|
Shankara (raga)
''Shankara'' is a raga in Hindustani classical music. Origin The raga emerges from Bilaval thaat. Technical description The raga is of audav-shadav nature, i.e., it has five swaras (notes) in the arohana (ascent) and six in the avarohana (descent). All the swaras are used are shudhha swaras, no komal swara is used. It is an Uttaranga pradhan raga, with the higher notes on the saptak (octave) being used more frequently. :Arohana: :Avarohana: :Pakad: The vadi swara is Ga, and the samvadi The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ' ... is Ni. The rishabh (Re) is very weak, but yet significant in the way it supplements the gandhar (Ga). Samay (time) This proper time to sing this raga is supposed to be the last phase of night. ( 12 - 3 A.M. ) See also *'' Rag Shankara, Rag M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilaval (thaat)
Bilaval or Bilawal () is the most basic of all the ten thaats of Hindustani classical music of the Indian subcontinent. All the swaras in the thaat are shuddha or all swaras in the natural scale. Bilaval as a raga is not rendered these days however a small variation of the raga called Alhaiya Bilaval is very common. This is a morning raga and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance. Ragas Ragas in Bilaval include: # Alhaiya Bilawal # Bhinna Shadja #Bihag # Bilaval # Deshkar #Devgiri Bilawal #Durga #Hamsadhvani #Hemant # Kukubh Bilawal # Shankara # Sukhiya #Shukla Bilawal Shukla ( sa, शुक्ल) is a word of Sanskrit origin that means "bright" or "white". Similar to what goes for Shukla Paksha (शुक्लपक्ष) bright moonlight during waxing phase. Today it is a surname used by Brahmins in North In ... # Pahadi # Mand (raga) References {{reflist Hindustani music terminology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hansadhvani
Hamsadhvani (meaning "the cry of the swan"), is a rāga in Carnatic music (musical scale of Carnatic tradition of Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāga, meaning pentatonic scale). It is a ''janya'' rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th). ''Hamsadhvani'' is also extensively used in Hindustani music and said to be borrowed into it from Carnatic music.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It was created by the Carnatic composer Ramaswami Dikshitar (1735–1817), father of Muthuswami Dikshitar (one of the musical trinity of Carnatic music), and brought into Hindustani music by Aman Ali Khan of the Bhendibazaar gharana. It has become popular due to Amir Khan. Structure and lakshana ''Hamsadhvani'' does not contain ''madhyamam'' or ''dhaivatham''. It is a pentatonic scale (''audava-audava'' ra ... [...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] |
Hindustani Classical
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 c ... [...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] |
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] |
Saptak
Saptak means "gamut" or "the series of eight notes". It denotes the set of swaras i.e. Ṣaḍja (Sa), Ṛiṣabha (Re), Gāndhāra (Ga), Madhyama (Ma), Panchama (Pa), Dhaivat (Dha), Niṣāda (Ni), Sadja (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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 pakad a person who knows the raga is usually able to identify it. In many cases, the ragas contain the same swaras (notes), then the pakad also contains information about gayaki or chalan (the way the notes are to be ordered and played/sung). Usually, the pakad is formed from short convolutions of the arohana and avarohana, while in some cases it is quite different from them. The pakad for a particular raga need not be unique, its sole purpose is to clarify what raga it is. For example, here is a pakad for raga Yaman, a prominent raga from Hindustani 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 s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. The specialty of any raaga depends on vadi swara and because of this, the vadi swara is also called the ''Jeeva swara'' or the ''Ansha swara''. A good artist uses vadi swara in different ways like singing vaadi swara again and again, starting a raga with vadi swara, to end a raaga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath. ''Vadi'' swara is al ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samvadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana 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 pitc ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rag Shankara, Rag Mala In Jogia
''Rag Shankara, Rag Mala in Jogia'' is a studio album by Indian classical musician Ram Narayan, released in 1990. Recorded on 15 and 16 November 1989 in Wyastone Leys near Monmouth, Wales, the album features a ''sarangi'' performance of the solemn night ''raga'' ''Shankara'' and a '' ragamala'' ("garland of ragas") based on the introspective early morning ''raga'' ''Jogiya'' (or ''Jogia''). On both tracks, Narayan performs a long non-metrical introduction to unfold the ''raga'', during which he adds a pulse, until he is joined by the ''tabla'' (percussion) player to perform a composition. Origin The album consists of performances of the ''ragas'' ''Shankara'' and ''Jogiya'' (also called ''Jogia''); ''Jogiya'' is performed in '' raga mala'' form. ''Shankara'' is considered a solemn and dignified ''raga'' that is difficult to master. It has been described by Vamanrao Deshpande as representing the "heroic mood". Luiz Martinez José argued that the ''raga'' was named for a gentle a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
%2C_1660-1670_CE%2C_Golkonda.png "Click for more on -> Hindustani Classical")