Raga Scales Chart

Total Page:16

File Type:pdf, Size:1020Kb

Raga Scales Chart SongMaven.com Raga Scales Chart © 2016 For Individual Visit songmaven.com for more information on Northern India Raga Scales Instructional Use Only! this chart and other instructional sheets Raga Name Thaat (Mode) Prahar (Time) Ascending Notes Descending Notes Ascending Pattern Descending Pattern Adana Asavari 12 am - 3 am 1 2 4 5 7 1 2 4 5 6 7 1 2 4 5 7 4 5 1 1 6 7 5 4 5 3 4 2 1 Ahir Bhairav Bhairav 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 3 4 6 7 1 1 7 6 5 4 3 2 1 7 2 1 Asavari 9 am - 12 pm 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 1 1 7 6 5 4 3 2 1 Bageshri Kafi 12 am - 3 am 1 3 4 6 7 1 2 3 4 6 7 7 1 3 4 6 7 1 1 7 6 4 5 6 3 4 3 2 1 Bahar Kafi 12 am - 3 am 1 3 4 5 6 7 7 1 3 4 5 6 7 7 1 4 4 5 3 4 7 6 7 1 1 7 5 4 5 3 4 2 1 Bairagi Bhairav Bhairav 1 2 4 5 7 1 2 4 5 7 1 1 7 5 4 2 1 Basant Poorvi 3 am - 6 am 1 2 3 4 6 1 2 3 4 5 6 7 1 3 4 6 2 1 1 7 6 5 4 3 4 3 2 1 Basant Mukhari 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhairav Bhairav 6 am - 9 am 1 3 4 5 6 1 2 3 4 5 6 7 1 3 4 5 3 4 6 1 1 7 1 6 5 3 4 5 3 4 2 1 Bhairavi Bhairavi 6 am - 9 am 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Bhankar Bhairav 3 am - 6 am 1 2 3 4 5 6 7 1 2 3 4 4 5 6 7 7 2 1 3 4 5 3 4 6 4 3 4 6 1 7 2 1 1 2 7 6 4 4 3 4 3 2 1 Bhatiyar Bhairav 3 am - 6 am 1 2 3 4 4 5 6 1 2 3 4 5 6 7 1 2 1 1 4 5 3 4 6 1 1 2 7 6 5 6 5 4 5 3 2 1 Bhimpalasi Kafi 3 pm - 6 pm 1 3 4 5 7 1 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 2 1 Bhinna Shadja Khamaj 9 pm - 12 am 1 3 4 6 7 1 3 4 6 7 1 1 7 6 4 3 1 Bhoopal Todi Bhairavi 9 am - 12 pm 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 3 2 1 Bhoopali Kalyan 6 pm - 9 pm 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 1 Bihag Kalyan 6 pm - 9 pm 1 3 4 5 7 1 2 3 4 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 5 3 4 3 2 1 Bilaskhani Todi Bhairavi 9 am - 12 pm 1 2 3 5 6 1 2 3 4 5 6 7 1 2 3 5 6 1 1 2 7 6 4 3 2 3 2 1 Bilawal Bilawal 9 am - 12 pm 1 2 3 5 6 7 1 2 3 4 5 6 7 7 1 3 2 3 5 6 7 1 1 7 6 5 6 7 6 5 4 3 4 2 1 Chandani Kedar Kalyan 1 4 4 5 6 7 1 2 4 4 5 6 7 1 4 4 4 5 6 7 1 1 7 6 5 6 5 4 4 2 1 Chandrakauns 9 pm - 12 am 1 3 4 6 7 1 2 3 4 6 7 7 1 3 4 6 7 1 1 3 4 6 7 6 7 1 2 1 Charukeshi 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Chhayanat Kalyan 9 pm - 12 am 1 2 3 4 5 6 1 2 3 4 5 6 7 1 2 2 3 4 5 5 6 5 5 1 1 7 6 5 4 3 4 2 1 