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Kalyani (rāga)
Kalyani is a melakarta raga (parent musical scale) in the Carnatic music. It is the prati madhyama equivalent of the raga Sankarabharanam. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode. Kalyani in Carnatic music In South Indian weddings it is a very prominently played raga. The word ''Kalyani'' means ''she who causes auspicious things''. It is the 65th melakarta raga under the Katapayadi sankhya. It is also called ''Mechakalyani''. The notes for Kalyani are S R2 G3 M2 P D2 N3. Kalyani is the first Prathi Madhyama raga that was ever discovered. It was obtained by the process of Graha Bhedam or modal shift of tonic of the ancient Shadja Grama. Specifics on this raga Kalyani has scope for elaborate alapana. One should not remain too long on panchamam (pa) or alternate between shadjamam and panchamam too frequently. Kalyani is prominently known among the public. It is often performed at the beginning ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lydian Mode
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. : Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B but in practice more commonly featuring B. The use of the B as opposed to B would have made such piece in the modern-day F major scale. Ancient Greek Lydian The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or " octave species" extending from ''parhypate hypaton'' to ''trite diezeugmenon'', equival ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amritha Kalyani
Amritha Kalyani is a rāga in Carnatic music (musical scale of South Indian classical music) created by music composer who has created many ragas. It is the Janya raga of 65th melakarta rāgam Mechakalyani in the 72 ''melakarta'' rāgam system of Carnatic music. It is equivalent to Lydian mode of western music but the second and sixth note is omitted in ascending. This rāgam is also named as Amrith Kalyan Hindustani music Hindustani classical music is the Indian classical music, classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or ''Uttar Bhartiya shastriya sangeet''. The term ''shastriya sangeet'' .... Structure and Lakshana Amritha Kalyani is an asymmetric rāgam does not contain rishabham and dhaivatam in the ascending scale. It is an audava-sampurna rāgam (or owdava rāgam, meaning pentatonic ascending scale). Its structure (ascending and descending scale) is as follows. * : * : The notes use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ragam Tanam Pallavi
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates ''alapana, raga alapana'', ''tanam'', ''niraval'', and ''kalpanaswara''. In more elaborate ragam tanam pallavis, a ''tani avartanam''#Arnold2000, Kassebaum (2000), 158 may follow. Ragam "Ragam" in the context of "Raga Alapana, Ragam Tanam Pallavi" refers to alapana, ''raga alapana'' - the first component. In this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. Each ''Ragam tanam pallavi'' has at least one raga associated with it. Tanam Source: ''Tanam'' is one of the most important forms of the improvisation, and is integral to the RTP. It is the second component of this composite form of i ... [...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] |
Trinity Of Carnatic Music
The Trinity of Carnatic Music, also known as the Three Jewels of Carnatic Music, refers to the outstanding trio of composers, composer-musicians of Carnatic music in the 18th centuryTyagaraja, Muthuswami Dikshitar, and Syama Sastri. Prolific in composition, the Trinity of Carnatic music is known for creating a new era in the history of carnatic music by bringing about a noticeable change in what was the existing carnatic music tradition.#Panikkar2002, Panikkar (2002), p44 Compositions of the Trinity of Carnatic music are recognized as being distinct in style, and original in handling ragas. All three composers were born in Thiruvarur, formerly part of Thanjavur District in Tamilnadu. M. S. Subbulakshmi, M. S. Subbalakshmi, D. K. Pattammal, and M. L. Vasanthakumari, who are carnatic musicians of the 20th century, are popularly referred to as the female Trinity of Carnatic Music. Compositions Muthuswami Dikshitar mainly composed mainly in Sanskrit and some in Manipravalam ... [...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 (3rd century BCE) 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 Katapayadi formula. ''Kharaharapriya'' has a distinct melody and brings out the ''Karuna'' rasa (aesthetics), rasam, invoking pathos in the listeners. The ''Kafi (raga), Kafi thaat'' of Hindustani music is the equivalent of ''Kharaharapriya''.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Its Western equivalent is the Dorian mode. The ''Prati Madhyamam'' () equivalent of this raga is Hemavati (raga), Hemavati Etymology There are many theories behind the etymology of the name ''Kharaharapriya''. One of the most popular beliefs is that the ragam was initially called Samaganam and when Ravana was trapped by Shiva, under the kailash hill tryin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natabhairavi
Naṭabhairavi is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 20th ''melakarta'' rāgam in the 72 ''melakarta'' rāgam system. It corresponds to the Natural minor scale (alias Aeolian mode) of western music system. Natabhairavi corresponds to the ''Asavari thaat'' of Hindustani 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 In the Muthuswami Dikshitar school this melakarta is instead known as Nārīrītigowla.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai ''Natabhairavi'' is known to be a rāgam that incites feelings of grandeur and devotion in the listeners. Structure and Lakshana It is the 2nd rāgam in the 4th ''chakra Veda''. The mnemonic name is ''Veda-Sri''. The mnemonic phrase is ''sa ri gi ma pa dha ni''. Its ' structure is as follows (see ''swara ... [...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 Māṇika 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 Bā� ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hanumatodi
Hanumatodi, more popularly known as Todi (pronounced hanumatōdi and tōdi), is a rāgam (musical scale) in Carnatic music. It is the 8th ''melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in '' prayoga'' (phrases of notes and intonation). It is called Janatodi in Muthuswami Dikshitar school of Carnatic music.''Sri Muthuswami Dikshitar Keertanaigal'' by Vidwan A Sundaram Iyer, Pub. 1989, Music Book Publishers, Mylapore, Chennai Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from ''Todi (thaat)'' of Hindustani music (North Indian classical music). The equivalent of the Hindustani raga ''Todi'' in Carnatic music is '' Shubhapantuvarali'' (which is the 45th ''melakarta'').''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras The equiv ... [...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 (music), Tonic note (''Śruti (music), 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 Classical music, Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key, i.e, Modulation (music), modulation. ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or drone (music), 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 cal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
