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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 in most cases a Perfect fourth, fourth or fifth (interval), fifth apart. A ''samavadi'' is a note of special significance. ''Vadi'' is often translated as the "king" note of a raga, while the ''samavadi'' is translated as the "prime minister" or "vizier" note. A performer will typically try to emphasize the ''samavadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samavadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music terminology ... [...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] |
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] |
Vadi (Hindustani Classical Music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given 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, fro ... (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] |
Perfect Fourth
A fourth is a interval (music), musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished fourth, Diminished and Tritone, augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively). The perfect fourth may be derived from the Harmonic series (music), harmonic series as the interval between the third and fourth harmonics. The term ''perfect'' identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor. A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cent (music), cents (), while in equal temperam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fifth (interval)
Below is a list of intervals expressible in terms of a prime limit (see Terminology), completed by a choice of intervals in various equal subdivisions of the octave or of other intervals. For commonly encountered harmonic or melodic intervals between pairs of notes in contemporary Western music theory, without consideration of the way in which they are tuned, see . Terminology *The '' prime limit'' Fox, Christopher (2003). "Microtones and Microtonalities", ''Contemporary Music Review'', v. 22, pt. 1–2. (Abingdon, Oxfordshire, UK: Routledge): p. 13. henceforth referred to simply as the ''limit'', is the largest prime number occurring in the factorizations of the numerator and denominator of the frequency ratio describing a rational interval. For instance, the limit of the just perfect fourth (4:3) is 3, but the just minor tone (10:9) has a limit of 5, because 10 can be factored into (and 9 into ). There exists another type of limit, the '' odd limit'', a concept used by Ha ... [...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] |
Avrohana
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-That (music), thaat raga with Vadi (music), vadi-samvadi R-P, the avroha is R' n S' d~ n P, m P g~ m R S, with Andolan (music), 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 Swara#Svaras in Carnatic music, swaras in Carnatic music for description of this notation. In Sahana (raga), Sahana, a ''janya'' raga of 28th ''melakarta'' Harikambhoji, the Avarohana is ''S N2 D2 P M1 G3 M1 R2 G3 R2 S''. This raga in its avarohana has the notes jumping from one to another (a bit like Dattu). This change ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Music Terminology
Hindustani may refer to: * something of, from, or related to Hindustan (another name of India) * Hindustani language, an Indo-Aryan language, with Hindi and Urdu being its two standard registers * Hindustani Muslims are the Urdu-speaking, Hindustani people of Muslim faith. * Fiji Hindi, a variety of Eastern Hindi spoken in Fiji, and is known locally as Hindustani * Caribbean Hindustani, a variety of Eastern Hindi spoken in the Caribbean * Hindustani classical music, a major style of Indian classical music * ''Hindustani'' (film) or ''Indian'', a 1996 film starring Kamal Haasan and Manisha Koirala * Muhammadjan Hindustani, Islamist teacher of Uzbekistan See also * Hindustan (other) * Hind (other) * Hindi (other) * South Asian ethnic groups Ethnic groups in South Asia are ethnolinguistic groupings within the diverse populations of South Asia, including the countries of Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka. Afghanista ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