Darbari Asavari 9 pm - 12 am 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 6 7 4 5 4 5 7 3 4 2 1 Desh Khamaj 6 pm - 9 pm 1 2 4 5 7 1 2 4 5 7 7 1 2 4 5 7 1 1 7 6 5 4 3 2 3 7 1 Deshkar Bilawal 6 am - 9 am 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 1 Desi Asavari 9 am - 12 pm 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 4 5 1 1 5 6 4 5 2 3 1 2 7 1 Dhani Kafi 1 3 4 5 7 1 2 3 4 5 7 7 1 3 4 5 7 1 1 7 5 4 3 4 3 2 1 Durga Bilawal 9 pm - 12 am 1 2 4 5 6 1 2 4 5 6 1 1 6 4 5 6 4 2 6 1 Gara Khamaj 1 3 4 5 6 7 1 2 3 3 4 5 6 7 1 3 4 5 6 7 1 1 7 6 5 4 3 2 3 2 1 Gaud Malhar Kafi 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 2 5 4 5 4 5 6 7 1 1 6 7 5 4 5 4 3 4 2 1 Gaud Saarang Kalyan 12 pm - 3 pm 1 2 3 4 4 5 6 7 7 1 3 2 4 3 5 4 6 5 1 1 7 6 5 4 5 4 3 2 3 2 4 3 5 2 1 Gorakh Kalyan Khamaj 9 pm - 12 am 1 2 4 6 7 1 2 4 5 6 7 1 2 4 6 7 6 6 1 1 7 6 5 6 7 6 4 2 1 7 6 1 Gunakri Bhairav 6 am - 9 am 1 2 4 5 6 1 2 4 5 6 1 1 6 5 4 2 1 Gurjari Todi Todi 9 am - 12 pm 1 2 3 4 6 7 1 2 3 4 6 7 1 1 7 6 4 3 2 3 2 1 Hamir Kalyan 9 pm - 12 am 1 2 3 4 6 7 1 2 3 4 4 5 6 7 1 2 3 4 7 6 7 1 1 7 6 5 4 5 3 4 2 1 Hansdhwani Bilawal 6 pm - 9 pm 1 2 3 5 7 1 1 2 3 5 7 1 1 7 5 3 2 1 Hindol Kalyan 3 am - 6 am 1 3 4 6 7 1 3 4 6 7 4 6 1 1 6 4 6 7 6 4 3 4 3 1 Jaijaiwanti Khamaj 6 pm - 9 pm 1 2 3 4 5 7 1 2 3 3 4 5 6 7 1 2 3 4 5 4 3 4 5 7 1 1 7 6 5 4 3 2 3 2 1 JanaSammohini 1 2 3 5 6 7 1 2 3 5 6 7 1 1 7 6 5 3 5 3 2 1 7 6 1 Jaunpuri Asavari 9 am - 12 pm 1 2 4 5 6 7 1 2 3 4 5 6 7 1 2 4 5b 6 4 5 6 7 1 1 7 6 5 6 4 5 3 2 1 Jhinjhoti Khamaj 9 pm - 12 am 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 1 1 7 6 5 6 4 3 1 2 4 3 1 2 7 6 5 6 1 Jogiya Bhairav 6 am - 9 am 1 2 4 5 6 1 2 3 4 5 6 7 1 2 4 5 6 1 1 7 6 5 4 3 2 1 Kafi Kafi 6 pm - 9 pm 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Kalavati Khamaj 9 pm - 12 am 1 3 5 6 7 1 3 5 6 7 6 1 1 7 6 5 3 5 3 1 Kalingada Bhairav 3 am - 6 am 1 2 3 4 5 6 7 1 2 3 4 5 5 6 7 1 1 7 6 5 4 5 6 5 4 3 4 3 2 1 Kamod Kalyan 6 pm - 9 pm 1 2 4 5 6 1 2 3 4 4 5 6 1 2 5 4 5 6 5 1 1 6 5 4 5 6 5 2 5 3 4 5 3 4 2 1 Kedar Kalyan 9 pm - 12 am 1 4 5 6 7 1 2 4 5 6 7 1 4 5 4 5 6 7 6 5 1 1 6 7 6 5 4 5 6 5 4 1 2 1 Khamaj Khamaj 6 pm - 9 pm 1 3 4 5 6 7 1 2 3 4 5 6 7 1 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Kirwani 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Lalit Poorvi 3 am - 6 am 1 2 3 4 4 6 7 7 2 3 4 4 4 3 4 6 7 1 1 7 2 7 6 4 6 4 4 3 4 3 2 1 