Raga Appreciation

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Re: Raga Appreciation

#26  Postby arunk » 29 Jul 2012 01:42

Ramasubramanian M.K wrote:Saranga also has both Madhyamams but the descent with Sa Da Pa Ma Ri Ga Ma Ri sa(omitting the Nishadam in the descent) distinguishes it from HK.

MKR sir. Saranga does also employ sndp - it occurs in a few places in varnam (both pallavi and anupallavi start with it, and last swaram passage uses it). However s d p is indeed common. Did you imply that?

Arun
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Re: Raga Appreciation

#27  Postby satyabalu » 29 Jul 2012 02:37

* MD is clear with it in the beginning "varadaraja mubasmahe"
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Re: Raga Appreciation

#28  Postby Ramasubramanian M.K » 29 Jul 2012 04:30

ArunK: You are right that the S N D P prayogam occurs in the Intha Modi varnam(I guess this is what you were referring to) and the S D P is more common.
The point I wanted to emphasise was that the Nishadam is pronounced in Hamir Kalyani and the Nishadam in the descent for Saranga is used sparingly-- similar to the alpa Dhaivata in Sriragam--the varnam uses it on one occasion(so does MD in his SriVaralakshmi) whereas the Thygaraja Pancharathna eschews it completely perhaps because the Raga Lakshana stipulates the use of Dhaivatha as Alpa Daivatha Prayoga for Sri ragam --the composition is none-the-less melodious for the omission!!

I am not implying that the usage or the lack of what is a discretionary note violates or upholds any tradition or it detracts from our enjoyment if it is JUDICIALLY used(again this is subjective I admit!!!).
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Re: Raga Appreciation

#29  Postby puru00047 » 08 Aug 2012 16:17

Some of my imaginations about certain raagas and their human manifestations .

- It always occurred to me that Kalyani was a cute 2-3 yr. old girl child smiling from her first pattu pavadai.
- bEgada as a 3-4 yr. old who dances haphazardly in random swaying motions.
- sAma as a naughty yet innocent 5 yr old boy child. Specifically the lord Muruga pictures in Rani Muthu calendars
- thodi – Sherlock Holmes! Daring, intelligent, egoist, clever, cunning! (I often compare thodi with me)
- dhanyAsi – Dr. Watson! Not as clever as thodi but he thinks he can get there.
- bhairavi – vivacious young woman in her 20s. Egoist again!
- Anandabhairavi – bhairavi’s younger sister. Hasn’t grown an attitude like her elder sister…is cuter though 
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Re: Raga Appreciation

#30  Postby gobilalitha » 18 Aug 2012 17:21

what is the carnatic equivalent of hindustani raaga 'ghara'? what is the raaga of the song 'engum nirai nada brahmam by the legend MSS in film Sakuntalai .
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Re: Raga Appreciation

#31  Postby Lakshman » 18 Aug 2012 22:37

Please check your email.
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Re: Raga Appreciation

#32  Postby radmahesh » 19 Aug 2012 17:49

#17- Hindolam – The Raga with a Hypnotizing Melody

A derivative of Hanumathodi (Mela8) belonging to the 2nd Music Chakra, Hindolam is a serene,gentle,soulful,enchanting and pleasing meditative raga. It is an audava – audava janya ragam. Experts in Carnatic music hold differences of opinion on the janaka ragams (ragams of origin) that should be attributed to Hindolam. It is widely accepted that 20th melakarta, Natabhairavi is the parent ragam of Hindolam. It can be derived from both Natabhairavi and Hanumathodi, by dropping the rishabham and panchamam. The Hindustani equivalent of Hindolam is “Malkauns”. Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said to have been created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it.

