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Carnatic ragas list pdf Continue Original - Kumaran Santhanam List of Carnatic Ragas ---------------------- Version 1.14 - 15 Oct 2000 Kumaran Santhanam [email protected] This list is dedicated to Carnatic music lovers all over the world. Please feel free to make as many copies as you like and distribute them to your friends. If you have questions, comments, fixes, or just want to communicate, by all means mail me at the above address. I'll be more than happy to give you a quick answer. I hope you find this list helpful and I look forward to hearing from you! Make sure you read the latest version of this list, since the later version, the more correct and complete it will be. The latest version of the list can be found by: List ----------- mElakarthas: ----------- Number Name and Surname AroHanam avarOHanam janyas: ------ rAgA Mala AroHanam avarOHanam svara Format: ------------ S R1 M1 M1 P D1 S Kishor Balakrishnan Last updated: Sunday, July 8, 2001 Valid HTML 4.0! Please note that the content of this book mostly consists of articles available from Wikipedia or other free sources on the Internet. Pages: 71. Chapters: List of Janya Ragas, Kambhoji, Graha bedham, Melakarta, Abhogi, Carnatic r?ga, Dheerasankarabharanam, Mayamalavagowla, Shivaranjani, Kharaharapriya, Hamsadhvani, Mohanam, Shuddha Saveri, Devagandhari, Madhyamavati, Arabhi, Hanumatodi, Anandabhairavi, Hindolam, Bhupalam, Dhanyasi, Abheri, Chakravakam, Natabhairavi, Udayaravichandrika, Shanmukhapriya, Charukesi, Bilahari, Vachaspati, Valaji, Harikambhoji, Kamavardani, Simhendramadhyamam, Keeravani, Amritavarshini, Kanakangi, Mohanakalyani, Dharmavati, Vakulabharanam, Jhalavarali, Gambhiranata, Raghupriya, Sunadavinodini, Natakapriya, Revati, Jalarnavam, Navaneetam, Gamanashrama, Chalanata, Rishabhapriya, Suryakantam, Shubhapantuvarali, Salagam, Rasikapriya, Bhavapriya, Shadvidamargini, Chitrambari, Shulini, Nasikabhushani, Vagadheeswari, Varunapriya, Jhankaradhvani, Kosalam, Ratnangi, Karnataka Shuddha Saveri, Pavani, Gangeyabhushani, Jyoti swarupini, Shamalangi, Niroshta, Naganandini, Vanaspati, Mararanjani, Vishwambari, Gavambhodi, Gourimanohari, Hemavati, Kantamani, Neetimati, Hatakambari, Ramapriya, Dhatuvardani, Nagasvaravali, Kokilapriya, Suvarnangi, Latangi, Gayakapriya, Ganamurti, Dhavalambari, Namanarayani, Yagapriya, Senavati, Sucharitra, Manavati, Sarasangi, Shree ranjani, Rupavati, Tanarupi, Divyamani, Dhenuka, Saramati, Malahari, Malayamarutam, Atana, Ragavardhini, Madhuvanti, Sahana, Kapi, Sampurna raga , Sri Ragam. Excerpt: Janya Ragas are Carnatic notes of ragas derived from a fundamental set of 72 ragas called Melacarta ragas, by permutation and a combination of various ascending and descending notes. The process of getting janya ragas from parental chalkcards is complex and to the open mathematical possibility of about thirty-thirty Raga. Although limited by the need for the existence of individual swaroopas (unique identities) fo. Carnathic MusicTanjavur-style Tambur Concept zruti Swara Tāḷa Mēḷakarta Asaṃpūrṇa Mēḷakarta compositions by Gītaṃ Swarajati Varṇaṃ Kriti Kirtana Rāgaṃ Tānaṃ Pallavi Tillana Instruments Melody Saraswati Oue Vesnu Nāgasvaraṃ G The Violin Percussion Mr̥ daṅgaṃ Ghatam Morsing Kanjira Thavil Drone Tambura Shruti box Composers Glossaryvte Carnatic raga refers to the rags used in karnatic music. Carnatic raga has several components - primitive sound (nada), tonal system (weld), step (sruti), scale, ornaments (gamaca) and important tones. Origin and history of Karnatik Ragas classification Janaka ragas (Melacarta ragas) and Janja ragas (Upanga ragas) Main article: Melakarta Janaka ragas or Sampoorna ragas are parents of ragas, of which more ragas are derived. Sampoorna ragas, as the