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Kanada (raga Group)
Kanada (, ( ISO 15919/ IAST: ''Kānaṛā rāgaṅg'' Hindi: कान्हड़ा, Bengali: কানাড়া)) also known as Kanhada is a group of '' raga''s in Hindustani classical music. The name Kanada suggests that it may have originated in the Carnatic music tradition and Kannada country.Joep Bor 1999 Ragas in this group belong to different thaats, but particularly to the Asavari or Kafi thaat. Komal Gandhar (Ga) and Komal Dhaivat (Dha) are vakra (zigzag) in descent and are used in phrases like gMR and dnP. List of ragas in the Kanada family The following ragas belong to this group :Kaufmann 1968 #Abhogi Kanada #Adana Kanada #Asavari Kanada #Basanti Kanada #Bageshree Kanada #Bhavsakh Kanada #Darbari Kanada #Enayatkhani Kanada #Devsakh Kanada #Gunji Kanada #Husseini Kanada #Jayant Kanada #Kafi Kanada #Kausi Kanada #Lachari Kanada #Lankashree Kanada #Malkauns Kanada #Nagadhwani Kanada #Navarasa Kanada #Nayaki Kanada #Rageshree Kanada #Raisa Kanada #Ramsakh K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
ISO 15919
ISO 15919 (Transliteration of Devanagari and related Indic scripts into Latin characters) is one of a series of international standards for romanization by the International Organization for Standardization. It was published in 2001 and uses diacritics to map the much larger set of consonants and vowels in Brahmic and Nastaliq scripts to the Latin script. Overview Relation to other systems ISO 15919 is an international standard on the romanization of many Brahmic scripts, which was agreed upon in 2001 by a network of the national standards institutes of 157 countries. However, the Hunterian transliteration system is the "national system of romanization in India" and a United Nations expert group noted about ISO 15919 that "there is no evidence of the use of the system either in India or in international cartographic products." Another standard, United Nations Romanization Systems for Geographical Names (UNRSGN), was developed by the United Nations Group of Experts on Ge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gandhar (svara)
Gandhar is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhar is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhar is pronounced as Ga (notation - G). It is also called as गान्धार or गंधार in the Devanagri script. Details The following is the information about Gandhar and its importance in Indian classical music : * Gandhar is the third svara in an octave or Saptak. * Gandhar is the immediate next svara of Rishabh (Re). * The svara of Gandhar is Komal and Shuddha. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Ga is formed from Shadja. * The frequency ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shahana
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari
Darbari Kanada, or simply Raga Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; ''Darbar'' is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or ''pure Kanada''. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance It is also sometimes written as Durbari and Durbarikanada.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras In Hindustani classical music Darbari is a grave raga, played deep into the night, considered to be one of the more difficult to master, and with the potential for profound emotional impact. Darbari is a very serious raga and hence, slow and elab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bageshree
Raga Bageshri or Bageshree () is a Hindustani classical raga. It is a popular night raga, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century. In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music. The popular Hindi music director C.Ramchandra favoured composing songs in Bageshri, as he found it simple. In a 1978 interview at BBC studios with Mahendra Kaul, he explained this, while playing songs like ( Radha na bole - Azad, 1955) that were set to Bageshri. Theory The theoretical aspects of Bageshri are as follows: Scale :Arohana : S g m D n S' :Avarohana : S' n D m P D g m g R S Vadi & Samavadi : Vadi : Madhyam (Ma) :Samavadi: Shadja (Sa) Pakad or Chalan D n s, m, m P D, m g R S :Varjit Swara - P & R in Aaroh :Jati : - Audav-Sampoorna (Vakra) Organization & Relationships Thaat: K ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asavari
Raga Asavari () is a Hindustani classical raga. It belongs to the Asavari thaat and is performed in the morning hours. In pre- Bhatkhande days this Asavari used the Komal Rishab instead of Shuddh Rishab. When Bhatkhandeji created the thaat process, he changed that Asavari's Komal Rishab to Shuddha Rishab but the name remained the same. From that time the old or real 'Asavari' has been called the Komal Rishabh Asavari, and the new Shuddha Rishabh Asavari is simply called 'Asavari'. Raga Asavari and Komal Rishabh Asavari also appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Sikh Gurus Sri Guru Ramdas Ji and Sri Guru Arjun Dev Ji used these ragas. The Raga Komal Rishabh Asavari appears as 'Raga Asavari Sudhang' in Sri Guru Granth Sahib Ji. Structure Thaat: Asavari Jati: Audava-Sampoorna Arohana: Avarohana: Vadi: Samavadi: Pakad: Time: Second period of the day (9am-12pm) Mood: Renunciation and s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adana (raga)
