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 …
Search results for: melakarta
Flow | Mela practice
raagam: mAyAmALavagauLaAa: S R1 G3 M1 P D1 N3 S | Av: S N3 D1 P M1 G3 R1 S raagam: shankaraabharaNam Aa: S R2 G3 M1 P D2 N3 S | Av: S N3 D2 P M1 G3 R2 S raagam: kalyANiAa: S R2 G3 M2 P D2 N3 S | Av: S N3 D2 …
Mela DIY
Give it a try and DIY (“do it yourself”) – become part of a larger “musical home”; one that welcomes and accommodates scales and tunes from all over India and beyond! For music lovers aged 20+ (or even below), grasping and applying the principles underlying South India’s 72 melakarta scale system is more than an …
Visualising ragas from many places and even future ones “for the benefit of the people”
In Tanjore as a Seat of Music (pp. 420-426), S. Seetha explains the scope envisaged by Venkatamakhi when presenting his mela arrangement >> Venkatamakhi while justifying the derivation of 72 melakartas by permutation and combination interestingly remarks that countries are many with people having variety of tastes and it is to please them ragas have been …
Flow | Moods, feelings and colours
Colours, moods and feelings have been favourite subjects in the context of raga, literally “colour, beauty, pleasure, passion and compassion”.1 We are aware that the ultimate aim of every composer and musician is to achieve the coalescence, the essential factors of classical music namely bhava, raga and tala. | Learn more >> Explore this wonderful …