Read More here

http://anuradhamahesh.wordpress.com/car ... ng-melody/ :)
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Re: Raga Appreciation

#33  Postby radmahesh » 25 Oct 2012 17:22

[b]#18-Sahana – The Raga that kindles Subtle Emotions portraying Unconditional Surrender[/b]

Sahana is a very popular Carnatic raga, janya of 28th Melakarta Harikambhoji(5th Chakra). The word Sahana is another name for Goddess Lakshmi/ Maa Durga. It also means ‘”Pure and Blissfully Happy”. ” In Kannada the meaning is – a person who have a great knowledge about all things present, past and future ……. Sahana is referred to as ”ranjakatva ubhaya vakra raga which means that the raga is very asthetic and pleasing.Ubhaya Vakra means that the notes in both ascent and descent follow a zig zag pattern. The vakra phrases lends a unique beauty to this raga. It is also classifed as a rakti raga – raga with high melodic content. Sahana is predominantly a “Karuna Rasa Pradhaana Raga- the raga that reflects a mood of pathos.This raga is an exemplary illustration of Daasya Bhakti Bhava-(there are nine ways of serving God..). Compassion due to overflowing love is also represented by this raga.

Read more here...

http://anuradhamahesh.wordpress.com/carnatic-raga-appreciation/18-sahana-the-raga-that-kindles-subtle-emotions-portraying-unconditional-surrender/
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Re: Raga Appreciation

#34  Postby archa » 02 Nov 2012 17:46

radmahesh, I read your raga appreciation of Sahana. Quite good and informative. But you have written that Thyagaraja predicted his passing away in this song. This is not correct. Thyagaraja had got a vision of Rama who promised him salvation in 10 days. This Thyagaraja reminds Rama (kaluvArinchaga padipUtalapai, gAchEdananu). 'You promised me salvation in 10 days.' The same sentiment is echoed in his other last song paritApamu (manOhari). I hope you'll correct this.
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Re: Raga Appreciation

#35  Postby radmahesh » 06 Nov 2012 13:02

Thats a new information for me archa. Thank you very much for alerting the error. Shall correct it asap.

Regards
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Re: Raga Appreciation

#36  Postby classicallover » 07 Nov 2012 13:53

kaluvArinchaga padipUtalapai, gAchEdananu


It is " kaluvarinchagani padipUTalapai " and " gaachEdanani ".

In the kriti ' paritaapamu ' , it is " karuNinchedananuchu ".
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Re: Raga Appreciation

#37  Postby radmahesh » 21 Dec 2012 11:03

#19-Arabhi – The Raga with a Pleasing and Haunting Melody

Raga Arabhi dates back to the 7th century. Among the panns or ragas of ancient Tamil music, it corresponds to the pann, Pazhanthakka. Arabhi is an audava-sampoorna janya of Dheera Shankarabharanam,(the 29th Melakartha Ragam – the fifth Chakra in Music) and the third among the Ghana Pancharatna Ragas. A very auspicious raga, Arabhi predominantly conveys Veera rasa (valour) and at times, Roudra rasa (fury).When you listen to Arabhi, the atmosphere is charged with religious fervour – “Mangalakaramaana Isai” or “Auspicious Music”. Hence Arabhi also conveys the emotion of Devotion or Bhakthi. It is an energetic all-time raga just like its parent Raga Sankarabharanam. Tanam on Veena is particularly enjoyable in this raga.

http://anuradhamahesh.wordpress.com/car ... ng-melody/
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Re: Raga Appreciation

#38  Postby knrh05 » 22 Dec 2012 10:55

radmahesh wrote:#19-Arabhi – The Raga with a Pleasing and Haunting Melody

Raga Arabhi dates back to the 7th century. Among the panns or ragas of ancient Tamil music, it corresponds to the pann, Pazhanthakka. Arabhi is an audava-sampoorna janya of Dheera Shankarabharanam,(the 29th Melakartha Ragam – the fifth Chakra in Music) and the third among the Ghana Pancharatna Ragas. A very auspicious raga, Arabhi predominantly conveys Veera rasa (valour) and at times, Roudra rasa (fury).When you listen to Arabhi, the atmosphere is charged with religious fervour – “Mangalakaramaana Isai” or “Auspicious Music”. Hence Arabhi also conveys the emotion of Devotion or Bhakthi. It is an energetic all-time raga just like its parent Raga Sankarabharanam. Tanam on Veena is particularly enjoyable in this raga.

http://anuradhamahesh.wordpress.com/car ... ng-melody/


I saw a huge collection of files - 900MB - posted on the website for Arabhi. Is it possible to list what's in each zip file so users can selectively download? Thanks for your efforts in collating all the info about the raga.

