சோ - பெயர்க்காரணம்
7 years ago
Sunday, May 24, 2009
Saturday, May 23, 2009
CARNATIC BASICS - 12
janya raagas contd........
you might have heard this song 'do re mi' in the movie sound of music.
let us continue with janya ragas. all the above janya ragas i mentioned like mohanam, hamsadwani are in pentatonic scale. that is having 5 notes like srgpd or srgpn.
in carnatic five note ragas are called audava ragas. six note ragas are called shaadava ragas.
that is having 5 notes in both aarohanam and avarohanam is audavam, and 6 notes up and down is shaadavam. we have already seen having all 7 notes is sampoornam.
there can be these combinations also. 5 in the up, 6 in the down; 5 in the up, 7 in the down, 6 in the up, 5 in the down, 6 in the up, 7 in the down,
7 up 5 down and 7 up and 6 down
ragas having less thatn 5 notes are also there but not classified.
now 5 up 6 down is called audava shadavam e.g malahari
5 up and 7 down is audava sampoornam e.g abheri
6 up and 5 down is called shadava audavam e.g koumothakam
6 up and 7 down is called shadava sampoornam .e.g asaveri thodi
7 up and 5 down is sampoorna audavam e.g kendha viksheba
7 up and 6 down is sampoorna shadavam. e.g kakavasantha
6 up and 6 down e.g sriranjani
5up and 5 down e.g. hindolam
janya ragas can be classified into three types.
1.upaanga raga
2.bhashanga raga
3.vakra raga
all the above examples of janya ragas (audava shadava etc) are upanga raga, meaning they are purely derived from their parent raga. that is they have only the swaras that their parent raga has.
a bhashanga raga is one, which has foreign notes (anya swaram) other than its parent raga, either in the ascent or descent or in both. a very good example is bhairavi. it has both the dha1(in descent) and dha2 (in ascent). whereas its parent raga natabhairavi(20th) has only dha1.
a vakra raga is one which does not have the swaras in the order. e.g in ananda bhairavi, the aarohanam is s g r g m p d p s. here before ri, which is the second swara, ga appears. again after dha, pa appears. this kind of misarrangement is called vakra prayogam. so either in aarohanam, or in avarohanam, or in both if the swaras are not arranged in order , it is called a vakra ragam.
1.upaanga raga
2.bhashanga raga
3.vakra raga
all the above examples of janya ragas (audava shadava etc) are upanga raga, meaning they are purely derived from their parent raga. that is they have only the swaras that their parent raga has.
a bhashanga raga is one, which has foreign notes (anya swaram) other than its parent raga, either in the ascent or descent or in both. a very good example is bhairavi. it has both the dha1(in descent) and dha2 (in ascent). whereas its parent raga natabhairavi(20th) has only dha1.
a vakra raga is one which does not have the swaras in the order. e.g in ananda bhairavi, the aarohanam is s g r g m p d p s. here before ri, which is the second swara, ga appears. again after dha, pa appears. this kind of misarrangement is called vakra prayogam. so either in aarohanam, or in avarohanam, or in both if the swaras are not arranged in order , it is called a vakra ragam.
Friday, May 22, 2009
Carnatic Quiz Answers
carnatiquiz.blogspot.com
CQ1. GNANA VINAYAGANE, GAMBEERA NATTAI, SARAVANA BHAVANANDA
CQ2. RAMA NEE PAI, KEDHARAM, THYAGARAJA, ALATHUR BROTHERS
CQ3. AMBA PARA DEVATHE, RUDRA PRIYA, KRISHNASWAMI IYER, ALATHUR BROS
CQ4. PANCHA NADHEESHA , PURNACHANDRIKA, PATNAM SUBRAMANYA IYER
CQ5. SONNADHAI SEIDHIDA SAGASAMA, GNB,
CQ6. PAALINCHU, KAMBOJI, MADURAI SOMU
CQ7. PAPANASAM SIVAN
CQ8. NINNUVINA, NAVARASA KANADA, THYAGARAJA, RUPAKAM
CQ9. AADUM CHIDAMBARAMO, MS - GOPALAKRISHNA BHARATHI, BEHAG
CQ10. BHAVAMU LONA, MS - ANNAMACHARYA, SUDHA DHANYASI, ADI
CQ11. AYYE METHA KADINAM, DESIKAR - NANDHANAR, NADHA NAMAKRIYA (starts with PUNNAGAVARALI)
CQ12. MANA VYALA KIM CHARA, MALI - THYAGARAJA, NALINAKANTHI
CQ13. NAINA PILLAI http://narayananswaminathan.blogspot.com/2009/05/naina-pillai.html
CQ14. THIRUPUGAZH, 'ERU MAYIL' , NEYVELI SANTHANAGOPALAN - BAGESHRI
CQ15. SADANANDHA THANDAVAM, NEYVELI - BAHUDARI, ACHUTA DASAR
CQ16. SARASIJANABHA SODHARI, S.BALACHANDER - NAGA GANDHARI, DIKSHITAR
CQ17. VARA RAGA LAYA, SUDHA - THYAGARAJA, CHENCHU KAMBOJI, ADI
CQ18. MARATHI ABHANG, SUDHA - NAMDEV, MISRA MARU BEHAG, EKAM
CQ19. COMMON:
KARNA RANJANI RAGA
DIFFERENCE:
SUDHA, Om Namo Narayana, Ambujam Krishna
NITHYASHREE, Vanchathonuna, Harikeshanallur Muthaiah Bhagavathar
CQ20. CHINNAN CHIRU KILIYE - NEELAMANI, C.R.SUBBARAMAN
CQ21. MAHARAJAPURAM SANTHANAM
CQ22. CHATUSRA JATHI MISRA GATHI EKA THALAM / MOVIE: KAN KAATCHI
CQ23. MAHARAJAPURAM SANTHANAM / BASANT BAHAR
CQ24. SHANKARABHARANAM / HARIKESHANALLUR M.BHAGAVATHAR /SEETHA DORAISWAMY(photo)
CQ25. VASANTHA, KEDHARA GOWLAI, ARABHI
CQ26. Ragamalika, Ragamudra and Swaraksharam
CQ27. Gajananayutham - vega vahini, Dikshitar (Chakravagam)
CQ28. Varasidhi vinayakam, Kalpagam Swaminathan - Muthiah Bhagavathar, Kaanada
CQ29. MSG Narmada, Saraswathi
CQ30 . Raa raa seetharamani, MDR, Thyagaraja, Hindhola vasantham
CQ31 . Janakiramana, Thyagaraja, Sudha seemanthini
CQ32 . Varalandukommani, Thyagaraja, Dr.S.Ramanathan, Gurjari
CQ33 . Nannu kanna talli, Lalitha & Nandhini - Thyagaraja, Sindhu kannada, Adi
CQ34 . Vyasaraya
CQ35 . Nenarunchinanu, Thyagaraja, Malavi
CQ36 . Kambakkudi Kulathur Iyer, Madhyamavathi, Music by Devarajan
CQ37 . Nenarunchara, Mysore Nagaraj and Manjunath, simhavahini, Thyagaraja
CQ38 . Thyagarajaswamy http://www.sruti.org/sruti/srutiArticleDetails.asp?ArticleId=4
CQ39 . L.Shankar, double violin, Abheri http://en.wikipedia.org/wiki/L._Shankar
CQ40 . Interestingly Nagumomu is the only composition in Abheri by Thyagarajaswamy
CQ41 . Crossword: http://sunson.wordpress.com/2009/07/14/
CQ42 . Enta muddo enta soguso, Thygaraja, Bindumalini, accompanied by Kanyakumari
CQ43 . Giriraja sutha, Thyagaraja, Bangala
CQ44 . Niravadhi sukadha, Thyagaraja, Ravichandrika
CQ45 . Chittibabu playing 'Kommalo Koyala', a cuckoo in a branch, in maand.
