Krishhnam Kalaya Sakhi Sundaram Composer: Naaraayana Theertha Raaga: Mukhari (22Nd Mela Kharaharapriya Janya) Taala: Aadi

Total Page：16

File Type：pdf, Size：1020Kb

Krishhnam kalaya sakhi sundaram Composer: NaaraayaNa Theertha Raaga: Mukhari (22nd Mela Kharaharapriya Janya) Taala: Aadi Aarohana: Sa Ri2 Ma1 Pa Ni2 Dha2 Sa Avarohana: Sa Ni2 Dha1 Pa Ma1 Ga2 Ri2 Sa . RiMa . PaDha. MaPaGa . Sa Ri . RiPaMaPa RiGaSa . RiMa Pa Pa Pa PaDha Sa.RiSa NiDhaMaPa Pa.DhaPa Ma.PaMa GaRiSa . Dha . Sa . Sa Ri Ri SaRiGa. Ri Sa . Ma .PaDha Sa NiDhaPa MaGaRiSa NiDha Sa . Ri . Sa . Ri . Sa krishNam kalaya sakhi sundaram baala krishNam kalaya sakhi.... sundaram baala krishNam kalaya sa . Khi..~~ sundaram baala krishNam kalaya sakhi sundaram SaRiMaGa RiSaRiMa Pa NiDhaPa . MaPaNiNi DhaMaPaDha Sa NiDha Sa . MaMaPa . Dha Sa NiDha PaMa GaRi SaRi MaPaDha Sa Ri Ri . MaGa RiSaRiRi Sa NiDhaPa MaPaNiDha Pa MaGaRi . SaRi Ma krishNam gatavishaya trshNam jagatprabha (2) vishNum suraarigaNa jishNum sadaa baala vishNum suraarigaNa jishNum sadaa baala || Krishnam|| . RiMa . PaDha. MaPaGa . Sa Ri . RiPaMaPa RiGaSa . RiMa Pa Pa Pa PaDha Sa.RiSa NiDhaMaPa Pa.DhaPa Ma.PaMa GaRiSa . Dha . Sa . Sa Ri Ri SaRiGa. Ri Sa . Ma .PaDha Sa NiDhaPa MaGaRiSa NiDha Sa . Ri . Sa . Ri . Sa nrtyantamiha muhu - ratyantam aparimita (2) brtyaanukoolam akhila satyam sadaa baala brtyaanukoolam akhila satyam sadaa baala || Krishnam || SaRiMaGa RiSaRiMa Pa NiDhaPa . MaPaNiNi DhaMaPaDha Sa NiDha Sa . MaMaPa . Dha Sa NiDha PaMa GaRi SaRi MaPaDha Sa Ri Ri . MaGa RiSaRiRi Sa NiDhaPa MaPaNiDha Pa MaGaRi . SaRi Ma dheeram bhavajaladhi bhaaram sakala vaeda (2) -saaram samasta yogi - dhaaram sadaa baala -saaram samasta yogi - dhaaram sadaa baala || Krishjnam || . RiMa . PaDha. MaPaGa . Sa Ri . RiPaMaPa RiGaSa . RiMa Pa Pa Pa PaDha Sa.RiSa NiDhaMaPa Pa.DhaPa Ma.PaMa GaRiSa . Dha . Sa . Sa Ri Ri SaRiGa. Ri Sa . Ma .PaDha Sa NiDhaPa MaGaRiSa NiDha Sa . Ri . Sa . Ri . Sa shrngaara rasabhara sangeeta saahitya (2) gangaa laharikaela sangam sadaa baala gangaa laharikaela sangam sadaa baala || krishnam || SaRiMaGa RiSaRiMa Pa NiDhaPa . MaPaNiNi DhaMaPaDha Sa NiDha Sa . MaMaPa . Dha Sa NiDha PaMa GaRi SaRi MaPaDha Sa Ri Ri . MaGa RiSaRiRi Sa NiDhaPa MaPaNiDha Pa MaGaRi . SaRi Ma artham sheetileekrtaa - nartham shree naaraayaNa teertham paramapuru - shaartham sadaa baala artham sheetileekrtaa - nartham shree naaraayaNa teertham paramapuru - shaartham sadaa baala .

