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Shankarabharana
Dhīraśankarābharaṇaṃ, commonly known as ''Śankarābharaṇaṃ'', is a rāga in Carnatic music. It is the 29th '' Melakarta'' rāga in the 72 ''Melakarta'' rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as ''"Sarva Gamaka Maaṇika Rakti Rāgaṃ".'' By scale wise, the Śankarābharaṇaṃ scale corresponds to '' Bilaval'' in the Hindustani music system. The Western equivalent is the major scale, or the ''Ionian mode''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Hence this rāga is one of the most popular scales across the world, known with different names in different musical styles. Its nature is mellifluous and smooth. This rāga offers a large scope for compositions. It is ideal for a melodious, but still laid back majestic presentation. Structure and Lakshana It is the 5th rāga in the 5th ''Chakra Bā ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Atana
Atana or AThana (अठाण / अठाणा) is a raga (musical scale) in Carnatic music (South Indian classical music). It is a ''Janya'' raga (derived scale), whose '' Melakarta'' raga (parent, also known as ''janaka'') is '' Sankarabharanam'', 29th raga, commonly known as Shankarabharanam in the Melakarta system. Sometimes pronounced aDaaNaa (अडाणा). There is a Hindusthani raaga named अडाणा, which is totally different. Atana is very common in drama music. The note structures include, "Sadja, Chatusruti Rishabha, Suddha Madhyama, Pancama, Chatusruti Dhaivata, Kaisiki Nishada and as a rare feature, Kakali Nishada in descent." It is considered to be a very catchy raga that gives a stage flavor for a musician when everything is going dull in a concert. It stimulates the audience by its qualities of ''Veeram'' (courage).''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana Its structure (ascending ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabhi
Arabhi or Aarabhi (pronounced ārabhi) is a ragam (musical scale) in Carnatic music (South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent scale, also known as ''janaka'') is '' Shankarabharanam'', 29th in the 72 ''Melakarta'' raga system. It is a combination of the pentatonic scale ''Shuddha Saveri'' (or ''Durga'' in Hindustani Music) and the ''sampurna raga'' scale ''Shankarabharanam''. ''Arabhi'' is a raga that dates back to 7 AD. Originally, it was called as ''pazhanthakkam'' in Ancient Tamil music. A very auspicious ragam that emanates Veera rasa (valour), Arabhi is one of the five ''Ghana'' ragams that shine with special brilliance when '' Thanam'' is played on Veena. Structure and Lakshana Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : ''Arabhi'' raga is an ''Owdava-sampoorna'' raga meaning, 5 ''swaras'' occur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Devagandhari
Devagandhari (pronounced devagāndhāri) is a raga (musical scale) in Indian classical music. In carnatic classical music, Devagandhari is a ''janya'' raga (derived scale), whose ''melakarta'' raga (parent scale, also known as ''janaka'') is '' Shankarabharanam'', 29th in the 72 ''Melakarta'' raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri. It is also present in the Sikh tradition of northern India and is part of the Guru Granth Sahib. In Carnatic music Structure and lakshana Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : Devagandhari ragam is an ''audava-vakra-sampurna'' raga meaning, in ''arohana'' 5 ''swaras'' come (so it is called ''audava'') and in ''avarohana'' all ''swaras'' come (so ''sampurna''), and there is a "zigzag" pattern of notes (so ''vakra''). The notes used in this ragam are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Niroshta
Niroshta is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a pentatonic scale (''audava''/''owdava'' rāgam). It is a derived scale (''janya'' rāgam), as it does not have all the seven ''swaras'' (musical notes). ''Niroshta'' literally means without the lips.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras If the lips do not meet / touch, then the notes ''Ma'' and ''Pa'' cannot be uttered. This scale does not use either note and hence the name. It is a very pleasing rāgam. Structure and Lakshana ''Niroshta'' is a symmetric pentatonic scale (''audava-audava'' ragam''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications in Carnatic music classification – ''audava'' meaning 'of 5') that does not contain ''madhyamam'' and ''panchamam''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shuddha Saveri
Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music (musical scale of South Indian classical music) and Yakshagana music. It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale). It is a '' janya'' rāgam (derived scale)of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called ''Durga''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras According to the school of Muthuswami Dikshitar, this rāgam is called ''Devakriya''. '' Karnataka Shuddha Saveri'', a janya rāgam of 1st ''melakarta'' '' Kanakangi'', is called ''Shuddha Saveri'' by the Dikshitar school. Structure and Lakshana ''Shuddha Saveri'' is a symmetric rāgam that does not contain ''gāndhāram'' or ''nishādam''. It is a pentatonic scale (''audava-audava'' ragam in Carnatic music classification – audava meaning 'of 5'). Its ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bilahari
Bilahari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a ''janya'' rāgam (derived scale) from the 29th '' melakarta'' scale '' Sankarabharanam''. It is a ''janya'' scale, as it does not have all the seven ''swaras'' (musical notes) in the ascending scale. It is a combination of the pentatonic scale ''Mohanam'' and the ''sampurna raga'' scale ''Sankarabharanam''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is a morning rāgam.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana ''Bilahari'' is an asymmetric rāgam that does not contain ''madhyamam'' or ''nishādham'' in the ascending scale. It is an ''audava-sampurna'' rāgam (or ''owdava'' rāgam, meaning pentatonic ascending scale). Its ' structure (ascending and descending scale) is as follows: * : they are used in every song * : The notes used in this scale are ''shadjam, chathusruthi rishabham, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kedaram
Kedaram (pronounced kēdāram) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a derived scale (''janya'' rāgam) from '' Shankarabharanam'', the 29th ''Melakarta'' rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Structure and Lakshana ''Kedaram'' is an asymmetric scale that does not contain ''dhaivatam''. It is called a ''vakra audava-shadava'' rāgam, in Carnatic music classification. This classification implies that it has 5 notes in ascending scale with zig-zag notes and 6 notes in descending scale. 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, antara gandharam, shuddha madhyamam, panchamam'' and ''kakali nishadam''. Popular compositions ''Kedaram'' has been used by many composers for compositions in Carnatic music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ionian Mode
Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale. It is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or ''tenor'') into a fourth species of perfect fifth (tone–tone–semitone–tone) plus a third species of perfect fourth (tone–tone–semitone): C D E F G + G A B C. This octave species is essentially the same as the major mode of tonal music. Church music had been explained by theorists as being organised in eight musical modes: the scales on D, E, F, and G in the "greater perfect system" of "musica recta," each with their authentic and plagal counterparts. Glarean's twelfth mode was the plagal version of the Ionian mode, called Hypoionian (under Ionian), based on the same relative scale, but with the major third as its ''tenor' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jana Ranjani
Jana Ranjani is a raga in Carnatic music, the classical music of South India. It is a janya raga of Shankarabharanam, the 29th of the 72 melakarta ragas. The raga is named thus because it induces a feeling of enjoyment (''Jana'' – People and ''Ranjani'' – can be enjoyed by people) among the ''rasikas'' (audience). Structure and Lakshana It is a ''Vakra sampoorna – Audava ragam'' i.e. the ascending scale has all the notes in a zig-zag manner and the descending scale has five notes. Its ''Arohana–Avarohana'' structure is as follows: ''Arohana'': ''Avarohana'': Popular compositions * "Vidajaladhura" by Tyagaraja * "Nadadina" by Tyagaraja * "Pahimam Sri Rajarajeswari" by Maha Vaidyanatha Iyer * Third Charanam of "Ranjani Mridupankaja Lochani" of Tanjavur Sankara Iyer. * "Smarane Sukhamu Rama Nama" by Tyagaraja * "nannu brOva rAdA" of Syaama Sasthri *''Pranapathe nee salaho'' by Vyasatirtha Vyāsatīrtha (. 1460 – 1539), also called ''Vyasaraja'' or ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamsadhvani
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'' r ... [...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] |