CQ46 . Crossword :http://narayananswaminathan.blogspot.co
CQ47 . Crossword :http://narayananswaminathan.blogspot.co
CQ48 . Swaravardhini, Sriranjani, Hamsanandhi, Vasantha, Lalitha. http://kanniks.wordpress.com/2008/07/10
CQ49 . Crossword :http://narayananswaminathan.blogspot.com/2009/09/answers-to-carnatic-quick-crossword-3.html
CQ50 . Vaasanthi thillana, Lalgudi Jayaraman
CQ1. GNANA VINAYAGANE, GAMBEERA NATTAI, SARAVANA BHAVANANDA
CQ2. RAMA NEE PAI, KEDHARAM, THYAGARAJA, ALATHUR BROTHERS
CQ3. AMBA PARA DEVATHE, RUDRA PRIYA, KRISHNASWAMI IYER, ALATHUR BROS
CQ4. PANCHA NADHEESHA , PURNACHANDRIKA, PATNAM SUBRAMANYA IYER
CQ5. SONNADHAI SEIDHIDA SAGASAMA, GNB,
CQ6. PAALINCHU, KAMBOJI, MADURAI SOMU
CQ7. PAPANASAM SIVAN
CQ8. NINNUVINA, NAVARASA KANADA, THYAGARAJA, RUPAKAM
CQ9. AADUM CHIDAMBARAMO, MS - GOPALAKRISHNA BHARATHI, BEHAG
CQ10. BHAVAMU LONA, MS - ANNAMACHARYA, SUDHA DHANYASI, ADI
CQ11. AYYE METHA KADINAM, DESIKAR - NANDHANAR, NADHA NAMAKRIYA (starts with PUNNAGAVARALI)
CQ12. MANA VYALA KIM CHARA, MALI - THYAGARAJA, NALINAKANTHI
CQ13. NAINA PILLAI http://narayananswaminathan.blogspot.com/2009/05/naina-pillai.html
CQ14. THIRUPUGAZH, 'ERU MAYIL' , NEYVELI SANTHANAGOPALAN - BAGESHRI
CQ15. SADANANDHA THANDAVAM, NEYVELI - BAHUDARI, ACHUTA DASAR
CQ16. SARASIJANABHA SODHARI, S.BALACHANDER - NAGA GANDHARI, DIKSHITAR
CQ17. VARA RAGA LAYA, SUDHA - THYAGARAJA, CHENCHU KAMBOJI, ADI
CQ18. MARATHI ABHANG, SUDHA - NAMDEV, MISRA MARU BEHAG, EKAM
CQ19. COMMON:
KARNA RANJANI RAGA
DIFFERENCE:
SUDHA, Om Namo Narayana, Ambujam Krishna
NITHYASHREE, Vanchathonuna, Harikeshanallur Muthaiah Bhagavathar
CQ20. CHINNAN CHIRU KILIYE - NEELAMANI, C.R.SUBBARAMAN
CQ21. MAHARAJAPURAM SANTHANAM
CQ22. CHATUSRA JATHI MISRA GATHI EKA THALAM / MOVIE: KAN KAATCHI
CQ23. MAHARAJAPURAM SANTHANAM / BASANT BAHAR
CQ24. SHANKARABHARANAM / HARIKESHANALLUR M.BHAGAVATHAR /SEETHA DORAISWAMY(photo)
CQ25. VASANTHA, KEDHARA GOWLAI, ARABHI
CQ26. Ragamalika, Ragamudra and Swaraksharam
CQ27. Gajananayutham - vega vahini, Dikshitar (Chakravagam)
CQ28. Varasidhi vinayakam, Kalpagam Swaminathan - Muthiah Bhagavathar, Kaanada
CQ29. MSG Narmada, Saraswathi
CQ30 . Raa raa seetharamani, MDR, Thyagaraja, Hindhola vasantham
CQ31 . Janakiramana, Thyagaraja, Sudha seemanthini
CQ32 . Varalandukommani, Thyagaraja, Dr.S.Ramanathan, Gurjari
CQ33 . Nannu kanna talli, Lalitha & Nandhini - Thyagaraja, Sindhu kannada, Adi
CQ34 . Vyasaraya
CQ35 . Nenarunchinanu, Thyagaraja, Malavi
CQ36 . Kambakkudi Kulathur Iyer, Madhyamavathi, Music by Devarajan
CQ37 . Nenarunchara, Mysore Nagaraj and Manjunath, simhavahini, Thyagaraja
CQ38 . Thyagarajaswamy http://www.sruti.org/sruti/srutiArticleDetails.asp?ArticleId=4
CQ39 . L.Shankar, double violin, Abheri http://en.wikipedia.org/wiki/L._Shankar
CQ40 . Interestingly Nagumomu is the only composition in Abheri by Thyagarajaswamy
CQ41 . Crossword: http://sunson.wordpress.com/2009/07/14/
CQ42 . Enta muddo enta soguso, Thygaraja, Bindumalini, accompanied by Kanyakumari
CQ43 . Giriraja sutha, Thyagaraja, Bangala
CQ44 . Niravadhi sukadha, Thyagaraja, Ravichandrika
CQ45 . Chittibabu playing 'Kommalo Koyala', a cuckoo in a branch, in maand.
CQ46 . Crossword :http://narayananswaminathan.blogspot.co
CQ47 . Crossword :http://narayananswaminathan.blogspot.co
CQ48 . Swaravardhini, Sriranjani, Hamsanandhi, Vasantha, Lalitha. http://kanniks.wordpress.com/2008/07/10
CQ49 . Crossword :http://narayananswaminathan.blogspot.com/2009/09/answers-to-carnatic-quick-crossword-3.html
CQ50 . Vaasanthi thillana, Lalgudi Jayaraman
Maestro Quiz Answers 101-200
MQ101. RANGULALO, 1 INTERLUDE - ABHINANDANA, KANGALILE KANAVO FROM KADHAL GEETHAM, VELLI NILA FROM AMUTHA GANAM
MQ102. SATHAM VARAMAL, OVERTURE - MY DEAR MARTHANDAN
MQ103 - Nadu Samathula -Thirumathi Palaniswamy - 1st Interlude
MQ104 - Adukku malliga - Adutha Varisu - 2nd Interlude
MQ105. HE ORAYIRAM, PRELUDE - MEENDUM KOKILA
MQ106. KAVIRIYE KAVIKUYILE, PRELUDE - ADUTHA VARISU
MQ107. VAANAMADHIYE, ARANMANAIKILI
MQ108. MANASUKULLA NAAYANA SATTHAM, MALLU VETTI MINOR
MQ109. KIZHAKAALEY , NATTUPURA PAATU
MQ110. CHOLAM VEDHAKAYILE PRELUDE - 16 VAYADHINILE
MQ111. ILAYA NADHI MANASELLAAM
MQ112. KAATTU VAZHI ADHU ORU KANA KAALAM
MQ113. POO POO POO POOTHA PUDHU NELLU PUDHU NAATTHU
MQ114. ORU JEEVAN AZHAITHADHU, 1 INTERLUDE - GEETHANJALI
MQ115. PONNOVIYAM, PRELUDE - KAZHUGU
MQ116. NAGARU NAGARU VARUDHU, 1 INTERLUDE - SATHYA
MQ117. NAAN ENBADHU NEE ALLAVO, 1 INTERLUDE - SOORA SAMHARAM
MQ118. NILAVE THENRAL PADUM, 2 INTERLUDE - VEETLA VISESHANGA
MQ119. PUDHU ROOTULA DAAN, 2 INTERLUDE LULLABY - MEERA
MQ120. NILAVONRU KANDEN, 2 INTERLUDE - KAIRASIKARAN
MQ121. ENNA PAATU PAADA, 2 INTERLUDE - CHAKKALATHI
MQ122. ORU MAYA LOGAM, 2 INTERLUDE - MAYAKANNADI
MQ123. AATTAM INGEY , POO VIZHI VAASALILEY
MQ124. NADAPPADHU ,BRAHMA
MQ125. SANTHOSAM , MANITHANIN MARUPAKKAM
MQ126. CHITHIRAI MADHATHU NILAVU, 2 INTERLUDE - PAADU NILAAVE
MQ127. ILAYA NADHI- MANASELLAM
MQ128. AZHAGANA MANJA PURA - ELLAME EN RASA DAAN
MQ129. MUCHATHU MAADA PURA - PERIYA KUDUMBAM
MQ130. MAZHAI VARUDHU, 2 INTERLUDE - RAJA KAIYA VACHA
MQ131. Chinna Pura Ondru - Anbe Sangeetha - 1st Interlude
MQ132. Kaadhal Saagadhu - Mella Pesungal - Starting Music
MQ133 - Anbu Mugam Thantha Sugam - Rusi Kanda Poonai - 1st Interlude
MQ134 - Eerettu pathinaru - Raja Rajathan -Prelude
MQ135- Roja Ondru Ullankai - Oh Mane Mane - 1st Interlude
MQ136- Santhanam Muthu - Rushi kanda poonai -Prelude
MQ137 - ORE MURAI UN DARISANAM, 1 PRELUDE - EN JEEVAN PADUDHU
MQ138- Sugam Sugame - Naan Potta Saval -Prelude
MQ139- Sugamo Aayiram - Thunairuppal Meenakshi -Prelude
MQ140- Sandana Maarbile - Nadodi Thendral -1st Interlude
MQ141- Sindhu Nadhi Karai Oram - Nalladhoru Kudumbam -1st Interlude
MQ142 - Singalathu Chinna - Punnagai Mannan - 2nd Interlude
MQ143- Poovana Yetta - Ponmana Selvan - 1st Interlude
MQ144. Thalampoove - Kai Koodukum Kai - 2nd Interlude
MQ145. AZHAGE UNNAI, PRELUDE - VAALIBAME VAA VAA
MQ146. VAALIBAME VAA VAA, PRELUDE - RAM LAKSHMAN
MQ147.YAAR THOORIGAI, 1 INTERLUDE - PAARU PAARU PATTANAM PAARU
MQ148.JEEVA HOOVAGIDE, 2 INTERLUDE - NE NANNA GELLARE
MQ149.YE RAASATHI, 1 & 2 INTERLUDES - EN UYIR THOZHAN
MQ150.KANDU PUDICHEN, 2 INTERLUDE - GURU SISHYAN
MQ151.KOONDHALILE MEGAM VANDHU, OVERTURE - BALANAGAMMA, BEAUTIFUL BILAHARI
