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Maharashi Gandharva II PDF
Maharashi Gandharva II PDF
Ragas are said to have healing properties, if sung properly. Emperor Akbars great court
singer, Tansen, is said to have been able to light oil-lamps, bring rain and even save
lives with his music. There is also a historical reference to how he brought a dead man
to life by singing a particular raga.
Ragas in Indian music are known to have healing properties. While ragas like Sahana
heal the body of mild ill-health, Todi relieves severe sinus headaches. Singing the
Carnatic ragas Bharavi and Athana restore sagging spirits and bestow a feeling of wellbeing both on the singer and his audience.
he raga-ragini (male-female raga) classification can be traced right since the time of the
treatise, Ragatarangini, written by Lochana Kavi. This book discusses in detail several
songs of the Maithila dialect of the Hindi language. These songs were set to many ragas
and raginis prevalent during that time. In his book, Lochana Kavi has dealt with both
regional and local ragas and raginis of Mithila during that time.
The raga-ragini classification of ragas is created with the following principle:
There are 6 principal male ragas, namely Bhairav, Malkauns, Hindol, Deepak, Shri and
Megh ragas.
These ragas have five wives or raginis each and these raga-ragini couples also have 8
children or raga putras each. This gives us a total of 84 ragas.
Mentioned below is a detailed list of the ragas, raginis and their children:
raga Bhairav
Raag Bhairav is known to be the first raga, that emanated from Siva himself. A simple
and common raga, this is seldom heard in concerts today, as it is deemed as a morning
raga.
raginis Bhairavi, Punyaki, Bilawali, Aslekhi, Bangli
putra ragas Harakh, Pancham, Disakh, Bangal, Madhu, Madhava, Lalit, Bilawal
raga Malkauns
Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said
to have been created from Sivas Taandav (cosmic dance), so it has a vigour and energy
about it.
raginis - Gaundkari, Gandhari, Seehute, Devagandhari, Dhanasri
putra ragas - Mustang, Maru, Mewara, Khokhat, Parbal, Chand, Bhora, Nad
raga Hindol
This raga depicts love and personifies kaama or love and the beauty that is Krishna. A
simple raga to sing, it is also very pleasing to the ears.
raginis - Telangi, Devkari, Basanti, Sindhoori, Aheeri
putra ragas - Surmanand, Bhasker, Chandra-Bimb, Mangalan, Ban, Binoda, Basant,
Kamoda
raga Deepak
Tansen, one of the navaratnas in Emperor Akbars court, is said to have lighted lamps
with this strong, vibrant raga.
raginis - Kachheli, Patmanjari, Todi, Kamodi, Gujri
putra ragas - Kaalanka, Rama, Kuntal, Kamal, Kusum, Gaura, Champak, Kanra
raga Shri
This is a very old raga, taken from the Poorvi Thaat. As the name suggests, it is also a
very auspicious raga.
raginis - Bhairavi, Gauri, Karnati, Sindhavi Asavari
putra ragas - Salu, Sagra, Sarag, Gund, Gaund, Kumbh, Hamir, Gambhir
raga Megh
As the name of the raga suggests, it lets us envision monsoon in all its primitive force
and lets us conjure up images of thick clouds, thunder and lightning.
raginis - Sorath, Asa, Gaundi-Malari, Gunguni, Sooho
putra ragas - Biradhar, Kedara, Gajdhar, Jablidhar, Jaldhara, Nut, Sankar, Syama
This system of raga-ragini classification was also accepted and upheld by the Tansen
school of thought.
The raga-ragini classification had not accepted very easily by scholars at that time.
Many musicologists argued that this basis for classification of ragas was merely
imaginary and nothing to do with the actual ragas.
But the raga-ragini theory started gaining importance when the scientific principle of
the male-female raga elements showed up in the Vadi-Samvadi swaras or notes. VadiSamvadi notes are notes showing the male and the female character of the swara.
In actuality, the raga-ragini parivara (family) system is believed to have existed many
centuries ago, much before the bifurcation of Indian music into Hindustani and Carnatic
music.
Indain music was one before the 13th Century, that is, till the Moghul invasion. It was
after this that there was such a clear line of distinction between north Indian and south
Indian music. Though both systems are similar even to date, the difference lies in the
way the notes are treated and sung.
The ancient raga-ragini system too had six main ragas, each with 5 wives or raginis.
Each of these raga-raginis had 8 sons or putras and 8 daughters-in-law or vadhus. So
then the ragas totaled to 132.
There is no unanimity among the different schools of Hindustani music regarding what
the main ragas are and who their respective raginis are either. There is another school of
thought that names six other ragas as the main ragas. According to them, the six major
ragas are Kanada, Vasanta, Mallara, Vibhashaka, Gandhara and Dipaka. According to
this school, Kanadas raginis are Mayuri, Todi, Gaudi, Varati, Vilolika and Dhanasri.
This school of thought also points out to the existence of dasa and dasi (male and
female servant) ragas and dhoota and dhooti ragas too, giving them certain specific
characteristics.
The raga Kanadas raginis, Mayuri and Todi have been mentioned to have dasi ragas
like Shyama, Vaya, Vagiswari, Saradi and Vrindavani. Paraj, according to them, is also
a male dasa raga of these ragas. This raga-ragini ambiguity lasted for a long time, but
disappeared as soon as the MelakartA and Thaat (parent raga) systems came into being
in Carnatic and Hindustani music respectivel
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=282
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Abhogi
Ahir Bhairav
AlhaiyaBilawal
Bageshri
Bhimpalasi
Chandrakauns
Darbari Kanada
GujariTodi
Hamir
Jaijaiwanti
Jaunpuri
Kafi Kanada
Kafi
Kambhoji/Kambodhi
Kaushi Bhairav
Kamod
Kaushik
Dhwani
Khamaj
Khambavati
Khamaj
Khokar
Khat/Shat
Bairagi
Bhupali
Basant
Bihag
Desh
Durga
Kalavati or
Kalavati Kalyan
Kamod
Kedar Bahar
Khambavati
Kirwani
Bhairav
Bilaskhani Todi
Bhatiyar
Kaligra
Kalyan/Yaman
Kanada Bahar
Kedar Nat
Kanada Malhaar
Kedar
Khat Todi
(shuddha m)
Kukhub Bilaval
(I)
Kedar
Khat Todi
Kukhub Bilaval (II)
Lacchsakh
Lachari Todi (I) Lachari Todi (II)
Lalit Bhairav
Lalit/Lalat
Lalit
Lankadahan Sarang
Lankeshri
Latangi
(II)
Madhmad Sarang
Madhuvanti
Malati Basant
Maligaura (II)
Manjh
Megh
Multani
Nagasvaravali or
Nageshvari
Nand or
Anandi or
Ananda Kalyan
Nand
Nat or Nata
(II)
Nata Kedar
Nata Bhairav
Nata Bilwal
Lajvanti
Lalita Gauri
Nayaki Kanada or
Nayaki
Neelambari
Pahadi
Pancham (I)
Nandkauns
Pancham (II)
Pancham
Lakshmi Todi
Lankadahan Sarang (I)
Madhuvanti, Ambika,
Madhumalati
Malashree (IV)
Maligaura (I)
Mand
Megh Malhar (II)
Miyan ki Malhar
Narayani
Paraj Bahar
Paraj or Paraju
Pata bihag
Piloo
Pooria
Dhanashree
Prabhat
Bhairav (I)
Poorvi Kalyani
Malkosh or
Panch Kauns
Patadeep
Patamanjari (I)
Patamanjari (II)
(Popular)
Pooria
Poorvi (I) (only Poorvi (II) (both M and m
M is used)
are used) Popular
Prabhat Bhairav Pradeepaki /
Puriya
(II)
Patadeepaki
PuriyaDhanashri
R
Rageshree /
Rageshwari
Ramdasi Malhar (III)
Ramkali
Saheli Todi
Rageshree
Bahar
Ramdasi
Malhar (IV)
Rasaranjani
Rageshri
Ramdasi Malhar
(I)
Ramkali (I)
Ramkali (II)
Popular
Rewa (Poorvi
Rewa (Shree
Ang)
Ang)
Saranga Malhar
Savani Kalyan
Shanmukhpriya
Shree (II)
Shuddh Bilaval (I)
(Same as
Shankarbharana)
Shuddha Kalyan
Sampoorna
Malkauns
Sarparda
Shankara
Shobhavari
Saranga
Saraswati
Savani
Saveri
Sharavati
Shivaranjani
Shree Kalyan
ShreeRaag
Shuddh Bilaval Shuddh Sarang ShuddhKalyan
(II)
Shuddha
Shuddha Malhar Shuddha Nata
Shuddha Sarang
Malhar
Shukla Bilaval (I)
Shukla Bilaval Shyam Kalyan Shyam Kedar Simhendramadhyamam
(II)
Sindh/Sindhu
Sindhu
Sohani (M is Sohani/(II) (m is Sohani (III) (m and M both
Bhairavi
used) Popular
used)
are used)
Sohani (IV) (m and d
Sugharai
Suha / Suha
Suha / Suha
Suha Sugharai
are used)
Kanada (I)
Kanada (II)
Sur Malhar (I)
Sur Malhar (II)
T
Tilak Kamod
Yaman
Zilla Kafi
TilakKamod
Tilang
Todi
Abheri
Abhogi
Agni Kopam
Amirtha Varshini
Anandha Bhairavi
Anandha Rupa
Arabhi
Asaveri
Atana
Bahar
11.
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71.
Bahudhari
Bala Nandini
Basanth
Behag
Bhageshri
Bhairavi
Bilahari
Bouli
Brindhavana Saranga
Budha Ranjani
Chakravagam
Chala Nattai
Chandra Jyothi
Chandrakauns
Charukesi
Chitrambari
Darbar
Darbari Kanada
Desh
Deva Gandhari
Dhanyasi
Dharmavathi
Dheeramathi
Dhenuka
Dvijavanthi
Ganitha Vinodhini
Gopika Vasantham
Gowlai
Gowri Manohari
Hamir Kalyani
Hamsadhwani
Hamsanadham
Hamsanandhi
Hari Kambhodhi
Hema Bhushani
Hemavathi
Hindholam
Huseni
Indrabharanam
Janaranjani
Jayantha Sena
Jhankaradhwani
Jog
Jonpuri
Kalasaveri
Kalyana Vasantham
Kalyani
Kamas
Kambodhi
Kanada
Kanakangi
Kapi
Karaharapriya
Karna Ranjani
Karnataka Kamas
Kathyayini
Kedhara Gowlai
Kedharam
Keeravani
Kosalam
Kunthala Varali
72.
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132.
Kurinji
Kusumadharini
Lalitha
Lathangi
Lavanthika
Madhukauns
Madhuvanthi
Madyamavathi
Mahathi
Malahari
Malayamarutham
Malgunji
Mand
Manirangu
Manji
Maran
Mayamalava Gowlai
Mohana Kalyani
Mohanam
Mukhari
Nadha Namakriya
Naga Nandhini
Nalinakanthi
Natabhairavi
Nataka Priya
Natakurinji
Nattai
Navarasa Kannada
Navaroj
Nayaki
Neelambai
Neethimathi
Pahadi
Panthuvarali
Paraz
Piloo
Poorna Chandrika
Poorvi Kalyani
Punnagavarali
Pushpalathika
Ragavardhini
Rageshri
Ramapriya
Ranjani
Rasika Priya
Rasika Ranjani
Rathipathi Priya
Rathnangi
Reethi Gowlai
Revagupthi
Revathi
Rishabha Priya
Rishivani
Sahana
Saindhavi
Sallabam
Sama
Samudra Priya
Sankarabharanam
Saramathi
Saranga
133.
