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Natabhairavi
Naṭabhairavi is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 20th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system. It corresponds to the Natural minor scale of western music system. Natabhairavi corresponds to the ''Asavari thaat'' of Hindustani 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 In the Muthuswami Dikshitar school this melakarta is instead known as Nārīrītigowla.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai ''Natabhairavi'' is known to be a rāgam that incites feelings of grandeur and devotion in the listeners. Structure and Lakshana It is the 2nd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Sri''. The mnemonic phrase is ''sa ri gi ma pa dha ni''. Its ' structure is as follows (see ''swaras'' in Carnatic music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natabhairavi Scale
Naṭabhairavi is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 20th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system. It corresponds to the Natural minor scale of western music system. Natabhairavi corresponds to the ''Asavari thaat'' of Hindustani 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 In the Muthuswami Dikshitar school this melakarta is instead known as Nārīrītigowla.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai ''Natabhairavi'' is known to be a rāgam that incites feelings of grandeur and devotion in the listeners. Structure and Lakshana It is the 2nd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Sri''. The mnemonic phrase is ''sa ri gi ma pa dha ni''. Its ' structure is as follows (see ''swaras'' in Carnatic music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saramati
Saramati is a ragam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 20th ''melakarta'' scale Natabhairavi.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the descending scale. Structure and Lakshana ''Saramati'' is an asymmetric rāgam that does not contain ''panchamam'' or ''rishabham'' in the descending scale. It is a combination of the ''sampurna raga'' scale ''Natabhairavi'' and pentatonic scale ''Hindolam''. It is an ''sampurna-audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic descending scale).''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its ' structure (ascending and descending scale) is as follows: * : * : The notes used in this scale are ''shadjam, chathusruthi rishabham, sadharana gandharam, panchamam, shuddha dhaivatham'' and ''kaisiki ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anandabhairavi
Anandabhairavi or Ananda Bhairavi (pronounced ānandabhairavi) is a very old melodious rāgam (musical scale) of Carnatic music (South Indian classical music). This rāgam also used in Indian traditional and regional musics. ''Ānandam'' (Sanskrit) means happiness and the rāgam brings a happy mood to the listener. It is a ''janya'' rāgam (derived scale) of the 20th ''Melakarta'' rāgam '' Natabhairavi'' Structure and Lakshana Its structure is as follows (see swaras in Carnatic music for details on the notations used): * : * : (''chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, Chatusruthi dhaivatham, kaishiki nishadham'') It is a ''sampoorna'' rāgam – rāgam having all 7 ''swarams'', but it is not a ''melakarta'' rāgam, as it has (zig-zag notes in scale) and uses (external note) in comparison with its parent rāgam. The ''anya swaram'' is the usage of ''shuddha dhaivatham'' ''(D1)'' in some phrases of the rāgam.''Ragas in Carnatic music'' by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhairavi (ragam)
Bhairavi is a ''janya'' rāgam in Carnatic music (musical scale of South Indian classical music). Though it is a ''sampoorna'' rāgam (scale having all 7 notes), it has two different ''dhaivathams'' in its scale making it a Bhashanga Ragam, and hence is not classified as a ''melakarta'' rāgam (parent scale). This is one of the ancient rāgams, said to have been prevalent about 1500 years ago. There are numerous compositions in this rāgam. Though a Raga called Bhairavi also exists in Hindusthani music, it is very different from the Carnatic version. Hindustani's Bhairavi, in terms of its aroha and avaroha alone, corresponds to Carnatic music's Thodi. It is considered a ''janya'' of the 20th ''melakarta Natabhairavi''. Its ' structure is as follows (see ''swaras'' of Carnatic music for details on below notation and terms): *: *: The other set of ārohaṇa and avarohaṇa used is: *: *: The notes used are ''chathusruthi rishabham, sadharana gandharam, shuddha madhyam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melakarta