MQ152. YE NADU VIDI PONI, 1 INTERLUDE - SRI KANAKA MAHALAKSHMI RECORDING DANCE TROUP
MQ153. MANIYE MANIKUYILE, 2 INTERLUDE - NADODI THENRAL
MQ154. IDHAYAM POGUDHE, 2 INTERLUDE - PUDHIYA VAARPUGAL
MQ155. ORU KILI URUGUDHU, 2 INTERLUDE - ANANDA KUMMI
MQ156. Ye Thendralae - Nenjathai Killadhae - 1st Interlude
MQ157. Vizhiyorathu - Raja Paarvai - 1st Interlude
MQ158. Guna Abhirami at the temple BGM
MQ159. Mudhal Mariyadhi Stone lift BGM
MQ160. Ada Raakozhi Koovum neram from Maharasan
MQ161. Ippodhenna Thevai from Makkal Aatchi
MQ162. Va Va Pakkam Va - Thanga Magan - 1st Interlude
MQ163. Va Ponn Mayile - Poonthalir - 1st interlude
MQ164. ENAKENA ORUVARUM, 2 INTERLUDE - THAALAATU
MQ165. VAANENGUM, 1 INTERLUDE - MOONRAM PIRAI
MQ166. then poovey poovey vaa from anbulla rajinikanth
MQ167. POOJAIKETHA POOVIDHU, 1 INTERLUDE - NEE THAANA ANDHA KUIL
MQ168. Vaan Sivandhadhu - Anbin Mugavari - 1st Interlude
MQ169. Vaada Vaattuthu - Chakkalathi - 2nd Interlude
MQ170. Va Va Vanji Illan Manne - Guru Shishyan - 1st Interlude
MQ171. Va Kathuirruka Neram Ilai - Kathuirruka Neram Illai - 1st Interlude
MQ172. Vaanam Thodaatha - Chinnappa Dass - 2nd Interlude
MQ173. Un Perai Kettale Ethuvum - Pooncholai - 1st Interlude
MQ174. Oru Kaaviyam from Aruvadai Naal
MQ175. MMgowlai with tilang - DEVOTION piece from india 24 hrs album
MQ176. mohanam ragam piece - ILLUSIONS from india 24 hrs album
MQ177. poo poo poo from pudhu nellu pudhu naathu
MQ178. anandham pongida
MQ179. athikalai neram kanavil
MQ180. TELISINDILE, END HUMMING - SRI KANAKA MAHALAKSHMI RECORDING
DANCE TROUPE
MQ181. PAATU THALAIVAN, PRELUDE - IDHAYA KOVIL
MQ182. ILAM CHOLAI POOTHADHA - PRELUDE, UNAKKAGAVE VAAZHGIREN
MQ183. UN KENDA KAALU, KARISA KAATTU POOVEY
MQ184. Kannirendil from Avadharam
MQ185. Thayariyadha from Arangetra Velai
MQ186. Thayariyadha from Arangetra Velai
MQ187. ORU NAAL MALAIYIL - UDHAYAM 2006, DHEEMI DHEEMI - SHIVA 2006
MQ188. MALARNDHIRUCHU POONCHEDI, OOMAI NENJIN OSAIGAL, OVERTURE - ANANDA KUMMI
MQ189. Ich Liebe Dich - Puthu Paatu - 1st Interlude
MQ190. Illaya Nathi - Manasellam - 1st Interlude
MQ191. Indha Kaadhal - Kangalin Vaarthaigal - 2nd Interlude
MQ192. Indru Kaathal Meeruthu - Malargazh Nanaigindrana - Starting Music
MQ193. Intha Poovuku Oru - Poovarasan - !st Interlude
MQ194. Isai Medaiyil Intha - Illamai Kaalangal - 2nd Interlude
MQ195. Jilibili Palukula - Sithara - Telugu song - Starting Music, oru kili from ananda kummi
MQ196. Jodi Nathigal - Anbe Oodi Vaa - Starting Music
MQ197. THAMARAI KODI, PRELUDE - ANANDA KUMMI
MQ198. ROJAVAI THALAATUM THENRAL, 1 INTERLUDE - NINAIVELLAM NITHYA
MQ199. POGUDHE POGUDHE, PRELUDE - KADALORA KAVIDHAIGAL
MQ200. THANGAM IVAL ANGAM - NALLA THAMBI
Maestro Quiz Answers 1-100
http://maestroquiz.blogspot.com/
MQ1. SANDHYA RAGAPU SARIGAMALU, 2 INTERLUDE - INDRUDU CHANDRUDU, KADHAL RAGAMUM KANI THAMIZHUM FROM INDIRAN CHANDIRAN IN THAMIZH.
MQ2. POOVADAI KAATRU, 1 INTERLUDE - GOPURANGAL SAIVADILLAI, KRISHNACHANDAR AND JANAKI
MQ3. EN PURUSHAN DAAN, 1 INTERLUDE - GOPURANGAL SAIVADILLAI, SP SHAILAJA
MQ4. JAPANESE MUSIC, 1 INTERLUDE OF 'NACHINA FUDDU' - INDRUDU CHANDRUDU
MQ5. DORA DORA DONGA MUDDU, INTRO - INDRUDU CHANDRUDU
MQ6. PRIYATAMA TAMA SANGEETHAM, 1 INTERLUDE - AALAPANA
MQ7. PRIYATAMA TAMA SANGEETHAM, PRELUDE - AALAPANA
MQ8. PRIYATAMA TAMA SANGEETHAM, 2 INTERLUDE - AALAPANA
MQ9. SEVVARALI THOTTATHILE, HUMMING OVERTURE - BHAGAVATHIPURAM RAILWAY GATE
MQ10. THENRAL KAATRUM, 1 INTERLUDE - BHAGAVATHIPURAM RAILWAY GATE
MQ11. ORU NAAL, PRELUDE - THIRUPU MUNAI
MQ12. ALAI MEEDHU THADUMARUDHE SIRU ODAM, PRELUDE - ANBULLA MALARE, TOLI CHOOPU FROM RAJKUMAR IN TELUGU
MQ13. KOTHA PETARO KOKKO, 2 INTERLUDE - DETECTIVE NARADHA
MQ14. ILA MANADHU PUDHU KANAVU, PRELUDE - SELVI
MQ15. AADUNGAL, 2 INTERLUDE SAX - GURU
MQ16. ENDHAN KANNIL, 1 INTERLUDE - GURU
MQ17. IVVU IVVU, PRELUDE - PREMA
MQ18. OORORAMA ANDHA PAKKAM, 2 INTERLUDE - IDHAYA KOVIL
MQ19. CHIC ENRA ADAIYIL, PRELUDE - INIYA URAVU POOTHADHU
MQ20. PRIYATHAMA NAA HRUDAYAMA, PRELUDE - PREMA
MQ21. JAANE DO NA, INTRO - CHEENI KUM, HINDI VERSION OF JOTHE ALLE AND VIZHIYILE
MQ22. IRU PARAVAIGAL, 1 INTERLUDE - NIRAM MAARADHA POOKKAL, BEAUTIFUL STRINGS AND PIZZICATO
MQ23. UNNAI NAMBI NETHIYILE, 2 INTERLUDE - CHITTU KURUVI,SOUNDS SIMILAR TO 'UCHI VAGUNDHEDUTHU' INTERLUDE
MQ24. KALAI NERA KAATRE, INTRO - BHAGAVATHIPURAM RAILWAY GATE
MQ25. ONTARI VAADANI, PRELUDE - PREMA
MQ26. THAEN MALLI POOVE, PRELUDE - THYAGAM
MQ27. AAN PAAVAM THEME MUSIC
MQ28. PAADA VANDHADHOR GAANAM, 1 INTERLUDE - ILAMAI KAALANGAL
MQ29. PAADUM VAANAMPADI, 1 INTERLUDE - NAAN PAADUM PAADAL
MQ30. PREMA ENTHA MATHURAM, PRELUDE - ABHINANDANA
MQ31. NADHAM EN JEEVANE, PRELUDE - KADHAL OVIYAM
MQ32. NADHIYIL AADUM POOVANAM, 2 INTERLUDE - KADHAL OVIYAM
MQ33. ADA POYA POYA, PRELUDE - DHARMA YUDHAM
MQ34. KANNAN VANDHU PAADUNGINRAAN, PRELUDE - RETTAI VAAL KURUVI
MQ35. UNNAI NAAN ARIVEN, 1 INTERLUDE - GUNA
MQ36. UNNAI NAAN ARIVEN, KEERAVANI AALAAP - GUNA
MQ37. ORU MALAI CHANDIRAN, 1 INTERLUDE - UNNAI VAAZHTHI PAADUGIREN
MQ38. OTHA RUBA, PRELUDE - GEETANJALI, TAMIL
MQ39. SUTTUM SUDAR VIZHI, 1 PRELUDE - SIRAICHALAI, KAALAAPAANI IN MALAYALAM
MQ40. MADHANI MADHANI, PRELUDE - KADAL MEENGAL
MQ41. ITHU SANGEETHA THIRUNAALO, PRELUDE - KADHALUKKU MARIYADHAI
MQ42. VAALAI PARUVATHILEY, PRELUDE - KANNE RADHA, SPSHAILAJA AND SUSHILA
MQ43. DHOORATHIL NAAN KANDA UN MUGAM, 2 INTERLUDE - NIZHALGAL
MQ44. PUTHAM PUDHU KALAI - 1 INTERLUDE - ALAIGAL OIVADHILLAI, USED IN AFRICAVIL APPU AS CHINNANJIRU YAANAI
MQ45. MALAI SOODA KANNE RADHA NAAL VARADHA, PRELUDE - KANNE RADHA
MQ46. THEVAI INDHA PAAVAI, 2 INTERLUDE - ANDHA ORU NIMIDAM
MQ47. EN VAAZHVILE, 2 INTERLUDE - THAMBIKU ENDHA OORU,THIS SONG TAKEN FROM SADMA-YE ZINDAGI AND BGM IN MOONRAM PIRAI-POONGATRU
MQ48. MAANJOLAI KILIDHAANO, PRELUDE - KIZHAKKE POGUM RAYIL
MQ49. MACHANAI PAARTHEENGALA, 2 INTERLUDE - ANNAKILI
MQ50. ANWESHANA, PADUM PARAVAIGAL HORROR THEME
MQ51. YAVVANALA POOVULANNI, 1 PRELUDE - DETECTIVE NARADHA
MQ52. POTHI VACHA, PATHOS, PRELUDE - MANN VASANAI
MQ53. MAAPILLAIKU MAMAN, JATHI - NETRI KANN
MQ54. ENAKU PIDITHA PAADAL, 1 PRELUDE - JULIE GANAPATHY
MQ55. OORADANGUM JAMATHULA, INTERLUDE - PUDHUPATTI PONNUTHAYEE, INTERESTINGLY BOTH THE INTERLUDES ARE SAME, ONE OF THE RARE CASES WITH RAJA.
