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Madhukali
Madhukali is a Hindustani classical 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 tradit .... Theory Arohana and Avarohana Arohana: Sa komalGa teevraMa Pa Ni Sa Avarohana: S2 Ni komal Dha Pa, teevra Ma Pa komal Dha komal Ni komal Dha Pa, teevraMa komal Ga Re Sa Vadi and Samavadi Sa Sonant Pa Consonant Pakad or Chalan This Raga is Pentatonic while ascending and Heptatonic in descending. Organization & Relationships Madhukali is a Raga created by Dr. Lalmani Misra, who played Vichitra Veena, on basis of classical principles of consonance (''The Raga Guide: A Survey of 74 Hindustani Ragas'', 1999). It blends Madhuvanti, Multani and Ramkali (''Raga Rupanjali'', 2007 p. 304). Thaat: It belongs to the category of Raga-s that can be classified under any thaat. Behavior ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vichitra Veena
The ''vichitra veena'' ( sa, विचित्र वीणा) is a stick zither, a plucked string instrument used in Hindustani music. Similar to the Carnatic ''gottuvadhyam'' (chitra vina) it has no frets and is played with a slide. The structure The Vichitra Veena is the modern form of ancient Ekatantri Veena. It is made of a broad, fretless, horizontal arm or crossbar (''dand'') around three feet long and six inches wide, with two large resonating gourds (''tumba''), which are inlaid with ivory and attached underneath at either end. The narrow ends of the instrument are fashioned into peacock heads, the national bird of India. The strings There are four main playing strings and five secondary strings (''chikaris''), which are played openly with the little finger for a drone effect. Underneath them are 13 sympathetic strings tuned to the notes of the appropriate raag. The veena has a five-octave range. Two plectrums ('' mizrab'') identical to those used for sitar are wo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical 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 sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...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] |
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] |
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] |
Madhuvanti
Madhuvanti is a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into 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 and is structurally similar to Multani. This Raga is based on Todi Thaat (Mode). It is a romantic raga based on the foundation, eternity and colors of love. ''Madhu'' literally means ''honey''. It is a very sweet raga with a very simple philosophy of love and romance. Hindustani music Madhuvanti's notes are N S Mg M P N S'(Mg in meend) while ascending and all the swaras, S' N D P M g R S, in the descent. (notations M - , g-). Madhuvanti belongs to thaat Todi. Time Madhuvanti is played after 4 pm before 8 pm. Rasa Madhuvanti expresses a gentle loving sentiment. It depicts the sringaar rasa, used to express the love of an individual towards his or her beloved. Carnatic music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Multani (raga)
Multani is a Hindustani classical raga. The newer raga Madhuvanti was inspired by Multani. Multani belongs to Todi Thaat. It is generally sung in the third prahar of the day, that is, around 1 PM to 4 PM. Re, Ga, Dha and Ma . Re and Dha should be weak, and should be included only in Avarohi phrases. Vadi: Pa Samvadi: Sa Arohana Avarohana 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 paka ... In Avaroh that is in descending order, the Sangati of Madhyama and Gandhara is shown often. This is the characteristics of Rag Multani. In Aroh, Raga start from Mandra Nishad, just like N S g or N S M g. As there is Komal Rushabh in this Rag, it is Sandhi prakash rag. References External links More details about raga MultaniSRA on Raga MultaniRajan Parrikar on Multani ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ramkali
Raga Ramkali is an early morning raga in Hindustani classical music which belongs to Bhairav Thaat. In this raga, as in Bhairav, Rishabh and Dhaivat are Komal(flat), but the Teevra and the flat nishad are added. The vadi-samvadi are Pancham and Shadja. The aroha is S r G M P, G M d N S' and the avroha is S' N d P m P, d (N)d P, G M r S. Flat nishad (seventh degree) and sharp madhyama (fourth degree) are used often. Raga Ramkali also appears in Sikh tradition in North India and is a part of Sikh Scripture Sri Guru Granth Sahib Ji. Another form of this Raga present in Sri Guru Granth Sahib Ji isRaga Ramkali Dakhni. Theory Arohana and avarohana Arohana: Avarohana: Vadi : Pa Samavadi : Sa 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 paka .../ Chalan : Description ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist in the field o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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