|
Kafi (raga)
Kafi () is a '' raga'' in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music Vishnu Narayan Bhatkhande classified most ''ragas'' into ten ''Thaats''. Kafi ''Thaat'' is one of them. The ''raga'' Kafi is the principal ''raga'' of its ''Thaat''. According to Bhatkhande, its name first appears in the Raga Tarangini of Lochana Pandit, who lived in the Mithila district around the 15th century CE. Kafi has a direct lineage with the folk music of India. Folk music in Tappa, Hori, Dadra, Kirtan and Bhajans from different parts of India have been composed in this ''raga''. Many variations of Kafi exist. Contamination with ''vivadi swaras'' is common. This mixing has given rise to Mishra Kafi. Hence, a pure form of Kafi is seldom heard. Description Varna Kafi is a ''sampoorna-sampoorna'' or heptatonic ''raga'', with ''komal'' (half a note down) ''Gandhar'' (ga) and ''Nishad'' (ni). This is also referred to as the Bhai ... [...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] |
Dadra
Dadra is associated with the Hindustani classical music of the Indian subcontinent. Dadra tala This is a Hindustani classical '' tala'' (rhythmic cycle), consisting of six beats in two equal divisions of three. The most commonly accepted theka or basic pattern for this tala is ''dha dhi na, dha tu na''. There is a higher emphasis laid on the first swar in comparison the following two, that is, ''dha'' - higher emphasis following ''dhi'' ''na'' and again a higher emphasis on ''dha'' following ''tu'' ''na''. Theka of Dadra Tala मात्रा भाग : 3-3. धा धिं ना - धा तीं ना It has a characteristic pattern of bols (theka). This can also be shown using the following figure Dadra (genre) In this context ''dadra'' is a light classical vocal form in Hindustani classical music, mostly performed in Agra and in Bundelkhand region. It was originally accompanied by dadra tala (from where the term for the genre was borrowed), but later dadra ... [...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] |
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] |
Pakad
In Hindustani music, a ''pakad'' (Hindi: पकड़) is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the pakad a person who knows the raga is usually able to identify it. In many cases, the ragas contain the same swaras (notes), then the pakad also contains information about gayaki or chalan (the way the notes are to be ordered and played/sung). Usually, the pakad is formed from short convolutions of the arohana and avarohana, while in some cases it is quite different from them. The pakad for a particular raga need not be unique, its sole purpose is to clarify what raga it is. For example, here is a pakad for raga Yaman, a prominent raga from Hindustani music Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana 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 pitc ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termino ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (Hindustani Classical Music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. The specialty of any raaga depends on vadi swara and because of this, the vadi swara is also called the ''Jeeva swara'' or the ''Ansha swara''. A good artist uses vadi swara in different ways like singing vaadi swara again and again, starting a raga with vadi swara, to end a raaga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath. ''Vadi'' swara is al ... [...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] |
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] |
Bhairavi
Bhairavi ( sa, भैरवी) is a Hindu goddess, described as one of the Mahāvidyas, the ten avatars of the mother goddess. She is the consort of Bhairava. Etymology The name ''Bhairavi'' means "terror" or "awe-inspiring". She is the fifth of ten Mahāvidyas. She is also called Tripurabhairavi. "Tri" means three, "Pura" means fortress, castle, city, town, etc. Tripura convey three different stages of consciousness i.e. active, dream and deep sleep. She is in the form of all triads and once these triads are transcended, it is believed that Brahman is attained. Hence, she is called Tripurabhairavi. Iconography Her dhyana shloka in the Devi Mahatmya describes her form. She is seated on a lotus with four hands, one with a book, one with rosary beads, one with abhaya mudra and another with varada mundra. She wears red garments and wears a garland of severed heads around her neck. She has three eyes and her head is adorned with a crescent moon. In another form she is car ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heptatonic
A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include the major scale or minor scale; e.g., in C major: C D E F G A B C—and in the relative minor, A minor, natural minor: A B C D E F G A; the melodic minor scale, A B C D E FGA ascending, A G F E D C B A descending; the harmonic minor scale, A B C D E F GA; and a scale variously known as the Byzantine, and Hungarian,''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London, 2001) scale, C D E F G A B C. Indian classical theory postulates seventy-two seven-tone scale types, collectively called ''thaat'', whereas others postulate twelve or ten (depending on the theorist) seven-tone scale types. Several heptatonic scales in Western, Roman, Spanish, Hungarian, and Greek music can be analyzed as juxtapositions of tetrachords.Dupré, Marcel (1962). ''Cours Complet d'Improvisation a l'Orgue'', v.2, p. 35, trans. John Fenstermake ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sampoorna-sampoorna
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] |
.jpg "Click for more on -> Bhairavi")
