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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] |
Dheerasankarabharanam
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 Bāṇ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janya Ragas
''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] |
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] |
Melakartha
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 music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kambhoji
Kambhoji or Kambodhi is a popular Raga in Carnatic Music. It is classified as a derived raga from 28th Melakartha, Harikambhoji. Scale The scale of Kambhoji is Ascending: S R2 G3 M1 P D2 S Descending: S N2 D2 P M1 G3 R2 S (N3 P D2 S) Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga (a raga that includes notes other than what is in the parent raga). Medieval era There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's ''Sangita Makaranda'' (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of ''Shri raga'', the first subset of his scheme of classification. Ramaditya, the author of ''Swara-Mela Kalanidhi'' (1550 AD) has accepted 20 ''melas'' and has accommodated 64 ''Jana-ragas'' among the ''melas''. In this scheme of classification, the twentieth mela is Kambhoji u ... [...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] |
Sindhu Bhairavi (raga)
Sindhu Bhairavi is a raga in Hindustani classical music, Hindustani and Carnatic classical music, Carnatic Indian classical music, classical music, belonging to the Asavari thaat. In Carnatic music it is a Janya, Janya raga of the 8th Melakarta, melakartha raga Hanumatodi. The raga brings Viraham (separation), Shokam (sorrow), Karunam (compassion) and Bhakthi (devotion) Rasa (aesthetics), rasas. In Carnatic music it is a ''Bhashangaraga'', in which all the 12 notes are applicable. Sindhu Bhairavi is not to be confused with other similarly named ragas such as Sindhi Bhairavi, Sindh (raga), Sindh, Sindhura and Sindhura Bhairavi. Theory Arohana: Avarohana: Vadi (music), Vadi: Samavadi: Popular compositions Popular carnatic compositions in the raga are: * ''Vinnum mannum'' - Subramania Bharati * ''Venkatachala Nilayam, Tamboori meetidava, Vrindavanave Mandira, Tirupati Venkataramana, Harihara ninnanu, Elliruvano Ranga'', ''Kai Meeri Hoda Matige'' By Purandara Dasa * ''Naras ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yamunakalyani
Yamunakalyani is the janya raga of Mechakalyani, the 65th Melakarta ragam.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It brings out Bhakthi, Sringara, Gambheera and Shantha rasas. Raga Lakshana Yamunakalyani / Yaman kalyan / Yaman Kalyani is a Sampoorna Bhashanga Raga.It is said to be borrowed from Hindustani music and is the Carnatic adaptation of the Hindustani raga: Yaman Kalyan. Its arohana- avarohana is as follows: *Arohana: *Avarohana: The swaras are Shadjam, Chathusruthi Rishabham, Antara Gandharam, Panchamam, Prathi Madhyamam, Chathusruthi Dhaivatham, Kakali Nishadam. Shudha Madhyama is seen in avarohana, but it must be used sparingly. Usually the avarohana is sung with a brief instance of M1 between G3 and R2. The jeeva swaras are– R, G, M, D and N. S, G, P and N forms the Graha swaras. M1 is the anya swara. The characteristic phrases of this raga are NDNR -NRNG – DNRG. PMRGR – GMR SNRS(Ranjaka prayogas). Another ty ... [...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] |
Udayaravichandrika
Udayaravichandrika is a rāgam in Carnatic music (musical scale of South Indian classical music). It is an ''audava'' rāgam (or ''owdava'' rāgam, meaning pentatonic scale ). It is a ''janya'' rāgam (derived scale), as it does not have all the seven ''swaras'' (musical notes). Closer to ''Udayaravichandrika'' in Hindustani music is '' Dhani'' aka Gaundgiri.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras But Dhani has N2 while Udayaravichandrika N3 in theory. Structure and Lakshana ''Udayaravichandrika'' is a symmetric rāgam that does not contain ''rishabham'' or ''dhaivatam''. It is a pentatonic scale (''audava-audava'' rāgam in Carnatic music classification – ''audava'' meaning 'of five') and is equivalent to the minor pentatonic scale in Western music. Its ' structure (ascending and descending scale) is as follows (see ''swaras'' in Carnatic music for details on be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbar (raga)
Darbar (pronounced darbār) is a ragam in Carnatic music. The raga is a comparatively recent entry to Carnatic Music, possibly in the earlier part of the 18th century.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of MadrasRagasurabhi by K.T Rabindranathan published by Kerala Bhasha Institute First published in November 1992 Structure and lakshana It is a Vakra ragam derived from the 22nd Melakarta rāgam Kharaharapriya. Nishadham and ghandharam used as long in the Avarohana. Its ' structure is as follows (see ''swaras'' in Carnatic music for details on below notation and terms): * : * : The notes used are shadjam, chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham, kaisiki nishadham. Popular compositions ''Darbar'' is a scale that is used for compositions in a medium to fast tempo. This scale has been used by many composers a ... [...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] |