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Sarasangi
Savithri
Senjuruti
Shanmugapriya
Simhendra Madyamam
Sindhu Bhairavi
Siva Ranjani
Sri
Sri Ranjani
Srothasvini
Subha Panthuvarali
Suddha Dhanyasi
Suddha Sarang
Suddha Saveri
Thilang
Thodi
Vachaspathi
Vagulabharam
Valaji
Varali
Vasantha
Vasantha Bhairavi
Vasantha Mukhari
Vasantha Shri
Vasanthi
Vijaya Nagari
Yadhukula Kambhodhi
Yamuna Kalyani
/www.carnatica.net/queryinquiry.htm
http://calcuttaglobalchat.net/calcuttablog/indian-raga/
sikhiwiki.org/index.php/Ragas
www.namdhari-music.co.uk/classical/listofragas.htm
ayurveda-foryou.com/music/raga.html
Sound has its negative effects as well. Noise pollution is causing diseases
like anxiety neurosis, high blood pressure, increase in brain sugar level,
heart problems, severe headaches, loss of hearing etc.; this has been proved
medically. Only musical sounds can have positive effects. Such positively
forceful sounds are found in maximum numbers in the Vedas known as ved
mantras . Regular recitation of the ved mantras benefits not only the one
who recites, but humanity as a whole as well. Famous singer Baiju Bawara
made stone melt like wax when he recited raga Malkos . The great
musician Tansen made the lamps burn when he sung raga Deepak and
made it rain when he sung raga Megh Malhar .
The incredible miracles of music were witnessed by the people of the time
and are today recorded in history. Headaches can be cured by one
raga Asavari . It is even said that the kolhoo (traditional Indian oil
expeller) started moving on its own when raga Bhairav was played. Raga
Hindola when recited in the middle of night is said to be capable of making
a hindola (swinging seat suspended from a tree used for amusement) swing
on its own. Then there is raga Sarang . This raga is meant for the rainy
season, and is to be recited during the noontime when it helps to cure all
types of seasonal fevers. This gives complete tranquility and relief. It
makes the atmosphere peaceful and soothing. Raga Vrindavani Sarang is
slightly different from raga Sarang . When this is recited to the
accompaniment of drizzling rain, it gives a particular type of joy to the
mind and the ears, by creating particular waves in the mind and the heart.
Such magical music can never be ignored. It is never too late to appreciate
the therapeutic value of music apart from its inherent aesthetics. Music is
the greatest painless, sweet sedative. It is a great science, eternally
ensconced in eternity.
Music can play an effective role in helping us lead better, fruitful lives. Listening to
specific kinds of music at specific times of the day has been shown to be helpful in
maintaining good health. Indian music, with its many Ragas, is known to be particularly
therapeutic value. The curative power of music emanates from the resonance of certain
ragas on hormonal and glandular functions which produce secretions that keep the body
balanced and infection free.
RAG-MALA
Raga
Ahir Bhairav
Asavari
Bageshri
Basant Bahar
Bhairavi
Bhim palas
Brindabani Sarang
Chandrakauns
Darbari
Darbari Kanada
Deepak
Gujari Todi
Gunakali
Hindol
Jaunpuri
Jaijawanti
Kafi
Kausi Kanada
Kedar
Khamaj
Madhuvanti
Malkauns
Malhar
Marwa
Nat Bhairav
Puriya
Puriya Dhanashri
Ramkali
Shree
Shudh Sarang
Shyam Kalyan
Sohani
Yaman
Constipation
Headache
Piles or Hemorrhoids
Rheumatic Arthritis , Spondilitis
Backache
Hypertension
Intestinal Gas
Diarrhoea
Constipation
Rheumatic Arthritis
Diarrhoea
Headache
Sleep disorders
Hypertension
Common Cold
Headache
Common Cold
Cough
Asthma
Sleep disorders
Piles or Hemorrhoids
Intestinal Gas
Asthma
Indigestion
Hyperacidity
Indigestion
Rheumatic Arthritis
Colitis
Colitis
Anaemia
Hypertension
Anaemia
Colitis
Piles or Hemorrhoids
Anorexia
Common Cold
Cough
Asthma
Anorexia
Gall Stones (Cholecystitis)
Cough
Asthma
Headache
Rheumatic Arthritis
One of the unique characteristics of Indian music is the assignment of definite times of the
day and night for performing Raga melodies.To know more about this CLICK HERE.
One of the unique characteristics of Indian music is the assignment of definite times
of the day and night for performing Raga melodies. It is believed that only in this period
the Raga appears to be at the height of its melodic beauty and majestic splendor. There
are some Ragas which are very attractive in the early hours of the mornings; others
which appeal in the evenings, yet others which spread their fragrance only near the
midnight
hour.
This connection of time of the day or night, with the Raga or Raginis is based on
daily cycle of changes that occur in our own body and mind which are constantly
undergoing subtle changes in that different moments of the day arouse and stimulate
different
moods
and
emotions.
Each Raga or Ragini is associated with a definite mood or sentiment that nature
arouses in human beings. The ancient musicologists were particularly interested in the
effects of musical notes, how it effected and enhanced human behavior. Music had the
power to cure, to make you feel happy, sad, disgusted and so on. Extensive research
was carried out to find out these effects. This formed the basis of time theory as we know
it
today.
It is believed that the human body is dominated by the three Doshas - Kaph , Pitta
and Vata . These elements work in a cyclic order of rise and fall during the 24 hour
period. Also, the reaction of these three elements differ with the seasons.Hence it is said
that performing or listening to a raga at the proper allotted time can affect the health of
human beings.
Raga and Day Time
The following schedule will summarize the specific time periods.
The 24 hour period is divided into 8 beats(Prahar) each three hours long, as follows:
1.
2.
3.
4.
5.
6.
7.
8.
4 a.m. - 7 a.m. 4th beat of the night. Early Dawn; Dawn (before sunrise);
7 a.m. - 10 a.m. first beat of the day. Daybreak; Early Morning; Morning;
10 a.m. - 1 p.m. 2nd beat of the day. Late Morning; Noon; Early Afternoon;
1 p.m. - 4 p.m. 3rd beat of the day. Afternoon; Late Afternoon;
4 p.m. - 7 p.m. 4th beat of the day. Evening Twilight; Dusk (sunset);
7 p.m. - 10 p.m. first beat of the night. Evening; Late Evening;
10 p.m. - 1 a.m. 2nd beat of the night. Night; Midnight;
1 a.m. - 4 a.m. 3rd beat of the night. Late Night
Simillarly Everyday two cycles of change pass through our body, each bringing a
Vata, Pitta, or Kapha predominance.
The approximate times of these cycles are as follows:
First cycle:
Second cycle:
There are Ragas associated with the rainy season,Varsha (Raga Megha and Raga
Malhar), the autumn season,Basant (Raga Basant) and the spring season (Raga Bahar).
Seasonal Ragas can be sung and played any time of the day and night during the season
allotted to them. The obligation of time in case of such melodies is relaxed.
Vasanta Ritu (Spring Season)
In this season, increased kapha is liquified by the heat of sun which causes diminished
agni (digestive activity) causing diseases
Grishma Ritu (Summer Season)
In this season, Sunrays become powerful. Kapha decreases vata increases day by day
Sharat Ritu (Autumn Season)
Sudden exposed to sunlight after cold season aggravates pita.
Dosha
Kapha
Pitta
Vata
Accumulation
Shishir
Grishma
Varsha
Vitiation
Vasant
Varsha
Sharad
Diminution
Grishma
Sharad
Hemant
Raga
Ritu
Bhairav
Shishir
Hindol
Vasant
Deepak
Grishma
Megh
Varsha
Malkans
Sharad
Shree
Hemant
Thaat
Performance
Time
Piloo
Kafi
Any Time
Kafi
Kafi
Any Time
Mand
Bilawal
Any Time
Dhani
Kafi
Any Time
Bhairavi
Bhairavi
Any Time
Gaud Malhar
Kafi
Monsoon
Miyan Malhar
Kafi
Monsoon
Deshkar
Bilawal
Morning
Gunkri
Bhairav
Morning
Ahir Bhairav
Bhairav
Morning
Asavari
Bhankar
Morning
Bhairav
Morning
Bairagi Bhairav
Bhairav
Basant Mukhari
Morning
Morning
Basant
Poorvi
Morning
Bhoopali Todi
Bhairavi
Morning
Bhatiyar
Bhairav
Morning
Bilawal
Bilawal
Morning
Bilaskhani Todi
Bhairavi
Morning
Bhairav
Bhairav
Morning
Desi
Asavari
Morning
Sohni
Marwa
Morning
Gurjari Todi
Todi
Morning
Nat Bhairav
Bhairav
Morning
Kalingada
Bhairav
Morning
Lalit
Poorvi
Morning
Jogiya
Bhairav
Morning
Jaunpuri
Asavari
Morning
Hindol
Kalyan
Morning
Todi
Todi
Morning
Vibhas
Bhairav
Morning
Afternoon
Shuddh Sarang
Kalyan
Afternoon
Poorvi
Poorvi
Afternoon
Patdeep
Afternoon
Madhyamad
Sarang
Kafi
Afternoon
Madhuvanti
Todi
Afternoon
Bhimpalasi
Kafi
Afternoon
Gaud Saarang
Kalyan
Afternoon
Multani
Todi
Afternoon
Bhoopali
Kalyan
Evening
Kamod
Kalyan
Evening
Desh
Khamaj
Evening
Yaman Kalyan
Kalyan
Evening
Hansdhwani
Bilawal
Evening
Khamaj
Khamaj
Evening
Sham Kalyan
Kalyan
Evening
Yaman
Kalyan
Evening
Tilang
Khamaj
Evening
Shuddh Kalyan
Kalyan
Evening
Shankara
Bilawal
Evening
Maru Bihag
Kalyan
Evening
Puriya Dhanashri
Poorvi
Evening
Puriya
Marwa
Evening
Pahadi
Bilawal
Evening
Jana Sammohini
Evening
Marwa
Marwa
Evening
Shree
Poorvi
Evening
Bahar
Kafi
Night
Tilak Kamod
Khamaj
Night
Bageshri
Kafi
Night
Charukeshi
Night
Malhar
Kafi
Night
Raageshri
Khamaj
Night
Nand
Kalyan
Night
Night
Malkauns
Bhairavi
Night
Bhinna Shadja
Khamaj
Night
Shivranjani
Kafi
Night
Malgunji
Kafi
Night
Jhinjhoti
Khamaj
Night
Kirwani
Chandani Kedar
Night
Kalyan
Chandrakauns
Night
Night
Kedar
Kalyan
Night
Chhayanat
Kalyan
Night
Darbari
Asavari
Night
Kalavati
Khamaj
Night
Adana
Asavari
Night
Durga
Bilawal
Night
Jaijaiwanti
Khamaj
Night
Gorakh Kalyan
Khamaj
Night
Hamir
Kalyan
Night
Bihag
Kalyan
Night
Raga
Raga Bhairavi
4am - 7am Raga Bhairava
Ragas Ramakali & Jogiya
Benefit
emotional strength ,Devotion and
Peace
Peace Integration, Compassion
Peace & Serenity
7am 10am
serenity
Increased Energy
Dynamism
Compassion ,Patience
Joy
Peace and Happiness
10am 1pm
wisdom
Success, Knowledge
Joyfulness
Greater Energy
Raga Multani
Raga Madhuvanti
1pm - 4pm
Raga Samanta Saranga
Raga Bhimapalasi
Achievement, Affuence
Happiness
Creativity
Life
7pm 10pm
10pm 1am
Raga Darbari-Kanhra
Raga Bageshvari
Raga Gunji Kanada
Raga Abhogi
Raga Malkaunsa
Raga:
Raga in Sanskrit means passion. It is also linked to Sanskrit word Ranj,
which means, color. It refers to melodic modes used in Indian Classic
music. Raga specifies the rules of melody. A very special thing about raga
based songs is that it can be used to cure various diseases!!!!!