Madhuvanti Todi 12 pm - 3 pm 1 3 4 5 7 1 2 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 4 3 2 1 Madhyamad Sarang Kafi 9 am - 12 pm 1 2 4 5 7 7 1 2 4 5 7 1 1 7 5 4 2 4 2 7 1 Malgunji Kafi 9 am - 12 pm 1 2 3 4 6 7 1 2 3 3 4 6 7 1 2 3 4 6 7 1 1 7 6 5 4 3 4 3 2 1 Malhar Kafi 9 pm - 12 am 1 2 4 5 6 7 7 1 2 3 4 5 6 7 7 1 2 5 4 5 7 6 7 1 1 6 7 5 4 5 3 4 2 1 7 6 7 1 Malkauns Bhairavi 9 pm - 12 am 1 3 4 6 7 7 1 3 4 6 7 1 1 7 6 7 6 4 3 4 3 1 7 1 Malkauns Pancham Bhairavi 9 pm - 12 am 1 3 4 6 7 1 3 4 5 6 7 7 1 3 4 6 7 1 1 7 6 7 6 4 5 3 4 3 1 Mand Bilawal 6 pm - 9 pm 1 3 4 5 6 7 1 2 3 4 5 6 7 1 3 4 5 6 7 1 1 1 7 6 5 6 5 7 6 5 3 4 3 2 1 Maru Bihag Kalyan 3 pm - 6 pm 1 3 4 5 7 1 2 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 4 3 2 1 4 3 5 4 3 4 3 1 Marwa Marwa 3 pm - 6 pm 1 2 3 4 6 7 7 2 3 4 6 7 6 1 7 2 7 6 4 3 2 7 6 1 Miyan Malhar Kafi 1 2 4 5 6 7 7 1 2 3 4 5 6 7 7 1 2 5 4 5 7 6 7 1 2 7 1 6 7 4 5 3 4 2 1 Multani Todi 3 pm - 6 pm 1 3 4 5 7 1 2 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 4 3 2 1 Nand Kalyan 9 pm - 12 am 1 3 4 5 6 7 1 2 3 4 4 5 6 7 1 3 4 5 6 7 5 1 1 7 6 5 4 5 3 4 6 5 4 2 1 3 4 Nat Bhairav Bhairav 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 1 7 6 5 4 3 2 1 Pahadi Bilawal 6 pm - 9 pm 1 2 3 5 6 1 2 3 4 5 6 6 7 7 5 6 1 2 3 5 6 1 1 7 6 5 4 3 2 1 7 6 5 6 1 Patdeep 12 pm - 3 pm 1 3 4 5 7 7 1 2 3 4 5 6 7 7 1 3 4 5 7 1 1 7 6 5 4 3 2 1 7 1 4 3 2 1 Piloo Kafi 3 pm - 6 pm 1 3 4 5 7 1 3 5 6 6 7 7 1 3 4 5 7 1 1 7 6 5 6 5 3 1 Poorvi Poorvi 3 pm - 6 pm 1 2 3 4 6 7 1 2 3 4 4 5 6 7 7 2 3 4 6 7 1 1 7 6 5 4 3 4 3 4 3 2 1 Puriya Marwa 6 am - 9 am 1 2 3 4 6 7 7 2 3 4 6 7 6 7 2 1 7 2 7 6 7 4 6 3 4 3 4 3 2 1 Puriya Dhanashri Poorvi 3 pm - 6 pm 1 2 3 4 6 7 1 2 3 4 5 6 7 7 2 3 4 6 7 2 1 2 7 6 5 4 3 4 2 3 2 1 Rageshri Khamaj 9 pm - 12 am 1 3 4 6 7 1 2 3 4 6 7 7 1 3 4 6 7 1 1 7 6 3 4 2 1 Sham Kalyan Kalyan 6 pm - 9 pm 1 2 4 5 7 1 2 3 4 4 5 6 7 7 1 2 4 5 7 1 1 7 6 5 4 5 3 4 2 1 Shankara Bilawal 6 pm - 9 pm 1 2 3 5 6 7 1 3 2 3 5 7 6 1 1 7 6 5 3 5 2 3 2 1 Shivranjani Kafi 9 pm - 12 am 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 1 Shri Poorvi 3 pm - 6 pm 1 2 4 5 6 7 1 2 3 4 5 6 7 1 2 5 4 5 6 5 7 1 2 1 1 2 7 6 5 4 5 2 3 2 1 Shuddh Kalyan Kalyan 6 pm - 9 pm 1 2 3 5 6 1 2 3 4 5 6 7 1 2 3 5 1 6 1 1 7 6 5 4 3 2 1 Shuddh Sarang Kalyan 12 pm - 3 pm 1 2 4 5 7 1 2 4 4 5 7 7 1 2 4 5 7 1 1 7 5 4 5 2 4 2 1 7 1 Sohni Marwa 3 am - 6 am 1 2 3 4 6 7 1 3 4 6 7 1 2 1 