KN
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Re: Raga Appreciation

#39  Postby radmahesh » 26 Dec 2012 08:43

Oops.. thats a difficult task as I lack time. But i can assure you that it is in a-z order. Thanks for visiting my blog. :)
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#20-Gowrimanohari- The Raga that Steals your Heart !

#40  Postby radmahesh » 19 Jun 2013 11:57

#20-Gowrimanohari- The Raga that Steals your Heart !

Gowrimanohari is the 23rd Melakartha which belongs to the fourth Chakra, the Veda Chakra. Dikshitar school had a different name called Guarivelavali for this raga. Gaurimanohari is a versatile raga which renders a very pleasing effect. The raga gives us unbridled joy and happiness. The raga expresses the feeling of Bhakthi and Sringara and it is an all time raga (sarvakaalika raga).

The meaning of the raga name is interpreted as Gauri(Goddess Parvathy) who steals the heart – (manohari means one who steals the heart). So Gaurimanohari means Gauri who steals the heart. Another version of meaning is ‘one that is as pleasant and beautiful as Gauri’(Manoharam- pleasing)

http://anuradhamahesh.wordpress.com/carnatic-raga-appreciation/20-gowrimanohari-the-raga-that-steals-your-heart/
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Re: Raga Appreciation

#41  Postby radmahesh » 19 Jun 2013 12:03

Ragas uploaded so far are

#1 – AnandaBhairavi – The Divine Raaga
#2- AMRITHAVARSHINI – The Raga of Rain
#3-Sindhubhairavi – A blend of Folk and Classical Touch
#4- HameerKalyani - A cool breeze from N.India
#5-BrindAvanasAranga-A Most Pleasing and Emotional Raga
#6-Ritigowla - The Raaga with a Mesmerising Melody
#7 – Charukesi- The Raga Close to the Heart
#8- Mohanam – The Most Pleasing and Enchanting Raga – Truly “Jaganmohanam”
#9 – Shanmukhapriya – The Raga with a Splendiferous Melody
#10 – Darbari Kanada – The Emperor of Ragas and the Raga of Emperors.
#11-Purvikalyani - An Aesthetically Melodious, Pleasant and Popular Raga
#12-Hamsa Nada - Call of a Swan
#13 – BOWLI - The Meditative Morning Raga
#14- Naatai – The Raga with an Intoxicating Melody
#15- Kalyani – The Queen of Ragas – Showering Motherly Touch
#16-Yamuna Kalyani -An Endlesss Stream of Flowing Melody…
#17-Hindolam -The Raga with a Hypnotizing Melody..
#18-Sahana-The Raga that kindles Subtle Emotions portraying Unconditional Surrender
#19-Arabhi-The Raga with a Pleasing and Haunting Melody
#20-Gowrimanohari- The Raga that Steals your Heart !


Here is the link... :)


http://anuradhamahesh.wordpress.com/car ... preciation
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#21-Vachaspati-The Raga that Exhilarates the Mind,Body and S

#42  Postby radmahesh » 19 Sep 2013 18:13

[b]Vachaspati is the 4th raga in the 11th Chakra- the Rudra Chakra. [/b]The Rudra Chakra marks the 11 Devas headed by Lord Siva (Aja, Dwasha, Ekapada, Triambake,Aparajita, Isana,Tribhuvana, Sambhu, Hara, Rudra and Ahirputniya). It is the 64th Melakarta ragam in the 72 melakarta ragam system of Carnatic music.

The name Vachaspati literally means Lord of Speech. The name is applied especially to Brhaspati, the lord of eloquence. This raga is the pratimadhyama counterpart of Harikamboji-the 28th mela. This is a Gana rasa pradhana raga and a sarva-kalika raga or all time raga. The raga has a totally relaxing and meditating effect. Vachaspati offers interesting mix of emotions, primary bhava being Sringara. This raga has a distinctive melodic entity which is most pleasing for the ear. A very delightful soul stirring raga, Vachaspati comes alive with vibrant emotions and spiritual energy. The raga is addressed as a high energy raga as it invokes a sudden rush of energy flow in the mind of listeners, capable of removing fatigue and promoting relaxation.
[url]
http://anuradhamahesh.wordpress.com/car ... -and-soul/[/url]
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Re: Raga Appreciation