MQ56. THAALAATU, 2 INTERLUDE - ACHAANI
MQ57. RASAVE UNNA NAAN, 2 INTERLUDE - THANIKATTU RAJA
MQ58. REMIX SONG INTERLUDE STARTING WITH ILAMAI IDHO IDHO- UN KANNIL NEER VAZHINDAAL. LISTEN TO THE COMICAL PLAYING OF TRUMPET.
MQ59. ENGEYO EDHO, PRELUDE - NADHIYAI THEDI VANDHA KADAL, JAYALALITHA'S LAST MOVIE
MQ60. MUNNAM SEIDHA THAVAM, 2 INTERLUDE - VANAJA GIRIJA
MQ61. ANBE ANBE ENGE ENGE, 2 INTERLUDE - SADHANAI
MQ62. PAARAMAL PAARTHA NENJAM, 1 INTERLUDE - POONTHOTTA KAAVALKARAN
MQ63. PAADI VAA THENRALE, PRELUDE - MUDIVALLA ARAMBAM
MQ64. KANNE INRU KALYANA KADHAI, 1 INTERLUDE - AANAZHAGAN
MQ65. ANJU GAJAM KAANJI PATTU, 1 INTERLUDE - RAASA MAGAN
MQ66. SALAKKU SALAKKU SELAI, 2 INTERLUDE - SEMBARUTHI
MQ67. THUVAKKAM ENGE- SOLLADHA RAGANGAL 2 INTERLUDE - MAHANADHI
MQ68. VEDHAM NEE, 2 INTERLUDE - KOVIL PURA
MQ69. POTTU MELA POTTU VACHI, 1 INTERLUDE - KANGALUM KAVIPADUDHE
MQ70. ADHI SIVAN, 1 INTERLUDE - KADAVUL, VELU PRABHAKARAN
MQ71. ASAI IDHAYAM, PRELUDE - KANMANI, MV, JANAKI
MQ72. PRIYATHAMA NA HRUDHAYAMA, 1 INTERLUDE - PREMA
MQ73. ADI NETRIRAVU NADANDHADHENNA, PRELUDE - INNISAI MAZHAI
MQ74. NALAM VAAZHA, PRELUDE - MARUPADIYUM
MQ75. MANIDHA MANIDHA, OVERTURE - KAN SIVANDHAL MAN SIVAKKUM
MQ76. ALAIGALIL MIDHAKKUDHU, PRELUDE - ANDHA ORU NIMIDAM
MQ77. KAATHIRUNDHEN THANIYE, 2 INTERLUDE - RAASA MAGAN,SUNG BY CHANDRASEKAR AND LEKHA
MQ78. ADI VAANMATHI - 2 INTERLUDE - SIVA
MQ79. UNNAI NAAN SERNDHIRUKKA, PRELUDE - ILAYA RAGAM
MQ80. OORELLAM UN PAATU DAAN, 2 INTERLUDE - OORELLAM UN PAATU DAAN, THERE ARE 3 VERSIONS.
MQ81. KANMANIYE PESU, 1 INTERLUDE - KAAKI SATTAI
MQ82. AALA ASATHUM MALLI DAAN, 2 INTERLUDE - KANNI RASI
MQ83. AATHADI PAAVADA KAATHADA, PRELUDE - POO VILANGU
MQ84. ANANDHA THEN KATRU, PRELUDE - MANIPOOR MAMIYAR
MQ85. ABC NEE VAASI, PRELUDE - ORU KAIDHIYIN DIARY
MQ86. CHALAKU CHALAKU SELAI, PRELUDE - CHEMBARUTHI
MQ87. Engengu Nee Sendra - Nenaikatherintha Manam - Starting Music
MQ88. KANMANI NEE VARA, 2 INTERLUDE - THENRALE ENNAI THODU
MQ89. Alai Meedu - Kadal Kavithai - Starting Music
MQ90. HUM HAIN AKELE, 2 INTERLUDE - NANDU, HINDI SONG BY S.JANAKI
MQ91. VAANATTHU THAARAGAIYO - POONTHOTTAM
MQ92. ARACHI ARACHI - MAHARASAN
MQ93. THAAYARIYAADHA THAAMARAI - ARANGETRA VELAI
MQ94. KANMANIYE KANMANIYE - CHINNA VATHIYAR
MQ95. UNNAI THEDI VENNILA, EN MANA VAANIL
MQ96. UNNAI NAAN PAARKAIYIL, PRELUDE -KANNUKORU VANNA KILI
MQ97. THOTTU THOTTU PALLAAKKU - KADHAL ROJAAVE
MQ98. VANDHADHU VANDHADHU - KILI PECHU KETKA VAA
MQ99. NADANTHAAL IRANDADI , CHEMBARUTHI
MQ100. OH BUTTERFLY, OVERTURE - MEERA
MQ1. SANDHYA RAGAPU SARIGAMALU, 2 INTERLUDE - INDRUDU CHANDRUDU, KADHAL RAGAMUM KANI THAMIZHUM FROM INDIRAN CHANDIRAN IN THAMIZH.