Copy Link

Recommended publications

Rakti in Raga and Laya
VEDAVALLI SPEAKS Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers of Carnatic music today with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Rakti in raga and laya Rakti in raga and laya’ is a swara-oriented as against gamaka- complex theme which covers a oriented raga-s. There is a section variety of aspects. Attempts have of exponents which fears that ‘been made to interpret rakti in the tradition of gamaka-oriented different ways. The origin of the singing is giving way to swara- word ‘rakti’ is hard to trace, but the oriented renditions. term is used commonly to denote a manner of singing that is of a Yo asau Dhwaniviseshastu highly appreciated quality. It swaravamavibhooshitaha carries with it a sense of intense ranjako janachittaanaam involvement or engagement. Rakti Sankarabharanam or Bhairavi? rasa raga udaahritaha is derived from the root word Tyagaraja did not compose these ‘ranj’ – ranjayati iti ragaha, ranjayati kriti-s as a cluster under the There is a reference to ‘dhwani- iti raktihi. That which is pleasing, category of ghana raga-s. Older visesha’ in this sloka from Brihaddcsi. which engages the mind joyfully texts record these five songs merely Scholars have suggested that may be called rakti. The term rakti dhwanivisesha may be taken th as Tyagaraja’ s compositions and is not found in pre-17 century not as the Pancharatna kriti-s. Not to connote sruti and that its texts like Niruktam, Vyjayanti and only are these raga-s unsuitable for integration with music ensures a Amarakosam.
[Show full text]
M.A-Music-Vocal-Syllabus.Pdf
BANGALORE UNIVERSITY NAAC ACCREDITED WITH ‘A’ GRADE P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MUSIC SYLLABUS – M.A KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) CBCS SYSTEM- 2014 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. KARNATAKA MUSIC VOCAL AND INSTRUMENTAL (VEENA, VIOLIN AND FLUTE) Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree with music vocal/instrumental as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination in music (vocal/instrumental) conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in vocal/instrumental music conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in music b) All India Radio/Doordarshan gradation c) Any diploma in music or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. MUSIC course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), two practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6.
[Show full text]
1 ; Mahatma Gandhi University B. A. Music Programme(Vocal
1 ; MAHATMA GANDHI UNIVERSITY B. A. MUSIC PROGRAMME(VOCAL) COURSE DETAILS Sem Course Title Hrs/ Cred Exam Hrs. Total Week it Practical 30 mts Credit Theory 3 hrs. Common Course – 1 5 4 3 Common Course – 2 4 3 3 I Common Course – 3 4 4 3 20 Core Course – 1 (Practical) 7 4 30 mts 1st Complementary – 1 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 1 (Theory) 2 2 3 Common Course – 4 5 4 3 Common Course – 5 4 3 3 II Common Course – 6 4 4 3 20 Core Course – 2 (Practical) 7 4 30 mts 1st Complementary – 2 (Instrument) 3 3 Practical 30 mts 2nd Complementary – 2 (Theory) 2 2 3 Common Course – 7 5 4 3 Common Course – 8 5 4 3 III Core Course – 3 (Theory) 3 4 3 19 Core Course – 4 (Practical) 7 3 30 mts 1st Complementary – 3 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 3 (Theory) 2 2 3 Common Course – 9 5 4 3 Common Course – 10 5 4 3 IV Core Course – 5 (Theory) 3 4 3 19 Core Course – 6 (Practical) 7 3 30 mts 1st Complementary – 4 (Instrument) 3 2 Practical 30 mts 2nd Complementary – 4 (Theory) 2 2 3 Core Course – 7 (Theory) 4 4 3 Core Course – 8 (Practical) 6 4 30 mts V Core Course – 9 (Practical) 5 4 30 mts 21 Core Course – 10 (Practical) 5 4 30 mts Open Course – 1 (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 1 2 1 Core Course – 11 (Theory) 4 4 3 Core Course – 12 (Practical) 6 4 30 mts VI Core Course – 13 (Practical) 5 4 30 mts 21 Core Course – 14 (Practical) 5 4 30 mts Elective (Practical/Theory) 3 4 Practical 30 mts Theory 3 hrs Course Work/ Project Work – 2 2 1 Total 150 120 120 Core & Complementary 104 hrs 82 credits Common Course 46 hrs 38 credits Practical examination will be conducted at the end of each semester 2 MAHATMA GANDHI UNIVERSITY B.
