Hindustani Music (Vocal/Instrumental)
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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. -
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". -
Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali -
Tillana Raaga: Bageshri; Taala: Aadi; Composer
Tillana Raaga: Bageshri; Taala: Aadi; Composer: Lalgudi G. Jayaraman Aarohana: Sa Ga2 Ma1 Dha2 Ni2 Sa Avarohana: Sa Ni2 Dha2 Ma1 Pa Dha2 Ga2 Ma1 Ga2 Ri2 Sa SaNiDhaMa .MaPaDha | Ga. .Ma | RiRiSa . || DhaNiSaGa .SaGaMa | Dha. MaDha| NiRi Sa . || DhaNiSaMa .GaRiSa |Ri. NiDha | NiRi Sa . || SaRiNiDha .MaPaDha |Ga . Ma . | RiNiSa . || Sa ..Ni .Dha Ma . |Sa..Ma .Ga | RiNiSa . || Sa ..Ni .Dha Ma~~ . |Sa..Ma .Ga | RiNiSa . || Pallavi tom dhru dhru dheem tadara | tadheem dheem ta na || dhim . dhira | na dhira na Dhridhru| (dhirana: DhaMaNi .. dhirana.: DhaMaGa .) tom dhru dhru dheem tadara | tadheem dheem ta na || dhim . dhira | na dhira na Dhridhru|| (dhirana: MaDha NiSa.. dhirana:DhaMa Ga..) tom dhru dhru dheem tadara | tadheem dheem ta na || (ta:DhaNi na:NiGaRi) dhim . dhira | na dhira na Dhridhru|| (dhirana:NiGaSaSaNi. Dhirana:DhaSaNiNiDha .) tom dhru dhru dheem tadara | tadheem dheem ta na || dhim . dhira | na dhira na Dhridhru|| (dhira:GaMaDhaNi na:GaGaRiSa dhira:NiDha na:Ga..) tom dhru dhru dheem tadana | tadheem dheem ta na || dhim.... Anupallavi SaMa .Ga MaNi . Dha| NiGa .Ri | NiDhaSa . || GaRi .Sa NiMa .Pa | Dha Ga..Ma | RiNi Sa . || naadhru daani tomdhru dhim | ^ta- ka-jha | Nuta dhim || … naadhru daani tomdhru dhim | (Naadru:MaGa, daani:DhaMa, tomdhru:NiDha, dhim: Sa) ^ta- ka-jha | Nuta dhim || (NiDha SaNi RiSa) taJha-Nu~ta dhim jhaNu | (tajha:SaSa Nu~ta: NiSaRiSa dhim:Ni; jha~Nu:MaDhaNi. tadhim . na | ta dhim ta || (tadhim:Dha Ga..;nata dhimta: MNiDha Sa.Sa) tanadheem .tatana dheemta tanadheem |(tanadheemta: DhaNi Ri ..Sa tanadheem: NiRiSa. .Sa tanadheem: NiDhaNi . ) .dheem dheemta | tom dhru dheem (dheem: Sa deemta:Ga.Ma tomdhrudeem:Ri..Ri Sa) .dheem dheem dheemta ton-| (dheem:Dha. -
Intonation Analysis of Rāgas in Carnatic Music1
Intonation analysis of rāgas in Carnatic music1 Gopala Krishna Koduria, Vignesh Ishwarb, Joan Serràc, Xavier Serraa, Hema Murthyb aMusic Technology Group, Universitat Pompeu Fabra, Barcelona, Spain. bDepartment of Computer Science and Engineering, Indian Institute of Technology - Madras, India cInstituto de Investigación en Inteligencia Artificial, Consejo Superior de Investigaciones Científicas, Bellaterra, Spain. Abstract Intonation is a fundamental music concept that has a special relevance in Indian art music. It is charac- teristic of a rāga and key to the musical expression of the artist. Describing intonation is of importance to several music information retrieval tasks such as developing similarity measures based on rāgas and artists. In this paper, we first assess rāga intonation qualitatively by analyzing varṇaṁs, a particular form of Carnatic music compositions. We then approach the task of automatically obtaining a compact rep- resentation of the intonation of a recording from its pitch track. We propose two approaches based on the parametrization of pitch-value distributions: performance pitch histograms, and context-based svara distributions obtained by categorizing pitch contours based on the melodic context. We evaluate both approaches on a large Carnatic music collection and discuss their merits and limitations. We finally go through different kinds of contextual information that can be obtained to further improve the two ap- proaches. Keywords: Music Information Research, Carnatic Music, Histogram parametrization, Pitch analysis 1. Introduction 1.1. Carnatic music and basic melodic concepts e Indian subcontinent has two prominent art music traditions: Carnatic music in south India, and Hindustani music in north India, Pakistan and Bangladesh. Rāga is the melodic framework on which both art music traditions thrive (Narmada, 2001). -
Lalgudi's Compositions, 21St Century Masterpieces