MQ2. POOVADAI KAATRU, 1 INTERLUDE - GOPURANGAL SAIVADILLAI, KRISHNACHANDAR AND JANAKI
MQ3. EN PURUSHAN DAAN, 1 INTERLUDE - GOPURANGAL SAIVADILLAI, SP SHAILAJA
MQ4. JAPANESE MUSIC, 1 INTERLUDE OF 'NACHINA FUDDU' - INDRUDU CHANDRUDU
MQ5. DORA DORA DONGA MUDDU, INTRO - INDRUDU CHANDRUDU
MQ6. PRIYATAMA TAMA SANGEETHAM, 1 INTERLUDE - AALAPANA
MQ7. PRIYATAMA TAMA SANGEETHAM, PRELUDE - AALAPANA
MQ8. PRIYATAMA TAMA SANGEETHAM, 2 INTERLUDE - AALAPANA
MQ9. SEVVARALI THOTTATHILE, HUMMING OVERTURE - BHAGAVATHIPURAM RAILWAY GATE
MQ10. THENRAL KAATRUM, 1 INTERLUDE - BHAGAVATHIPURAM RAILWAY GATE
MQ11. ORU NAAL, PRELUDE - THIRUPU MUNAI
MQ12. ALAI MEEDHU THADUMARUDHE SIRU ODAM, PRELUDE - ANBULLA MALARE, TOLI CHOOPU FROM RAJKUMAR IN TELUGU
MQ13. KOTHA PETARO KOKKO, 2 INTERLUDE - DETECTIVE NARADHA
MQ14. ILA MANADHU PUDHU KANAVU, PRELUDE - SELVI
MQ15. AADUNGAL, 2 INTERLUDE SAX - GURU
MQ16. ENDHAN KANNIL, 1 INTERLUDE - GURU
MQ17. IVVU IVVU, PRELUDE - PREMA
MQ18. OORORAMA ANDHA PAKKAM, 2 INTERLUDE - IDHAYA KOVIL
MQ19. CHIC ENRA ADAIYIL, PRELUDE - INIYA URAVU POOTHADHU
MQ20. PRIYATHAMA NAA HRUDAYAMA, PRELUDE - PREMA
MQ21. JAANE DO NA, INTRO - CHEENI KUM, HINDI VERSION OF JOTHE ALLE AND VIZHIYILE
MQ22. IRU PARAVAIGAL, 1 INTERLUDE - NIRAM MAARADHA POOKKAL, BEAUTIFUL STRINGS AND PIZZICATO
MQ23. UNNAI NAMBI NETHIYILE, 2 INTERLUDE - CHITTU KURUVI,SOUNDS SIMILAR TO 'UCHI VAGUNDHEDUTHU' INTERLUDE
MQ24. KALAI NERA KAATRE, INTRO - BHAGAVATHIPURAM RAILWAY GATE
MQ25. ONTARI VAADANI, PRELUDE - PREMA
MQ26. THAEN MALLI POOVE, PRELUDE - THYAGAM
MQ27. AAN PAAVAM THEME MUSIC
MQ28. PAADA VANDHADHOR GAANAM, 1 INTERLUDE - ILAMAI KAALANGAL
MQ29. PAADUM VAANAMPADI, 1 INTERLUDE - NAAN PAADUM PAADAL
MQ30. PREMA ENTHA MATHURAM, PRELUDE - ABHINANDANA
MQ31. NADHAM EN JEEVANE, PRELUDE - KADHAL OVIYAM
MQ32. NADHIYIL AADUM POOVANAM, 2 INTERLUDE - KADHAL OVIYAM
MQ33. ADA POYA POYA, PRELUDE - DHARMA YUDHAM
MQ34. KANNAN VANDHU PAADUNGINRAAN, PRELUDE - RETTAI VAAL KURUVI
MQ35. UNNAI NAAN ARIVEN, 1 INTERLUDE - GUNA
MQ36. UNNAI NAAN ARIVEN, KEERAVANI AALAAP - GUNA
MQ37. ORU MALAI CHANDIRAN, 1 INTERLUDE - UNNAI VAAZHTHI PAADUGIREN
MQ38. OTHA RUBA, PRELUDE - GEETANJALI, TAMIL
MQ39. SUTTUM SUDAR VIZHI, 1 PRELUDE - SIRAICHALAI, KAALAAPAANI IN MALAYALAM
MQ40. MADHANI MADHANI, PRELUDE - KADAL MEENGAL
MQ41. ITHU SANGEETHA THIRUNAALO, PRELUDE - KADHALUKKU MARIYADHAI
MQ42. VAALAI PARUVATHILEY, PRELUDE - KANNE RADHA, SPSHAILAJA AND SUSHILA
MQ43. DHOORATHIL NAAN KANDA UN MUGAM, 2 INTERLUDE - NIZHALGAL
MQ44. PUTHAM PUDHU KALAI - 1 INTERLUDE - ALAIGAL OIVADHILLAI, USED IN AFRICAVIL APPU AS CHINNANJIRU YAANAI
MQ45. MALAI SOODA KANNE RADHA NAAL VARADHA, PRELUDE - KANNE RADHA
MQ46. THEVAI INDHA PAAVAI, 2 INTERLUDE - ANDHA ORU NIMIDAM
MQ47. EN VAAZHVILE, 2 INTERLUDE - THAMBIKU ENDHA OORU,THIS SONG TAKEN FROM SADMA-YE ZINDAGI AND BGM IN MOONRAM PIRAI-POONGATRU
MQ48. MAANJOLAI KILIDHAANO, PRELUDE - KIZHAKKE POGUM RAYIL
MQ49. MACHANAI PAARTHEENGALA, 2 INTERLUDE - ANNAKILI
MQ50. ANWESHANA, PADUM PARAVAIGAL HORROR THEME
MQ51. YAVVANALA POOVULANNI, 1 PRELUDE - DETECTIVE NARADHA
MQ52. POTHI VACHA, PATHOS, PRELUDE - MANN VASANAI
MQ53. MAAPILLAIKU MAMAN, JATHI - NETRI KANN
MQ54. ENAKU PIDITHA PAADAL, 1 PRELUDE - JULIE GANAPATHY
MQ55. OORADANGUM JAMATHULA, INTERLUDE - PUDHUPATTI PONNUTHAYEE, INTERESTINGLY BOTH THE INTERLUDES ARE SAME, ONE OF THE RARE CASES WITH RAJA.
MQ56. THAALAATU, 2 INTERLUDE - ACHAANI
MQ57. RASAVE UNNA NAAN, 2 INTERLUDE - THANIKATTU RAJA
MQ58. REMIX SONG INTERLUDE STARTING WITH ILAMAI IDHO IDHO- UN KANNIL NEER VAZHINDAAL. LISTEN TO THE COMICAL PLAYING OF TRUMPET.
MQ59. ENGEYO EDHO, PRELUDE - NADHIYAI THEDI VANDHA KADAL, JAYALALITHA'S LAST MOVIE
MQ60. MUNNAM SEIDHA THAVAM, 2 INTERLUDE - VANAJA GIRIJA
MQ61. ANBE ANBE ENGE ENGE, 2 INTERLUDE - SADHANAI
MQ62. PAARAMAL PAARTHA NENJAM, 1 INTERLUDE - POONTHOTTA KAAVALKARAN
MQ63. PAADI VAA THENRALE, PRELUDE - MUDIVALLA ARAMBAM
MQ64. KANNE INRU KALYANA KADHAI, 1 INTERLUDE - AANAZHAGAN
MQ65. ANJU GAJAM KAANJI PATTU, 1 INTERLUDE - RAASA MAGAN
MQ66. SALAKKU SALAKKU SELAI, 2 INTERLUDE - SEMBARUTHI
MQ67. THUVAKKAM ENGE- SOLLADHA RAGANGAL 2 INTERLUDE - MAHANADHI
MQ68. VEDHAM NEE, 2 INTERLUDE - KOVIL PURA
MQ69. POTTU MELA POTTU VACHI, 1 INTERLUDE - KANGALUM KAVIPADUDHE
MQ70. ADHI SIVAN, 1 INTERLUDE - KADAVUL, VELU PRABHAKARAN
MQ71. ASAI IDHAYAM, PRELUDE - KANMANI, MV, JANAKI
MQ72. PRIYATHAMA NA HRUDHAYAMA, 1 INTERLUDE - PREMA
MQ73. ADI NETRIRAVU NADANDHADHENNA, PRELUDE - INNISAI MAZHAI
MQ74. NALAM VAAZHA, PRELUDE - MARUPADIYUM
MQ75. MANIDHA MANIDHA, OVERTURE - KAN SIVANDHAL MAN SIVAKKUM
MQ76. ALAIGALIL MIDHAKKUDHU, PRELUDE - ANDHA ORU NIMIDAM
MQ77. KAATHIRUNDHEN THANIYE, 2 INTERLUDE - RAASA MAGAN,SUNG BY CHANDRASEKAR AND LEKHA
MQ78. ADI VAANMATHI - 2 INTERLUDE - SIVA
MQ79. UNNAI NAAN SERNDHIRUKKA, PRELUDE - ILAYA RAGAM
MQ80. OORELLAM UN PAATU DAAN, 2 INTERLUDE - OORELLAM UN PAATU DAAN, THERE ARE 3 VERSIONS.
MQ81. KANMANIYE PESU, 1 INTERLUDE - KAAKI SATTAI
MQ82. AALA ASATHUM MALLI DAAN, 2 INTERLUDE - KANNI RASI
MQ83. AATHADI PAAVADA KAATHADA, PRELUDE - POO VILANGU
MQ84. ANANDHA THEN KATRU, PRELUDE - MANIPOOR MAMIYAR
MQ85. ABC NEE VAASI, PRELUDE - ORU KAIDHIYIN DIARY
MQ86. CHALAKU CHALAKU SELAI, PRELUDE - CHEMBARUTHI
MQ87. Engengu Nee Sendra - Nenaikatherintha Manam - Starting Music
MQ88. KANMANI NEE VARA, 2 INTERLUDE - THENRALE ENNAI THODU
MQ89. Alai Meedu - Kadal Kavithai - Starting Music
MQ90. HUM HAIN AKELE, 2 INTERLUDE - NANDU, HINDI SONG BY S.JANAKI
MQ91. VAANATTHU THAARAGAIYO - POONTHOTTAM
MQ92. ARACHI ARACHI - MAHARASAN
MQ93. THAAYARIYAADHA THAAMARAI - ARANGETRA VELAI
MQ94. KANMANIYE KANMANIYE - CHINNA VATHIYAR
MQ95. UNNAI THEDI VENNILA, EN MANA VAANIL
MQ96. UNNAI NAAN PAARKAIYIL, PRELUDE -KANNUKORU VANNA KILI
MQ97. THOTTU THOTTU PALLAAKKU - KADHAL ROJAAVE
MQ98. VANDHADHU VANDHADHU - KILI PECHU KETKA VAA
MQ99. NADANTHAAL IRANDADI , CHEMBARUTHI
MQ100. OH BUTTERFLY, OVERTURE - MEERA
Thursday, May 21, 2009
CARNATIC BASICS - 11
Poorvacharyas have compared the Saptaswaras to the sounds of birds and animals which is shown below-
Sadjam----------The sound produced by peacock
Rishabam----------The lowing of cow
Gandharam--------The bleat of the goat
Madhyamam------The cry of heron
Panchamam-------The note sounded by Kokila
Dhaivatham-------The neigh of horse
Nishadham--------The yelling of elephant
STARTING FROM SADJAM EACH NOTE IS HIGHER IN FREQUENCY JUST AS THE SOUNDS OF THE ANIMALS AND BIRDS MENTIONED.