[Show full text]
Okapari Kokapari Ragam: Kharaharapriya (22Th Melakartha
Okapari Kokapari Ragam: Kharaharapriya (22th Melakartha) ARO: S R2 G2 M1 P D2 N2 S || AVA: S N2 D2 P M1 P G2 R2 S || Talam: Adi Composer: Annamacharya Version: Ram Kaushik (Orig: Nedanuri Krishnamurthy) Lyrics Courtesy: Rani (www.karnatik.com) Link: http://www.karnatik.com/c1567.shtml Pallavi : okapari kokapari oiyaaramai mokamuna kaLalella molicinaTluNDE (oka) CaraNam 1 jagadEkapati mEna jallina kaTpoora dooLi jigigoni naDuvanga cindagaanu mogi candramugi uramuna nilipEgaana pogaru vennela deega pOsinaTliNDE (oka) caraNam 2 meRaya shree venkaTEsu mEna singaaramugaanu sarasaina sommulu dhariyimcagaa meruputoTi alamElu mangayu daanu merupu mEghamukooDi merasinaTluNDE (oka) Meaning : In this song, Annamaacaarya praises the beauty and charm of Lord VenkaTEshwara. When the Lord walks gracefully, the camphor on his body sprinkles and as the goddess sits on his lap it seems as if he is covered by moonlight. The glittering ornaments worn by the Lord join the charisma of the goddess and seem like a lightning joins hands with the glitter and charisma. Meaning (word-word): Adapted from Tenneti Rao’s Blog: http://tenneti-rao.sulekha.com/blog/post/2010/09/meaning-of-okapari-kokapari-song-annamayya-kirtana.htm Time and again (“okapari- kokapari”), when the Lord is gracefully (“oyyaaramai”) walking, it seems that in his face (“mogamuna”), many beautiful rays (“kaLalenni”) have sprouted (“molaci”) and existed thus (“natlunde”). okapari = once; kokapari = a different time; oyyaaramai = with grace, gracefully; mogamuna = on the face; kaLalenni = many a ray, many beauties (cf. moon has sixteen distinct phases of beauty, sixteen degrees of beauty); molaci = as if sprouted; natlunde = exist thus; When the Lord of the world (“jagadEka -pati ”) walks gracefully, the camphor dust (“karpuura-dhuLi”) on his body (“mEna ”) sprinkles (“callina ”) and spreads sparkling light (“jigigona ”) on all four directions (“naluvanka”).
[Show full text]
Characterization of Intonation in Carnatic Music by Parametrizing Pitch Histograms
CHARACTERIZATION OF INTONATION IN CARNATIC MUSIC BY PARAMETRIZING PITCH HISTOGRAMS Gopala K. Koduri1, Joan Serra`2, and Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain. 2 Artificial Intelligence Research Institute (IIIA-CSIC), Bellaterra, Barcelona, Spain. [email protected], [email protected], [email protected] ABSTRACT on the artist and the raaga [8, 15]. The study of intona- tion differs from that of tuning in its fundamental empha- Intonation is an important concept in Carnatic music that sis. When we talk about tuning we refer to the discrete is characteristic of a raaga, and intrinsic to the musical ex- frequencies with which we tune an instrument, thus it is pression of a performer. In this paper we approach the de- more of a theoretical concept than the one of intonation, scription of intonation from a computational perspective, with which we focus in the pitches used during a perfor- obtaining a compact representation of the pitch track of a mance. The two concepts are basically the same when we recording. First, we extract pitch contours from automat- study instruments that can only produce a fixed set of dis- ically selected voice segments. Then, we obtain a a pitch crete frequencies, like the piano. histogram of its full pitch-range, normalized by the tonic Given than in Indian music there is basically no instru- frequency, from which each prominent peak is automati- ment with fixed frequencies (the harmonium is an impor- cally labelled and parametrized. We validate such parame- tant exception), in practice tuning and intonation can be trization by considering an explorative classification task: considered the same.
