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Popular Melodies. Popular Songs On Veena. At a fundamental level they are similar to the solfa of Western music. These are shown in the table below. Two of these swar are noteworthy in that they are immutably fixed.
These two swar form the tonal foundation for all the Indian classical music. There is a full version i. The abbreviated name is most commonly used. The swar notes are assembled to make the scales. The swar have special relationships with each other. Although there are only seven notes they repeat in the upper and lower directions. Therefore, when ascending the scale when one reaches Ni, then the scales starts over with Sa, Re, Ga, etc.
This is the upper register. By the same token when one is decsending the scale, it does not stop at Sa but continues down as Ni, Dha, etc. It is well known that Indian music is based on an oral tradition. However, it is often erroneously presumed that this oral 54 tradition precluded any musical notation. This is not the case; musical notation in India extends back to the Vedas.
Musical notaton, known as sawr lipi has existed in India from ancient Vedic age up to the modern internet age Indian ragas are also supposed to be able to reproduce the conditions and emotions associated with them. The Dipak raga is supposed to produce flames in actuality; and a story is told of the famous musician named Gopal Naik Baiju Bawara who, when ordered to sing this by the Emperor Akbar went and stood in the Jamuna up to his neck and then started the song.
The water became gradually hotter until flames burst out of his body and he was consumed to ashes. The Megh mallar raga is supposed to be able to produce rain. It is said that a dancing girl in Bengal, in a time of drought, once drew from the clouds with this raga a timely refreshing shower which saved the rice crop.
Sir W. Ousley, who relates many of these anecdotes, says that he was told by Bengal people that this power of reproducing the actual conditions of the raga is now only possessed by some musicians in western India.
In connection with the sciences of raga, Indian music has developed the art of raga pictures. Rajah S M Tagore, thus describes the pictorial representations of his six principal ragas.
Sriraga is represented as a divine being wandering through a beautiful grove with his love, gathering fragrant flowers as they pass along. Near by doves sport on the grassy sward. Vasanta raga, or the raga of spring, is represented as a young man of golden hue, and having his ears ornamented with mango blossoms, some of which he also holds in his hands. His lotus-like eyes are rolling round and are of the color of the rising sun. He is loved by 55 the females.
Bhairava is shown as the great Mahadeva Shiva seated as a sage on a mountain top. River Ganga falls upon his matted locks. His head is adorned with the crescent moon. In the center of his forehead is the third eye from which issued the flames which reduced Kama, the Indian Cupid, to ashes. Serpents twine around his neck. He holds a trident in one hand and a drum in the other. Before him stands his sacred bull - Nandi.
Panchama raga is pictured as a very young couple in love in a forest. Megh raga is the raga of the clouds, and the rainy season. It is the raga of hope and new life. The clouds hang overhead, and already some drops of rain have fallen.
The animals in the fields rejoice. This raga is said to be helpful for patients suffering from tuberculosis. Vina player from Mysore. A warrior king rides on a galloping steed over the field of battle, with lance and bow and shield. He described it as a combination of two arts, music and painting. The melody of this raga is so fascinating that every living creature within hearing is attracted to it. The Indian tendency is to visualize abstract things. Raagas Although the total number of raags in Hindustani classical music was as big as , several of them have been lost over the centuries.
About raags are known and performed these days. The following list contains most of them. Complete formats, bandishes and popular songs have been provided for many raags.
Names of such raags are underscored. Simply click on the name of a raag to see its complete details. Audio clips are also provided to illustrate several details. The basic mode of reference in modern Hindustani practice known commonly as the shuddha - basic - form is a set which is equivalent to the Western Ionian mode — this is called Bilawal thaat in Hindustani music the Carnatic analogue would be Sankarabharanam.
In both systems, the ground or tonic , Shadja, Sa, and a pure fifth above, Pancham, Pa, are fixed and essentially sacrosanct tones. In the Hindustani system, in a given seven-tone mode, the second, third, sixth, and seventh notes can be natural shuddha, lit. Re tivra may, to a Western musician appear enharmonic to Ga shuddha in that system, but in practice is not.