Effect of ragas:
Raga Bageshri: - Gives stability to life & brings calmness. This raga is also
used in treatment of diabetes and hypertension.
Ragas BhupatiTodi, Ahir-Bhairav & Kalyan : - Provides relief to patients
of high blood pressure.
Ragas Malkans & Asawari: -Provides relief to patients of low blood
pressure.
Raga Chandrakauns: - Useful in treatment of heart ailments and diabetes.
Ragas DarbariKanara, TilakKamod, Hansdhwani, Kalawati & Durga: This raga eases tension and provides relaxation.
Raga Puriya Dhanashri: -This raga keeps the mind stable and prevents
acidity.
Raga Bhairavi: -Provides relief from Sinus, cold, phlegm, toothache.
Ragas Bihag, Bahar, Kafi & Khamaj: - Useful in the treatment of sleep
disorders.
Raga Malhar: - Useful in the treatment of asthma and sunstroke.
Raga Todi, Poorvi & Jayjaywanti: - Provides relief from cold and
headache.
Ragas Hindol & Marava: - This raga is useful in blood purification.
Raga Mohana: - Useful for the treatment of migraine headache.
Amazing facts:
1. Music therapy yields fast remedial effects for psychosomatic disorders
like hypertension, migraine headache, anxiety and insomnia.
2. According to Dr.W.H.J.Wales Indian classical music can cure jaundice!!!!!
3. The rhythmic sounds of temple bells and shankha (conch) can destroy
bacteria and germs in their surroundings!!!!!!!!!
4. High beat music can be detrimental to health in general.
5. Music therapy provides relief to nausea and vomiting.
6. Music therapy can be used as an aid in Psycho-oncology!!!
7. Autistic and retarded children respond to certain kinds of music.
8. Everyone has different tastes in music. If you listen the type of music
with which you are not comfortable, it can alleviate stress instead of
reducing it!!!!!
9. Playing music in the background while we are working, seemingly unaware
of the music itself, has been found to reduce the stress and increase pour
performance.
10. Listening to sounds of nature like the waves of ocean or the calm of
deep forest can provide instant relief to stress.
experienced it. In fact, Apollo Hospital has a music therapy wing in Chennai to treat
certain types of ailments.
All different forms of these melodies (ragas) are believed to affect various " chakras"
(energy centers, or "moods") in the path of the Kundalini. However, there is little
mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying...
Title:
A dose of music for those without hope
Are you too stressed out? Lie down on the sofa or strech out on the bed and listen
to kapi raga. It is guaranteed to beat the stress from your body and rejuvenate
you. If you are suffering from hypertension then the Todi Raga is right for you.
blog.360.yahoo.com/blogjKw1O9k8bqgCnFuAezjBVvmyvw--?
cq=1&p=2239
http://blog.360.yahoo.com/blog-jKw1O9k8bqgCnFuAezjBVvmyvw--?cq=1&p=2239
Jaunpuri
Apan disease, constipation, Intestinal Gas Urinary tract
infection, colic pain
Darabari Kanada
Puriya Kalyan
Anxiety, Leucorroea, Dysmenorrhoea, Abdominal pain
Kedar
Insomnia, Mental retardation, Memory impairment,
tonsitis, Rhinitis, Upper respiratory infections
Bhairav
Specifying three dosh diseases, Insomnia, Heart
disorder
Shyam Kalyan
Anger, three dosh disorder
Malkauns
Three dosh disorder, fever
Kalavati Rag
Hindol
Body pain, low backache, musculo-skeletal and neuralogic
pain, vat diseases, Rheumatoid arthritis
Deepak
Indigestion, less gastric fire, Hyperacidity
Pata Manjiri
Vomiting, less gastric fire, Anorexia
Megh Malhar
Irritation of Skin, Rakt Pitt, Leprosy, leucoderma, High
gastric fire (bhasmaka)
Vasant bahar
Pitt diseases, fever
Asavari
Shree
Kaph diseases, swelling, Asthama, common cold
weakness.
Bhairavi
Arthritis, Rheumatic disorder, muscular & joins pain,
heaviness
Lalit
Rasayan, Vaikaran (improve sex emotion) Nervous break
down
Sohani
Shock.
Kaphi
Vat Pitt diseases , mainly eye problems.
Jay-Jayvanti
Pain reliever, kaph & vat pacify, bring happiness.
Conclusion
Scale or Mode
Tal(Rhythm Structure)
Alap (Introduction)
Ghatt (Melody)
Improvisation excerpt
Greetings!
I'm looking for the ideal listening times for these raags:
raga saraswati
Raag Nand
Pallavi
Sujani Malhar
Raga Ramdas-Malhar
Mishra Tilang
Ragam Sarasvatipriya
raga haripriya kanhra
Raga Palas Kafi
Raga Malika
Raag Ahir Lalit
Raga Mishra Pilu
Raag Kala Ranjan
Aaja Sajana Sanga
Raga Mishra Kafi
Raag Bairagi
Raga Mishra bhairavi
Raga Bairagi Todi
Raga Darbari
I have "Googled" some sites with lists of ragas and their
times, yet not all ragas were included and some were vague.
Email: gang@urim.org.il
www.diabetesmellitus-information.com/diabetes-mellitus-music-therapy.htm
/www.namdhari-music.co.uk/classical/listofragas.htm
//kksongs.org/raga/list/raga_list.html
/www.carnatica.net/queryinquiry.htm
vozme.com/webmasters.php?lang=es
www.vibrasdigitales.com/
www.speakcomputers.com/Texto-a-Voz.aspx
http://www.sacredscience.com/archive/Westbrook1.htm
Time is the year as well as the status of the patient. The year is divided into two, three,
six, twelve or even more parts according to the nature of action (to be taken). Now,
dividing it into six, the action will be said. Hemanta (early winter), grisma (summer)
and varsa (rainy season) these are the three seasons characterized by cold, heat and
rains. In between them there are other three seasons having common characters such
as-pravrt (early rains), sarad (autumn) and vasanta (spring).
The text goes on to relate these time values to the treatment of patients (Sharma, 1981:
385-386):
The status of the patient is also called as timely or untimely in relation to the act being
performed or not such as, in a certain condition one drug is untimely, and the other one
is timely. . . . The therapy being administered after or before the (opportune) time is not
effective because time determines the sufficiency of the administration of therapy.
On the basis of this principle, Ayur Veda recognizes multiple cycles of time and
distinguishes the specific balance between the doshas existing in each segment of each
cycle. These factors are taken into account in diagnosis and treatment as well as the
recommendations for preventing disease. During the diurnal cycle, each dosha is found
to predominate twice. The sequence is approximately thus:(7)
6 - 10 a.m.- kapha
10 - 2 p.m. - pitta
2 - 6 p.m. - vata
6 - 10 p.m. - kapha
10 - 2 a.m. - pitta
2 - 6 a.m. - vata
It does not end there, however. A tridosha balance is specified for every kind of cycle,
days of the week, months of the year, the main stages of life, the steps of digestion, the
seasons, the nakshatras or cycles of the moon etc. Of considerable importance in this
scheme are the seasons. This is not only because seasonal imbalances are an important
feature of Ayur Veda theory, but also because, according to an ancient text, the diurnal
cycle is, at least in part, based on the seasonal one (Bhishagratna,1981: 51):
. . . the features which specifically mark the different seasons of the year are observed
to characterize the different parts of a complete day and night, [or in other words]
traits peculiar to spring time exhibit themselves in the morning; the noon is marked by
all the characteristics of summer; the evening by those of the rainy season; the midnight
by those of autumn; and the hours before dawn by those of Hemanta. And similarly, like
the seasons of the year, the different parts of the day and night are marked by
variations of heat, cold, etc, [or in other words] the deranged bodily humours such as
wind, bile. etc. naturally and spontaneously accumulate, aggravate, or subside during
the different parts of the day as they do in the different seasons of the year [represented
by those parts of the day and night as stated above].
This relationship between the seasons and the diurnal cycle is mirrored in the area of
music. Ancient music theories recognized six basic ragas and the six seasons. O.C.
Gangoly suggests (1989: 80) that "It is quite possible that the assignation of ragas to
particular seasons may be older than the Sangta-makaranda," that is, prior to its earliest
discussion in terms of the diurnal cycle. He goes on to suggest that these seasonal
associations originated from the customs surrounding certain seasonal festivals, a notion
that parallels the ideas of Gosvami and Nijenhuis quoted earlier. Of great significance to
the present study is that the historical development of the diurnal cycle concept from the
seasonal one is similar both Ayur Veda and in music.
The link between diurnal and seasonal cycles is only one piece of evidence for the
connection between Ayur Veda and Gandharva Veda. Prof. P.V. Sharma of Benares
Hindu University and editor of the Caraka Samhita cites Sarngadeva's involvement in
Ayur Veda and the inclusion of musicians in the list of hospital staff members in ancient
Ayurvedic texts. He also addresses the connection between the time theory and rasa
aspects of raga performance by citing the connection between the doshas of Ayur Veda
and the gunas, or primary constituents ofnature, of Samkhya philosophy. The following
is from a discussion I had with Professor Sharma during a research visit to India in
1994:
Q) So, do you see any relationship between doshas and swaras (notes)?
A) Certainly. The approach is psychosmomatic - a mind/body approach. The doshas the
physiological humors interact with the psychological ones, sattva, rajas, tamas. We can
correlate sattva with pitta, tamas with kapha and rajas with vata. They are both
unstable.
Q) So it would come as no surprise to you that the time aspect of music is related to
Ayur Veda?
A) Certainly, because it affects the physiological humors. So a morning raga will sooth
kapha in the body because it eliminates tamas in the mind. Music is concerned with the
mind. But the mind is in the body. Until you know the physiology of the body how can
you know the effect of music? It is not possible.