name suggests are those in which all 7 swaras are present. They are also called melacarta raga. These ragas have all seven swaras or notes in their scales (only one of each swara, Sa, Re, Ga, Ma, Pa, Dha, Ni), following only rising and downward scales and sung in all octaves. Examples of melakkarta raga are: Shankarabharanam, Kalyani, Natabhairavi, Chala Nattai, Harikambhoji, Harahararia, Mayamalavagovla, Chakravakam, et al. Janja ragas are ragas, which are derived from Janak ragas (Melakarta ragas). They may have less than 7 notes on their scales, or have additional notes in them, zigzag (wakra) notes that step up and down, asymmetrical scales, etc. Janyu ragu also called Ubang raga. Examples of Ubanga ragas are : Malahari, Mohanam, Begada, Shriragam, Hamsadhvani, Bilahari, Vasanta, Kambhoji, Janaranjani, Hindolum, Todi, etc. 72 Melakarta ragas (mathematical calculations) There are different types of swara sthayis or note tar that leads to the total number of melakartha. These different variations of swaras leads to more than one combination of musical scale. The various variations in swaras mentioned below. This can mathematically determine the total number of melacart ragas. Sa (Shaja) is just one. Rea (Rishawa) - Shudda, Chatushruti and Shashruti Rishaba in South St. Ga (Gandhara) - Shuddha, Sadharana, Antara Gandhara in South T.D. Ma (Madhyama) - Shuddha, Prati Madhyama in increasing order of filing. Pa (Panchama) is just one. Dha (Daiwata) -Shuddha, Chatushruti, Shashruti Daiwata in increasing order of filing. Ni (Nisada) - Shuddha, Kaishiki, Kakali Nishadham in south-placed. However, there are only some combinations that are allowed, such as Shatshruthi Ri can be combined with Antara Gandhara and Chathushruti Rishabha can be combined with Sadharana and Antara Gandhara only. The same principle good for Yes and Ni. If we designate these swaras as Sa, Ra, Ri, Ru, Ga, Gi, Gu, Ma, Mi, Pa, Dha, Dhi, Dhu, Na, Ni, Nu. Common combinations: a) 1 Sa X 1 Ra X 3 (Ga, Gi, Gu) Ga No 1 Sa X Ru X 2 Ga (Gu, Gi) - 1 Sa X Ri X Gu No 6. b) Ma, Mi No 2 c) 1 Pa X Dha X 3 Ni (Na, Ni, Well) 1 Pa X Dhu X 2 Ni (Well, Ni) 1 Pa X Dhi X Ni No 6 Multiplying these 3 combinations we get 72. 72 melakarta ragas are located in a cycle called katapayadi sutra, which is so called because according to the raga index we can get the name raga and the exact combination of weld. The first 36 melakarta ragas have suddha madhyama while, the next 36 ragas have prathi madhyama. 72 combinations of melakarta raga leads to a huge variety of musical tastes. Any sampurna raga is present in this cycle of 72 melakarta. Of these 72 melacarte ragas, there are over a thousand janja ragas that contain more beautiful musical notation. When getting to know the details of the rag, it is important to know what sampurna rag jania raga comes from in order to know the types of weld. Main article by Janya Ragas: Jan Janya Raga are rags, which are sourced from Janak Raga (Melakart Raga). They may have less than 7 notes on their scales, or have additional notes in them, zigzag (vakra) notes that step in and down, asymmetric scales, etc. See the full list of Jan raga. For example, janya raga are bilahari and hamsadhwani (derived from shankarabharan), sriranjani and darbar (derived from harahararia) and so on. Vacra ragas vakra ragas are janya ragas, which swaras are arranged in a zigzag manner. For example, Raga Sri has the following arohanam and avarohanam : S R M P N S S. S. N P M R G S. This rag is called vakra raga. Aushwa Regas Aushawa Regas is a Janja Ragas, which have exactly five notes on an ascending and descending scale (Arohana and Avarohana). Examples: 1) Mohanam (S R G P D S. S. D P G R S) 2) Hamsadhwani (S R G P N S. N P G R S) Shadava Ragas Shadawa Ragaga Ragaga are Janya Ragas, who