1 7 6 7 6 3 4 6 4 3 4 3 2 1 Tilak Kamod Khamaj 6 pm - 9 pm 1 2 4 5 1 2 4 5 7 1 2 4 5 1 1 2 4 5 7 1 Tilang Khamaj 6 pm - 9 pm 1 3 4 5 7 1 3 4 5 7 1 3 4 5 7 1 1 7 5 4 3 4 3 1 Todi Todi 9 am - 12 pm 1 2 3 4 6 7 1 2 3 4 5 6 7 1 2 3 4 6 7 1 1 7 6 5 4 3 2 3 2 1 Vibhas Bhairav 6 am - 9 am 1 2 3 5 6 1 2 3 5 6 1 1 6 5 3 2 1 Vrindavani Sarang Kafi 1 2 4 5 7 1 2 4 5 7 7 7 1 2 4 5 7 1 1 7 5 4 2 4 2 1 7 1 Yaman Kalyan 6 pm - 9 pm 1 2 3 4 6 7 1 2 3 4 5 6 7 7 2 3 4 6 7 1 1 7 6 5 4 3 2 1 Yaman Kalyan Kalyan 6 pm - 9 pm 1 2 3 4 6 7 1 2 3 4 4 5 6 7 7 2 3 4 6 7 1 1 7 6 5 4 3 4 3 2 1.
Recommended publications
  • January, 2017 Raga Koushikranjani (Kaishikranjani,Chandrahas,Bahaderkouns, Chandramukhitypeii) in This Month We Shall Study Raga Koushikranjani
    Raga of the Month- January, 2017 Raga Koushikranjani (Kaishikranjani,Chandrahas,BahaderKouns, ChandramukhiTypeII) In this month we shall study Raga Koushikranjani. This raga was introduced by Late Pandit Chidanand Nagarkar*. The Raga is based on the platform of Raga Chandrakouns. Shuddha Rishabh is introduced in Arohi as well as Avarohi order and Pancham is varjya swara. The Scale of the Raga Koushikranjani is SRgMdN. The Raga is included in Asavari Thata and in Melakartha No. 21 Kirwani in Carnatic Music. Raga Nadasanjivi of Carnatic Music resembles Raga Koushikranjini closely. Although Chandrakouns effect is prominent in this raga, phrases SRg-Rs and SRgM (without stress or elongation of Komal Gandhar) hints Raga Abhogi. Phrase SRM, which is a characteristic phrase of Raga Chandraprabha, is avoided. Aroha: SRgMdNS’’; Avaroha: S’’ NdMgRS; Vadi - Madhyama; Samvadi- Shadja; Chalan- S, ‘N’d, ‘N, S; ‘g’M’d’NS; ‘NSR ‘NS‘d, ‘N-S; SRgRS, SRgM, gRgM, gMd, MgR, RgMS, ‘d’NS; gMdN, N, MdMN, dNS’’, NS’’ d-M, gRgM, gRS; SRgM, gMd, MdN, dNS’’, S’’R’’g’’M’’R’’S’’, NS’’R’’ NS’’ d, MgMd, MgR- gMRS. The Raga is documented in the book Abhinav Raga Darpan by Pandit K B Kunte and (as Raga Chandrahas) in Volume II of Raga-Darshana by Pandit Manikbua Thakurdas. (Raga Nadasanjivi- Ref. RagaPravaham-by Dr. M N Dhandapani and D Pattamal) * CHIDANAND DATTATREY NAGARKAR, was born in 1919 in Bangalore. Chidanand inherited all his musical talents from his father, who had a flair for singing Bhajans and stage acting (including Natya Sangeet). Chidanand received rigorous training under Acharya Pandit S.N.Ratanjankar and Ustad Agha Samshuddin Hyder for six years.