Professor Sharma also supports the idea that the effect of music on the physiology can
be learned through experimental methods built around Ayurvedic pulse diagnosis, a
highly sophisticated methodology used by Ayurvedic doctors to assess the balance of
the doshas within the physiology. Some small pilot studies which have been conducted
at Maharishi Vedic University show that such effects can be clearly demonstrated. It has
been noted, for example, that the doshas are often brought sharply into balance when an
individual listens to Sama Veda and other kinds of Vedic recitation. The effect of music
is more complex, however, and requires more sophisticated study for which funds have
not, thus far, been available.
One goal of such research would be to show whether vata, pitta or kapha responses
occur during vata, pitta or kapha periods of the day. It must be evident, however, that
there is a discrepancy between such periods and the eight praharas of current music
theory. These can be reconciled by considering the broad interpretation of Pandit
Bhatkhande's raga classification vis-a-vis time of performance and scale forms as set
forth by Harold Powers. In a recent article (1992: 9-51), Harold Powers divides the day
into six, rather than eight, segments and relates them to the thats as follows:
Before noon (suddha MA) or midnight (tivra MA) for kalyan, bilaval and khamaj thats.
Around dawn (suddha MA) or dusk (tivra MA) for bhairav, purvi and marva thats.
After noon (suddha DHA) or midnight (komal DHA) for kafi, asavari and bhairavi
thats.
While it may appear that this scheme does not exactly overlap the divisions of the day
from Ayur Veda, it is important to note that a major concern in Ayur Veda is helping the
physiology to make transitions smoothly from one period to another. Difficulty in doing
this results in symptoms and disease and Ayurvedic practitioners routinely prescribe
changes in routine, diet and medications during different seasons, for example, in order
to prevent this. From this viewpoint, music's influence can be seen as a form of therapy
in assisting such transitions. It is, in fact, used as a treatment modality in exactly this
way at Maharishi Ayur Veda medical centers. Maharishi Mahesh Yogi (1991: 12)
explains as follows:
Every level of creation is a frequency. One frequency melts in to the other and this is
how the process of evolution takes place. The night comes to an end and the dawn
begins. At dawn, when the darkness and dullness of the night is over, some inspiring
freshness comes and there is a different frequency in the whole atmosphere. At midday
there is another big change in frequency; at evening, a different frequency; at midnight
a different. This cycle of change is perpetual, and because everything is a frequency
there is sound at every stage.
From morning to morning the melody of nature is changing, changing. Gandharva
music goes with the time, setting its melodies according to the changing nature. It sets
forth those very natural melodies which match with the process of evolution. It provides
a powerful harmonizing influence in the whole atmosphere to balance imbalances in
nature.
Thus, for example, the period defined as "before noon" comprises a transition from
kapha to pitta time. Dawn involves the transition from vata to kapha, as does the spring
period, and so on. Music therapy designed for such periods influences the physiology in
such a way as to facilitate these transitions. To understand this process would require
knowledge of the effects of different note patterns and rhythms on the physiology.
Some scholars believe that such knowledge exists. Writing as long ago as 1935,
Gangoly, (1989: 83), reported that "...some music scholars have recently discovered
some physiological basis in the structure of the ragas which seem to offer some rational
explanation for assigning particular melodies to particular hours." Similarly, Alain
Danilou wrote to me in 1992. "There exists a relation between various scales and the
humours of the body. Any one expert in the music therapy of the Ayur Veda should be
able to find out."
Whether or not such expertise exists in India is the subject of ongoing enquiry. In the
interim, a research study utilizing pulse diagnosis can test many of the hypotheses
which emerge out of the theoretical constructs outlined above and could prove to be a
On the basis of this principle, Ayur Veda recognizes multiple cycles of time and
distinguishes the specific balance between the doshas existing in each segment of each
cycle. These factors are taken into account in diagnosis and treatment as well as the
recommendations for preventing disease. During the diurnal cycle, each dosha is found
to predominate twice. The sequence is approximately thus:(7)
6 - 10 a.m.- kapha
10 - 2 p.m. - pitta
2 - 6 p.m. - vata
6 - 10 p.m. - kapha
10 - 2 a.m. - pitta
2 - 6 a.m. - vata
It does not end there, however. A tridosha balance is specified for every kind of cycle,
days of the week, months of the year, the main stages of life, the steps of digestion, the
seasons, the nakshatras or cycles of the moon etc. Of considerable importance in this
scheme are the seasons. This is not only because seasonal imbalances are an important
feature of Ayur Veda theory, but also because, according to an ancient text, the diurnal
cycle is, at least in part, based on the seasonal one (Bhishagratna,1981: 51):
/trumpet.sdsu.edu/M345/Music_of_India1.html
Kriti
A Kriti is a composed composition set to a certain Raga and a fixed tala. There are three
sections in a Kriti: Pallavi, Anupallavi, and Charanam.
Ragam
Ragam consists of free improvisation (without rhythmic accompaniment) based on a
particular Raga. The soloist develops the Raga in stages, staying within the framework
of the Raga. There are certain rules which must be observed and some restrictions that
apply. Each Raga is based on a scale of five, six or seven notes. There are certain notes
in the Raga which are more important than the other notes. These are called Vadi and
Samvadi and are stressed more than the others during the improvisations. The soloist
will not use notes that are not in the Raga (vivadi swaras). If there are any microtones
incorporated with any of the notes, they must be used. There are certain typical phrases
or usages of certain phrases in some Ragas which make them easily distinguishable.
Ragas are derived from Melakartas or parent scales (see under Some Important
Concepts of Indian Music for a more detailed explanation.) The Raga Alapana or
delineation of the Raga starts slowly bringing out the beauty and mood of the Raga and
is slowly built up ending with Pharans (fast runs) where the performer can demonstrate
his virtuosity and technical prowess.
Tanam
Tanam is the second phase of the Ragam, Tanam, Pallavi where the performer continues
to improvise, still without any rhythmic accompaniment. Though there is no drum
accompaniment, this section introduces an element of rhythmic pulse as opposed to the
Ragam wherein the improvisation is free. At the end of each phrase section a
stereotypical rhythmic cadence pattern is used to indicate the end of that particular
section.
Pallavi
Pallavi consists of a short precomposed melodic theme, with words, which is usually set
to one cycle of Tala. The theme is played two or three times in its simple form (without
variations) during which the drummer familiarizes himself with it and enters. The
Pallavi has the following main features: 1. NeravaI This literally means filling up or
spreading; in other words, filling up portions of the Pallavi line with new, fresh and
creative music. The soloist improvises new melodies built around the words of the
Pallavi keeping the rhythmic structure constant. (Note: This type of improvisation is
also used with the Kriti form where a line of the Kriti is taken as the theme for Neraval
improvisation.) 2. Tri-Kalam In this section the Pallavi is played in three Tempi keeping
the Tala or rhythmic cycle constant: i.e. (1) usually twice as slow as the original tempo,
(2) the original tempo and (3) twice as fast as the original tempo. 3. Swara Kalpana This
improvised section is performed using swaras (solfa syllables) in medium and fast
speeds. Each swara kalpana passage returns to the beginning of the Pallavi theme. The
possibilities are endless in this type of improvisation and are only limited by the
creative capacity, technical and musical abilities of the individual performer. 4.
Ragamalika The Pallavi usually ends with this section, which literally means, "Garland
of Ragas." The soloist improvises freely in different Ragas and at the end of each Raga
comes back to the rhythmic theme of the original Pallavi.
Pallavi The first section of a composition
Sama The third of the four Vedas. The origin of music can be traced back to this Veda.
Bhajan
Bhajans are also, like Ghazals, considered to be light music and do not have to be
confined to a particular Raga. They are devotional songs that are set to music. They are
always in praise of deities like Rama, Krishna, et al. Bhajans written by the saint poets
of the 16th century like Mirabai, Tulsidas, Surdas, Kabirdas, et al are still very popular
in India today.
Thumri
Thumri is a light-classical form. It is usually sung in Ragas like Desh, Khamaj, Pilu,
Bairavi, et al. It is not rigid like the Khyal and allows for a lot of artistic and creative
freedom. In this form the performer has the license to occasionally use notes that do not
belong to the Raga. It is usually sung in a medium tempo. This form originated in the
courts of the Nawabs of Lucknow. There are three famous styles of Thumri singing Lucknow, Benares and the Punjab styles. The Talas normally used are Dadra, Keherwa
and Deepchandi. The emphasis, in this form, is on the emotion and the lyrics. The
theme is usually that of a lover pining for her beloved or for the love of Krishna. It is a
very lyrical style.
http://www.ecse.rpi.edu/Homepages/shivkuma/persona
l/music/manodharma/index.html
www.maharishi.co.uk/gv/MaharishiGandharvaVedaRagas.htm
Effect
Time
Artist
Product
Traditional
code
Abhogi
Peaceful sleep
22-01
H.P
Chaurasia
Vol 9.7
Ahir Bhairav
Compassion
04- 07
S. Mukherjee 61010
A. Nath Vol
3.1
health claims
for each Raga
(not yet
confirmed by an
MAV authority)
64016
64002
60006
Helps maintain
good digestion,
healthy joints, and
normal blood
pressure.
Pawar Bros
Alb. 8
Ahiri Lalita
10-13
H.P.
Chaurasia
Vol. 16.3
64022
Asavari
07-10
Pawar Bros
60006
Builds confidence
Bageshri
22-01
Anita Roy
61011
Supports natural
sleep
22-01
S.K. Sharma
Vol. 17.7
64116
Bageshvari
Joy
Relaxation &
rest
60006
Pawar Bros
Alb. 8
Basanta
Love &
happiness
01-04,
any
time in
spring
S.K. Sharma
Vol. 17.8
64117
60006
Pawar Bros
Alb.8
Basant Bahar
Bhairagi
Bhairava
Helps maintain
the health of the
gall bladder
Peace
04-07
Mishra Bros
Vol 7A
62003
64020
H.P
Chaurasia
Vol. 16.1
Bhairavi
Emotional
strength
04-07
D Chaudhuri
Vol 6.1
ANY
Celebration,
64102
62006
D. Chaudhuri
Supports joint
health, health of
nasal sinuses.
Encourages
Peace and
happiness
mental coherence
and detachment.
/ A. Lal Vol.
ANY
12.1
64029
04-07
B.B.
Goswami
Vol. 22.1
60006
Pawar Bros
Alb.8
Bhairav
Bhairava
04-07
Devotion &
peace
H.P.
Chaurasia
Vol. 9.1
64010
64110
S.K. Sharma
Vol. 17.1
Bhatiyara
Healthy mind
& body
01-04
D. Chaudhuri 64101
Vol. 6.8
Bhimpalasi
Success in life
13-16
Mishra Bros
Vol. 7A
62003
64005
Amar Nath
Vol 3.4
Helps maintain
mental balance
and normal blood
pressure
60006
Pawar Bros
Alb.8
Bhupali
Peace &
Happiness
19-22
S. Guha Vol.
24
62008
Bilawala
Peace and
Happiness
07-10
B.B.
Goswami
Vol. 22.1
64029
Brindavani
Sarang
Wisdom
10-13
Mishra Bros
Vol 7A
62003
Greater Energy
64104
D Chaudhuri
Vol. 6.3
64012
H.P.