the bleat of a goat is higher in frequency than the lowing of a cow.
similarly the cry of a heron is higher than the bleating of a goat
Sadjam----------The sound produced by peacock
Rishabam----------The lowing of cow
Gandharam--------The bleat of the goat
Madhyamam------The cry of heron
Panchamam-------The note sounded by Kokila
Dhaivatham-------The neigh of horse
Nishadham--------The yelling of elephant
STARTING FROM SADJAM EACH NOTE IS HIGHER IN FREQUENCY JUST AS THE SOUNDS OF THE ANIMALS AND BIRDS MENTIONED.
the bleat of a goat is higher in frequency than the lowing of a cow.
similarly the cry of a heron is higher than the bleating of a goat
SAPTHA SWARA - BY S.RAJAM
 SWARADEVATHA - SHADJAM(Sa) |  SWARADEVATHA - RISHABAM(Ri) |  SWARADEVATHA - GANDHARAM(Ga) |
 SWARADEVATHA - MADHYAMAM(Ma) |  |  SWARADEVATHA - PANCHAMAM(Pa) |
 SWARADEVATHA - DEIVATHAM(Dha) |  SWARADEVATHA - NISHADHAM(Ni) |
RISHABA : Slim body,green colour, three faces, six hands, peethambara dress. Blue stone necklace, agaru in forehead. Kundam in his hand. Sits on lion, kinnara wife, lives in Saha island. Brahma saw this devatha first.
GHANDARA : Fat body, golden complexion, two faces, four hands, red attire, diamond necklace, agaru in forehead, Dandam in hand, Ghanda Berunda bird as vehicle, Yaksha wife. Lives in Kusa island. Moon saw this devatha first.
MADHYAMA : Tall with four faces, eight hands, blue attire, lapis lazule(vaidooryam) necklace, patharas on forehead, holds chakra, sits on deer, Kimpuru wife, lives in Kroucha island. Vishnu saw him first.
PANCHAMA : Well proportioned body. Complexion black, four faces, eight hands, red clothes, emarald necklace, Gorojanam on forhead, pindi in his hand, Naga wife, lives in Salmali island. Narada saw him first.
DAIVATHA : Tall, blue body, three faces, six hands, pictured cloth worn by him, Gomethagam(sardonyx) necklace, sandal on forehead, holding narasam, sits on parrot, Deva wife, lives in Swetha island. Thumburu saw him first.
NISHADA : Very fat, five coloured complxion, two faces, four hands, blue attire, pushparaga(topaz) necklace, kadamba powder on his forehead, holding ankusam, sits on Mynakam, Rakshasa wife, lives in Pushkara island. Thumburu saw this devatha too.
The Melakartha Scheme of 72 ragas has two versions. The reputed author of the Scheme, Venkatamakhi shaped the Asampoorna Mela. Govindacharya brought out the Sampurna Melas. The two versions have been followed by Muthuswami Dikshitar & Tyagaraja-Syama Sastri respectively.
Seven swaras have twelve swara divisions:
| Carnatic System | Syllable | Hindustani System | Western |
| Shadja | SA | Shadj | C |
| Suddha Ri | R1 | Komal Rishab | D Flat Db |
| Chatusruti Ri | R2 | Thivra Rishab | D |
| Sadarana GA | G1 | Komal GA | E Flat Eb |
| Antara GA | G2 | Thivra GA | E |
| Suddha MA | M1 | Komal MA | F |
| Prati MA | M2 | Thivra MA | F Sharp F+ |
| Panchama | PA | Pancham | G |
| Suddha Da | D1 | Komal Da | A Flat Ab |
| Chatusruti Da | D2 | Thivra Da | A |
| Kaisiki NI | N1 | Komal NI | B Flat Bb |
| KakaliNI | N2 | Thivra NI | B |
Each mela raga applied to permutations & combinations of swara sthanas gives scope to 484 janya (sub) ragas. 72 mela ragas have thus a potential to give the colossal 34776 janya ragas. Of course, this is only an arithmetical projection & not a melodic feasibility.
Of 72 melas, the first 36 have M1 & the second 36 ave M2. Musings on Music by Shri S.Rajam
CARNATIC BASICS - 10
janya raagas
janya means 'born'. a janya raga is one that is born out of a parent melakartha raga.
e.g. hamsadhwani is a janya raga of 29th melam shankarabharanam. how?
the aarohanam and avarohanam of hamsadhwani is
s r2 g3 p n3 s / s n3 p g r2 s.
the aarohanam and avarohanam of shankarabharanam is
s r2 g3 m1 p d2 n3 s / s n3 d2 p m1 g3 r2 s
this is derived from the parent raga by omitting m1 and d2.
it is interesting to note that both shankarabharanam and kalyani have the same swaras but for ma. and hamsadhwani does not have ma. then how come it is said that it is derived from shankarabharanam and not kalyani. it cud very well be kalyani also, isn't it? this is where our ancestors brilliance comes into the scene.
eventhough apparently the swaras of hamsadwani are common to both the melams, the 'gamaka' prayogams in the raga are more loyal to shankarabharanam than kalyani. that is how they allotted this raga to the 29th mela.
one more e.g. mohanam is a janya raga of harikambodhi and not shankarabharanam.
mohanam has s r2 g3 p d2 s / s d2 p g3 r2 s
these notes are common for both hk and sb. but depending on the gamakam, it is allotted to hk.
e.g. hamsadhwani is a janya raga of 29th melam shankarabharanam. how?
the aarohanam and avarohanam of hamsadhwani is
s r2 g3 p n3 s / s n3 p g r2 s.
the aarohanam and avarohanam of shankarabharanam is
s r2 g3 m1 p d2 n3 s / s n3 d2 p m1 g3 r2 s
this is derived from the parent raga by omitting m1 and d2.
it is interesting to note that both shankarabharanam and kalyani have the same swaras but for ma. and hamsadhwani does not have ma. then how come it is said that it is derived from shankarabharanam and not kalyani. it cud very well be kalyani also, isn't it? this is where our ancestors brilliance comes into the scene.
eventhough apparently the swaras of hamsadwani are common to both the melams, the 'gamaka' prayogams in the raga are more loyal to shankarabharanam than kalyani. that is how they allotted this raga to the 29th mela.
one more e.g. mohanam is a janya raga of harikambodhi and not shankarabharanam.
mohanam has s r2 g3 p d2 s / s d2 p g3 r2 s
these notes are common for both hk and sb. but depending on the gamakam, it is allotted to hk.
some more janya ragas
abhogi &
sudha dhanyasi from karahara priya
hindholam &
bhoopalam from hanumathodi etcetera.
i have not mentioned the swarasthanam here. i want to remind this thread is just an introduction to carnatic music. so i want to be as simple as possible. this is not reference material.
i wud like to give the names for the swaras here. they are
sa - shadjam
ri - rishabham
ga - gandharam
ma - madhyamam
pa - panchamam
dha - dhaivatham
ni - nishadham
each has a meaning and reason. will be elaborated later.
it is interesting to note eventhough in western classical the notes are referred to as cdefgab they have got syllables too. it is do re mi fa so la ti .
it is called solmization. this system is called solfege and these syllables also have meaning.
sudha dhanyasi from karahara priya
hindholam &
bhoopalam from hanumathodi etcetera.
i have not mentioned the swarasthanam here. i want to remind this thread is just an introduction to carnatic music. so i want to be as simple as possible. this is not reference material.
i wud like to give the names for the swaras here. they are
sa - shadjam
ri - rishabham
ga - gandharam
ma - madhyamam
pa - panchamam
dha - dhaivatham
ni - nishadham
each has a meaning and reason. will be elaborated later.
it is interesting to note eventhough in western classical the notes are referred to as cdefgab they have got syllables too. it is do re mi fa so la ti .
it is called solmization. this system is called solfege and these syllables also have meaning.