    [Show full text]
  • 1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
    Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
    [Show full text]
  • Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
    The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang.
    [Show full text]
  • A Novel Hybrid Approach for Retrieval of the Music Information
    International Journal of Applied Engineering Research ISSN 0973-4562 Volume 12, Number 24 (2017) pp. 15011-15017 © Research India Publications. http://www.ripublication.com A Novel Hybrid Approach for Retrieval of the Music Information Varsha N. Degaonkar Research Scholar, Department of Electronics and Telecommunication, JSPM’s Rajarshi Shahu College of Engineering, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-7048-1626 Anju V. Kulkarni Professor, Department of Electronics and Telecommunication, Dr. D. Y. Patil Institute of Technology, Pimpri, Pune, Savitribai Phule Pune University, Maharashtra, India. Orcid Id: 0000-0002-3160-0450 Abstract like automatic music annotation, music analysis, music synthesis, etc. The performance of existing search engines for retrieval of images is facing challenges resulting in inappropriate noisy Most of the existing human computation systems operate data rather than accurate information searched for. The reason without any machine contribution. With the domain for this being data retrieval methodology is mostly based on knowledge, human computation can give best results if information in text form input by the user. In certain areas, machines are taken in a loop. In recent years, use of smart human computation can give better results than machines. In mobile devices is increased; there is a huge amount of the proposed work, two approaches are presented. In the first multimedia data generated and uploaded to the web every day. approach, Unassisted and Assisted Crowd Sourcing This data, such as music, field sounds, broadcast news, and techniques are implemented to extract attributes for the television shows, contain sounds from a wide variety of classical music, by involving users (players) in the activity.
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Master of Performing Arts (Vocal & Instrumental)
    MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol.
    [Show full text]
  • Chapter 6 SOME NEWLY CREATED MISHRA RAGA
    Chapter 6 SOME NEWLY CREATED MISHRA RAGA SOME NEW CREATIONS : Raga Jogkauns : (A landmark of modem mishra raga) This is an excellent creation of late Pt. Jagannath Buva Purohit "Gunidas". It is a combination of Raga Jog, Chandrakauns (both old and newly created by Prof. Devdhar). Chalan: tit Pi <4 - ST Pt Wf, FlI'PI’ll m n *r n n P( \ w n *t \st, v 3tj\stv X{ *f nji # \*tst^*ftPtsi^sft srPr tft *r *t, v i\5 *nt h *t, *rr Here, (1) Phrase *tT *1 *1*1 is used for raga Jog (2) Phrase *tT *1 *1 *IJHT is also used for raga Jog (3) Phrase tfT Pt «(P[ tn is used for raga Chandrakaus (4) Phrase 4 tfT is also used for raga Chandrakaus (5) Phrase *1 *t ^ ’s also used for raga Chandrakaus (6) Phrase 4 st Pi^st 4 is used for od Chandrakaus While discussing this raga with Prof. N.V.Patwardhan on 18/12/88 he told us that he had a wide discussion with Buva and Buva has told him that while creating the raga Jogkaus the old Chandrakaus having komal Nishad was in his mind. So he had used phrase 4 % 4... which now an identical phrase of raga Jogkaus ( *t tt 4t^t 4 4^44 ) Also discussing this raga with Pt. Arvind Parikh a sitar mastreo and disciple of Sh. Ustad VilayatKhan; he also told that he believes only one newly created mishra raga which may be called as a land mark of mishra raga is only raga Jogkaus created by Pt.
