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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] |
Darbari
Darbari Kanada, or simply Raga Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; ''Darbar'' is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or ''pure Kanada''. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance It is also sometimes written as Durbari and Durbarikanada.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras In Hindustani classical music Darbari is a grave raga, played deep into the night, considered to be one of the more difficult to master, and with the potential for profound emotional impact. Darbari is a very serious raga and hence, slow and elab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malahari
Malahari is a Carnatic raga. This raaga is a ''janya'' of the 15th ''Melakarta'' raga Mayamalavagowla. This raga is known to be a morning raga which brings out a sense of calmness.''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is associated with the rainy season.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications In classical carnatic training, it is often used as a raaga for beginners using geetha right after the swara-based exercises in Mayamalavagowla. Many of the Geetha's in this raga have been composed by Purandara Dasa and Muthuswami Dikshitar. Structure and Lakshana This raga is an asymmetric scale and is classified as an ''audava-shadava'' raga (five notes in the ascending scale and six notes in the descending scale). * : * : The notes in this scale are ''shuddha rishabha, shuddha madhyama, shuddha dhaivata'' in ''arohana'' and additional ''antara gandhara'' in ''avarohana''. Since this scale does not h ... [...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] |
Asavari
Raga Asavari () is a Hindustani classical raga. It belongs to the Asavari thaat and is performed in the morning hours. In pre- Bhatkhande days this Asavari used the Komal Rishab instead of Shuddh Rishab. When Bhatkhandeji created the thaat process, he changed that Asavari's Komal Rishab to Shuddha Rishab but the name remained the same. From that time the old or real 'Asavari' has been called the Komal Rishabh Asavari, and the new Shuddha Rishabh Asavari is simply called 'Asavari'. Raga Asavari and Komal Rishabh Asavari also appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Sikh Gurus Sri Guru Ramdas Ji and Sri Guru Arjun Dev Ji used these ragas. The Raga Komal Rishabh Asavari appears as 'Raga Asavari Sudhang' in Sri Guru Granth Sahib Ji. Structure Thaat: Asavari Jati: Audava-Sampoorna Arohana: Avarohana: Vadi: Samavadi: Pakad: Time: Second period of the day (9am-12pm) Mood: Renunciation and s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harikambhoji
Harikambhoji (pronounced harikāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 28th ''Melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. One of the first scales employed by the ancient Tamils(3BCE) was the ''Mullaipann'', a pentatonic scale composed of the notes ''sa ri ga pa da'', equivalent to C, D, E, G and A in the western notations. These fully harmonic scales, constitutes the raga Mohanam in the Carnatic music style. ''Mullaipann'' further evolved into ''Sempaalai'', a scale based on seven notes by the addition of two more notes, ''ma'' and ''ni'' to the pentatonic scale. ''Sempaalai pann'' corresponds to the Carnatic raga Harikambhoji. ''Khamaj thaat'' of Hindustani Music is the equivalent to this rāgam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras It is known as Harikedāragowla in the Muthuswami ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sahana (raga)
Sahana (pronounced sahānā) is a popular ragam (musical scale) in Carnatic music. It is a janya rāgam (derived scale) associated with the 28th Melakarta rāgam Harikambhoji. The Hindustani music ragam ''Sahana'' is an upper-tetrachord-dominant Kanada-anga raga, from the Kafi thaat, also allied with Bageshree and Bhimpalasi. The shuddha Dhaivat is an important rest note (nyaas swara). Structure and Lakshana It is a ''Ubhaya Vakra sampoorna ragam''. ''Vakra'' means crooked. ''Ubhaya Vakra'' means that the notes in both ascent and descent follow a zig zag pattern. The notes in ascending and descending scale do not follow a strict progression. Hence the note phrases contain such ''vakra'' phrases, lending a unique beauty to this rāgam. Though it is a ''sampoorna rāgam'' (contains all 7 notes), the ''vakra'' scale means it is not considered a ''melakarta'', as melakarta rāgams must have strictly ascending and descending scales. It is also classified as a ''rakti raga'' (raga wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 prefixed to it after the advent of the scheme of the 72 ''melas''. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga. Structure and Lakshana Venkatamakhin defines its lakshana thus: पूर्णो माळवगोळाख्यः स ग्रहो गीयते सदा ''Mayamalavagowla'' is the 3rd raga in the 3rd ''chakra, Agni''. Its mnemonic name is ''Agni-Go''. Its mnemonic phrase is ''sa ra gu ma pa dha nu''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications Its ' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The notes in this raga are ''ṣaḍjam, śuddha r̥ṣabham, ant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music Terminology
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here. The order of terms is from basic to related terms, rather than alphabetic. Main terms Nāda '' Nāda'' refers to music or musical sound. It also refers to the tone of a musical instrument. Anahata Nāda ''Anāhata Nāda'' refers to the naturally occurring sounds (literally not struck). Ahata Nāda ''Ahata Nāda'' refers to generated sounds or sounds made by efforts of man (literally that which is heard). It is of 6 types. 1.shareeraja - it emanates from the human throat. Example: vocal singing 2.Dhanuja - is born from string instruments. Example: Violin,veena etc... 3.Vayuja - us born when air is passed through narrow pipe like instruments. Example: Flute, nadaswaram etc... 4.Charmaja 5. Lohaja 6.Nakhaja Śruti ''Śruti'' is musical pitch. It is considered to be equivalent to tonic of western music. This is the pit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or ''saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''nirukt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Classical Music
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as '' Hindustani'' and the South Indian expression known as '' Carnatic''. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient ''Natyashastra'', the classic Sanskrit text on performing arts by Bharata Muni., Quote: "The tradition of Indian classical music and dance known as ''Sangeeta'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanisha ... [...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] |
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] |
