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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] |
Pancharatna Kriti
The ''Pancharatna kritis'' (transliterated as ''Pañcaratna kṛti'') (Sanskrit: ''pancha'' "five" + ''ratna'' "gems") are a set of five ''kritis'' (songs) in Carnatic classical music, composed by the 18th-century Indian composer Tyagaraja. All the ''kritis'', as is the case with almost all of Tyagaraja's compositions, are penned in Telugu, except the first one, which is composed in Sanskrit. The songs are: " Jagadananda karaka", " Dudukugala Nanne", " Sadhinchene", " Kanakana Ruchira" and " Endaro Mahanubhavulu". Tyagaraja and the Pancharatna Kritis Tyagaraja lived in the late 18th century and early 19th century in Tiruvarur in present-day Thanjavur district in Tamil Nadu. His compositions are considered to be some of the finest in Carnatic music. Of the five ''Pancharatna Kritis'', four are in Telugu and one in Sanskrit. They are set to music in five ragas: Nata, Gaula, Arabhi, Varali and Sri. Composition The ''Pancharatna kritis'' were written in praise of the Hindu deity R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragam Thanam Pallavi
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates ''raga alapana'', ''tanam'', ''niraval'', and '' kalpanaswara''. In more elaborate ragam tanam pallavis, a ''tani avartanam'' Kassebaum (2000), 158 may follow. Ragam "Ragam" in the context of "Ragam Tanam Pallavi" refers to ''raga alapana'' - the first component. In this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. Each ''Ragam tanam pallavi'' has at least one raga associated with it. Tanam ''Tanam'' is one of the most important forms of the improvisation, and is integral to the RTP. It is the second component of this composite form of improvisation. Originally developed for the veena, i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Devagandhari
Devagandhari (pronounced devagāndhāri) is a raga (musical scale) in Indian classical music. In carnatic classical music, Devagandhari is a ''janya'' raga (derived scale), whose ''melakarta'' raga (parent scale, also known as ''janaka'') is '' Shankarabharanam'', 29th in the 72 ''Melakarta'' raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri. It is also present in the Sikh tradition of northern India and is part of the Guru Granth Sahib. In Carnatic music Structure and lakshana Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : Devagandhari ragam is an ''audava-vakra-sampurna'' raga meaning, in ''arohana'' 5 ''swaras'' come (so it is called ''audava'') and in ''avarohana'' all ''swaras'' come (so ''sampurna''), and there is a "zigzag" pattern of notes (so ''vakra''). The notes used in this ragam are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varnam
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features (patterns of notes) of a ''raga''. Varnams capture the ''raga bhavam'', ''ranjaka prayogas'' ''visesha sancharas'', etc. ''Dhatu'' and ''janta prayogas'' (phrase usage) are usually part of a varnam. Understanding of these aspects is key to developing ''manodharma sangeetham'' (i.e., improvisation aspects of Carnatic music such as ''raga aalapana'', ''swara kalpana'', ''neraval'', etc.). Known for their complex structure, varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a ''pallavi'', an '' anupallavi'', ''muktaayi swaras'', a ''charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the mo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dheerasankarabharanam
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, 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 ''Chakra Bāṇ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shuddha Saveri
Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music (musical scale of South Indian classical music) and Yakshagana music. It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a '' janya'' rāgam (derived scale)of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called ''Durga''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras According to the school of Muthuswami Dikshitar, this rāgam is called ''Devakriya''. '' Karnataka Shuddha Saveri'', a janya rāgam of 1st ''melakarta'' '' Kanakangi'', is called ''Shuddha Saveri'' by the Dikshitar school. Structure and Lakshana ''Shuddha Saveri'' is a symmetric rāgam that does not contain ''gāndhāram'' or ''nishādam''. It is a pentatonic scale (''audava-audava'' ragam in Carnatic music classification – audava meaning 'of 5'). Its ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Irayimman Thampi
Iravivarman Thampi, better known as Irayimman Thampi (1782 October 12 - 1856 July 29), was an Indian Carnatic musician, music composer and poet from the Kingdom of Travancore. He was a vocalist in the court of Swathi Thirunal Rama Varma, Swathi Thirunal. His compositions include the lullaby ''Omanathinkal Kidavo'', one of the most popular lullabies in Malayalam. Biography Irayimman Thampi, named Iravivarman Thampi after his grandfather, was born in 1782 at Kottakkakom Kizhake Madom, in Karamana, Travancore to Kerala Varma Thampuran, of the royal family of Cherthala, and Parvathi Pillai Thankachi of the Puthumana Ammaveedu Thampi family, the daughter of Prince Makayiram Thirunal Ravi Varma and niece of the Maharajah Dharma Raja of Travancore royal family. Thampi was brought up by his parents at a house called ''Kizhake Madom'' and after early education from his father, he went under the tutorship of Shankaran Elayathu in grammar, linguistics and Sanskrit literature. He dedicated ... [...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 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 Mayamalavagowla (pronounced ) is a raga of Carnatic music (musical scale of South Indian classical music). It is classified as 15th '' melakarta'' raga under Venkatamakhin's '' melakarta'' system. Originally known as ''malavagowla'', "maya" was ..., 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 ''melakarta'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamaka (music)
Gamaka (also spelled gamakam) refer to ornamentation that is used in the performance of North and South Indian classical music. Gamaka can be understood as embellishment done on a note or between two notes. Present-day Carnatic music uses at least fifteen different kinds of ornamentation. Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each raga's individuality. ''Gamaka can be understood as any movement done on a note or in between two notes.'' The unique character of each raga is given by its gamakas, making their role essential rather than decorative in Indian music. Nearly all Indian musical treatises have a section dedicated to describing, listing and characterising gamakas. The term ''gamaka'' itself means "ornamented note" in Sanskrit. Gamakas involve the variation of pitch of a note, using oscillations or glides between notes. Each raga has specific rules on the types of gamakas that might be appli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragam
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a 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 and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thyagaraja
Thyagaraja (Telugu: త్యాగరాజ) (4 May 1767 – 6 January 1847), also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the ''Pancharatna Kritis'' ( "five gems"), which are often sung in programs in his honour, and ''Utsava Sampradaya Krithis'' ( Festive ritual compositions), which are often sung to accompany temple rituals. Tyagaraja lived through the reigns of four kings of the Maratha dynasty — Tulaja II (1763–1787), Amarasimha (1787–1798), Serfoji II (1798–1832) and Sivaji II (1832–1855), although he served none of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tala (music)
A tala ( IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedic era texts of Hinduism, such as the '' Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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