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Shadja
Shadja ( ) is the first of the seven svaras in Hindustani and Carnatic music. Shadaj is the long form of the syllable सा (Sā). Details The following is the information about Shadaj and its importance in Indian classical music: * Shadaj is the first svara in an octave or Saptak. * Shadaj is usually the main svara in a raga. * The svara that is played on the Tanpura for the singer is Shadaj. It is played to know that one is singing on the right pitch and octave. * Shadaj is the base or basic svara. It is a very fundamental svara in Classical music. * Shadaj serves a critical role in maintaining the tonal framework during performances. Before transitioning from one raga to another, particularly when the ragas share the same set of svaras (notes) but differ in their chalan (movement or progression), the note "Sa" is often played. This practice ensures clarity and prevents confusion by re-establishing the tonal base, allowing the next raga to begin distinctly. * The svara of Sh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rishabh (svara)
Rishabha ( ) is the second of the seven svaras in Hindustani and Carnatic music. Rishabha is the long form of the syllable रे (Re). Detail The following is the information about Rishabha and its importance in Indian classical music: * Rishabha is the second ''svara'' in an octave or '' Saptak'' and follows "Sa" (Shadja) as its immediate successor. * The svara of Rishabha is ''Komal'' and ''Shuddha''. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, ''Shad'' and ''Ja''. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Re is formed from Shadja. * The frequency of Rishabha is 270 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 36 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nishad (svara)
Nishada ( ) is the seventh and last svara in Hindustani music and Carnatic music. Nishada is the long form of the syllable नी (Ni). Details The following is the information about Nishada and its importance in Indian classical music : * Nishada is the seventh svara in an octave or Saptak. * Nishada is the immediate next svara of Dhaivat (Dha). * The svara of Nishada is Komal and Shuddha. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other six notes of the music. So the svara Ni is formed from Shadja. * The frequency of Nishada is 450 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 360 Hz, Dha 400 H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhaivat (svara)
Dhaivata ( ) is the sixth and penultimate svara of Hindustani music, Hindustani and Carnatic music. Dhaivata is the long form of the syllable ध (Dha). Details The following is the information about Dhaivata and its importance in Indian classical music: * Dhaivata is the sixth svara in an octave or Saptak. * Dhaivata is the immediate next svara of Pancham (svara), Pancham (Pa). * The svara of Dhaivata is and Shuddha. * It is said that Shadja is the basic svara from which all the other six svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in marathi (language), Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Dha is formed from Shadja. * The frequency of Dhaivata is 400 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pancham (svara)
Pancham ( ) is the fifth svara from the seven svaras of Hindustani and Carnatic music. Pancham is the long form of the syllable प (Pa). Details Regarding panchama and its importance in Indian classical music: * Pancham is the fifth svara in an octave or Saptak. * Pancham is the immediate next svara of Madhyam (Ma). * The svara of Pancham is never * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Sanskrit. So basically the translation is : षड् - 6, ज -जन्म. Therefore it collectively means giving birth to the other six notes of the music. So the svara Pa is formed from Shadja. * The frequency of Pancham is 360 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 360 Hz, Dha 400 Hz, and Ni 450 Hz, Sa 480 Hz (Taar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyam (svara)
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma (notation - M). It is also called as मध्यम in the Devanagri script. Details The following is the information about Madhyam and its importance in Indian classical music : * Madhyam is the fourth svara in an octave or Saptak. * Ma is the immediate next svara of Gandhar (Ga). * The svara of Madhyam is and . In fact Madhyam is the only svara in the Saptak. * It is said that Shadja is the basic svara from which all the other six svaras are produced. Breaking the word Shadja yields Shad And Ja. It means that Shad is six and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other six notes of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gandhar (svara)
Gandhara ( ) is the third svara in Hindustani music, Hindustani and Carnatic music. Gandhara is the long form of the syllable ग (Ga). Details The following is the information about Gandhara and its importance in Indian classical music: * Gandhara is the third svara in an octave or Saptak. * Gandhara is the immediate next svara of Rishabh (svara), Rishabh (Re). * The svara of Gandhara is Komal and Shuddha. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in marathi (language), Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Ga is formed from Shadja. * The frequency of Gandhara is 300 Hz. The frequencies of the 7 svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saptak
Saptak means "gamut" or "the series of seven notes". It denotes the set of swaras i.e. Shadja (Sa), Rishabha (Ri), Gāndhāra (Ga), Madhyama (Ma), Panchama (Pa), Dhaivat (Dha), Nishada (Ni), Shadja (Sa) which comprise a musical scale in Indian classical music. In Sanskrit, saptak literally means "containing seven" and is derived from the Sanskrit word ''Sapta'' which means "seven". The Saptak comprises the Sapta Svaras, i.e. the seven svaras or the seven notes of classical music. The basic saptak is called the Madhya Saptak (Devanagari: मध्य सप्तक). For notes with lower frequencies, the artist may use the Mandra Saptak (Devanagari: मंद्र सप्तक)', which is an octave lower than the Madhya Saptak. For notes with higher frequencies, the Taar Saptak (Devanagari: तार सप्तक), which is an octave above the Madhya Saptak, is used. The usual scale of Indian music spans from Sa in the Madhya Saptak to Sa in the higher, Taar Saptak. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ṣaḍja (Sa)
Shadja ( ) is the first of the seven svaras in Hindustani and Carnatic music. Shadaj is the long form of the syllable सा (Sā). Details The following is the information about Shadaj and its importance in Indian classical music: * Shadaj is the first svara in an octave or Saptak. * Shadaj is usually the main svara in a raga. * The svara that is played on the Tanpura for the singer is Shadaj. It is played to know that one is singing on the right pitch and octave. * Shadaj is the base or basic svara. It is a very fundamental svara in Classical music. * Shadaj serves a critical role in maintaining the tonal framework during performances. Before transitioning from one raga to another, particularly when the ragas share the same set of svaras (notes) but differ in their chalan (movement or progression), the note "Sa" is often played. This practice ensures clarity and prevents confusion by re-establishing the tonal base, allowing the next raga to begin distinctly. * The svara of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Music
Hindustani classical music is the Indian classical music, classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or ''Uttar Bhartiya shastriya sangeet''. The term ''shastriya sangeet'' literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century Common Era, CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Telugu language, Telugu, Kannada, Tamil language, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj Bhasha, Braj, Awadhi language, Avadhi, Bhojpuri language, Bhojpuri, Bengali language, Bengali, Rajasthani languages, Rajasthani, Marathi language, Marathi and Punjabi language, Punjabi. Knowledge of Hindustani classical music is taught through a network of classical musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