Chaurasia
Vol. 9.3
Chandrakauns
Helps to gain
normal weight
Darbari
Helps settle
mental activity
Darbari Kanada
Supports head
comfort, mental
ease and calmness
and normal
breathing.
D. Chaudhuri 64108
Vol. 6.7
Deepak
Helps maintain
good digestion
and normal
stomach acidity
and healthy gall
bladder, supports
normalisation of
weight.
Deshi
Joy
19-22
H.P
Chaurasia
Vol 9.6
64015
Deshkara
Increased
energy
07-10
S.K. Sharma
Vol. 17.2
64111
Durbari Kanada
Supports head
comfort
Durga
Integration
19-22
Amar Nath
Vol. 3.6
64007
Gauda
Wisdom
10-13
D Chaudhuri
Vol. 6.3
64104
Gujari Todi
Compassion,
patience
07-10
Mishra Bros
Vol 7A
62003
64011
H.P
Chaurasia
Vol. 9.2
Supports health of
upper respiratory
tract.
64120
A. Lal / D.
Shankar Vol.
11.2
Gunakali
Supports good
digestion,
digestive motility,
head comfort,
healthy joints and
health of the
lower digestive
tract.
Gunji Kanada
Better sleep
Hameer
Hansadhwani
Celebration &
happiness
22-01
H.P.
Chaurasia
Vol. 16.7
19-22
Mishra Bros
Vol 7
19-22
S.K. Sharma
Vol. 17.6
64115
Hindol
Supports joints
and back health
and normal blood
pressure
Hindolam
Helps maintain
temperature
balance
Jaunpuri
Helps maintain
normal digestive
gas and digestive
motility.
Jaijawanti
Supports joint
health, normal
digestive motility
and head comfort
Jaita
Dynamism
07-10
H.P.
Chaurasia
Vol. 16.2
64021
Jogiya
Peace &
serenity
04-07
A. Lal/D
Shankar Vol.
11.1
64119
07-10
Pawar Bros
60006
Jonpuri
Kafi
Creativity
16-19
D Chaudhuri
Vol. 6.5
64106
Supports natural
sleep
Kalyan
Compassion
19-22
D.N
Majoomdar
Alb. 1
60001
Helps maintain
healthy joints
Kamboji
01-04
Pawar Bros
Alb. 8
60006
Kaunshi
Kanhra
22-01
Sunil
Mukherjee
61010
62004
Mishra Bros
Vol. 7B
Kausi Kanada
Supports normal
blood pressure
and health of
upper respiratory
tract
Kedar
Helps maintain
comfort of the
head, health of
upper respiratory
tract and normal
breathing.
Khamaj
Supports mental
ease and calmness
and natural sleep
Komala
Rishabha
Asawari
Serenity
07-10
D Chaudhuri
Vol 6.2
64103
Lalita
Peace &
tranquillity
01-04
Mishra Bros
Vol. 7B
62004
64001
A. Nath Vol
3.8
Madha Madh
Madhuvanti
Happiness
10-13
Pawar Bros
16-19
D. Chaudhuri 64106
Vol 6.5
64006
Amar Nath
Vol 3.5
64113
13-16
60006
Supports health of
the lower
digestive tract.
S.K. Sharma
Vol. 17.4
Malhar
Malkaunsa
Supports normal
breathing
Restful Sleep,
tranquillity
22-01
Amar Nath
Vol. 3.7
64008
64125
A. Lal /D.
Shankar Vol.
11.7
Malshree
Maru Bihaga
Compassion
19-22
Mishra Bros
62004
19-22
A. Lal / D.
Shankar Vol.
64124
Helps maintain
normal digestive
gas and body
temperature.
11.6
64025
H.P.
Chaurasia
Vol. 16.6
64030
B.B.
Goswami
Vol. 22.2
Marwa
Coherence
16-19
Mishra Bros
Vol. 7b
62004
64006
Amar Nath
Vol. 3.5
H.P
Chaurasia
Vol 9.5
64014
60001
Supports
digestion,
balanced stomach
acidity and helps
maintain
resistance to
malaria.
60006
D.N.
Majoomdar
Alb. 1
Pawar Bros
Megha
Increased
ANY
Energy & Bliss
A. Nath Vol.
19
63001
Multani
Achievement
D Chaudhuri
Vol. 6.4
64105
13-16
Affluence
64013
H.P
Chaurasia
Vol. 9.4
Achievement
64122
A. Lal / D.
Shankar Vol.
11.4
Mishra Pilu
Celebration &
joyfulness
Nanda
Nata Bhairav
Punnagavarali
16-19
S.K. Sharma
Vol. 17.5
64114
A. Lal / D.
Shankar Vol.
11.8
64126
19-22
Serenity
01-04
Supports
digestion, joints
and health of
digestive tract.
Helps maintain
emotional
coolness and
balance
Puriya
Harmony &
peace
19-22
D Chaudhuri
Vol. 6.6
64107
60006
Pawar Bros
Alb. 8
Puriya
Dhanashri
Relaxation
16-19
H.P.
Chaurasia
Vol. 16.5
64024
Puriya Kalana
Harmony
16-19
A. Lal / D.
Shankar Vol.
11.5
64123
Rageshri
Rejuvenation
& longevity
19-22
D Chaudhuri
Vol. 6.6
64107
P. Kalyana
Harmony
16-19
Ramakali
Peace &
serenity
04-07
A. Lal / D.
Shankar Vol.
11.2
64120
Sahana
Samanta
saranga
Helps maintain
the health of
digestive tract,
normal blood iron
levels, blood
pressure, mental
ease and
calmness.
Helps maintain
normal levels of
iron in the blood
Helps maintain
health of the
digestive tract and
lower digestive
tract.
Helps maintain
emotional
coolness and
balance.
Creativity
Saranga
13-16
H.P
Chaurasia
Vol. 16.4
64023
10-13
Pawar Bros
Alb. 8
60006
Shree
Helps to gain
normal weight,
supports health of
upper respiratory
tract and normal
breathing.
S Bhatiyara
Healthy mind
& body
01-04
Shuddha
Saranga
Knowledge
10-13
Anita Roy
Amar Nath
61011
Helps to gain
normal weight and
maintain health of
gall bladder.
Success
Vol 3.3
64004
Success
A. Lal / D.
Shankar Vol.
11.3
64121
S.K. Sharma
Vol 17.3
62003
64112
Mishra Bros
Vol. 7A
Shuddha
Vasanta
Love &
happiness
Shuddha
Kalyan
01-04
H.P.
Chaurasia
Vol. 16.8
64027
19-22
Mishra Bros
Vol. 7B
62004
60006
Pawar Bros
Alb. 8
Sindu Bhairavi
Gentleness
01-04
H.P.
Chaurasia
Vol. 9.8
64017
Sohani
Helps maintain
head comfort.
Sohini
Healthy Mind
& Body
01-04
D. Chaudhuri 64101
Vol. 6.8
Sura malhara
Celebration
ANY
D. Chaudhuri 62007
/ A. Lal Vol
12.2
Todi
Joy
07-10
A. Nath Vol
3.2
10-13
Vrindavani
Saranga see
Brindavani
Saranga
10-13
Yaman -see
Kalyan
Supports health of
upper respiratory
tract and normal
breathing.
Compassion
19-22
64003
Helps maintain
head comfort
Helps maintain
normal blood
pressure
Helps maintain
Raga Hindol ('swing') embodies Kama, the god of love, or Krishna. It is an ancient
spring raga in which both Re and Dha were omitted. However, from the 16th century
onwards, Hindol omits Re and Pa. There is a similarity in contour between the
Hindustani raga Hindol and its South Indian namesake. However, the northern Hindol
has all natural notes and the southern all flat notes, like the Hindustani raga Malkauns.
In ragamala paintings Hindol always portrays Krishna on a swing, surrounded by pretty
young women moving the swing to and fro.
Dha and Ga are strong notes in Hindol. Ni should be treated as a grace note, used in an
oblique and delicate manner, as in G M sharp D - N M sharp D / S. In some compositions Ni
is avoided altogether. Many artists make use of a distinct type of ornamentation
(gamak) in Hindol, which in a sense imitates the movement of the 'swing.'
If Ni were used in the ascent of Hindol, it would sound similar to raga Sohini. Therefore
it is best to avoid Ni, or treat it as a very weak note, if Hindol is to retain its own
identity.
Time: After midnight or, according to some, early morning. Time: Early night, 9 - 12.
"... in penance, adorned, grey [with ashes] and dark, a young man beauteous in every limb, [this is]
Kedar raga."
"A scarf round his neck and fanned by the fair-hipped one, a golden seat has been made for the king of
the gandharvas. Handsome and wealthy, Shri Malav is known as the fifth Malav."
Malkauns (or Malkosh) was also referred to as Malav kaushika or Kaushik in the past. It
is a majestic and somewhat introverted pentatonic raga, which seems to have undergone
quite a transformation over the centuries. In ragamala paintings Malkauns is frequently
portrayed as a heroic lord taking pan. Superstitious musicians describe it as a raga with
supernatural powers, and some believe that it can attract evil spirits.
Ma is the pivotal tone of this raga, and the tone in which the first string of the tanpura is
usually tuned. Ga, Dha and Ni may be slightly oscillated. Malkauns should be
performed in a slow and dignified manner, and to bring out its ethos the notes should be
linked by glides, in particular N \ D, D \ M and M \ G.
We have seen that raga Chandrakauns has the same scale as Malkauns except for Ni,
which is natural. Sampurna malkauns is an older variety of Malkauns which includes
natural Re and Pa in descent. Elements of Malkauns have been combined with several
other ragas, resulting in ragas such as Kaunsi kanada, Madhukauns and Jogkauns.
Time: Late night, 12 - 3.
Ramkali (or Ramakri) is a raga of sunrise with old roots. Its ancient precursor Ramakriti
had almost the same scale as today's raga, that of Bhairav (S R G M P D N). The
augmented fourth was probably added to it in the early 17th century, although many old
dhrupad compositions in Ramkali do not include sharp Ma. The raga is frequently
portrayed as a proud lady who is enraged with her lover, and rejects him. In ragamala
paintings this rejection is dramatised by the remorse of the gentleman who sits beside
the lady.
Ramkali movements are slow and focused in the upper tetrachord. Sa and Pa are strong
notes. Sharp Ma often stands between two Pa's, and flat Ni between two Dha's. Contrary
to Bhairav, Ramkali's Re and Dha do not have a pronounced oscillation. Moreover, the
presence of sharp Ma and flat Ni give Ramkali its own particular character and
expression.
Ramkali was frequently performed at the beginning of this century, but recently, this
raga has lost much of its former glory.
Time: At daybreak.
HansdhwaniKalavati, Drgn. Evocan un efecto muy agradable en los nervios. Para los
pacientes sufren de insomnio y la necesidad de un sueo sonora Pacfico, raga Bihag y
de la Bahar tienen efectos maravillosos.