CARNATIC BASICS - 9
mela kartha ragas... contd...
continuing....
melakartha or parent raagas are called sampoorna raagas. it means they have got all the 7 notes and in the same order srgmpdn both in aarohanam and avarohanam. sampoorna means complete.
e.g. shankarabharanam (29TH) s r2 g3 m1 p d2 n3 s and s n3 d2 p m1 g3 r2 s.
aarohanam means ascent and avarohanam means descent.
both jointly constitute a ragam.
u could have wondered after reading the first 6 raagas 'onnum kaelvi patta madhiriye illaiye-nu', i mean none of them is popular or famous and mostly unheard of.
this is because the first 7 ragas are vivadhi ragas. i will explain them later. as of now these ragas are not suitable for raga aalapana and prasthara. stalwarts can do that. but it is not as pleasing as normal ragas.
namma raja idhaiyum vittu vaikkala. vivadhi ragathula neraya compose panna ore aal nammalu daan.
melakartha or parent raagas are called sampoorna raagas. it means they have got all the 7 notes and in the same order srgmpdn both in aarohanam and avarohanam. sampoorna means complete.
e.g. shankarabharanam (29TH) s r2 g3 m1 p d2 n3 s and s n3 d2 p m1 g3 r2 s.
aarohanam means ascent and avarohanam means descent.
both jointly constitute a ragam.
u could have wondered after reading the first 6 raagas 'onnum kaelvi patta madhiriye illaiye-nu', i mean none of them is popular or famous and mostly unheard of.
this is because the first 7 ragas are vivadhi ragas. i will explain them later. as of now these ragas are not suitable for raga aalapana and prasthara. stalwarts can do that. but it is not as pleasing as normal ragas.
namma raja idhaiyum vittu vaikkala. vivadhi ragathula neraya compose panna ore aal nammalu daan.
list of melakartha ragas
1.kanakangi
2.rathnangi
3.ganamurthi -indhu chakram
4.vanaspathi
5.manavathi
6.dhanaroopi
7.senavathi
8.hanumathodi
9.dhenuka -nethra chakram
10.natakapriya
11.kokilapriya
12.roopavathi
13.gayakapriya
14.vagulabharanam
15.mayamalava gowla -agni chakram
16.chakravagam
17.suryakantham
18.haatagambhari
19.jhankaradhwani
20.natabhairavi
21.keeravani -vedha chakram
22.karahara priya
23.gowri manohari
24.varuna priya
25.maara ranjani
26.charukesi
27.sarasangi -bhaana chakram
28.harikambodhi
29.dheera shankarabharanam
30.naaga nandhini
31.yagapriya
32.ragavardhini
33.kaangeya bhooshani -rudhu chakram
34.vaagadheeswari
35.soolini
36. chala natta
37.saalakam
38.jalarnavam
39.jaala varali -rishi chakram
40.navaneetham
41.paavani
42.raghu priya
43.kavambodhi
44.bhava priya
45.shubha panthuvarali -vasu chakram
46.shat vidha maargini
47.swarnangi
48.dhivya mani
49.dhavalambari
50.nama narayani
51.kamavardhini -brahma chakram
52.ramapriya
53.gamanashrama
54.vishwambhari
55.shyamalangi
56.shanmuga priya
57.simhendra madhyamam -dishi chakram
58.hemavathi
59.dharmavathi
60.neethimathi
61.kaanthamani
62.rishabha priya
63.lathangi -rudra chakram
64.vachaspathi
65.mesha kalyani
66.chitrambhari
67.sucharitra
68.jothi swarupini
69.dhathuvardhini -adithya chakram
70.nasika bhooshani
71.kosalam
72.rasika priya
2.rathnangi
3.ganamurthi -indhu chakram
4.vanaspathi
5.manavathi
6.dhanaroopi
7.senavathi
8.hanumathodi
9.dhenuka -nethra chakram
10.natakapriya
11.kokilapriya
12.roopavathi
13.gayakapriya
14.vagulabharanam
15.mayamalava gowla -agni chakram
16.chakravagam
17.suryakantham
18.haatagambhari
19.jhankaradhwani
20.natabhairavi
21.keeravani -vedha chakram
22.karahara priya
23.gowri manohari
24.varuna priya
25.maara ranjani
26.charukesi
27.sarasangi -bhaana chakram
28.harikambodhi
29.dheera shankarabharanam
30.naaga nandhini
31.yagapriya
32.ragavardhini
33.kaangeya bhooshani -rudhu chakram
34.vaagadheeswari
35.soolini
36. chala natta
37.saalakam
38.jalarnavam
39.jaala varali -rishi chakram
40.navaneetham
41.paavani
42.raghu priya
43.kavambodhi
44.bhava priya
45.shubha panthuvarali -vasu chakram
46.shat vidha maargini
47.swarnangi
48.dhivya mani
49.dhavalambari
50.nama narayani
51.kamavardhini -brahma chakram
52.ramapriya
53.gamanashrama
54.vishwambhari
55.shyamalangi
56.shanmuga priya
57.simhendra madhyamam -dishi chakram
58.hemavathi
59.dharmavathi
60.neethimathi
61.kaanthamani
62.rishabha priya
63.lathangi -rudra chakram
64.vachaspathi
65.mesha kalyani
66.chitrambhari
67.sucharitra
68.jothi swarupini
69.dhathuvardhini -adithya chakram
70.nasika bhooshani
71.kosalam
72.rasika priya
CARNATIC BASICS - 8
Balaa-
I think there are pros and cons to both the styles- or approaches (western & carnatic). I shall try to elaborate & discuss about it..!!
in fact, carnatic music does not need paper at all. it is pure sravanam. meaning just by hearing u become more acquainted. there is an interesting reference.
'karna' means ear. atakam means which dances. the music that dances in ur ears is karnataka sangeetham.
(references: thoppu karnam (dhorbi karnam), karna ranjani raga)
Narayanan
@satish
everything has pros and cons. there can be no world without diads and triads.
everything in the world has a reason. all music systems have emerged for a good reason. but what i mean to say is carnatic system is complete. if u understand carnatic system u can assimilate any music system.
i know there are no notations in carnatic music for time factor, or how to play a phrase,like allegro, andante, adagio or adagietto. but carnatic music is not sheet music. everything is not on paper. it is up there.
everything in the world has a reason. all music systems have emerged for a good reason. but what i mean to say is carnatic system is complete. if u understand carnatic system u can assimilate any music system.
i know there are no notations in carnatic music for time factor, or how to play a phrase,like allegro, andante, adagio or adagietto. but carnatic music is not sheet music. everything is not on paper. it is up there.
in fact, carnatic music does not need paper at all. it is pure sravanam. meaning just by hearing u become more acquainted. there is an interesting reference.
'karna' means ear. atakam means which dances. the music that dances in ur ears is karnataka sangeetham.
(references: thoppu karnam (dhorbi karnam), karna ranjani raga)
CARNATIC BASICS - 7
Well SAID:
Few more doubt
In piano, one can play using both hands...
In western notation, there are notes for Treble and Bass components which can be played at same time, usually right hand for treble (upper octaves / swaras I think) and left for bass (lower octaves)
I hope you get what I mean...
But most of the carnatic notes (harmonium petti is used for playing, so can play using only one hand) I've seen are like "ssrg ssrg..." etc, like for one hand only.
Can one compose a song where both hands are used on piano, using carnatic notations?
In my school competitions, almost all of these carnatic singers always sing a song using Aadi taalam, why is that?
Another limiting factor:
how does one give a time value to each note. Like say in a 4/4 metre, in western i write "c_1/4 c_1/4 c_1/4 c_1/4 d_1 e_2" meaning 1/4 * 4 + 1 + 2 = 4 and 4 beats have passed.
How to translate that into carnatic music?
http://en.wikipedia.org/wiki/Mensural_notation
Check the above link about the notation system if I'm not clear
Also, another doubt about the raaga system:
Say I compose a song where I want only one or two "Pa" to be in the sharp and all others to be neutral. How does one do that? Because of the raaga system all my "Pa" has to be sharp!!!
Narayanan SAID:
@well
good question. as u said, left hand for bass clef and right hand for treble clef. the left hand is used for chords in the western classical system. almost all western compositions have chord change. and compositions are always on a scale say c#, e major etcetera.
in carnatic music, we dont have a chord system. no kriti is composed in a given sruti. anyone can sing in his own sruti. an entire kutcheri is sung in the same sruti, that of the singer. so there is no need to use the left hand at all in the keyboard. maybe for pitchbender but not on the bass clef. but i have seen child prodigy satyanarayana use two keyboards with two hands and play two octaves simultaneously.
cine music mostly follows western music system only. that's why most of the compositions sound fine only if it is played or sung in the original pitch in which it was composed on.
why adi talam?
bcos, adi talam is the simplest of the talams having eight beats. that's why
next question is why there is only one pa. actually what u refer is the note 'g' in the keyboard. that's the answer.. what u refer as (pa# ) g# is dha1 in carnatic raga. only the name differs. sa and pa are constants. they dont have any variations. so we dont attach sharp, major, minor or flat to them in the carnatic system.
our own raja
i have once heard spb in an interview, remembering how raja uses the harmonium as a keyboard.
u may know that the harmonium has bellows. one hand is used for bellows usually left and played by right hand. but raja pushes the bellows hard and plays the harmonium as key board with chords.
Few more doubt
In piano, one can play using both hands...
In western notation, there are notes for Treble and Bass components which can be played at same time, usually right hand for treble (upper octaves / swaras I think) and left for bass (lower octaves)
I hope you get what I mean...
But most of the carnatic notes (harmonium petti is used for playing, so can play using only one hand) I've seen are like "ssrg ssrg..." etc, like for one hand only.
Can one compose a song where both hands are used on piano, using carnatic notations?
In my school competitions, almost all of these carnatic singers always sing a song using Aadi taalam, why is that?
Another limiting factor:
how does one give a time value to each note. Like say in a 4/4 metre, in western i write "c_1/4 c_1/4 c_1/4 c_1/4 d_1 e_2" meaning 1/4 * 4 + 1 + 2 = 4 and 4 beats have passed.
