(my carnatic music primer)
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IntroductionMusic is a subjective phenomenon and the experience differs from one person
to another. Sounds that are pleasing to the ear are nada as opposed to noise.
In Carnatic music nadahas a special significance. Vedas say that it helps
elevate oneself and attain salvation. In fact, many believe that music itself is
divine and the perfect synchronization beteen the performer and nada
!nadopasana" is real bliss.
#ne of the fundamental aspects of sound is fre$uency. Frequency is the
number of aves that pass a fixed point per unit time% also, the number ofcycles or vibrations undergone in unit time by a body in periodic motion. It is
usually expressed in units called hertz !&z", one hertz being e$ual to one cycle
per second. 'he fre$uency of a sound ave, perceived as pitch, is the number
of compressions !or rarefactions" that pass a fixed point per unit time. 'he
fre$uencies audible to the human ear range from approximately () hertz to ()
*ilohertz. +or some physiological reason, the human ear is logarithmic and is
sensitive to fre$uency octaves. n octaveis a range from a fre$uency f- to f(
such that f( is tice that of f- in terms of cycles or hertz. In an octave the last
fre$uency sounds similar to the first, except that is seems to be higher. In
Carnatic music, a range of three octaves !Stayi" is generally used. 'hey are
Mandra, Madhya, andTara referring to the loer, middle and higher octaves.
!'o more, numandra and titara are also *non. #nly some instruments
can produce sounds in all five stayi".
hen it comes to music the concept of pitch is more important. Pitch is
perceived as highness or loness. higher pitch has a higher number of
vibrations. /very individual has a natural pitch. Males generally have loer
pitches than females. Instruments also have a natural pitch depending on
various factors.
In estern music, standard pitches have long been used to facilitate tuning.
'he base pitch or a 0C1 as standardized as (2)&z. 'he fre$uencies of the rest
of the notes in the octave are also fixed. 'hus the note next to C !i.e. 3" is (2)
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swaras".
'he seven basic saras occupy various sara sthanas and produce a total of
sixteen saras. It should be emphasized that the sara sthanas are nominal
and in actual usage, depending on the raga, the sara is not fixed at any one
sthana but appears at various locations around a nominal sara sthana in
different sara phrases. 'he Shadja and Aanchama, the Ara*riti saras are
li*e the foundations upon hich the rest of the melody is constructed. 'his
scheme of sixteen notes is the basis for deriving the seventy9to Mea&artha
ragas as proposed by en&ata"a&in !-DD)".
Swarasthana Tae
SthanaE 8ame 8otation
- Shadja Sa( Shudha
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#vavi"sati Sruti Tae8umber ofBruti abovethe tonic
- ) p:ran? a Shadaja Shadaja ll
- (4D>(2F 5).( pram;n? a
@uali 4 F-4.D ny:na
Shatsruti2 FHD.F pram;n? antara@andhara
Suddha@andhara
Shan*arabaranam
H H->D2 2)G.H p:ran? aChyuta Madhyan@a, 'ivra ntara@a
'ivra@andhara
3evagandhari,Saurashtra
5 2>F 25H.- pram;n? aSuddhaMadhyama
SuddhaMadhyama
untavarali
-) (G>() 4-5.D ny:na=egadaMadhyama,'ivra Suddha Ma
/*asrutiMadhyama
=egada,@aulipantu
-- 24>F( 45).( pram;n? a Arati Madhyana'ivraMadhyama
alyani
-( G(5>4-( D--.G p:ran? aChyuttaAanchama
'ivrataraMadhyama
Varali
-F F>( G)-.5 p:ran? a Aanchama Aanchamall ragas herepresent
-2 -(H>H- G5(.( pram;n? a/*asruti3haivata
ti9*omal3haivata
Saveri
-4 H>4 H-F.G ny:na