    [Show full text]
  • Modeling a Performance in Indian Classical Music: Multinomial
    Archive of Cornell University e-library; arXiv:0809.3214v1[cs.SD][stat.AP]. http://arxiv.org/abs/0809.3214 A Statistical Approach to Modeling Indian Classical Music Performance 1Soubhik Chakraborty*, 2Sandeep Singh Solanki, 3Sayan Roy, 4Shivee Chauhan, 5Sanjaya Shankar Tripathy and 6Kartik Mahto 1Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 2, 3, 4, 5,6Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India Email:[email protected](S.Chakraborty) [email protected] (S.S. Solanki) [email protected](S. Roy) [email protected](S. Chauhan) [email protected] (S.S.Tripathy) [email protected] *S. Chakraborty is the corresponding author (phone: +919835471223) Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought. -------- E. Y. Harburg (1898-1981) Abstract A raga is a melodic structure with fixed notes and a set of rules characterizing a certain mood endorsed through performance. By a vadi swar is meant that note which plays the most significant role in expressing the raga. A samvadi swar similarly is the second most significant note. However, the determination of their significance has an element of subjectivity and hence we are motivated to find some truths through an objective analysis. The paper proposes a probabilistic method of note detection and demonstrates how the relative frequency (relative number of occurrences of the pitch) of the more important notes stabilize far more quickly than that of others. In addition, a count for distinct transitory and similar looking non-transitory (fundamental) frequency movements (but possibly embedding distinct emotions!) between the notes is also taken depicting the varnalankars or musical ornaments decorating the notes and note sequences as rendered by the artist.
    [Show full text]
  • Hindustani Classic Music
    HINDUSTANI CLASSIC MUSIC: Junior Grade or Prathamik : Syllabus : No theory exam in this grade Swarajnana Talajnana essential Ragajnana Practicals: 1. Beginning of swarabyasa - in three layas 2. 2 Swaramalikas 5 Lakshnageete Chotakyal Alap - 4 ragas Than - 4 Drupad - should be practiced 3. Bhajan - Vachana - Dasapadas 4. Theental, Dadara, Ektal (Dhruth), Chontal, Juptal, Kheruva Talu - Sam-Pet-Husi-Matras - should practice Tekav. 5. Swarajnana 6. Knowledge of the words - nada, shruthi, Aroha, Avaroha, Vadi - Samvedi, Komal - Theevra - Shuddha - Sasthak - Ganasamay - Thaat - Varjya. 7. Swaralipi - should be learnt. Senior Grade: (Madhyamik) Syllabus : Theory: 1. Paribhashika words 2. Sound & place of emergence of sound 3. The practice of different ragas out of “thaat” - based on Pandith Venkatamukhi Mela System 4. To practice ragalaskhanas of different ragas 5. Different Talas - 9 (Trital, Dadra, Jup, Kherva, Chantal, Tilawad, Roopak, Damar, Deepchandi) explanation of talas with Tekas. 6. Chotakhyal, Badakhyal, Bhajan, Tumari, Geethprakaras - Lakshanas. 7. Life history of Jayadev, Sarangdev, Surdas, Purandaradas, Tansen, Akkamahadevi, Sadarang, Kabeer, Meera, Haridas. 8. Knowledge of musical instrument Practicals: 1. Among 20 ragas - Chotakhyal in each 2. Badakhyal - for 10 ragas (Bhoopali, Yamani, Bheempalas, Bageshree, Malkonnse, Alhaiah Bilawal, Bahar, Kedar, Poorvi, Shankara. 3. Learn to sing one drupad in Tay, Dugun & Changun - one Damargeete. VIDHWAN PROFICIENCY Syllabus: Theory 1. Paribhashika Shabdas. 2. 7 types of Talas - their parts (angas) 3. Tabala bol - Tala Jnana, Vilambitha Ektal, Jumra, Adachontal, Savari, Panjabi, Tappa. 4. Raga lakshanas of Bhairav, Shuddha Sarang, Peelu, Multhani, Sindura, Adanna, Jogiya, Hamsadhwani, Gandamalhara, Ragashree, Darbari, Kannada, Basanthi, Ahirbhairav, Todi etc., Alap, Swaravisthara, Sama Prakruthi, Ragas criticism, Gana samay - should be known.