Raag
Mooladhara "Sa"
Bilawal,
Shehenai
Shyamkalyan
Left
Swadishthan
Centre &
Right
Swadishthan
Komal
"Re"
Todi
Shuddh
Yaman
"Re"
Instrument
Veena
Veena
Komal
Bhatiyar
"Ga"
Center &
Shudda
Abhogi
Right Nabhi "Ga"
Bhavasagar
.
Malkauns
(Void)
Left Heart .
Bhairava
Left &
Shudda
.
Center Heart "Ma"
Center &
.
Durga
Right Heart
Tivra
Right Heart
.
"Ma"
JayVishuddhi "Pa"
Jayawanti
Komal
Left Agnya
Bageshri
"Dha"
Center &
Shuddha
Bhoop
Right Agnya "Dha"
Komal
&
Sahasrara
Darbari
Shudda
"Ni"
Left Nabhi
Santoor
Santoor
Damaroo
TablaDrums
TablaDrums
Flute
Sarod
Sarod
Sitar
Gujari Todi
Cough
Rheumatic Arthritis,
Gunakali
Constipation, Headache, Piles or
Hemorrhoids
Rheumatic Arthritis, Backache,
Hindol
Hypertension
Intestinal Gas, Diarrhoea,
Jaunpuri
Constipation
Rheumatic Arthritis, Diarrhoea,
Jaijawanti
Headache
Kausi Kanada Hypertension, Common Cold
Headache, Common Cold,
Kedar
Cough, Asthma
Madhuvanti
Piles or Hemorrhoids
Malkauns
Intestinal Gas
Marwa
Indigestion, Hyperacidity
Indigestion, Rheumatic Arthritis,
Nat Bhairav
Colitis
Puriya
Colitis, Anaemia, Hypertension
Puriya
Anaemia
Dhanashri
Ramkali
Colitis, Piles or Hemorrhoids
Anorexia, Common Cold,
Shree
Cough, Asthma
Anorexia, Gall Stones
Shudh Sarang
(Cholecystitis)
Shyam Kalyan Cough, Asthma
Sohani
Headache
Yaman
Rheumatic Arthritis
Bairagi-Shashanka Teentaal.mp3
Bhatiyali.mp3
Bhatiyali Dhun.mp3
Kaushi Bhairav - Teental.mp3
Mishra Pilu - Tivra Taal.mp3
Teentaal.mp3
Part 2
Part 3
Part 4
ali_akbar_khan_piloo.mp3
allaudin_khan_zila_kafi.mp3
Amjad_Ali_Khan__Bengali_and_Assamese_Folk_Songs.mp3
Amjad_Ali_Khan_-_Raga_Bapu_Kauns.mp3
AmjadAliKhanRaga_Miyan_Ki_Malhar.mp3
AmjadAliKhanRaga_Megh_Malhar.mp3
HariPrasad -Brindabani_Sarang.mp3
Pt.JasrajNat_Narayan.mp3
RaagTodi-Ustad Bismillah Khan.mp3
rag-bhairavi.mp3
raga-chandni-kedar.mp3
raga-hansadhwani (santoor).mp3
raga-jaijaiwanti(flute).mp3
raga-marva (flute).mp3
raga-yaman (sarod).mp3
Ustad Sabri KhanJhala.mp3
Ustad Sabri KhanAochar.mp3
Ustad Sabri KhanVilambit.mp3
Ustad Sabri KhanDrut.mp3
/www.reversespins.com/health.html
What is music?
"Music is a kind of inarticulate, unfathomable speech which leads us to the edge of the
infinite and lets us for a moment gaze in that" ...
Matanga (9-10th century AD) was the earliest writer to define raga. According to him
"raga is that kind of sound composition consisting of melodic movements which has the
effect of colouring the hearts of men". "There are four sources of raga: folk songs,
poetry, devotional songs of mystics and compositions of classical musicians. While
harmony is the characteristic of Western music, Indian music is pure melody. The
general term for melody in India is raga or ragini
The muscles, nerves and the chakras of the affected part are contracted
when one impulse is given and relaxed during the interval between two
impulses. Thus, during contraction of the tissue, musical notes make the
blood flow out from that particular area and in the interval there is
relaxation and a state of reduced pressure is produced in these areas.
Thus the blood from the adjacent area will flow there. This process is
repeated again and again and the blood flow and energy flow in that part
is enhanced. This makes quick, fast healing.
/yoga2ayurveda4healing.googlepages.com/mantras-spiritual-songs
www.holisticjunction.com/displayarticle.cfm?ID=7752
devotion for a stipulated period, can cure mental disorders said to be beyond thescope of
medical treatment. Arunachala Kavirayar, Muthuthandavar, Suddhananda Bharathi,
Marimutha Pillai and Mayooram Vedanayakam Pillai, have rendered many sweet
compositions in the raga. Sankarabaranam has the power to shower wealth. Papanasam
Sivans `Mahalakshmi Jaganmatha is a gem in this raga. Muthuswamy Dikshithar
equates Sankarabaranam with `Akshayapathram, which supplies endless bounty in all
forms. `Akshaya Linga Vibo composed by him is a popular kriti.
SHANMUGAPRIYA
Shanmugapriya has the effect of sharpening the intellect of the singer as well that of the
listener. It instills courage in ones mind and replenishes the energy in the body. This is
not surprising. Shanmugapriya being the beloved raga of Shanmuga, who was born out
of the blazing wisdom-eye of Shiva. I would attribute the success and prosperity I have
attained in life to the constant chanting of Shanmuga stothrams in the Murugan temple
of Kunnakkudy. Parvathi nayakane, Saravanabhava Ennum Thirumanthiram of
Papanasam Sivan are known for their sparkling verses. Harikesanallur Muthaiah
Bhagavathars Vallinayakane is another example. Shanmugapriya was beautifully
used to make the song Maraindirundu Paarkum in the classic Thillana Mohanambal
immortal.
BHILAHARI
BHILAHARI is associated with love. Naajeevadara of Tyagaraja in this raga has
always been popular. The saint, it is said, composed this in order to alleviate the acute
stomach pain a man was suffering from. His prayer was answered and the man had
relief. Krishnaleela Tarangini of Narayana Tirtha has the song `Poorayamamakamam
in Bhilahari. The saint cries out, Hey! Gopala, bestow me with all the goodness so that
I can continue to sing your praise. This Bhilahari song ensures one vigour and good
health.
In Konjum Salangai Ramalinga Adigalars bakthi verses Orumayudan Unadhu set
in Bhilahari and rendered by Sulamangalam Rajalakshmi was a popular hit. Another
popular song is Unnai Kandu Naan Ada Ennai Kandu Nee Aada from
Kalyanaparisu. Thalaiva Thavapudhalva, the song I composed for the film
Agathiyar was set in this raga. The Hindi song Korakagaz (Aradhana) owes its
melody to the charm of Bhilahari.
RATHIPATHIPRIYA
Rathipathipriya adds strength and vigour to a happy wedded life. This five-swara raga
has the power to eliminate poverty. The very prayoga of the swaras can wipe off the
vibrations of bitter feelings emitted by ill wills. Jagajanani Sukavani Kalyani
composed by M. M. Dhandapani Desikar is a very popular song in this raga. Singing or
listening to Rathipathipriya bestows on one happiness and has a stimulating effect.
/www.icompositions.com/music/song.php?sid=93576
http://elportaldelcel-uncursodemilagros.blogspot.com/
http://brainwavelab.ning.com/video/sonido-la-senal-del-amor
www.experiencefestival.com/raga
/waveofmp3.com/ragas/alb25006/#postform
/www.holisticonline.com/Remedies/Depression/dep_ayv_treatment_kapha.htm
www.itcsra.org/sra_others_samay_index.html
/www.hare-krishna.org/articles/633/1/A-Day-in-the-Life-of-Krishna-AMusical/Page1.html
www.theosophy-nw.org/theosnw/arts/ar-rooke.htm
www.rediff.com/dirsrch/html_out/music/indian/classical/index.htmlwww.india4u.com/i
ndmusic/carnatic_ragas.asp
ragasacredart.com/healing_wands.html
/www.esnips.com/web/Bilawal/
indianraga.wordpress.com/2008/06/
The name Basant is from Sanskrit vasant meaning spring, and during that season of the
year Basant may be performed at any time of the day or night. Otherwise, it is reserved
for the night between 9 p.m. and midnight. The Ragmala gives Basant as a putra (son)
of Hindol, also a spring raga. Today it belongs to the Purvi thata. The only variant noted
in the Holy Book is Basant-Hindol. Basant is a very old raga dating from the 8th
century. Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh
Bahadur composed sabdas to this raga. Performed in slow tempo, this gentle melody
depicts quiet joy. The descending scale is usually found at the beginning of a
composition with the ascending form following later.
NIGHT
6 - 9 am
9 - 12 pm
12 - 3 pm
3 - 6 pm
Period 1 (D1)
Bhairari
Devgandhari
Period 2 (D2)
Sarang
Suhi
Bilaval
Gujri
Gond
Todi
Period 3 (D3)
Vadhans
Maru
Dhanasari
Period 4 (D4)
Maajh
Gauri
Tilang
Tukhari
6 - 9 pm
9 - 12 am
12 - 3 am
3 - 6 am
Period 2 (N2)
Period 3 (N3)
Bihaagara
Nat-Naraayan
Sorath
Malaar
Kaanra
Jaijawanti
Musical Instruments
Period 4 (N4)
Aasa
Raamkali
Bhairaav
Parbhati
Period 1 (N1)
Sri Raag
Basant
Maali-Gaura
Jaitasari
Kedaara
Kalyaan
Gurbani RaagsIndex
/www.searchgurbani.com/raags
Taals Index
Ramkali is not given in the Ragmala but is one of the most important rdgas of the Guru
Granth Sahib. All Gurus, including Guru Tegh Bahadur, have composed verses to this
rdga. The total number of sabdas comes to over three hundred. Ramkali is a morning
rdga performed after sunrise usually during the hot season. The mood is such as to
inspire lofty thoughts. In the Guru Granth Sahib, a number of hymns in Rainkah
expound True Yoga and other spiritual issues. Some celebrated compositions such as
Sidha Gosti, Anandu, Sadd, Oarikdr and the Vdr by Satta and Balvand are composed to
this raga. Some of the verses also contain analogies to music and musical instruments.
Four forms of this raga are recognized, although only two are in general use today. The
raga belongs to the Bhairav thata.
BILAVAL (ancient name Velavali) Bilaval had become the basic scale for North Indian
music by the early part of the 19th century. Its tonal relationships are comparable to the
Western C- major scale. Bilaval appears in the Ragmala as a ragini of Bhairava, but
today it is the head of the Bilaval thata. The Ragmala gives Bilaval as a putra (son) of
Bhairav, but no relation between these two ragas is made today. Bilaval is a morning
raga to be sung with a feeling of deep devotion and repose, often performed during the
hot months. Over 170 hymns were composed to this raga by Guru Nanak, Guru Amar
Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur.
Literally, Bilaval means delight and therefore this raga is often sung in the spring
season. Guru Arjan sings of the bliss which spiritual fulfilment brings:
I am blessed with great destiny for my God is my Bridegroom.
In His court plays the spontaneous celestial strain.
Night and day, I abide in bliss, listening happily to musical instruments;
Disease, sorrow and pain harass not here, nor is there birth or death.