A Westernstyle C scale could therefore theoretically have the notes C, D? The Carnatic system has three versions — a lower, medium, and higher form — of all the notes except Sa, Ma and Pa. Ma has two versions lower and higher , while Sa and Pa are invariant. Ragas can also specify microtonal changes to this scale: a flatter second, a sharper seventh, and so forth. Tradition has it that the octave consists of a division into 22 microtones "srutis".
Furthermore, individual performers treat pitches quite differently, and the precise intonation of a given note depends on melodic context. The Carnatic system embarks from a much different shuddha fundamental scalar formation, that is, shuddha here is the lowest-pitched swara. Ragas and their seasons Many Hindustani North Indian ragas are prescribed for the particular time of a day or a season.
When performed at the suggested time, the raga has its maximum effect. During the monsoon, for example, many of the Malhar group of ragas, which are associated with the monsoon and ascribed the magical power to bring rain, are performed. However, these prescriptions are not strictly followed, especially since modern concerts are generally held in the evening. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian ragas, which do not come with any particular time associated with them.
The result of these various influences is that there is increasing flexibility as to when ragas may be performed. A raga is more than a scale. Many ragas share the same scale. The underlying scale may have five, six or seven tones made up of swaras.
Ragas that have five swaras are called audava ragas; those with six, shaadava ; and with seven, sampurna Sanskrit for 'complete'. Those ragas that do not follow the strict ascending or descending order of swaras are called vakra 'crooked' ragas. It is the mood of the raga that is more important than the notes it comprises. For example, Raga Darbari Kanada and Raga Jaunpuri share the same notes but are entirely different in their renderings.
The six principal ragas are the following: 1. Hindaul - It is played to produce on the mind of the bearer all the sweetness and freshness of spring; sweet as the honey of the bee and fragrant as the perfume of a thousand blossoms. Sri Raga - The quality of this rag is to affect the mind with the calmness and silence of declining day, to tinge the thoughts with a roseate hue, as clouds are glided by the setting sun before the approach of darkness and night.
Megh Mallar - This is descriptive of the effects of an approaching thunder-storm and rain, having the power of influencing clouds in time of drought. Deepak - This raga is extinct. No one could sing it and live; it has consequently fallen into disuse. Its effect is to light the lamps and to cause the body of the singer to produce flames by which he dies.
Bhairava - The effect of this rag is to inspire the mind with a feeling of approaching dawn, the caroling of birds, the sweetness of the perfume and the air, the sparkling freshness of dew-dropping morn. Malkos - The effect of this rag are to produce on the mind a feeling of gentle stimulation.
Ragas involve several important elements. The first element is sound -- metaphysical and physical, which is referred to as 62 nada. Nada is the manifestation of the first of the five elements of creation--the element of space. There are two types of nada, anahata nada or un-struck sound and ahata nada or struck sound. Seetha Kalyana mp4 7. The lyrics was provided by Mr. Tyagaraja Keerthanas - A. Ramani Carnatic Flute Instrumental - N.
Mangala Vadyam - Seshampatti T. Naada Maharishi - Dr. BalamuraliKrishna - M. Tyagaraja Keerthanas - Ganesh. Tyagaraja Keerthanas - Kadri Gopalnath. Jagadananda Karaka - Dr. Jaya Vijaya Carnatic Vocal - Narayaneeyam. Tyagaraja Keerthanas - U.
Krishan and Lalgudi Vijayalakshmi, who debuted at the age of 13 and have been performing together ever since. No, she virtually lifted all her audience to an ethereal plane where it was just bhakti spreading sweet fragrance. Such was her superior virtuosity. The soul of the late MLV wherever she is resting would be suffused in divine rapture seeing her best disciple rising to Olympian heights. SR announced that she chose this piece at the request of her rasikaas in Detroit to commence the concert with a song beginning with "maathe".