    [Show full text]
  • The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
    Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ...........................................................................................................
    [Show full text]
  • Analyzing the Melodic Structure of a Raga-Based Song
    Georgian Electronic Scientific Journal: Musicology and Cultural Science 2009 | No.2(4) A Statistical Analysis Of A Raga-Based Song Soubhik Chakraborty1*, Ripunjai Kumar Shukla2, Kolla Krishnapriya3, Loveleen4, Shivee Chauhan5, Mona Kumari6, Sandeep Singh Solanki7 1, 2Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 3-7Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India * email: [email protected] Abstract The origins of Indian classical music lie in the cultural and spiritual values of India and go back to the Vedic Age. The art of music was, and still is, regarded as both holy and heavenly giving not only aesthetic pleasure but also inducing a joyful religious discipline. Emotion and devotion are the essential characteristics of Indian music from the aesthetic side. From the technical perspective, we talk about melody and rhythm. A raga, the nucleus of Indian classical music, may be defined as a melodic structure with fixed notes and a set of rules characterizing a certain mood conveyed by performance.. The strength of raga-based songs, although they generally do not quite maintain the raga correctly, in promoting Indian classical music among laymen cannot be thrown away. The present paper analyzes an old and popular playback song based on the raga Bhairavi using a statistical approach, thereby extending our previous work from pure classical music to a semi-classical paradigm. The analysis consists of forming melody groups of notes and measuring the significance of these groups and segments, analysis of lengths of melody groups, comparing melody groups over similarity etc. Finally, the paper raises the question “What % of a raga is contained in a song?” as an open research problem demanding an in-depth statistical investigation.
    [Show full text]
  • MUSIC MPA Syllabus Paper Code Course Category Credit Marks
    MUSIC MPA Syllabus Paper Code Course Category Credit Marks Semester I 12 300 MUS-PG-T101 Aesthetics Theory 4 100 MUS-PG-P102 Analytical Study of Raga-I Practical 4 100 MUS-PG-P103 Analytical Study of Tala-I Practical 4 100 MUS-PG-P104 Raga Studies I Practical 4 100 MUS-PG-P105 Tala Studies I Practical 4 100 Semester II 16 400 MUS-PG-T201 Folk Music Theory 4 100 MUS-PG-P202 Analytical Study of Raga-II Practical 4 100 MUS-PG-P203 Analytical Study of Tala-II Practical 4 100 MUS-PG-P204 Raga Studies II Practical 4 100 MUS-PG-P205 Tala Studies II Practical 4 100 MUS-PG-T206 Music and Media Theory 4 100 Semester III 20 500 MUS-PG-T301 Modern Traditions of Indian Music Theory 4 100 MUS-PG-P302 Analytical Study of Tala-III Practical 4 100 MUS-PG-P303 Raga Studies III Practical 4 100 MUS-PG-P303 Tala Studies III Practical 4 100 MUS-PG-P304 Stage Performance I Practical 4 100 MUS-PG-T305 Music and Management Theory 4 100 Semester IV 16 400 MUS-PG-T401 Ethnomusicology Theory 4 100 MUS-PG-T402 Dissertation Theory 4 100 MUS-PG-P403 Raga Studies IV Practical 4 100 MUS-PG-P404 Tala Studies IV Practical 4 100 MUS-PG-P405 Stage Performance II Practical 4 100 1 Semester I MUS-PG-CT101:- Aesthetic Course Detail- The course will primarily provide an overview of music and allied issues like Aesthetics. The discussions will range from Rasa and its varieties [According to Bharat, Abhinavagupta, and others], thoughts of Rabindranath Tagore and Abanindranath Tagore on music to aesthetics and general comparative.
    [Show full text]