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Ganamoorti
Ganamurti (pronounced gānamūrti, meaning ''the idol of music'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 3rd ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Gānasāmavarāḷi 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 3rd rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Go''. The mnemonic phrase is ''sa ra ga ma pa dha nu''. 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 ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, kakali nishadham''. As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ganamoorti Scale
Ganamurti (pronounced gānamūrti, meaning ''the idol of music'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 3rd ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Gānasāmavarāḷi 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 3rd rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Go''. The mnemonic phrase is ''sa ra ga ma pa dha nu''. 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 ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, kakali nishadham''. As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shamalangi
Shamalangi or Shyamalangi (pronounced ) is a ragam in Carnatic music (classical music of southern India). It is the 55th in the 72 ''melakarta'' rāgam system of Carnatic music, and is called ' in the Muthuswami Dikshitar school of that genre.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 Shamalang is the 1st rāgam in the 10th ''chakra Disi''. Its mnemonic name is ''Disi-Pa;'' the mnemonic phrase associated with it is ''sa ri gi mi pa dha na''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on notation and terms): * : * : ''Shamalangi's swaras'' are ''chathusruthi rishabham, sadharana gandharam, prati madhyamam, shuddha dhaivatham'' and ''shuddha nishadham''. As it is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vishwambari
Vishwambari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 54th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 6th rāgam in the 9th ''chakra Brahma''. The mnemonic name is ''Brahma-Sha''. The mnemonic phrase is ''sa ra gu mi pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : ''Shuddha rishabham, antara gandharam, prati madhyamam, shatsruthi dhaivatham'' and ''kakali nishadham'' are the notes used in this scale, other than ''sha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhalavarali
Jhalavarali (pronounced , meaning ''A moon with the sun's heat''), is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 39th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 3rd rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Go''. The mnemonic phrase is ''sa ra ga mi pa dha nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (the notes in this scale : ''shuddha rishabham, shuddha gandharam, prati madhyamam, shuddha dhaivatham, kakali ... [...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 and veena player, and a legendary composer of Indian classical music, who is considered one of the musical trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1775 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu in India, to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. His compositions, of which around 500 are commonly known, are noted for their elaborate and poetic descriptions of Hindu gods and temples and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha which is also his mudra (and can be found in each of his songs). His compositions are widely sung and played in classical concerts of Carnatic mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or ''saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''nirukt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arohana
Arohana, Arohanam 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 higher fo ... [...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] |
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 K ...''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the Dravidian languages, South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. 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 formulæ), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnati ... [...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 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 Kannada 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 Raghunatha Nayak's successor, Vijayaraghava Nayak (). Seeing as to how ther ... [...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] |