How to translate that into carnatic music?
http://en.wikipedia.org/wiki/Mensural_notation
Check the above link about the notation system if I'm not clear
Also, another doubt about the raaga system:
Say I compose a song where I want only one or two "Pa" to be in the sharp and all others to be neutral. How does one do that? Because of the raaga system all my "Pa" has to be sharp!!!
Narayanan SAID:
@well
good question. as u said, left hand for bass clef and right hand for treble clef. the left hand is used for chords in the western classical system. almost all western compositions have chord change. and compositions are always on a scale say c#, e major etcetera.
in carnatic music, we dont have a chord system. no kriti is composed in a given sruti. anyone can sing in his own sruti. an entire kutcheri is sung in the same sruti, that of the singer. so there is no need to use the left hand at all in the keyboard. maybe for pitchbender but not on the bass clef. but i have seen child prodigy satyanarayana use two keyboards with two hands and play two octaves simultaneously.
cine music mostly follows western music system only. that's why most of the compositions sound fine only if it is played or sung in the original pitch in which it was composed on.
why adi talam?
bcos, adi talam is the simplest of the talams having eight beats. that's why
next question is why there is only one pa. actually what u refer is the note 'g' in the keyboard. that's the answer.. what u refer as (pa# ) g# is dha1 in carnatic raga. only the name differs. sa and pa are constants. they dont have any variations. so we dont attach sharp, major, minor or flat to them in the carnatic system.
our own raja
i have once heard spb in an interview, remembering how raja uses the harmonium as a keyboard.
u may know that the harmonium has bellows. one hand is used for bellows usually left and played by right hand. but raja pushes the bellows hard and plays the harmonium as key board with chords.
Wednesday, May 13, 2009
Monday, May 11, 2009
CARNATIC BASICS - 6
Well said:
Don't you think limiting a music form to such rules like raagams are very bad for creativity and improvization.
For example, in western music, there is like F major or Bflat scales and so many such stuff. These are equivalent of the raagams in carnatic music i think...
However, even if I compose a song in say F major I can always put sharp or flat or neutral note wherever whenever i want.
If I understand carnatic music properly (please correct me), then say I'm composing in raagam A (I dont know even one raagam's name) where its "srgm#pdns" (where # stands for sharp) I can't include a note say p# or d_flat in the tune.
Won't that hurt creativity?
Won't that also cause repetition?
For example, in western music, there is like F major or Bflat scales and so many such stuff. These are equivalent of the raagams in carnatic music i think...
However, even if I compose a song in say F major I can always put sharp or flat or neutral note wherever whenever i want.
If I understand carnatic music properly (please correct me), then say I'm composing in raagam A (I dont know even one raagam's name) where its "srgm#pdns" (where # stands for sharp) I can't include a note say p# or d_flat in the tune.
Won't that hurt creativity?
Won't that also cause repetition?
Narayanan
@ well
you are right. but everything our ancestors have done had a meaning. if you accept this and search for the real underlying meaning, u will be wondering how gr8 they were.
our raagas are not just swara patterns. each and every raaga has got a swarupam (form), and a unique effect it has on human mind. so messing too much with a raga will not help either auditory pleasure or the subconscious effect it is supposed to have.
there is also another reason. in western or hindustani, there are very limited scales and raagas. in western there are only few scales major, minor etc. and all the creativity of variations and experiments should happen within these scales.
but in carnatic music we have done all the experiments and given a separate name for each experiment. it is called a ragam. there are innumerable raagas and u can also create one.
so the experiment is also complete and the same experiment can be pursued by others to enjoy its result or even come out with a better result.
so, if u play srgm#pdns, which i assume to be the grand scale , id est kalyani in our carnatic system, if u introduce p# (dha1)it becomes another raaga 'lathangi' and it has a vast scope to be a separate raaga. so why just have a little variation played for a little time, instead of a grand treat for a longer time as a separate raaga with aalapana and swaraprasthaaram. wouldn't it be better.
so, the creativity and experimentation is full and complete in our system. they call it experimentation and creativity in the same scale. we call it a separate raga. that's the difference.
our raagas are not just swara patterns. each and every raaga has got a swarupam (form), and a unique effect it has on human mind. so messing too much with a raga will not help either auditory pleasure or the subconscious effect it is supposed to have.
there is also another reason. in western or hindustani, there are very limited scales and raagas. in western there are only few scales major, minor etc. and all the creativity of variations and experiments should happen within these scales.
but in carnatic music we have done all the experiments and given a separate name for each experiment. it is called a ragam. there are innumerable raagas and u can also create one.
so the experiment is also complete and the same experiment can be pursued by others to enjoy its result or even come out with a better result.
so, if u play srgm#pdns, which i assume to be the grand scale , id est kalyani in our carnatic system, if u introduce p# (dha1)it becomes another raaga 'lathangi' and it has a vast scope to be a separate raaga. so why just have a little variation played for a little time, instead of a grand treat for a longer time as a separate raaga with aalapana and swaraprasthaaram. wouldn't it be better.
so, the creativity and experimentation is full and complete in our system. they call it experimentation and creativity in the same scale. we call it a separate raga. that's the difference.
Saturday, May 9, 2009
CARNATIC BASICS - 5
mela kartha ragas
now we go to the 72 melakartha ragas. as you all know there are 7 swaras srgmpdn.
in this 7, s and p are fixed. they have no variations. that's why before starting to sing learners sing s-p-s to fix their sruti. they are called prakruti swaras. the other 5 are called vikruti swaras
ma has two varieties. shudha madhyamam and prathi madhyamam. the other four r g d n has three variations. so the math goes like this.
2 (madhyamam) * 4 ( rgdn) * 3 (variations) * 3 (changing one of the four notes with respect to other 3 notes) = 72 mela karthas
ACTUALLY, THE MATHS IS DIFFERENT. I HAVE GIVEN AN EASY INTERPRETATION. I WILL GIVE THE ORIGINAL CALCULATION LATER.
the melakartha or parent raagas are classified as shudha madhyama and prathi madhyama ragas.
the first 36 are exactly the same as the next 36 with just the 'ma' difference. so 15th melakarta maya malava gowla is the same as 15+36 =51st mela kartha 'kamavarthini' or commonly known as panthuvaraali with just the 'ma' difference. all other swaras are the same.
i am talking just about the swaras and not the raaga lakshanam. these r 2 completely different raagas with different emotions and different handling.
these are classified into 12 chakras of 6 raagas each. each chakra has a name. e.g first chakra is 'indhu' chakra which contains the following raagas.
1.kanakangi
2.ratnangi
3.gaanamurthi
4.vanaspathi
5.manavathi
6.dhanaroopi
in this 7, s and p are fixed. they have no variations. that's why before starting to sing learners sing s-p-s to fix their sruti. they are called prakruti swaras. the other 5 are called vikruti swaras
ma has two varieties. shudha madhyamam and prathi madhyamam. the other four r g d n has three variations. so the math goes like this.
2 (madhyamam) * 4 ( rgdn) * 3 (variations) * 3 (changing one of the four notes with respect to other 3 notes) = 72 mela karthas
ACTUALLY, THE MATHS IS DIFFERENT. I HAVE GIVEN AN EASY INTERPRETATION. I WILL GIVE THE ORIGINAL CALCULATION LATER.
the melakartha or parent raagas are classified as shudha madhyama and prathi madhyama ragas.
the first 36 are exactly the same as the next 36 with just the 'ma' difference. so 15th melakarta maya malava gowla is the same as 15+36 =51st mela kartha 'kamavarthini' or commonly known as panthuvaraali with just the 'ma' difference. all other swaras are the same.
i am talking just about the swaras and not the raaga lakshanam. these r 2 completely different raagas with different emotions and different handling.
these are classified into 12 chakras of 6 raagas each. each chakra has a name. e.g first chakra is 'indhu' chakra which contains the following raagas.
1.kanakangi
2.ratnangi
3.gaanamurthi
4.vanaspathi
5.manavathi
6.dhanaroopi
CARNATIC BASICS - 4
satish balaji said:
Carnatic region......supposedly not Karnataka!!
Carnatic music did not come from Karnataka, though we consider Purandaradasa as the forefather - It existed even before him and the region around Thanjavur is what is said to be the original carnatic region - the origin is still obscure and the present culture is supposedly an amalgamation of styles from the different regions - TN, Andhra, Travancore (Kerala) & of course Karnataka..!!
@satish balaji
Narayanan
@satish balaji
carnatic does not mean karnataka's music. people from north call all south indians as madrasis. does that mean all south indians are from madras? similarly to denote south they added karantaka as a prefix. before that it was just sangeetham.
'aravam' is the first village encountered when coming from andhrapradesh to tamilnadu. so tamilnadu became 'arava nadu' and tamil became 'aravam' and tamilians became 'araval-lu', for people from andhra.
similarly the first region encountered in south india for people coming from north india is karnataka. so they prefixed that name to the music prevailing in that area.
'aravam' is the first village encountered when coming from andhrapradesh to tamilnadu. so tamilnadu became 'arava nadu' and tamil became 'aravam' and tamilians became 'araval-lu', for people from andhra.
similarly the first region encountered in south india for people coming from north india is karnataka. so they prefixed that name to the music prevailing in that area.
Saturday, May 2, 2009
Friday, May 1, 2009
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