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Neetimati Scale
Neetimati is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 60th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Nishādham 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 6th rāgam in the 10th ''chakra Disi''. The mnemonic name is ''Disi-Sha''. The mnemonic phrase is ''sa ri gi mi pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (this scale uses the notes ''chathusruthi rishabham, sadharana gandharam, prati madhyamam, shatsruthi dhaivatham, kakali nishadham'') As it is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rāga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a 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 and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s may ... [...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] |
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] |
Kalyani Varadarajan
Kalyani Varadarajan (8 October 1923 – 28 October 2003), commonly known as Kalyani, was one of Carnatic music's famous twentieth-century composers. She created carnatic compositions in all 72 melakarta ragas, besides scores of janya ragas. Early life Kalyani Varadarajan was born to Sriman Nadadoor Ammal Narasimhachariar and Srimati Singarammal. Her father was a big scholar in Telugu and Sanskrit languages, who served as a teacher, headmaster and finally as educational inspector, while her mother was a musician. Kalyani had a taste to write and compose songs since a young age, and she underwent vocal and Veena training, first under her mother and later under other able gurus. Thereafter, she learnt to play Violin The violin, sometimes known as a ''fiddle'', is a wooden chordophone (string instrument) in the violin family. Most violins have a hollow wooden body. It is the smallest and thus highest-pitched instrument (soprano) in the family in regular .... She had her deb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thyagaraja
Thyagaraja (Telugu: త్యాగరాజ) (4 May 1767 – 6 January 1847), also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the ''Pancharatna Kritis'' ( "five gems"), which are often sung in programs in his honour, and ''Utsava Sampradaya Krithis'' ( Festive ritual compositions), which are often sung to accompany temple rituals. Tyagaraja lived through the reigns of four kings of the Maratha dynasty — Tulaja II (1763–1787), Amarasimha (1787–1798), Serfoji II (1798–1832) and Sivaji II (1832–1855), although he served none of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ambujam Krishna
Ambujam Krishna (1917 - 1989) was a composer of Carnatic Kritis. She has composed more than 600 kritis in various Carnatic ragas. Personal life Ambujam Krishna is the daughter of K. V. Ranga Iyengar, an advocate of Madurai. She had her music training under Karaikudi Ganesan and Ganesha Bhagavathar. She married T. S. Krishna who was an industrialist and son of T. V. Sundaram Iyengar. She graduated in Home Science from the Delhi University. Industrialist Suresh Krishna is her son. Musical journey Ambujam Krishna has composed kritis in various languages such as Sanskrit, Kannada, Tamil and Telugu. She has also composed songs with more than one language in the same song. It is called Manipravalam in Tamil. Her compositions have been published in two volumes under the title ''Geetamala''. Her compositions have been tuned by various music masters like T. N. Seshagopalan, V. V. Sadagopan, S. Ramanathan, Semmangudi Srinivasa Iyer and others. She was a senior office bearer of Sri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamsanadam
Hamsanadam (pronounced hamsanādam) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a pentatonic scale (''audava'' rāgam, which means "of 5"), as it is sung in current days.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is a derived scale (''janya'' rāgam), as it does not have all the seven ''swaras'' (musical notes), from the 60th ''Melakarta'' rāgam ''Neetimati''. Structure and Lakshana ''Hamsanadam'', as it is sung now-a-days, is a symmetric scale that does not contain ''gandharam'' and ''dhaivatam''. It is called an ''audava'' rāgam, in Carnatic music classification (as it has 5 notes in both ascending and descending scales). Its ''ārohaṇa-avarohaṇa'' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * ārohaṇa : * avarohaṇa : This scale uses the notes ''shadjam, chatusruti rishabham, prati madhyamam, panchamam'' and ''kakali nishadam''. Ot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varunapriya
Varunapriya (pronounced ) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 24th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Viravasantam; 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 6th rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Sha''. The mnemonic phrase is ''sa ri gi ma pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The notes ''chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, shatsruthi dhaivatham'' and ''kakali nishadham'' ar ... [...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] |
