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Jyotiswaroopini Scale
Jyoti swarupini (pronounced jyōti swarūpini) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 68th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is the ''prati madhyamam'' equivalent of ''Ragavardhini'', which is the 32nd ''melakarta''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is called Jyōtirāga or Joti''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras or Jyōti''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai in Muthuswami Dikshitar school of Carnatic music. Structure and Lakshana It is the 2nd rāgam in the 12th ''chakra Aditya''. The mnemonic name for this rāgam is ''Aditya-Sri''. The mnemonic phrase is ''sa ru gu mi pa dha ni''. Its ascending and descending scale (' structure) is as follows: * : * : See ''swaras'' in Carnatic music for details on above notatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) 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 formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...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 derived. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter usage is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the '' thaat'' is the rough 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 i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragavardhini
Ragavardhini (pronounced rāgavardini) has two separate meanings in Indian classical music: * a major part of the alapana of a raga. The performer gives a step-by-step elaboration of the raga, pausing at each major note or swara. * the 32nd ''melakarta'' raga in the Katapayadi sankhya scheme of Carnatic music. Melakarta It is the 32nd ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is called Rāgachudāmaṇi 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 2nd rāgam in the 6th ''chakra Ritu''. The mnemonic name is ''Ritu-Sri''. The mnemonic phrase is ''sa ru gu ma pa dha ni''. Its ' structure is as follows (see ''swaras'' in Carnatic mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muthuswami Dikshitar
Muthuswami Dikshitar (Mudduswamy Dikshitar) (, 24 March 1776 – 21 October 1835), mononymously Dikshitar, was a South Indian poet, singer, veena player, and a prolific composer of Indian classical music. He was the youngest member of what is referred to as the Trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1776 in Tiruvarur near Thanjavur, in what is now the state of Tamil Nadu, India. He was born to a family that is traditionally traced back to Virinichipuram in the northern boundaries of the state. Dikshitar is credited with about 500 known compositions which are noted for their elaborate, poetic descriptions of Hindu gods, architectural descriptions of temples, and for capturing the essence of the raga forms through the vainika ( veena) style that emphasizes gamakas. They are composed in a slower tempo (chowka kala). He is also known by his signature name of Guruguha which is also his mudra which appears in each of his compositions. His compositions a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jyotiswaroopini Scale
Jyoti swarupini (pronounced jyōti swarūpini) is a ragam in Carnatic music (musical scale of South Indian classical music). It is the 68th ''Melakarta'' rāgam in the 72 ''melakarta'' rāgam system of Carnatic music. It is the ''prati madhyamam'' equivalent of ''Ragavardhini'', which is the 32nd ''melakarta''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is called Jyōtirāga or Joti''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras or Jyōti''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai in Muthuswami Dikshitar school of Carnatic music. Structure and Lakshana It is the 2nd rāgam in the 12th ''chakra Aditya''. The mnemonic name for this rāgam is ''Aditya-Sri''. The mnemonic phrase is ''sa ru gu mi pa dha ni''. Its ascending and descending scale (' structure) is as follows: * : * : See ''swaras'' in Carnatic music for details on above notatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arohana
Arohana, Arohanam, Aroh or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner. Scale In Hindustani classical music, the ascending scale's notes are S R G M P D and N. Lower forms of notes are written in lower case, like r g m d n (S and P are fixed notes), while the first scale given above is that of higher form of the notes. The English notes C D E F G A and B correspond to S R G M P D and N, when C is taken as the tonal note (S is sung at C). In Carnatic music, the ascending scale's notes for the variant notes R G M D and N have a subscript number indicating the specific variant (see examples below). Examples In Multani, the aroha is 'N S g M P N S' (lowercase notes are the lower forms, while uppercase notes are the high ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 The samavadi or samvadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the ''Vadi (Hindustani classical music), vadi''; the vadi and samavadi are i ... 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, 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 ''melakar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swara
Swara () or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or ''saptanka''. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a ''swara'' is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a ''swara'' is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven ''swara''s/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as ''saptank'' or ''saptaka''. This is one of the reasons why ''swara'' is considered a symbolic expression for the number seven. In another loose comparison to western music, ''saptak'' (as an octave or scale) may be interpreted as s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sampoorna Raga
In Indian classical music, Sampūrṇa rāgas (संपूर्ण, Sanskrit for 'complete', also spelt as ''sampoorna'') have all seven ''swaras'' in their scale. In general, the swaras in the ''Arohana'' and ''Avarohana'' strictly follow the ascending and descending scale as well. That is, they do not have ''vakra'' swara phrases (वक्र, meaning 'crooked'). In Carnatic music, the Melakarta ragas are all ''sampurna'' ragas, but the converse is not true, i.e., all ''sampurna'' ragas are not ''Melakarta'' ragas. An example is Bhairavi raga in Carnatic music (different from the Bhairavi of Hindustani music). Some examples of ''Melakarta'' ragas are ''Mayamalavagowla'', ''Todi'', ''Sankarabharanam'' and ''Kharaharapriya Kharaharapriya is a rāga in Carnatic music. It is the 22nd ''melakarta'' rāga (parent scale) in the 72 ''melakarta'' rāga system. It is possible that the name of the ragam was originally ''Harapriya'' but it was changed to conform to the Kat ...''. R ... [...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 th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