Lalgudi ’s compositions, 21st century masterpieces - Carnatic Music News - Darbar for cl ... Page 1 of 2 Music Academy to hold singing competion GO Top Most Lalgudi’s compositions, 21st century masterpieces Stories Viewed An engaging dialogue between By Vidya Subramanian www.vidyasubramanian.com flute & mandolin Akademi Ratna for Lalgudi CHENNAI, September 16: My guru, Padmabhushan G.Jayaraman Winning mind share, the Bombay Lalgudi Shri Jayaraman, is one of the most gifted and Jayashri way versatile musicians of this century. His genius has Music is a continuous process innumerable facets. With his warm and self-effacing of learning personality and total commitment to his art, he shares his Music has to be approached deep knowledge with readiness. with modesty Avoid easy route to concert stage Lalgudi Sir is a globally acclaimed musician, composer and When they bow,Ganesh & teacher. His 80th birthday celebration on September 18 Kumaresh sound distinct and September 19, 2010 at The Music Academy, Madras is Understand the science of music Future of voice science in India an event that all of us in the music fraternity are eagerly Listen to Tiruppavai and excitedly looking forward to. Each composition of my guru is a masterpiece in its own right. In this article, I attempt to highlight a few of these gems. Lalgudi Sir has composed in diverse compositional forms. His varnams and tillanas are legendary. He has also composed beautiful pieces in other musical forms such as kirtanams, swarajathis and jathiswarams. The fact that he does not use a mudra or signature term in his compositions bears testimony to his modesty. -
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. -
Mpa Music Syllabus (Unrevised)
MPA MUSIC SYLLABUS (UNREVISED) Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 7 34 History and 3 (3 + Theory 3 60 Contemporary Issues in 0) Ethnomusicology. 7 35 Aesthetics in Music 3 (3 + Theory 3 60 0) 7 36 Hindustani Music Vocal 6 (0 + 12 240 OR 6) Practical Hindustani Music Instrumental Any one from the following – Violin, Flute and Tabla OR Western Music (Guitar) 7 37 Practical 4 (0 + Practical 8 160 Music/Instrumental 4) (Semi-Classical/Folk). Total: 520 Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 8 38 Acoustics 3 (3 + Theory 3 48 0) 8 39 Music of Northeast India 3 (3 + Theory 3 48 0) 8 40 Hindustani Music Vocal 6 (0 + Practical 12 192 OR 6) Hindustani Music Instrumental Any one from the following – Violin, Flute and Tabla OR Western Music (Guitar) 8 41 Practical Music 4 (0 + Practical 8 128 Vocal/Instrumental 4) (Semi-Classical/Folk). Total 416 Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 9 42 Music and Media 3 (3 + 0) Theory 3 60 9 43 Music in Dance and 3 (3 + 0) Theory 3 60 Theatre 9 44 Hindustani Music Vocal 6 (0 + 6) Practical 12 240 OR Hindustani Music Instrumental Any one from the following – Violin, Flute and Tabla OR Western Music (Guitar) 9 45 Practical Music 4 (0 + 4) Practical 8 160 Vocal/Instrumental (Semi-Classical/Folk) Total: 520 Subject Semester: Paper: Title: Credits: Hours/Week Hours/Semester Nature: 10 46 Music of Sikkim 3 (3 + 0) Theory 3 48 10 47 Fieldwork, Lab. -
Track Name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt
Track name Singers VOCALS 1 RAMKALI Pt. Bhimsen Joshi 2 ASAWARI TODI Pt. Bhimsen Joshi 3 HINDOLIKA Pt. Bhimsen Joshi 4 Thumri-Bhairavi Pt. Bhimsen Joshi 5 SHANKARA MANIK VERMA 6 NAT MALHAR MANIK VERMA 7 POORIYA MANIK VERMA 8 PILOO MANIK VERMA 9 BIHAGADA PANDIT JASRAJ 10 MULTANI PANDIT JASRAJ 11 NAYAKI KANADA PANDIT JASRAJ 12 DIN KI PURIYA PANDIT JASRAJ 13 BHOOPALI MALINI RAJURKAR 14 SHANKARA MALINI RAJURKAR 15 SOHONI MALINI RAJURKAR 16 CHHAYANAT MALINI RAJURKAR 17 HAMEER MALINI RAJURKAR 18 ADANA MALINI RAJURKAR 19 YAMAN MALINI RAJURKAR 20 DURGA MALINI RAJURKAR 21 KHAMAJ MALINI RAJURKAR 22 TILAK-KAMOD MALINI RAJURKAR 23 BHAIRAVI MALINI RAJURKAR 24 ANAND BHAIRAV PANDIT JITENDRA ABHISHEKI 25 RAAG MALA PANDIT JITENDRA ABHISHEKI 26 KABIR BHAJAN PANDIT JITENDRA ABHISHEKI 27 SHIVMAT BHAIRAV PANDIT