for students and lovers of Carnatic music
Ethnomusicology can be considered as the holistic and cultural study of music existing in various folk, tribal and other ethnic societies. Classical music is the most refined and sophisticated music to be found in the subcontinent of India. There are many other forms, however, which have a specific function in the society, and these are … Read more
In commemoration of the 100th death anniversary of poet C. Subramania Bharati, join us on this virtual event as we celebrate the life and works of Mahakavi Bharati. Usha Rajagopalan is a writer, translator, and lake conservationist. Geetha Srikrishnan hails from a musically inclined family, and is a Classical Carnatic Musician. An independent writer who … Read more
South Indian conventions (raga names & svara notation): karnATik.com | Guide >> raagam: kuntalavarALiAa: S M1 P D2 N2 D2 S | Av: S N2 D2 P M1 S If a raga1 constitutes more than mere arrangements of notes derived from a given scale, this is due to the mood it evokes in listeners from different backgrounds. This shared experience is … Read more
South Indian conventions (raga names & svara notation): karnATik.com | Guide >> raagam: mOhanakalyANiAa: S R2 G3 P D2 S | Av: S N3 D2 P M2 G3 R2 S The above exercise pattern may also be applied to raagam: bilahari | More details: songs listed under raga Bilahari >>Aa: S R2 G3 P D2 S | Av: S N3 … Read more
raagam: hamsadhvaniAa: S R2 G3 P N3 S | Av: S N3 P G3 R2 S Having but 5 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) from a melakarta raga. More specifically, text books refer to any raga limited to 5 notes as audava raga. The above svara … Read more
The above figures lend themselves to several ragas of Carnatic music: raagam: mOhanam = raagam: bhUpALi (derived from the 28th melakarta raga, Harikambhoji)Aa: S R2 G3 P D2 S | Av: S D2 P G3 R2 S raagam: bhUpALam (derived from the 8th melakarta raga, Hanumatodi)1Aa: S R1 G2 P D1 S | Av: S … Read more
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
This production is based on the book Shobhillu Saptasvara: svarāvali, gītam, prabandham, sūlādi | Find a library copy on Worldcat.org >> Savithri Rajan provides a spoken “Introduction to Shobhillu Saptasvara” on the first track. View or download two excerpts from the book: (1) a gitam in standard notation (raga Hamsadhvani) and (2) an excerpt on the historical context and current … Read more