[Show full text]
June 2018 (Special Edition on Ganakaladhara Madurai Mani Iyer)
Lalitha Kala Tarangini Premier Quarterly Music Magazine from Sri Rama Lalitha Kala Mandira Volume 2018, Issue 2 June 2018 Sangeetha Kalarathna Titte Krishna Iyengar RR Keshavamurthy - The Lion of Karnataka DK Pattammal the Immortal legend Indian Music Experience (IME) Special Edition on Madurai Mani Iyer Raga Laya Prabha award felicitation Sri Rama Lalitha Kala Mandira awarded “Raaga Laya Prabha” on 13th May 2018 to Aditi B Prahalad (Vocal), BK Raghu (Violin) and Akshay Anand (Mridangam) who are the upcoming youngsters from Bangalore. This award is to commemorate the memory of the Founder-Director, Karnataka Kalashree GV Ranganayakamma, Vidushi GV Neela and her Sister, Founder-patron and Veena artiste Dr. GV Vijayalakshmi. The award carries a cash prize of Rs. Twenty Five Thousand and a citation. The award function was followed by a concert of Abhishek Raghuram (Vocal). B Vittal Rangan (Violin), NC Bharadwaj (Mridanga) and Guruprasanna (Kanjra) in presence of a capacity crowd. Left to Right Standing - Sri DR Srikantaiah - President, Akshay Anand, Sri GV Krishna Prasad - Hon. Secretary, Vidushi Neela Ramgopal,Vidwan Abhishek Raghuram, Aditi B Prahalad, BK Raghu June 2018 Titte Krishna Iyengar and RR Keshavamurthy. I am sure they will be an inspiration to the youngsters. Ganakaladhara Madurai Mani Iyer (MMI) shone like a jewel during the golden period of Karnatak music. He, Music world celebrated the centenary year of DK Pattam- along with GN Balasubramaniam (GN Sir) revolutionised mal a doyen in her own right on March 19, 2019. Vice karnatak music so much so that we talk about music in President of India, Shri M Venkaiah Naidu inaugurated the terms of before MMI, GN Sir and after MMI and GN Sir.
[Show full text]
Ragang Based Raga Identification System
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 16, Issue 3 (Sep. - Oct. 2013), PP 83-85 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.Iosrjournals.Org Ragang based Raga Identification system Awadhesh Pratap Singh Tomer Assistant Professor (Music-vocal), Department of Music Dr. H. S. G. Central University Sagar M.P. Gopal Sangeet Mahavidhyalaya Mahaveer Chowk Bina Distt. Sagar (M.P.) 470113 Abstract: The paper describes the importance of Ragang in the Raga classification system and its utility as being unique musical patterns; in raga identification. The idea behind the paper is to reinvestigate Ragang with a prospective to use it in digital classification and identification system. Previous works in this field are based on Swara sequence and patterns, Pakad and basic structure of Raga individually. To my best knowledge previous works doesn’t deal with the Ragang Patterns for identification and thus the paper approaches Raga identification with a Ragang (musical pattern group) base model. This work also reviews the Thaat-Raagang classification system. This describes scope in application for Automatic digital teaching of classical music by software program to analyze music (Classical vocal and instrumental). The Raag classification should be flawless and logically perfect for best ever results. Key words: Aadhar shadaj, Ati Komal Gandhar , Bahar, Bhairav, Dhanashri, Dhaivat, Gamak, Gandhar, Gitkarri, Graam, Jati Gayan, Kafi, Kanada, Kann, Komal Rishabh , Madhyam, Malhar, Meed, Nishad, Raga, Ragang, Ragini, Rishabh, Saarang, Saptak, Shruti, Shrutiantra, Swaras, Swar Prastar, Thaat, Tivra swar, UpRag, Vikrat Swar A Raga is a tonal frame work for composition and improvisation. It embodies a unique musical idea.(Balle and Joshi 2009, 1) Ragang is included in 10 point Raga classification of Saarang Dev, With Graam Raga, UpRaga and more.
[Show full text]
Paper 66 2019.Pdf
1 Accademia Musicale Studio Musica International Conference on New Music Concepts and Inspired Education Proceeding Book Vol. 6 Accademia Musicale Studio Musica Michele Della Ventura Editor COPYRIGHT MATERIAL 2 Printed in Italy First edition: April 2019 ©2019 Accademia Musicale Studio Musica www.studiomusicatreviso.it Accademia Musicale Studio Musica – Treviso (Italy) ISBN: 978-88-944350-0-9 3 Preface This volume of proceedings from the conference provides an opportunity for readers to engage with a selection of refereed papers that were presented during the International Conference on New Music Concepts and Inspired Education. The reader will sample here reports of research on topics ranging from mathematical models in music to pattern recognition in music; symbolic music processing; music synthesis and transformation; learning and conceptual change; teaching strategies; e-learning and innovative learning. This book is meant to be a textbook that is suitable for courses at the advanced under- graduate and beginning master level. By mixing theory and practice, the book provides both profound technological knowledge as well as a comprehensive treatment of music processing applications. The goals of the Conference are to foster international research collaborations in the fields of Music Studies and Education as well as to provide a forum to present current research results in the forms of technical sessions, round table discussions during the conference period in a relax and enjoyable atmosphere. 36 papers from 16 countries were received. All the submissions were reviewed on the basis of their significance, novelty, technical quality, and practical impact. After careful reviews by at least three experts in the relevant areas for each paper, 12 papers from 10 countries were accepted for presentation or poster display at the conference.
