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Kharaharapriya Scale
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 Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasam, invoking pathos in the listeners. The ''Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill trying to lift it, it is believed that, to appease the lord, Ravana sang many hymns in praise of the lord, but hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dorian Mode
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself. : Greek Dorian mode The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third. : In the chromatic genus, they are semitone–semitone–minor third. : In the diatonic genus, they are semitone–tone–tone. : In the diatonic genus, the sequence over the ... [...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] |
Kapi (raga)
Kāpi is a popular rāga in Carnatic music, the classical music of South India. ''Kāpi'' is a janya rāgam of ''Kharaharapriya'' with a meandering vakra scale. Typically performed at slow and medium speeds, it is capable of inducing moods of devotion, pathos and sadness in the listeners. ''Kāpi'' is different from the Hindustani raag and thaat ''Kafi.'' The equivalent raag in Hindustani is Pilu. Structure and Lakshana Kāpi is an audava-vakra sampoorna rāgam with an ascending pentatonic scale and a descending scale with seven notes, but not in a descending order. Use of Kakali Nishadam and Anthara Gandharam make it a Bhashanga Raagam. * : * : The presence of different ''nishāda'' swarās (N2 and N3) lends a distinctive quality to Kāpi, along with the fact that it uses a set of vakra swarās (N2 D2 N2). There is also a mild presence of shuddha daivatham (D1) that renders an invaluable feeling of devotion to the raagam. This, and the presence of Anthara Gandhara ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brindabani Sarang
Brindavani Sarang or Brindabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridavani Sarang. This raga falls under the category of Sarang ragas. Theory Brindabani Sarang is a Kafi thaat raga. It was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. One of the famous Ragas for the Sarang , it is a popular of this family, together with Shuddha Sarang, and Madhyamad Sarang. The name Brindavani Sarang is a testament to its popularity in the region around Mathura. The notes ''Ga'' and ''Dha'' are not used in this raga. A characteristic of all Sarang is the way ''Rishab'' (Re) is sung. The Rishabh is not accorded embellishments, so it is sung without any ''meenḍ'' of adjacent ''swara''s neither with any ''andolan''. This preeminence of Re makes the ''swar'' the ''vadi'' of this Raga as also for all oth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhimpalasi
Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga. Raga Bhimpalasi belongs to the Kafi Thaat. Theory *Aarohana: *Avaroha: The raag has komal Ni and Ga. It is an Audava-Sampoorna jati raga, implying that it has 5 notes in Arohana and 7 in Avarohana. * Vadi Swar: * Samavadi Swar: *Thaat: Kafi *Pakad or Chalan: Prominent Bandish(Composition) by Niyamat Khan 'Sadarang' Sthayi: Jaa, jaa re apane mandiravaa Suna paave gi (mori) saas-nanadiyaa Antara: Suna ho sadaa-rang, tuma ko chaahata hay kya tum hamako chalana kiyaa, (or kya tum hamako Thagana diya) Jaa, jaa re Prominent Bandish(Composition) by Acharya Dr. Pandit Gokulotsavji Maharaj "MadhurPiya" The Bandish Initials(Bandish Name): "Gaao Bajao Sab Mil Ata Umang So" The Bandish is set in taal EkTaal Organisation and relationships Related/similar ragas: *Bageshree, Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki *In Carnatic music, Karnataka Devagandhari is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andolika
Andolika is a Carnatic raga, which is also sometimes written as ''Andholika''. This raga is a ''janya'' of the 22nd ''Melakarta'' raga Kharaharapriya.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana This ragam is an asymmetric scale and is classified as an ''audava-audava'' ragam (five notes in the ascending and descending scale).''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras * : * : The notes in this scale are ''chatushruti rishabham, shuddha madhyamam, panchamam, kaisiki nishadham'' in ''arohana'' and additional ''chatushruti dhaivatam'' in ''avarohanam'', in place of ''panchamam'' (see pictures). From ''Kharaharapriya'' scale (22nd melakarta), the ''gandharam'' is removed in this scale and the rest are used in asymmetrical manner. Since ''gandharam'' is removed this scale can also be considered a janya of 28th ''mela Harikambhoji'' scale, but since 22 comes ahead many prefer to use the a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abhogi
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 be d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abheri
Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent, also known as ''janaka'') is ''Kharaharapriya'', 22nd in the 72 ''Melakarta'' raga system. ''Bhimpalasi'' (or ''Bheempalas'') and ''Dhanashree'' of Hindustani music sounds close to ''Abheri''.''Ragas in Carnatic music'' by S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana Abheri is an ''audava-sampoorna'' raga. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The ''swaras'' in this scale are ''Chathusruthi Rishabham, Sadharana Gandharam, Suddha Madhyamam, Chathusruthi Dhaivatham'' and ''Kaisiki Nishadham''. There are some differing views on swaras in the scale of Abheri. It is considered a ''Bhashanga'' rag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhava
The Sanskrit word bhava (भव) means being, worldly existence, becoming, birth, be, production, origin,Monier Monier-Williams (1899), Sanskrit English Dictionary, Oxford University Press, Archiveभव bhava but also habitual or emotional tendencies. In Buddhism, ''bhava'' is the tenth of the twelve links of '' Pratītyasamutpāda''. It is the link between the defilements, and repeated birth, that is, reincarnation. In Thai Buddhism, ''bhava'' is also interpreted as habitual or emotional tendencies which leads to the arising of the sense of self, as a mental phenomenon. In Buddhism In Buddhism, ''bhava'' (not ''bhāva'', condition, nature) means being, worldly existence, becoming, birth, be, production, origin experience, in the sense of rebirths and redeaths, because a being is so conditioned and propelled by the karmic accumulations; but also habitual or emotional tendencies. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alapana
In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga (musical scale). It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it. Overview The flavor of the raga is outlined in the alapana by rendering the raga's permitted notes in structures and phrases unique to the raga (known as "raga lakshanam"). Alapana typically precedes a song that is going to be sung in the same raga. It demonstrates proper knowledge of the raga by highlighting key phrases common to it. Alapana is rendered in different speeds, with a gradual increase in tempo. Likewise, the complexity of the patterns increases steadily as the alapana prog ... [...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] |
Hemavati (raga)
Hemavati (pronounced hēmavati) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 58th '' Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Simhāravam''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications or Deshi Simhāravam''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras in Muthuswami Dikshitar school of Carnatic music. It is beloved especially of nadaswaram vidwans. It is said to be borrowed into Hindustani music from Carnatic music, especially with instrumentalists. Structure and Lakshana Hemavati is the 4th rāgam in the 10th ''chakra Disi''. The mnemonic name is ''Disi-Bhu''. The mnemonic phrase is ''sa ri gi 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): * : * : As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