/www.downmelodylane.com/ragas12.html#shiv
www.rso.cornell.edu/spicmacay/spicmacay_files/home_files/raga.
html
HEALING Holistic medicine aims at self-healing. It is the mindbody-medicine. The
goal is to accomplish the healing process that is physical and mental. Healing using
cosmic energy as is done in Reiki brings about miraculous recovery. When healing
cardiac problems, since Ajna chakra has control over all the chakras, Mooladhara for
survival, and heart chakra specifically for the heart, Manipura chakras for control of
emotions, these chakras are healed. All the chakras are brought to balance by
channelising cosmic energy and automatically heart chakra works in harmony with
other chakras thus restoring health.
In some cardiac problems warranting surgery like infarct, coronary blocks, valvular
degeneration or emotional disturbances psychic surgery is done. In psychic surgery, the
patient is taken to deep level of relaxation. By autosuggestion, the patient identifies the
negative energy that is causing the disease and the healer with his psychic power
removes the negative force that is surfacing. In psychic surgery, the patients physical
body is not even touched by the healer.
In majority of the cases which are treated by using a combination of crystals
programmed with reiki, and Acupuncture/Acupressure duration of the treatment is cut
short.
www.pslalitha.com/articles.htm
/profile.myspace.com/index.cfm?
fuseaction=user.viewprofile&friendid=22955658
Realizing this fact, that SOUND is the most powerful element; our ancient sages
developed the science of Music or Sound (SHABDA) Therapy, called Bio-waves or
Mantra and a collection of Mantras called a STOTRA, which being related to Ether
(which is very subtle), becomes very powerful as the power of SUBTLE
(SUKSHAMA) is greater than the GROSS (STHOOLA). When atoms are isolated, it
creates great energy & become more powerful, although it is so small that it is
impossible to see it, with our naked eyes, likewise when a person focuses on every
single syllable and letter emanating from the Shabda Brahma (Mantra) or the nada (the
vibration) it is said to have profound effects on the psyche as well as ones physical self.
Mantra or Stotras are those scientifically made sound combinations that affect our
subtle Nerves SHAT CHAKRAS and POWER CENTRES directly in such a way,
that it awakens our 'powers', which otherwise lie dormant. As a result these Nerves
become active and the person chanting is blessed with different powers (SIDDHI).
In fact, (STOTRA SADHANA) is nothing else, but the Power of Sound. These Sanskrit
Mantra letters contain both Emotions and Meanings. The permutation and combinations
of these letters have the power to create wonders.
Sound being the base of the Mantra, makes it very powerful.
"When a Mantra is pronounced repeatedly, like a dynamo the Sound waves are
transformed into electrical energy or vibrations & if coupled with deep emotions,
becomes more powerful. These vibrations are in the shape of a Ring which rises up
with great speed, through the medium of Ether, moving directly towards the
presiding Deity of that Mantra. When it reaches its Deity, it combines with the
power of that Deity before bouncing back along with the subtle but now manifold
powers of that Deity back to re-enter the source of its origin which is the subtle
body of the one chanting the Mantra. The Stronger the Faith, Will-power and
Emotion attached with the Mantra, the Stronger will be the attraction of the
powers of the Deity. Its like a Dynamo effect, the more who keep repeating a
Mantra continuously the more you get charged up with Divinity .This phenomenon
is so subtle & so fast that the person chanting the Mantra does not even realize it
as these sound waves or vibrations moving in the air in about 340m/sec have their
own frequency while humans can hear only from 20 frequencies per second to
20000 frequencies per second & not outside of this range."
On the physically level the science of Sound works with the movement of the
tongue in the mouth. The hard upper palate forms the roof of the mouth where there
are 84 meridian points located. While pronouncing the Mantra, the movement of the
tongue stimulates these meridian points which in turn stimulate the hypothalamus to
secrete neurotransmission fluids. As these different chemical liquids are secreted to
different parts of the brain, messages are transmitted throughout as well.
Simultaneously, these Mantra sound vibrations are also received by the ear & are turned
into electrical signals which move along the acoustic nerve towards the acoustic bark in
the Brain, whose cells then correspond to these waves and move into the various parts
of the brain especially the frontal part. All these parts work together corresponding to
the signals and translating them to a language the human understands. And as, as our
body is made up of at least 70 per cent water, our bodies become an excellent conductor
of sound vibrations thus every cell in our body acts as a sound resonator. So finally, the
brain analyses these signals and gives orders to the various parts of the body to
correspond to these signals.
The signs of this charged Mantra, re-entering the subtle body of the person
chanting it, are in the different types of Vibrations or Emotions that can move one to
tears, lift his spirits up, bring back beautiful memories, make him deliriously happy, or
rouse violent emotions, sensations of energy flowing from the head to the base or goose
bumps too.
The mantra may be chanted out aloud, or repeated silently, or resonated in the mind
(Japa) and should be recited from the base of the stomach which represents the seat of a
persons dormant power. There is a lot of hidden shakti here. It produces subtle
vibrations in the fine nerves of the brain, thereby empowering the brains 108 centers
and quelling their inactivity.
If Mantras are pronounced correctly, following the rules and regulations, given in the
Scriptures it can undoubtedly cure many a diseases.
So, the Success of the Mantra lies in its correct pronunciation. Unless the pronunciation
is correct, it does not have the desirable effects on our Nerves.
JAPA and DHYANA, are similar to NAADA (Sound) and BINDU SAADHANA
(Concentration on a point), which can pierce the greater or the subtlest particle.
EXAMPLES The Gayatri Mantra
GAYATRI MANTRA when repeatedly chanted, creates ring shaped sound waves
which rises up with great speed, through Ether and goes towards the Sun, and after
touching the surface of the SUN, it returns back along with the subtle powers of the
Sun, like Heat, Light, Electrical etc. Thus the Mantra combined with all these powers of
the Sun re-enters the subtle body of the one chanting it. Who, therefore is regarded
blessed by Gayatri Mata.
POWER OF MANTRA
Tansen the famous court-musician of Emperor Akbar, could make the clouds pour down
by singing the Raga MEGH MALHAAR, and could lit the lamps by singing RAGA
DEEPAK.
POWER OF SOUND VIBRATIONS
Two scientists by the name of GRAHAM and NEIL did a experiment in a crowded
street, in Australia's Melbourne city. The experiment was done to show the 'POWERS
OF SOUND'. The medium of the experiment was a Motor-Car. They wanted to move
the car, according to their commands. The car followed their command when they said
'START' and again when they commanded 'GO', the car started moving and stopped
when they said 'HALT'. People thought it to be a magic, which in reality, it was not. It
was merely an experiment, which showed the 'Power of Sound'. But how did it happen?
Graham had a Transmitter in his hands; the function of the Transmitter was to convert
the command into a fixed frequency of electrical power, and send it to the control unit,
which was fitted in the dashboard of the car. Another device named 'CAR RADIO' was
fitted in front of the Control-unit.
Ragas of Todi
such as Multani; of Kafi tht, such as Pat-Manjari.
6-9 p.m.
Ragas of Kalyan
such as Yaman, Bhupali, Hamir, Shuddh Kalyan, Chhay-Nata;
Ragas of Bilawal
such as Hansadhwani.
9 p.m. - midnight.
Ragas of Bilawal
such as Shankara, Durga, Nand, Maluha Kedar, Bihag and its forms;
Ragas of Khamaj
such as Khamaj, Jaijaiwanti, Regeshwari, Bhainna Shadja, Gara;
Ragas of Kafi tht, such as Kafi, Malhar and its forms, Bageshwari.
Midnight - a.m.
Ragas of Kafi
such as Bahar, Nayaki Kanada
Ragas of Asavari
such as Darbari Kanada, Shahana Kanada;
Ragas of Bhairavi
such as Malkauns.
3-6 a.m.
Ragas of Purvi
such as Basant, Paraj;
Ragas of Marwa
such as Sohoni, Lalit;
Ragas of Bhairav
such as Kalingda.
Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash.
There are others that can be played at any and all times, for instance ragas Mand
(regarded also as an evening raga), Sindhura, and Dhani.
http://www.hindu.com/fr/2004/10/29/stories/2004102903630900.
htm
Hi all,
I read in an article that Certain ragas have wonderful medicinal properties that keep us
fit as a fiddle!
Here is the small list of ragas, which exhibit medicinal properties. Please feel free to add
your inputs.. Thanks
Shree: Helps in digestion of food.
Asaveri: Cures Headache
Karaharapriya: Makes us forget hunger
Bhairavi: Cures Tuberculosis
Hindolam: Cures cough and cold
Saranga: Cures Indigestion.
Ragas and the Rasas they reflect:
Kalyani: Gives courage
Hindolam: Gives enthusiasm and relaxation
Kamboji: Expresses bhakthi
Atana, Mohanam: Expresses Valour
Natai: Feeling of divinity
Nadanamakriya: Expresses "Karuna" rasa
Mukhari: Expresses longing and love
Sahana: Gives peace in loneliness
Deepakam: Has the power to light a lamp automatically.
/www.calcuttaglobalchat.net/calcuttablog/indian-raga/
http://indiapicks.com/SNT_Hindi/Raga_Index.ht
m
chandrakantha.com/raga_raag/song_title.html
www.chandrakantha.com/raga_raag/song_title.ht
ml
Afternoon Ragas
Songs: Piloo, Raga Shuddh Sarang, Brindabani Sarang, Raag Patdeep, Madhuvanti,
Raag Madhuvanti, Raag Madhuvanti ... more
Artists:
Evening Ragas
Songs: Raag Multani, Raag Marwa, Raag Puria Dhanashri, Pooriya, Marwa, Raag
Shree, Raag Rajya Kalyan, Raag Puriya Kalyan ... more
Artists:
Morning Ragas
Songs: Jaunpuri, Bilaskhani Todi, Bilaskhani Todi, Gurjari Todi, Gurjari Todi, Desi
Todi, Bilaskhani Todi, Mian Ki Todi, Bhoopali Todi ... more
ringar Rasa
Songs: Gat, Gat, Gat, Dhun, Dogri Folk Melody, Gat, Dhun, Gat, Dhun ... more
Artists:
early Morning Ragas
Songs: Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi, Bhairavi, Raag
Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi ... more
Sringar Raasa
Songs: Dhun, Dhun, Dhun, Gat, Gat, Jazz Fusion, Jazz Fusion, Jazz Fusion,
Jazz Fusion ... more
Artists:
Ragas in Practice
The ragas have their seasons and times of day as well. Summer is regarded as the
corresponding season for raga Dipak, Monsoon for raga Megh, Autumn for raga
Bhairav, Winter for raga Malkauns, and the Spring for raga Hindol. In Carnatic music,
however, there is no such connection of season or time, although some ragas are
considered appropriate to certain hours.
The correct time of day and night for a few ragas:
6-9 a.m.
3 - 6 p.m.
6-9 p.m.
Bageshwari.
Midnight - a.m.
3-6 a.m.
Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash.
There are others that can be played at any and all times, for instance ragas Mand
(regarded also as an evening raga), Sindhura, and Dhani.
