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Ragas
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a 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 and Sahana that are not much more than songs to big ragas like Malkauns, Darbari and 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, the primary development of which has been going down into the lower octave, in contrast with the traditional middle o ... [...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] |
Indian Classical Music
Indian classical music is the art music, classical music of the Indian subcontinent. It is generally described using terms like ''Shastriya Sangeet'' and ''Marg Sangeet''. It has two major traditions: the North Indian classical music known as ''Hindustani classical music, Hindustani'' and the South Indian expression known as ''Carnatic classical music, Carnatic''. These traditions were not distinct until about the 15th century. During the period of Mughal Empire, 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. Another unique classical music tradition from the eastern part of India is ''Odissi music'', which has evolved over the last two thousand years. The roots of the classical music of India are found ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Classical 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] |
Malkauns
Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol. According to Indian classical vocalist Pandit Jasraj, Malkauns is a raga that is "sung during small hours of the morning, just after midnight." He further adds that the raga has a soothing and intoxicating effect. Non-Film/Album Songs Etymology The name ''Malkaush'' is derived from the combination of ''Mal'' and ''Kaushik'', which means he who wears serpents like garlands – the god Shiva. However, the ''Malav-Kaushik'' mentioned in classical texts does not appear to be the same as the ''Malkauns'' performed today. The raga is believed to have been created by goddess Parvati to calm lord Shiva, when he was outraged and refused to calm down after Tandav in rage of Sati (Goddess), Sati's sacrifice. In ''Jainism'', it is also stated that t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yaman (raga)
Yaman (also known as Kalyaan, Iman, Aiman, Eman, Kalyani in Carnatic classical music) is a heptatonic ( sampurna) Indian classical raga of Kalyan Thaat. Its signature phrase (Pakad) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa--Ga-Re/ni-Re-Sa' (Ma is teevra). Tonal movements of the notes mostly reflect zigzag motion ''with gap of one or several notes'' usually that prefer reverse order very often like DNS' mDN GmD RGm N,GR or MDNS' GmDN RGmD N,RGm D,N,GR etc. Ideally yaman should not use PR combination but can use P~R showing colour of m or G while gliding from P to R, for PR is one of the specific identification of raag kalyaan. Description Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic ragas in Hindustani tradition, it is thus often one of the first ragas taught to students. Mechanics Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and in some c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darbari
Darbari Kanada, or simply Raga Darbari (pronounced darbāri kānada), is a raga in Carnatic music. It is a janya ragam (derived scale) of 20th Melakarta raga Natabhairavi. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in the Mughal emperor Akbar's court. It belongs to the Kanada family.It is believed that the Mughal emperor Akbar was very fond of this raaga hence often made Miya Tansen or Ramtanu Pandey sing this raaga in his court. This 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 musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical 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'' literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century Common Era, CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Telugu language, Telugu, Kannada, Tamil language, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj Bhasha, Braj, Awadhi language, Avadhi, Bhojpuri language, Bhojpuri, Bengali language, Bengali, Rajasthani languages, Rajasthani, Marathi language, Marathi and Punjabi language, Punjabi. Knowledge of Hindustani classical music is taught through a network of classical musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guru Granth Sahib
The Guru Granth Sahib (, ) is the central holy religious scripture of Sikhism, regarded by Sikhs as the final, sovereign and eternal Guru following the lineage of the ten human gurus of the religion. The Adi Granth (), its first rendition, was compiled by the fifth guru, Guru Arjan (1564–1606). Its compilation was completed on 29 August 1604 and first installed inside the Golden Temple in Amritsar on 1 September 1604. Baba Buddha was appointed the first Granthi of the Golden Temple. Shortly afterwards Guru Hargobind added Ramkali Ki Vaar. Later, Guru Gobind Singh, the tenth Sikh guru, added hymns of Guru Tegh Bahadur to the Adi Granth and affirmed the text as his successor. This second rendition became known as the Guru Granth Sahib and is also sometimes referred to as the Adi Granth.Adi Granth Encyclopaedia Brit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep References Hindustani music theory Carnatic music Carnatic music terminology Hindustani music terminology {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shadja
Shadja ( ) is the first of the seven svaras in Hindustani and Carnatic music. Shadaj is the long form of the syllable सा (Sā). Details The following is the information about Shadaj and its importance in Indian classical music: * Shadaj is the first svara in an octave or Saptak. * Shadaj is usually the main svara in a raga. * The svara that is played on the Tanpura for the singer is Shadaj. It is played to know that one is singing on the right pitch and octave. * Shadaj is the base or basic svara. It is a very fundamental svara in Classical music. * Shadaj serves a critical role in maintaining the tonal framework during performances. Before transitioning from one raga to another, particularly when the ragas share the same set of svaras (notes) but differ in their chalan (movement or progression), the note "Sa" is often played. This practice ensures clarity and prevents confusion by re-establishing the tonal base, allowing the next raga to begin distinctly. * The svara of Sh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bahar (raga)
Bahar is a Hindustani classical raga. This raga is very similar (but still distinct) to raga Malhar. This raga is from the Kafi Thaat. Theory Writing about the musical theory of Indian classical music is fraught with complications due to its complex and intricate nature. First of all, there have been no set, formal methods of written notation. Indian music is an aural tradition, and therefore writing is not an essential part of attaining talim (systematic study). But in recent years, a couple of methods of notation (swar leepi) for Hindustani Classical Music have evolved. A prominent example of them are BhatKhande Swar leepi (widely used in the present time) by Pt. VishnuNarayan BhatKhande, Creator: Hzt Amir Khusrau Arohana & Avarohana Arohana: Avarohana: Vadi & Samvaadi Vadi: Ma Samvadi: Sa Jati Shadav - Sampurna Thaat The Raag belongs to Kafi Thaat Pakad or Chalan The bare scale of this raga has little unique musical meaning, and is, therefore, require ... [...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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
