|
Rishabhapriya
Rishabhapriya is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 62nd '' melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is the ''prati madhyamam'' equivalent of ''Charukesi'', which is the 26th ''melakarta''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is called Ratipriya in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 2nd rāgam in the 11th ''chakra Rudra''. The mnemonic name is ''Rudra-Sri''. The mnemonic phrase is ''sa ri gu 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 notes ''chathusruthi ris ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rishabhapriya Scale
Rishabhapriya is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 62nd ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system of Carnatic music. It is the ''prati madhyamam'' equivalent of '' Charukesi'', which is the 26th ''melakarta''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is called Ratipriya in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana It is the 2nd rāgam in the 11th ''chakra Rudra''. The mnemonic name is ''Rudra-Sri''. The mnemonic phrase is ''sa ri gu 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 notes ''chathusruthi rish ... [...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] |
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] |
Charukesi
Charukesi (pronounced chārukēśi) is a rāga in Carnatic music (musical scale of South Indian classical music). It is the 26th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music. ''Charukesi'' is known to incite feelings of pathos and devotion in the listener. Structure and Lakshana It is the 2nd rāgam in the 5th ''chakra Bana''. The mnemonic name is ''Bana-Sri''. The mnemonic phrase is ''sa ri gu ma pa dha ni''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : (''chathusruthi rishabham, anthara gandharam, shuddha madhyamam, shuddha dhaivatham, kaisiki nishadham'') It is a ''sampoorna'' rāgam - a rāgam that has all seven ''swaras'' (notes). It is the ''shuddha madhyamam'' equivalent of ''Rish ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kokilapriya
Kokilapriya (''The one dear to the koel'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 11th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. The 11th rāgam in Muthuswami Dikshitar school of Carnatic music is called Kokilāravam.''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 5th rāgam in the 2nd ''chakra Netra''. The mnemonic name is ''Netra-Ma''. The mnemonic phrase is ''sa ra gi ma pa dha na''. 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 ''shuddha rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham, kakali nishadham'') As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all seven note ... [...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] |
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] |
Veene Sheshanna
Veene Sheshanna ( kn, ವೀಣೆ ಶೇಷಣ್ಣ) (1852—1926) was an exponent of the Veena, an Indian string instrument, which he played in the classical Carnatic music style. He was a concert musician at the court of the princely state of Mysore in southern India. Family Veene Sheshanna was born in Mysore in 1852 in a Madhwa Brahmin family of musicians. His father, Chikkaramappa, was a ''Vainika'' (player of the veena) in the court of the Maharaja of Mysore. The musical history of the family goes far back and Sheshanna was the descendant of Pachchimeeriyam Aadi Appayya, a noted composer of Carnatic music. According to contemporary practise in Mysore, Sheshanna was married at the age of twelve. His father died soon afterwards. Training and career Sheshanna displayed precocious musical talent as a young boy of five. At an early age, he caught the eye of the Maharaja and received expensive gifts from him. He learnt music from Mysore Sadashiva Rao and Veene Venkatasubbayya ... [...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] |
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] |
