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Jalarnavam Scale
Jalarnavam (pronounced , meaning ''the ocean'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 38th '' Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Jaganmōhanam 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 2nd rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Sri''. The mnemonic phrase is ''sa ra ga mi pa dha ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (the specific notes used in this scale are ''shuddha rishabham, shuddha gandharam, prati madhyamam, shuddha dhaiva ... [...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] |
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] |
Pavani (ragam)
Pavani (pronounced pāvani, meaning ''the purifier'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 41st ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Kumbhini in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Structure and Lakshana It is the 5th rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Ma''. The mnemonic phrase is ''sa ra ga mi pa dhi nu''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its ' structure 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, prati madhyamam, chathusruthi dhaivatham'' and ''kakali nishadham''. It is a ''sampurna'' rāgam – a rāgam that has all seven ''swaras'' (no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Navaneetam
Navaneetam (pronounced navanītam, meaning ''the eternal new one'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 40th ''Melakarta'' rāgam (parent scale) 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 Navaneetham is a Sanskrit word meaning fresh butter. 'Nava' meaning fresh (new) and 'neetham' meaning butter. Structure and Lakshana It is the 4th rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Bhu''. The mnemonic phrase is ''sa ra ga mi pa dhi ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms ... [...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] |
Salagam
Salagam (pronounced sālagam) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 37th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Sowgandini 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 1st rāgam in the 7th ''chakra Rishi''. The mnemonic name is ''Rishi-Pa''. The mnemonic phrase is ''sa ra ga mi pa dha na''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : In this scale, the notes ''shuddha rishabham, shuddha gandharam, prati madhyamam, shuddha dhaivatham'' and ''shuddha nishadham'' are used. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Graha Bhedam
''Graha Bhedam'' in Carnatic music is the process (or result of the process) of shifting the Tonic note (''śruti'') to another note in the rāgam and arriving at a different rāgam. Its equivalent in Hindustani classical music is called a ''murchhana''. Expressed in Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key. ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or drone), it is also sometimes called ''Swara Bhedam'' or ''Śruti Bhedam'' though ''Śruti Bhedam'' and ''Graha Bhedam'' have some technical differences. Definition Modal shift of the Tonic note to higher notes of a rāgam, while retaining the note's positions (swara sthānas – sthāna means position/ pitch), results in different rāgams. This is called ''Graha Bhedam''. Practical demo A simple practical demonstration of ''Graha Bhedam'' can be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ratnangi
Ratnangi (pronounced ratnāngi, meaning ''the one with a gem-like body'') is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 2nd '' melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Phenadhyuti 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 2nd rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Sri''. The mnemonic phrase is ''sa ri ga ma pa dha ni''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The scale uses the notes ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham'' and ''kaisiki nishadham''. As it is a ''melakarta'' rāgam, by definition it is a ''sampoo ... [...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] |
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] |
