for students and lovers of Carnatic music
raagam: hamsAnandiAa: S R1 G3 M2 D2 N3 S | Av: S N3 D2 M2 G3 R1 S raagam: shrIranjaniAa: S R2 G2 M1 D2 N2 S | Av: S N2 D2 M1 G2 R2 S Having but 6 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) … Read more
a = middle octave (madhya sthayi)‘sa = higher octave (tara sthayi) The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice. Enjoy practicing by … Read more
a = middle octave (madhya sthayi)‘sa = higher octave (tara sthayi) The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice. Enjoy practicing by … Read more
The most rewarding task for teachers and performers may well be to convey Tyagaraja’s last message to his disciples and the world, one that may liberate us by letting go of artificially separatist views of culture, creed and nature as well (given the multiple crises humankind is faced with on a daily basis): Paramātma is brightly shining … Read more
The notion of a particular time prescribed for ragas (gāna kāla) plays a greater role in Hindustani music than for exponents of its southern counterpart where sārvakālika ragas prevail: ragas suited to any day or night time. A few ragas nevertheless continue to be associated with the moods indicated by song lyrics (notably in dance … Read more