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Todi Thaat
Todi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. Description Todi has Komal Rishab, Gandhar, and Dhaivat, as well as Teevra Madhyam. The Todi raga represents the mood of delighted adoration with a gentle, loving sentiment and it's traditionally performed in the late morning. Ragas Ragas in Todi Thaat: *Miyan Ki Todi/Todi/Darbari Todi *Gujari Todi *Madhuvanti Madhuvanti is a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into Carnatic music,''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. ... * Multani References {{reflist Hindustani music theory ... [...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] |
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 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Subcontinent
The Indian subcontinent is a list of the physiographic regions of the world, physiographical region in United Nations geoscheme for Asia#Southern Asia, Southern Asia. It is situated on the Indian Plate, projecting southwards into the Indian Ocean from the Himalayas. Geopolitically, it includes the countries of Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka."Indian subcontinent". ''Oxford Dictionary of English, New Oxford Dictionary of English'' () New York: Oxford University Press, 2001; p. 929: "the part of Asia south of the Himalayas which forms a peninsula extending into the Indian Ocean, between the Arabian Sea and the Bay of Bengal. Historically forming the whole territory of Greater India, the region is now divided into three countries named Bangladesh, India and Pakistan." The terms ''Indian subcontinent'' and ''South Asia'' are often used interchangeably to denote the region, although the geopolitical term of South Asia frequently includes Afghanist ... [...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] |
Todi (raga)
Miyan ki Todi, often simply referred to as Todi or Darbari Todi (), is a Hindustani classical raga which gave its name to the Todi (thaat), Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi (raga), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi. The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi (thaat), Bhairavi thaat, but the Hindustani Bhairavi (Hindustani), Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi (raga), Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miyan Ki Todi
Miyan ki Todi, often simply referred to as Todi or Darbari Todi (), is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi. The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi thaat, but the Hindustani Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. Though the Swarasthana orders of Carnatic Thodi are similar to Hindustani Bhairavi thaa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari Todi
Miyan ki Todi, often simply referred to as Todi or Darbari Todi (), is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi. The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi thaat, but the Hindustani Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. Though the Swarasthana orders of Carnatic Thodi are similar to Hindustani Bhairavi thaa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gujari Todi
Gurjari is an Indian classical music raga. Raga Gurjari is named after Gujarat, India. In south India, the raga is called Shekharachandrika. Origin The present day Gurjari raga owes its origin to the Gurjar Gurjar or Gujjar (also transliterated as ''Gujar, Gurjara and Gujjer'') is an ethnic nomadic, agricultural and pastoral community, spread mainly in India, Pakistan and Afghanistan, divided internally into various clan groups. They were tradit ...s (or Gujjars). References Hindustani ragas Ragas in the Guru Granth Sahib Gujarati music {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhuvanti
Madhuvanti is a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into 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 and is structurally similar to Multani. This Raga is based on Todi Thaat (Mode). It is a romantic raga based on the foundation, eternity and colors of love. ''Madhu'' literally means ''honey''. It is a very sweet raga with a very simple philosophy of love and romance. Hindustani music Madhuvanti's notes are N S Mg M P N S'(Mg in meend) while ascending and all the swaras, S' N D P M g R S, in the descent. (notations M - , g-). Madhuvanti belongs to thaat Todi. Time Madhuvanti is played after 4 pm before 8 pm. Rasa Madhuvanti expresses a gentle loving sentiment. It depicts the sringaar rasa, used to express the love of an individual towards his or her beloved. Carnatic music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Multani (raga)
Multani is a Hindustani classical raga. The newer raga Madhuvanti was inspired by Multani. Multani belongs to Todi Thaat. It is generally sung in the third prahar of the day, that is, around 1 PM to 4 PM. Re, Ga, Dha and Ma . Re and Dha should be weak, and should be included only in Avarohi phrases. Vadi: Pa Samvadi: Sa Arohana Avarohana 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 paka ... In Avaroh that is in descending order, the Sangati of Madhyama and Gandhara is shown often. This is the characteristics of Rag Multani. In Aroh, Raga start from Mandra Nishad, just like N S g or N S M g. As there is Komal Rushabh in this Rag, it is Sandhi prakash rag. References External links More details about raga MultaniSRA on Raga MultaniRajan Parrikar on Multani ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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