounced mukhāri) is a rāga in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāga of Kharaharapriya. Structure and Lakshana * Arohana: * Avarohana: Popular Compositions * ''Indu Enage Govinda'' by Raghavendra Swami (Also sung in Mukhari) *''Palisemma Muddu Sharade'', ''Chitta Shuddhi illadava'' By Purandara Dasa * ''Brahma Kadigina Padamu'' by Annamacharya * ''Pahimaam Rathnachala'' by '' Muthuswami Dikshitar'' * ''Entaninne'' by Tyagaraja * ''Ksheenamai'' by Tyagaraja * ''Karubaru Cheyuvaru'' by Tyagaraja * ''Elavatara'' by Tyagaraja * ''Sangeeta Sastra'' by Tyagaraja * ''Talachi Nantane'' by Tyagaraja * ''Muripemu'' by Tyagaraja * ''Endraikku Siva Krupai'' by Neelakanta Sivan * ''Emani Ne by'' Subbaraya Sastri * ''Ososi Namadi'' by Kshetrayya * ''Dasaratha Rama'' by Bhadrachala Ramadasu * ''Sivakama sundari'' by Papanasam Sivan * ''Krishnam Kalaya'' by Narayana Teertha Less-known Compositions ''Anandam Anandam A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yadukulakamboji
Yadukulakamboji or Yadukulakambodi (yadukulakāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 28th ''melakarta'' scale '' Harikambhoji'', and is sometimes spelled as Yadukulakambhoji or Yadukulakambhodi. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Shuddha Saveri'' and the ''sampurna raga'' scale ''Harikambhoji''.''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 ''Yadukulakamboji'' is an asymmetric rāgam that does not contain ''gandharam'' and ''nishadam'' in the ascending scale. It is an ''audava-sampurna'' rāgam (or ''owdava'' rāgam, meaning pentatonic ascending scale). Its ' structure (ascending and descending scale) is as follows: * : * : The ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabhi
Arabhi or Aarabhi (pronounced ārabhi) is a ragam (musical scale) in Carnatic music (South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent scale, also known as ''janaka'') is '' Shankarabharanam'', 29th in the 72 ''Melakarta'' raga system. It is a combination of the pentatonic scale ''Shuddha Saveri'' (or ''Durga'' in Hindustani Music) and the ''sampurna raga'' scale ''Shankarabharanam''. ''Arabhi'' is a raga that dates back to 7 AD. Originally, it was called as ''pazhanthakkam'' in Ancient Tamil music. A very auspicious ragam that emanates Veera rasa (valour), Arabhi is one of the five ''Ghana'' ragams that shine with special brilliance when '' Thanam'' is played on Veena. Structure and Lakshana Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : ''Arabhi'' raga is an ''Owdava-sampoorna'' raga meaning, 5 ''swaras'' occur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saveri
Saveri (pronounced sāvēri) is a Carnatic music ragam. This raga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga brings out karuna rasa, i.e. it brings mood of compassion.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana This ragam is an ''Audava-Sampurna'' ragam (five notes in the ascending scale and seven notes in the descending scale). * : * : The notes are ''shuddha rishabham, shuddha madhyamam'' and ''shuddha dhaivatam'' in ascending scale and ''kakali nishadam, shuddha dhaivatam, shuddha madhyamam, antara gandharam'' and ''shuddha rishabham'' in descent. The two swaras which give the raga such a characteristic are R (Rishabham) and D (Dhaivatham). Select compositions *''Sarasuda'', a ''varnam'' composed by Kotavasal Venkatarama Iyer, set to ''Adi tala'' *''Sankari Sankuru'', ''Durusuga'' and ''Janani Natajana'' composed by Shyama Sastri *''Bhavayaami Raghuraamam (first raga used in this rag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ahiri
Ahiri (pronounced āhiri) is a rāgam in Carnatic music. It is a ''janya'' rāgam (derived scale), and associated with the 14th ''melakarta'' scale ''Vakulabharanam''.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It has also been associated with the 8th ''melakarta'' scale Hanumatodi. Though it has all the seven ''swaras'' (musical notes) in the ascending and descending scale, the presence of zig-zag notes (''vakra'' swaras) makes it a ''janya'' rāgam. ''Ahiri'' is an ancient rāgam mentioned in ''Sangita Makarandha'' and ''Sangita samayasara''. It is a difficult rāgam to master, but it is rewarding. The rāgam is synonymous with ''karuna'' rasa (compassion). It is considered an early-morning scale. Structure and Lakshana ''Ahiri'' is an asymmetric rāgam which has ''vakra swaras'' (zig-zag notes) in the ascending scale. It is a ''sampurna'' rāgam (containing all 7 not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sankarabharanam (raga)
Dhīraśankarābharaṇaṃ, commonly known as ''Śankarābharaṇaṃ'', is a rāga in Carnatic music. It is the 29th ''Melakarta'' rāga in the 72 ''Melakarta'' rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as ''"Sarva Gamaka Maaṇika Rakti Rāgaṃ".'' By scale wise, the Śankarābharaṇaṃ scale corresponds to ''Bilaval'' in the Hindustani music system. The Western equivalent is the major Scale (music), scale, or the ''Ionian mode''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Hence this rāga is one of the most popular scales across the world, known with different names in different musical styles. Its nature is mellifluous and smooth. This rāga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation. Structure and Lakshana It is the 5th rāga in the 5th '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kedaragowla
Kedaragaula (pronounced kēdāragaula) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 28th '' melakarta'' scale '' Harikambhoji'', and is sometimes spelled as Kedaragowla. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Madhyamavati'' and the ''sampurna raga'' scale ''Harikambhoji''. It is a morning rāgam. Structure and Lakshana ''Kedaragaula'' is an asymmetric rāgam that does not contain ''gandharam'' and ''dhaivatam'' in the ascending scale. It is an ''audava-sampurna'' rāgam (or ''owdava'' rāgam, meaning pentatonic ascending scale). Its ' structure (ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadjam, chathusruthi rishabham, shuddha madhyamam, panchamam'' and ''kaisiki nishadham'' in ascending scale, with ''chatusruti dhaivatam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anandabhairavi
Anandabhairavi or Ananda Bhairavi (pronounced ānandabhairavi) is a very old melodious rāgam (musical scale) of Carnatic music (South Indian classical music). This rāgam also used in Indian traditional and regional musics. ''Ānandam'' (Sanskrit) means happiness and the rāgam brings a happy mood to the listener. It is a ''janya'' rāgam (derived scale) of the 20th ''Melakarta'' rāgam '' Natabhairavi'' Structure and Lakshana Its structure is as follows (see swaras in Carnatic music for details on the notations used): * : * : (''chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, Chatusruthi dhaivatham, kaishiki nishadham'') It is a ''sampoorna'' rāgam – rāgam having all 7 ''swarams'', but it is not a ''melakarta'' rāgam, as it has (zig-zag notes in scale) and uses (external note) in comparison with its parent rāgam. The ''anya swaram'' is the usage of ''shuddha dhaivatham'' ''(D1)'' in some phrases of the rāgam.''Ragas in Carnatic music'' by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