Adana is an Indian raga. It is also called Adana Kanada. It is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada, as Adana is straighter than Darbari in its chalan, thus allowing faster passages. The flow of this raga is similar to a mix of Madhyamad Saranga with Darbari. Another common vivadi some artists use sparingly is shuddha ni which enhances the Saranga mood of the raga. Aroha and avaroha Arohana: Avarohana: Vadi and samavadi * Vadi : Sa * Samvadi : Pa Organization and relationships Flat Ga is usually omitted in ascent and in descent always appears in the distinctive Kanada phrase g m R S. Flat Dha is present in descent, but one should never linger on it. In fact it is omitted by some musicians completely. Most movements are in the upper tetrachord, around high Sa. It is very common to begin the elaboration of this raga with high Sa.Bor 1997 Adana is part of the Kanada Raga group. Samay (Time) Late Night (12am-3am) Historical In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abhogi Raga
Abhogi () is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an ''audava'' raga. It is a derived scale (''janya'' raga), as it does not have all the seven ''swaras'' (musical notes). ''Ābhōgi'' has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Theory The Carnatic raga Abhogi is a symmetric pentatonic scale that does not contain ''panchamam'' and ''nishadam''. It is called an ''audava-audava'' raga, as it has 5 notes in both ascending and descending scales. Its ' structure is as follows: * : * : The notes used are ''shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam and chathusruthi dhaivatham''. ''Ābhōgi'' is considered a ''janya'' raga of '' Kharaharapriya'', the 22nd '' Melakarta'' raga, though it can b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhaivat (svara)
Dhaivat is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivat is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivat is pronounced as Dha (notation - D). It is also called as धैवत in the Devanagri script. Details The following is the information about Dhaivat and its importance in Indian classical music : * Dhaivat is the sixth svara in an octave or Saptak. * Dhaivat is the immediate next svara of Pancham (Pa). * The svara of Dhaivat is and Shuddha. * It is said that Shadja is the basic svara from which all the other six svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Dha is formed from Shadja. * The frequency of Dhaivat is 400 Hz. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi (thaat)
Kafi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga ( Kharaharapriya) within this thaat. Description Kafi thaat makes use of the Komal Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj thaat. The Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime. Ragas Ragas in Kafi thaat include: * Abhogi * Bageshri * Bageshri-Ang Chandrakauns * Bahar * Barwa * Bhimpalasi * Brindavani Sarang * Dhani * Hanskinkini * Jog * Kafi * Megh * Malhar * Nayaki Kanada * Patdeep * Pilu * Jaijaiwanti Jaijaivanti or Jaijaiwanti is a Hindustani classical '' raga'' belonging to Khamaj Thaat. According to the Guru Granth Sahib, this ''raga'' is a mixture of two others: Bilaval and Sorath. The ''raga'' app ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
IAST
The International Alphabet of Sanskrit Transliteration (IAST) is a transliteration scheme that allows the lossless romanisation of Indic scripts as employed by Sanskrit and related Indic languages. It is based on a scheme that emerged during the nineteenth century from suggestions by Charles Trevelyan, William Jones, Monier Monier-Williams and other scholars, and formalised by the Transliteration Committee of the Geneva Oriental Congress, in September 1894. IAST makes it possible for the reader to read the Indic text unambiguously, exactly as if it were in the original Indic script. It is this faithfulness to the original scripts that accounts for its continuing popularity amongst scholars. Usage Scholars commonly use IAST in publications that cite textual material in Sanskrit, Pāḷi and other classical Indian languages. IAST is also used for major e-text repositories such as SARIT, Muktabodha, GRETIL, and sanskritdocuments.org. The IAST scheme represents more than a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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