[Show full text]
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).
[Show full text]
Raga (Melodic Mode) Raga This Article Is About Melodic Modes in Indian Music
FREE SAMPLES FREE VST RESOURCES EFFECTS BLOG VIRTUAL INSTRUMENTS Raga (Melodic Mode) Raga This article is about melodic modes in Indian music. For subgenre of reggae music, see Ragga. For similar terms, see Ragini (actress), Raga (disambiguation), and Ragam (disambiguation). A Raga performance at Collège des Bernardins, France Indian classical music Carnatic music · Hindustani music · Concepts Shruti · Svara · Alankara · Raga · Rasa · Tala · A Raga (IAST: rāga), Raag or Ragam, literally means "coloring, tingeing, dyeing".[1][2] The term also refers to a concept close to melodic mode in Indian classical music.[3] Raga is a remarkable and central feature of classical Indian music tradition, but has no direct translation to concepts in the classical European music tradition.[4][5] Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.[1][2][5] A raga consists of at least five notes, and each raga provides the musician with a musical framework.[3][6][7] The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood.[3] The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.[3][7] Each raga, state Dorothea
[Show full text]
Glossary of Carnatic Terms
karnATik glossary http://www.karnatik.com Glossary Of Carnatic Music Brought to you by karnATik http://www.karnatik.com created by rani Copyright rani. All rights reserved. 1 of 1 karnATik glossary http://www.karnatik.com Glossary: A aadi - a common taaLa, which is catusra jaati tripuTa taaLa. It has 8 beats, with a catusra laghu (beat and 3 finger counts = 4) and then two drutams (beat and wave times 2 = 4). It may be also performed with double the beats per cycle, giving 16 beats. aaditya - the 12th and last cakra, with melakartas that have M2, R3, and G3, comprising numbers 67-72 aahatam - a gamaka or decoration of a note which takes the form of 2 consecutive notes, such as SR RG GM MP ... aalaapanai - one of the manOdharma sangeetam forms, same as raaga (2) aananta - meaning "peace" or "ultimate happiness," this is the word used in singing of taanam aandOLam - a gamaka or decoration of a note which takes the form of going upand down in sequence, as in SRSG, SRSM, SRSP ... aarati - a song or ritual performed with a flame and/or turmeric to drive away evil spirits. Aarati songs are usually in mangaLa raagas aarOha - the ascending scale of a raga (S R G ...), consisting of 4, 5, 6, or 7 notes. aatta varnam - another name for a pada varnam aavartana - one cycle through the rhythm or taaLa. For example, in aadi tala, one aavartanam is 8 beats. Two aavartanas are 16, etc. abhyaasa gaanam - a type of music which is often used in practice or musical exercise.
[Show full text]
SUNADA a Creative Pictorial Depiction of Music Therapy
SUNADA Music, Therapy and More... Volume VIII, AUGUST, 2017 From the Editor’s Desk.. A creative pictorial depiction of Music Therapy Continuing our tradition of dispelling the doubts expressed by various readers about how Music Therapy works, our science team is making constant efforts to answer and sometimes find answers to these doubts. As part of this continuous process, this month there is a special article on the Alpha state of mind and how some Carnatic Ragas can help achieve that state of restful, yet wakeful alertness. Editor & Founder KS Vasantha Lakshmi MA, MT, TM Specialist In this issue… Alpha state of Mind and some Carnatic Alpha Ragas…………………2 What you think………………………….7 ALPHA STATE OF MIND calmness, alertness, mind/body AND SOME CARNATIC integration and learning. ALPHA RAGAS One can compare the Brainwaves By to musical notes - the low KS Vasantha Lakshmi, frequency waves are like a deeply penetrating drum beat, MA, MT, TM while the higher frequency When we are wide awake, our brainwaves are more like a subtle brain is in a beta state. But as we high pitched flute. Like a drift into sleep, it shifts to alpha, symphony, the higher and lower and then to delta and theta in frequencies link and cohere with deep sleep. The Alpha state is a each other through harmonics. light hypnotic state—relaxed, yet focused and receptive. In this The descriptions given are only state of consciousness, a person broad - in practice things are far is calm, able to absorb new more complex, and brainwaves information and become more reflect different aspects when resourceful and open to new they occur in different locations possibilities.
[Show full text]