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Vishwambari
Vishwambari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 54th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 6th rāgam in the 9th ''chakra Brahma''. The mnemonic name is ''Brahma-Sha''. The mnemonic phrase is ''sa ra gu mi pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : ''Shuddha rishabham, antara gandharam, prati madhyamam, shatsruthi dhaivatham'' and ''kakali nishadham'' are the notes used in this scale, other than ''sha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vishwambari Scale
Vishwambari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 54th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 6th rāgam in the 9th ''chakra Brahma''. The mnemonic name is ''Brahma-Sha''. The mnemonic phrase is ''sa ra gu mi pa dhu nu''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : ''Shuddha rishabham, antara gandharam, prati madhyamam, shatsruthi dhaivatham'' and ''kakali nishadham'' are the notes used in this scale, other than ''sha ... [...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] |
Ganamoorti
Ganamurti (pronounced gānamūrti, meaning ''the idol of music'') is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 3rd ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Gānasāmavarāḷi in Muthuswami Dikshitar school of 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 Structure and Lakshana It is the 3rd rāgam in the 1st ''chakra Indu''. The mnemonic name is ''Indu-Go''. The mnemonic phrase is ''sa ra ga ma pa dha nu''. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The notes used in this scale are ''shuddha rishabham, shuddha gandharam, shuddha madhyamam, shuddha dhaivatham, kakali nishadham''. As it is a ''melakarta'' rāgam, by definition it is a ''sampoorna'' rāgam (has all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hatakambari
Hatakambari (pronounced Hātakāmbari''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 18th '' Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Jayashuddhamālavi in Muthuswami Dikshitar school of 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 Structure and Lakshana It is the 6th rāgam in the 3rd ''chakra Agni''. The mnemonic name is ''Agni-Sha''. The mnemonic phrase is ''sa ra gu ma pa dhu nu''. Its structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : (the notes used in this scale are ''shuddha rishabham, antara gandharam, shuddha madhyamam, shatsruthi dhaivatham, kakali ... [...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] |
Shamalangi
Shamalangi or Shyamalangi (pronounced ) is a ragam in Carnatic music (classical music of southern India). It is the 55th in the 72 ''melakarta'' rāgam system of Carnatic music, and is called ' in the Muthuswami Dikshitar school of that genre.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai''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 Shamalang is the 1st rāgam in the 10th ''chakra Disi''. Its mnemonic name is ''Disi-Pa;'' the mnemonic phrase associated with it is ''sa ri gi mi pa dha na''. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on notation and terms): * : * : ''Shamalangi's swaras'' are ''chathusruthi rishabham, sadharana gandharam, prati madhyamam, shuddha dhaivatham'' and ''shuddha nishadham''. As it is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mysore Jayachamaraja Wodeyar
Mysore (), officially Mysuru (), is a city in the southern part of the state of Karnataka, India. Mysore city is geographically located between 12° 18′ 26″ north latitude and 76° 38′ 59″ east longitude. It is located at an altitude of above mean sea level. Mysore is situated at the foothills of Chamundi Hills about towards the southwest of Bangalore and spread across an area of . Mysore City Corporation is responsible for the civic administration of the city, which is also the headquarters of Mysore district and Mysore division. It served as the capital city of the Kingdom of Mysore for nearly six centuries from 1399 until 1956. The Kingdom was ruled by the Wadiyar dynasty, with a brief period of interregnum in the late 18th century when Hyder Ali and Tipu Sultan were in power. The Wadiyars were patrons of art and culture. Tipu Sultan and Hyder Ali also contributed significantly to the cultural and economic growth of the city and the state by planting mulberry ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rāga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a 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 and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s may ... [...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] |
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] |