#43  Postby SrinathK » 20 Sep 2013 12:54

One good way to appreciate ragas would be to listen to raga alapanas in the beginning as though they were compositions and memorize a lot of those phrases. Many schools and musicians have their own unique "standard" phrases and brighas that appear time and again in alapanas and this quickly helps gain familiarity over the raga. Over time the intutive ability to recognize them becomes very easy and one can study the phrases of any new raga and grasp it quickly enough. A few vidwans and their skill at handling ragas would do. I remember though that was how I learnt to recognize them. For the first 6 years of my listening to CM, I didn't even understand how raga improvisation worked but only gained familiarity with raga phrases. My mother also despite never having learnt music can now easily identify all the major ragas.

Someone correct me if I am wrong, but as per what I have heard from TMK, Naari Reethigowla uses a Shuddha Dhaivatam D1 which differentiates it from the usual Reethigowla.
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Re: Raga Appreciation

#44  Postby RaviSri » 20 Sep 2013 19:00

Reetigaula's actual lakShaNa has been misunderstood by most, including leading musicians. Now, it has gone to the extent of declaring that Dikshitar's rItigauLa is different from that of Thyagaraja's. nAri ritigauLa is the name of the 20th mELa in Venkatamakhi's scheme. And the 20th mEla uses only the D1.

The Thillaistanam school of Thyagaraja's disciples used to sing Thyagaraja kritis in ritigauLa only with D1. In their book of Thillaistanam pATam, Sri.S.Parthasarathy who belongs to that school, while giving the notation of Thyagaraja's 'bAlE bAlEndu bhUShaNi', says that in both Dikshitar as well as Thyagaraja sampradayas only D1 is used. But, as time went by, the value of D kept on increasing and now it has become D2. So much so, that this raga has been classified under Karaharapriya mELA. In many of the 20th mELa kritis, D2 is being used because of the difficulty in enunciating D1. An example is AbhEri. nagumOmu has been changed employing D2. And this was by Musiri himself. Only Vedavalli sings nagumOmu with D1. Of course Dikshitar's vINAbhEri and Shyama Sastri's ninuvinA marigaladA hav been retained with D1.
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Re: Raga Appreciation

#45  Postby radmahesh » 29 Nov 2013 11:18

#22-Mayamalavagowla-The Raga with the Freshness of Morning Dew !

Mayamalavagowla is the 3rd raga in the 3rd Chakra – The Agni Chakra. Three kinds of fire is stated in the Vedas – Dakshina, Ahvaniya and Garhapadya. The mythological trinity are Brahma, Vishnu and Siva. In Mind, Body and Soul Chakra – Chakra 3 is Sacral or Kundalini Chakra which rules over the pleasure centers. Ragas are believed to affect various “chakras” (energy centers or moods) in the path of the Kundalini. Aptly Mayamalavagowla belongs to the Sacral/Kundalini Chakra. Singing this raga in alignment with the Sruthi and with complete devotion leads to spiritual enlightenment or illumination. It is the 15th Melakarta ragam in the 72 melakarta raga system of Carnatic music.It can be called the gateway to Carnatic music.

http://anuradhamahesh.wordpress.com/carnatic-raga-appreciation/22-mayamalavagowla-the-raga-with-the-freshness-of-morning-dew/
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Re: Raga Appreciation

#46  Postby radmahesh » 27 Mar 2014 16:06

#23-Sivaranjani-The Raga that gathers Strength from Sadness !

A derivative of Kharaharapriya (Mela 22) belonging to the 4th Music Chakra, Sivaranjini is a hauntingly meloncholic raga usually sung from late evening to midnight(9 PM to 12 AM). A serene Raga like Karaharapriya could give birth to a Raga that gives a totally different feel! The raga can be derived from 3 other melakarta ragams, Gourimanohari, Hemavati or Dharmavati too. This Hindustani scale is also the currently popular scale in Carnatic music.

http://anuradhamahesh.wordpress.com/carnatic-raga-appreciation/23-sivaranjani-the-raga-that-gathers-strength-from-sadness/
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