Suddha3haivata,
3visruti3haivata
omal
3haivata
Mayamalavagoula
-D 4>F HH2.2 pram;n? a 'risruti 3haivataSuddha3haivata
hamboji
-G (G>-D 5)4.5 p:ran? aChatussruti3haivata
'ivra3haivata
alyani
-H -D>5 55D.- pram;n? aSuddha8ishada, omalaisi*i 8i
ti9*omal8ishad
=airavi
-5 5>4 -)-G.Dny:naShatsruti3haivata, aisi*i8ishada
omal8ishad
haraharapriya
() -4>H -)HH.Fpram;n? a a*ali 8ishadaSuddha8ishad
Shan*arabaranam
(- (2F>-(H --)5.H p:ran? a Chyuta Shadia8ishada
'ivra 8ishad uranji,3evagandhari
http://en.wikipedia.org/wiki/Cent_(music)http://en.wikipedia.org/wiki/Unisonhttp://en.wikipedia.org/wiki/Minor_secondhttp://en.wikipedia.org/wiki/Major_secondhttp://en.wikipedia.org/wiki/Minor_thirdhttp://en.wikipedia.org/wiki/Major_thirdhttp://en.wikipedia.org/wiki/Perfect_fourthhttp://en.wikipedia.org/wiki/Perfect_fifthhttp://en.wikipedia.org/wiki/Minor_sixthhttp://en.wikipedia.org/wiki/Major_sixthhttp://en.wikipedia.org/wiki/Minor_seventhhttp://en.wikipedia.org/wiki/Minor_seventhhttp://en.wikipedia.org/wiki/Major_seventhhttp://en.wikipedia.org/wiki/Cent_(music)http://en.wikipedia.org/wiki/Unisonhttp://en.wikipedia.org/wiki/Minor_secondhttp://en.wikipedia.org/wiki/Major_secondhttp://en.wikipedia.org/wiki/Minor_thirdhttp://en.wikipedia.org/wiki/Major_thirdhttp://en.wikipedia.org/wiki/Perfect_fourthhttp://en.wikipedia.org/wiki/Perfect_fifthhttp://en.wikipedia.org/wiki/Minor_sixthhttp://en.wikipedia.org/wiki/Major_sixthhttp://en.wikipedia.org/wiki/Minor_seventhhttp://en.wikipedia.org/wiki/Minor_seventhhttp://en.wikipedia.org/wiki/Major_seventh -
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Saurashtra,8ilambari
(( (>- -()) p:ran? a 'ara Shadaja Shadajall ragas henpresent
Kust a note and its overtones canLt be used to create music. e need a series
of notes. 'he series of notes have to be such that hen used ith each other, a
pleasant experience results. 'his series of notes is called a scae, or more
correctly, a series of notes differing in pitch according to a specific scheme is
called a scale. 'he sara sthanas of Carnatic music define only nominal
locations, these can manifest a deviation from the nominal sthana depending
on the scale. 'his deviation depends on the sara phrase in hich it occurs
along ith the other saras. In a general sense, this deviation is gama*a.
!a"a&acan refer to a constant deviation from the nominal sthana, or a time
dependent deviation or a path ta*en in reaching the nominal sara etc.
Raga Systemrrangement of notes in order is a musical scale. musical scale is the
s*eleton upon hich the melody entity, raga is built. scale is created by
permutation and combination of notes rendered in a particular se$uence in
ascent !%rohana" and descent !%varohana". &oever, mere scales do not
ma*e a raga. It is much more than that. /ach raga has an image called raga
a&shana that includes the saras used in the ascent and descent, the
se$uence of saras, the gama*as or embellishments used etc.
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or* Svaramela*alanidhi c. -44). ater Ven*atama*hi expounded in the -Gth
century in his or* Caturdandi Ara*aasi*aa a ne mela system *non today
as mela*arta. &e had made some bold and controversial claims and defined
somehat artificially D saras from the *non -( semitones at that time to
arrive G( mela*arta ragas. Ven*atama*hi did not believe that mela*artas must
be of simple sampoorna arohanam 9 avarohanam but favored the idea of
calling a raga as a mela*arta if all the seven saras occurred in either the
arohanam or the avarohanam. 'hus a raga hich ent Sa9
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