have exactly six notes in the ascending and downward scale (Arohana and Avarokhana) Components of Carnatic Raga Karnatik Raga has several components - and the original sound of the system ( Arohana and Avarohana) Components of The Carnatic Raga Carnatik Raga has several components - and the original sound of the system . , intervals (shruti), scale, ornaments (hammock) and important tones (Wadi and samvadi). Nada The goal of composers-performers past and present is to realize the nada, however, the sound that is heard by the human ears is only part of the original sound. The Swara Carnatic tonal system consists of seven main resins expressed by the syllables of solfa: Sa (shadja), Ri (rishabha), Ga (gandhara), Ma (madhyama), Pa (panchama), Da (dhaivata) and Ni (nishadha). The Karnatic Raga scale consists of an ascending and downward scale (known as aarohana and avarohan, respectively). Both ascents and descents should have at least five tones, although rarer ragas contain fewer tones. Set rules for all performers to stick to the melodic performance, and provide tonal boundaries. Typical scale features also act to help listeners identify ragas. Gamaka Gamaka, or ornament, is essential in the performance of Carnatic raga. Gamaka includes controlled shaking, articulation, sliding, glottal stops and other vocal or instrumental manipulations. The weld and scale determine only the skeletal structure of the raga. Gamak's treatment actually determines the stew. (quote necessary) Raga in the improvisation of Bharat Ratna M. S. Subbulakshmi, the famous vocalist of the karnatic classical music Types Improvisation in rags is the soul of Indian classical music . Manodharma sangeetham or kalpana sangeetham (music of imagination), as is known in carnatic music, covers several varieties of improvisation. The main article by Ragi Alapana: Alapana Alapana, sometimes referred to as ragam, is an exposition of raga or tone, a slow improvisation without rhythm, where raga acts as the basis of decoration. Performing alapan,
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  • Karnatak Music Vocal/Instrumental (Veena/ Violin )

    Karnatak Music Vocal/Instrumental (Veena/ Violin )

    Syllabus for M.A. (Previous) Karnatak Music Vocal/Instrumental (Veena/ Violin ) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Study of Scales, Ragas and Forms 70 Marks 1. Detailed study of ragas Prescribed (List – A). 2. Comparative study of the basic scales of different systems of Music such as Karnatak, Hindustani, Ancient Tamil Music, western and Far Eastern. 3. Decorative angas figuring in kriti’s and other Musical forms. 4. Pallavi notation; Theory of Rettai Pallavi and Nadai Pallavi. 5. Different Mudras figuring in Musical compositions. 6 Evolution of Indian Musical scales. Internal Assessment 30 Marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical Study of the evolution of Ragas, Talas and Music Instruments 70 Marks 1. The different periods of Musical History and their distinctive features, Landmarks in the history of Indian Music. 2. Evolution of Ragas, Ragalakshana and system of Raga classification, Ragas which owe their origin to folk Music. 3. Classification of Musical Instruments. Important musical instruments adopted in traditional music. 4. Evolution of Musical forms with special reference to Prabandhas and their classifications; Gita Prabandha, Vadya Prabandha, Nritya Prabandha, and Misra Prabandha. 5. Concept of “Marga” and “Desi” in the spheres of Raga, Tala, Prabandha. 6. Knowledge about the formation of 175 and 108 systems of talas. Rare talas figure in Tiruppugazh. Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of one hour duration with accompaniments, before an audience, planned by the candidate within the Prescribed Ragas(List A& B).