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Harikambhoji Scale
Harikambhoji (pronounced harikāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 28th ''Melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. One of the first scales employed by the ancient Tamils(3BCE) was the ''Mullaipann'', a pentatonic scale composed of the notes ''sa ri ga pa da'', equivalent to C, D, E, G and A in the western notations. These fully harmonic scales, constitutes the raga Mohanam in the Carnatic music style. ''Mullaipann'' further evolved into ''Sempaalai'', a scale based on seven notes by the addition of two more notes, ''ma'' and ''ni'' to the pentatonic scale. ''Sempaalai pann'' corresponds to the Carnatic raga Harikambhoji. ''Khamaj thaat'' of Hindustani Music is the equivalent to this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is known as Harikedāragowla in the Muthuswami ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixolydian Mode
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek ''harmoniai'' or ''tonoi'', based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.) The modern diatonic mode is the scale forming the basis of both the rising and falling forms of Harikambhoji in Carnatic music, the classical music form of southern India. Greek Mixolydian The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the poet and musician. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix ''mixo''- (μιξο-) means "half", referring to its resemblance to the Lydian mode. In Greek theory, the Mixolydian ''tonos'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kambhoji
Kambhoji or Kambodhi is a popular Raga in Carnatic Music. It is classified as a derived raga from 28th Melakartha, Harikambhoji. Scale The scale of Kambhoji is Ascending: S R2 G3 M1 P D2 S Descending: S N2 D2 P M1 G3 R2 S (N3 P D2 S) Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga (a raga that includes notes other than what is in the parent raga). Medieval era There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's ''Sangita Makaranda'' (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of ''Shri raga'', the first subset of his scheme of classification. Ramaditya, the author of ''Swara-Mela Kalanidhi'' (1550 AD) has accepted 20 ''melas'' and has accommodated 64 ''Jana-ragas'' among the ''melas''. In this scheme of classification, the twentieth mela is Kambhoji u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thanjavur Sankara Iyer
Thanjavur (), also Tanjore, Pletcher 2010, p. 195 is a city in the Indian state of Tamil Nadu. Thanjavur is the 11th biggest city in Tamil Nadu. Thanjavur is an important center of South Indian religion, art, and architecture. Most of the Great Living Chola Temples, which are UNESCO World Heritage Monuments, are located in and around Thanjavur. The foremost among these, the Brihadeeswara Temple, is located in the centre of the city. Thanjavur is also home to Tanjore painting, a painting style unique to the region. Thanjavur is the headquarters of the Thanjavur District. The city is an important agricultural centre located in the Kaveri Delta and is known as the ''Rice bowl of Tamil Nadu''. Thanjavur is administered by a municipal corporation covering an area of and had a population of 290,720 in 2011. Roadways are the major means of transportation, while the city also has rail connectivity. The nearest airport is Tiruchirapalli International Airport, located away from t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papanasam Sivan
Paapanaasam Raamayya Sivan (26 September 1890 – 1 October 1973) was an Indian composer of Carnatic music and a singer. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1971. He was also a film score composer in Kannada cinema as well as Tamil cinema in the 1930s and 1940s. Sivan was also known as Tamil Thyaagaraja. Using Classical South Indian as a base, Sivan created compositions popularised by M. K. Thyagaraja Bhagavathar, D. K. Pattammal, and M. S. Subbulakshmi. In 1962, he was awarded the Sangeet Natak Akademi Fellowship conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Life Sivan's early years were spent in the Travancore area of Kerala. He was born at Polagam village in the district of Thanjavur, which was home to the musical trinity of Carnatic music. His given name was Ramaiya. In 1897, when he was 7, his father died. His mother Yogambal, along with her sons, left Thanjavur and moved to Travancore (now Thiruva ... [...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] |
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] |
Sahana Ragam
Sahana (pronounced sahānā) is a popular ragam (musical scale) in Carnatic music. It is a janya rāgam (derived scale) associated with the 28th Melakarta rāgam Harikambhoji. The Hindustani music ragam ''Sahana'' is an upper-tetrachord-dominant Kanada-anga raga, from the Kafi thaat, also allied with Bageshree and Bhimpalasi. The shuddha Dhaivat is an important rest note (nyaas swara). Structure and Lakshana It is a ''Ubhaya Vakra sampoorna ragam''. ''Vakra'' means crooked. ''Ubhaya Vakra'' means that the notes in both ascent and descent follow a zig zag pattern. The notes in ascending and descending scale do not follow a strict progression. Hence the note phrases contain such ''vakra'' phrases, lending a unique beauty to this rāgam. Though it is a ''sampoorna rāgam'' (contains all 7 notes), the ''vakra'' scale means it is not considered a ''melakarta'', as melakarta rāgams must have strictly ascending and descending scales. It is also classified as a ''rakti raga'' (raga w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Navarasa Kannada
Navarasa kannada or Navarasakannada 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''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras This scale is well suited for instrumental music, especially with ''veena'' and ''flute''. It is suited for orchestral music as well. Structure and Lakshana ''Navarasa kannada'' is an asymmetric rāgam that does not contain ''rishabham, dhaivatam'' or ''nishādham'' in the ascending scale, while it does not have ''panchamam'' in descending scale. It is an ''svarantara-shadava'' rāgam (4 notes in ascending scale and 6 in descending scale). Its ' structure (ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadjam, antara gandhara, shuddha madhyamam'' and ''panchamam'' in ascend ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nattakurinji
Nattakurinji is a raga (musical scale) in Carnatic music. It is an ''audava janya'' raga of 28th Melakarta raga Harikambhoji. This raga is good to sing in evenings.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is used rarely in Hindustani, but is very popular in Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The raaga Kurinji belongs to the Melakarta family Shankarabharanam but is sung relatively rarely. Structure and Lakshana ''Nattakurinji'' is an asymmetric rāgam. It is said to have three types of ascending (arohana) and descending scales (avarohana). In practice all 3 types of ''arohana'' and ''avarohana'', as well as other usages (''prayogas'') are found. Its ' structure (one ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadjam, chathusruthi rishabham, antara gandhara, chathusruthi dhaivatham'' and ''kaisiki nishadham'' in ascending scale, wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kedaragaula
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] |
