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 …
Continue reading “Flow | Janya practice 5 notes – raga Hamsadhvani”
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 …
Continue reading “Flow | Mela practice – svara pairs (3 counts)”
Complete live recording of a classical South Indian (Carnatic) vocal recital with announcements for each item Items 1. Mangalavara Ganapate (Varnam) 05:14Raga: Hamsadhvani; Tala: Adi; Composer: Tanjavoor S. Kalyanaraman 2. Sogasuga Mridanga Talamu (Kriti) 11:29Raga: Sriranjani; Tala: Rupakam; Composer: Tyagaraja 3.Taye Tripura Sundari (Kriti) 07:05Raga: Suddhasaveri; Tala: Khanda Chapu; Composer: Periyaswami Tooran 4. Minakshi Memudam (Kriti) …
Continue reading “Audio | Live concert by Bhushany Kalyanaraman”
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 …
CHENNAI: 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. We know bhava literally means, expression, the expression of existence. In a composition, bhava encompasses the aspects rasa, raga 1 and laya and for a musical …