JITENDRA ABHISHEKI 28 LALIT BEGUM PARVEEN SULTANA 29 JOG BEGUM PARVEEN SULTANA 30 GUJRI JODI BEGUM PARVEEN SULTANA 31 KOMAL BHAIRAV BEGUM PARVEEN SULTANA 32 MARUBIHAG PANDIT VASANTRAO DESHPANDE 33 THUMRI MISHRA KHAMAJ PANDIT VASANTRAO DESHPANDE 34 JEEVANPURI PANDIT KUMAR GANDHARVA 35 BAHAR PANDIT KUMAR GANDHARVA 36 DHANBASANTI PANDIT KUMAR GANDHARVA 37 DESHKAR PANDIT KUMAR GANDHARVA 38 GUNAKALI PANDIT KUMAR GANDHARVA 39 BILASKHANI-TODI PANDIT KUMAR GANDHARVA 40 KAMOD PANDIT KUMAR GANDHARVA 41 MIYA KI TODI USTAD RASHID KHAN 42 BHATIYAR USTAD RASHID KHAN 43 MIYA KI TODI USTAD RASHID KHAN 44 BHATIYAR USTAD RASHID KHAN 45 BIHAG ASHWINI BHIDE-DESHPANDE 46 BHINNA SHADAJ ASHWINI BHIDE-DESHPANDE 47 JHINJHOTI ASHWINI BHIDE-DESHPANDE 48 NAYAKI KANADA ASHWINI -
The Thaat-Ragas of North Indian Classical Music: the Basic Atempt to Perform Dr
The Thaat-Ragas of North Indian Classical Music: The Basic Atempt to Perform Dr. Sujata Roy Manna ABSTRACT Indian classical music is divided into two streams, Hindustani music and Carnatic music. Though the rules and regulations of the Indian Shastras provide both bindings and liberties for the musicians, one can use one’s innovations while performing. As the Indian music requires to be learnt under the guidance of Master or Guru, scriptural guidelines are never sufficient for a learner. Keywords: Raga, Thaat, Music, Performing, Alapa. There are two streams of Classical music of India – the Ragas are to be performed with the basic help the North Indian i.e., Hindustani music and the of their Thaats. Hence, we may compare the Thaats South Indian i.e., Carnatic music. The vast area of with the skeleton of creature, whereas the body Indian Classical music consists upon the foremost can be compared with the Raga. The names of the criterion – the origin of the Ragas, named the 10 (ten) Thaats of North Indian Classical Music Thaats. In the Carnatic system, there are 10 system i.e., Hindustani music are as follows: Thaats. Let us look upon the origin of the 10 Thaats Sl. Thaats Ragas as well as their Thaat-ragas (i.e., the Ragas named 01. Vilabal Vilabal, Alhaiya–Vilaval, Bihag, according to their origin). The Indian Shastras Durga, Deshkar, Shankara etc. 02. Kalyan Yaman, Bhupali, Hameer, Kedar, throw light on the rules and regulations, the nature Kamod etc. of Ragas, process of performing these, and the 03. Khamaj Khamaj, Desh, Tilakkamod, Tilang, liberty and bindings of the Ragas while Jayjayanti / Jayjayvanti etc. -
Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years. -
The Journal Ie Music Academy
THE JOURNAL OF IE MUSIC ACADEMY MADRAS A QUARTERLY OTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC XIII 1962 Parts I-£V _ j 5tt i TOTftr 1 ®r?r <nr firerftr ii dwell not in Vaikuntha, nor in the hearts of Yogins, - the Sun; where my Bhaktas sing, there be I, ! ” EDITED BY V. RAGHAVAN, M.A., PH.D. 1 9 6 2 PUBLISHED BY HE MUSIC ACADEMY, MADRAS 115-E, M OW BRAY’S RO AD, M ADRAS-14. "iption—Inland Rs, 4. Foreign 8 sh. Post paid. i ADVERTISEMENT CHARGES I S COVER PAGES: if Back (outside) $ if Front (inside) i Back (D o.) if 0 if INSIDE PAGES: if 1st page (after cover) if if Ot^er pages (each) 1 £M E N i if k reference will be given to advertisers of if instruments and books and other artistic wares. if I Special position and special rate on application. Xif Xtx XK XK X&< i - XK... >&< >*< >*<. tG O^ & O +O +f >*< >•< >*« X NOTICE All correspondence should be addressed to Dr. V. R Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accep publication on the understanding that they are contribute) to the Journal of tlie Music Academy. All manuscripts should be legibly written or preferab written (double spaced—on one side of the paper only) and be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for t1 expressed by individual contributors. All books, advertisement, moneys and cheque ♦ended for the Journal should be sent to D CONTENTS 'le X X X V th Madras Music Conference, 1961 : Official Report Alapa and Rasa-Bhava id wan C.