Mēḷakartā is a collection of fundamental musical scales ( ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be generated. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter term is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the ''thaat'' is equivalent of ''Melakartā''. There are 10 ''thaats'' in Hindustani music, though the commonly accepted ''melakarta'' scheme has 72 ragas. Rules for ''Mēḷakarta'' ragas Ragas must contain the following characteristics to be considered ''Melakarta''. *They are ''sampurna ragas'' – they contain all seven ''swaras'' (notes) of the octave in both ascending and descending scale''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''A practical course in Carnatic musi ... [...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] |
Hindolam
Hindōḷaṃ is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). Hindolam is not the same as the Hindustani Hindol. The equivalent of ''Hindolam'' in Hindustani music is ''Malkauns''''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications (or Malkosh''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras). It is known to be a rāgam that is generally beautiful and soothing to listen to. Being symmetrical in its ascending and descending scales, it lends itself very well to improvisation and is therefore popular at concerts. Structure and Lakshana ''Hindōḷaṃ'' is a symmetric rāgam that does not contain ''rishabham'' and ''panchamam''. It is a pentatonic scale (''audava-audava'' rāgam in Carnatic music classification—''audava ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papanasam Sivan
Paapanaasam Raamayya Sivan (26 September 1890 – 1 October 1973) was an Indian composer of Carnatic music and a singer. He was awarded the Madras Music Academy's Sangeetha Kalanidhi in 1971. He was also a film score composer in Kannada cinema as well as Tamil cinema in the 1930s and 1940s. Sivan was also known as Tamil Thyaagaraja. Using Classical South Indian as a base, Sivan created compositions popularised by M. K. Thyagaraja Bhagavathar, D. K. Pattammal, and M. S. Subbulakshmi. In 1962, he was awarded the Sangeet Natak Akademi Fellowship conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Life Sivan's early years were spent in the Travancore area of Kerala. He was born at Polagam village in the district of Thanjavur, which was home to the musical trinity of Carnatic music. His given name was Ramaiya. In 1897, when he was 7, his father died. His mother Yogambal, along with her sons, left Thanjavur and moved to Travancore (now Thiruva ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari Kanada
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 e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hanumatodi
Hanumatodi, more popularly known as Todi (pronounced hanumatōdi and tōdi), is a rāgam (musical scale) in Carnatic music. It is the 8th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in '' prayoga'' (phrases of notes and intonation). It is called Janatodi in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from ''Todi (thaat)'' of Hindustani music (North Indian classical music). The equivalent of the Hindustani raga ''Todi'' in Carnatic music is ''Shubhapantuvarali'' (which is the 45th ''melakarta'').''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaunpuri (raga)
Raga Jaunpuri is a rāga in Hindustani classical music in the Asavari thaat. Some musicians like Omkarnath Thakur consider it indistinguishable from the shuddha rishabh Asavari.Rajan ParrikarAsavari and Associates Its attractive swaras also make it a popular raga in the Carnatic circles with a number of compositions in South India being tuned to Jaunpuri. The name of the rāga may associate it with places of this name, such as Javanpur in Gujarat, close to Saurasthra region and Jaunpur in northern Uttar Pradesh. History Jaunpuri was created by Sultan Hussain Sharqi of Jaunpur. Structure The Pakad is "m P n d P, m P g, R m P" It is usually performed in morning (9-12pm). In Carnatic music Structure and Lakshana * : * : (the notes used in this scale are ''shadjam, chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, panchamam, kaishika nishadham and shuddh dhaivatam'') In the Carnatic circles, ''Jonpuri'' is considered a ''janya'' rāga of '' Natab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shanmukhapriya
Shanmukhapriya is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 56th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of 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 It is said to be borrowed into Hindustani music from Carnatic music. Many compositions on Lord Murugan and Lord Shiva are based on this raaga. Structure and Lakshana It is the 2nd rāgam in the 10th ''chakra Disi''. The mnemonic name is ''Disi-Sri''. The mnemonic phrase is ''sa ri gi mi pa dha ni''. 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 ''swaras chatushruti rishabham, sadharana gandharam, prati madhyamam, shuddha dhaivatam'' and '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