These stipulations of time are governed by the notes and their pitch. Pandit Bhatkhande
held that ragas performed at night or at sunset should contain the tivra madhyam
(M), whereas daytime ragas must not contain the tivra madhyam. Ragas which
emphasize the lower pitch are to be performed during the evening or early night; ragas
emphasizing the higher pitch are appropriate for late night and early morning.
Undoubtedly, there are exceptions to these stringent guidelines.
Hindusthani Music
http://print.google.co.in/print?
id=HVjyfWPCO1wC&dq=bhatkhande+that&oi=print&pg=PA11&sig=sLRxATzI2FwYAXpwWGav5HCZHg&prev=http://www.google.co.in/search%3Fhl%3Den%26q%3Dbhatkhande%2Bthat
%26btnG%3DSearch%26meta%3D
http://www.chembur.com/anecdotes/bhatkhande.htm
http://www.musicalnirvana.com/composers/vn_bhatkhande.html
http://www.musicalnirvana.com/composers/vn_bhatkhande_articles.html
http://www.swargram.org/bhatuniv.html
http://www.tribuneindia.com/2003/20030126/spectrum/gallery/pages/v%20n
%20bhatkhande.htm
/
www.ipnatlanta.net/camaga/vidyarthi/Carnatic_
Basics/Melakarta_Scheme.htm
Kriti
The Karnatic kriti (or krithi) is a song of praise or adoration for a particular Hindu deity.
Kritis are especially associated with Tyagaraja (or Thyagaraja) (1767-1847),
Muttuswamy Dikshitar (1776-1835) and Syama (or Shyama) Sastri (1762-1827), a
famed trinity of musician-saints or saint-composers. In order, appreciating the trinity's
work has been likened to the grape, the coconut and the banana. The first can be
consumed and enjoyed immediately. The second involves cracking open a shell to get to
the kernel. The third involves the removal of a soft outer layer to get to the fruit. Their
era is known as the Golden Period of Karnatic Music and during their time they
composed a collection of timeless compositions. Tyagaraja alone is credited with some
600 kriti compositions. Kritis are usually composed in Telugu, Tamil or Sanskrit are
habitually seeded in specific ragas.
/www.orientalblues.com/ragaindex.htm
1.
Category 1 : The ragas of this category have complete (all 7) notes and the Aarohana and Avarohana are Monotonic
(straight).
2. Category 2 : The ragas of this category have missing notes (does not have all 7 notes) but have straight Aarohana &
Avarohana
3. Category 3 : The ragas of this category have notes (either complete or missing) with Monotonic Aarohana and Non-Monotonic
Avarohana
4. Category 4 : The ragas of this category have notes (either complete or missing) with Non-Monotonic Aarohana and
Avarohana3
The Seven Natural (Complete)"Swaras" or Tones are:Sa Re Ga Ma Pa Dha Ni and the 7 colors of the rainbow
Notice the following terms related to the notes !!!
All upper case letters refer to the "Shuddha Swaras" or natural tones.
Example, R G D N.
All lower case letters refer to the "Komal Swaras". Example, r g d n.
For 'Ma', m refers to the natural one and M refers to the 'Tivra or Kori Ma'.
The upper octave notes are suffixed by the ' sign. Example, S' R' G' m' P' D' N'.
The lower octave notes are prefixed by the ' sign. Example, 'S 'N 'D 'P 'm 'G 'R.
Thaat can be defined as the root or parent raga from which another raga (child) can be derived. Example, 'Jaunpuri' derived
from 'Asavari'. There are about 10 Thaats: Asavari, Bhairav, Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, Marwa, Purvi, Todi.
Ragas of Category -1
Hindustani Raga
Ahir Bhairav
Bhairav
Bhairavi
Kalyan
Jaunpuri
Kafi
Kalingra
Kirwani
Bilawal
Latangi
Nata Bhairav
Purvi
Carnatic Raga
Chakravaham
Mayamalava Gowla
Sindhu Bhairavi
Mecha Kalyani
Jhonpuri
Kharaharapriya
Mayamalavagaula
Kiravani
Dheera
Shakarabharanam
Latangi
Sarasangi
Kamavardhini
Aarohana (Up)
S r G m P D n S'
S r G m P d N S'
S r g m P d n S'
S R G M P D N S'
S R m P d n S'
S R g m P D n S'
S r G m P d N S'
S R g m P d N S'
Avarohana (Down)
S' n D P m G r S
S' N d P m G r S
S' n d P m g r S
S' N D P M G R S
S' n d P m g R S
S' n D P m g R S
S' N d P m G r S
S' N d P m g R S
Time
Pre-Dawn
Morning
Dawn
Evening
Morning
Night
Late Night to Dawn
Night
Thaat
Bhairav
Bhairav
Bhairavi
Kalyan
Asavari
Kafi
Bhairavi
Melakaratha Raga
S R G m P D N S'
S' N D P m G R S
Morning
Bilawal
S R G M P d N S'
S R G m P d N S'
S r G M P d N S'
S' N d P M G R S
S' N d P m G R S
S' N d P M G r S
Morning
Dusk
Melakaratha Raga
Bhairav
Purvi
Ragas of Category -2
Name of Raga
Abhogi Kanada
Asavari
Bairagi
Carnatic Raga
Abhogi
Nata Bhairavi
Revati ?
Aarohana (Up)
S R g m D S'
S R m P d S'
Thaat
Kafi
Asavari
S r m P n S'
S' n P m r S
Melakaratha Raga
Morning
Thaat
Pakad - Mukhyang
Aroh
Avroh
(main structure of
(ascending) (descending)
raga)
1 Aabhogi
Kafi
SRgMD
S.
S. n D M g R
.D S R g M R S
S
morning
Abhogi
Kanhra
Kafi
SRgMD
S.
S. D M g R
S, .D S
10 am to 1
pm
Asavari
S R M P, d
N S.
S. d n P M P, S. d N S. , d , n PMP,
S.
gMRS
gMRS
1 to 4 am
Raga
No.
3 Adana
Alahiya
Bilaval
Bilaval
MgRS, .DSRg,
MDMg, RS, .D S
S r G M, P D S. n D P, M
n S.
GrS
G M r S, .D .N r S
morning
S. NDP,
SR GMGR,
DnDP, MG
GP, D N S.
MRS
G R GP,MGMR,
GPDnDP
morning
remove komal
n for bilaval
6 Asavari
Asavari S R M P d S.
S. n d P M g R M P, n d P, d M P, g
D
RS
RS
10 am to 1
.
pm
7 Bageshri
Kafi
S g M D n S.
S. n D M g R S .n .D S, M g, M D n
M
S
D, Mg, M g R S
10 am to 1
pm
8 Bahar
Kafi
.n S, g M P,
S. n D n P, M
g M, n D N
M P g M D N S.
PgMRS
S.
10 am to 1
pm
9 Basant
Poorvi
r. N d P, M'
M' d r. S., r. N d P, M'
S G M' d r. S G, M' d M' G
S.
G M' G
,rS
4 to 7 am
10 Bhairav
Bhairav
S r G M P d S. N d P MG
DM r , GMP, MG, r S D
N S.
rS
7 to 10 am
Bhairavi
S r g M P d n S. n d P M g
S g M P, d -- p
S.
rS
morning
12 Bhimpalasi
Kafi
.n S g M P n S. n D P M g .n S M, M P g, M g R
M
S.
RS
S
10 am to 1
pm
13 Bhupali
Kalyan S R G P D S. S. D P G R S
7 to 10 pm
14 Bihag
Bilaval
7 to 10 pm
15 Bihagra
.N S G, G M S. N D, n D
Bilaval P D n D P, N P, G M G R GMPDnDP, GMGRS M
S.
S
11
16
Bhairavi
Bilaskhani
Todi
17 Bilaval
.N S G M P S. N D P M
N S.
GRS
Bhairavi
S r g, M G, P S. r. n d P, M
.d S r g, Mg, r g, r S
d, n d, S.
grgrS
10 am to 1
pm
Bilaval
S R G M P D S. N D P M
S.
G RS
morning
.N S g M d
N S.
S. N d M g M
g M N d M g M g .N S M
gS
mid night
S, RGMP,
DP, ND, S.
S. NDP, M'
P--R, RGMP, MG
PDP, RGMP,
MR, S
GMRS
7 to 10 pm
10 am to 1
pm
18 Chandrakauns
G R GP, DNS.
19 Chayanat
Kalyan
20 Darbari
Kanhdra
Asavari .n S R g R S, S. d n P, M P, g M R S, .d .n S R S
M P d n R. g M R S
S.
S. n D P M G RMP, nDP, DMGR,
RGS
G.NS
Some
consider R
7 to 10 pm
vadi and P
samvadi
21 Des
Kamaj
SRMPN
S.
22 Deshkar
Bilaval
S R G P D,
S.
S. D P, G R
D D P, G P D P, G R S D
S
7 to 10
am
23 Desi
R g R S R .n S. P -, D M
RgRSR.nS,
Asavari S, R M P n P R g S R .n
P
RMPDMPgRgRSR.nS
S.
S
10 am to 1
pm
24 Dhanashri
Kafi
.n S, g M P, S. n D P, M P
.n S, GMP, g , MgRS P
n S.
g, M g R S
1 to 4 pm
25 Durga
Bilaval
SRMPD
S.
10 am to 1
pm
26 Gaur Malhar
Kafi
R G R M, G S. n D n P, D
RGRM, GRS, PM,
R S, M R P G P M, R G
PD, S. , D P M
M P, D S.
RMGRS
Some
1 to 4 pm consider thaat
Bilaval
27 Gaur Sarang
7 to 10
am
28 Gurjari Todi
Todi
10 am to 1
pm
29 Hamir
Kalyan
S. N D P, M'
SRS,GM
P D P, G M S R S, G M D
D, N D S.
RS
7 to 10 pm
30 Hansadhvani
Some
consider G 7 to 10 pm
Vadi and NSamvadi
31 Hindol
Kalyan
S G, M' D N S. , N D , M'
SG, M'DND, M'GS
D, S.
G,S
7 to 10 am
Kamaj
S, R g R S,
.n .D.P, R,
GMP, NS.
10 am to 1
pm
33 Jaunpuri
Asavari
S RM P d n S. n d P, M g RMP, n d P, d M P,
S.
RS
gRS
10 am to 1
pm
34 Jhinjhoti
Khamaj
10 am to 1
10 am to 1 pm
pm
35 Jogiya
Bhairav S r M P d S.
morning
36 Kafi
Kafi
S R g M P D S. n D P M g
SS RR gg MM P
n S.
RS
1 to 3 pm .
37 Kalavati
Khamaj
S G M P D n S. n D P M G G M P D n D, M P D
P
S.
RS
MG
10 pm to 1
.
am
38 Kamod
Kalyan
S.NDP, M'
S, RP, M'
RP, M' PDP,
PDP, GMP,
PDP, NDS.
GMP,GMRS
GM, RS
7 to 10 pm
S R g M P D S. n D P M g
n S.
RS
10 pm to 1
Bageshri Ang
am
40 Kedar
S. NDP, M'
S M, M P, D
PDPM,
P, N D S.
PMRS
7 to 10 pm .
Kalyan
S. n D P, G
M, R g R S
R g RS, .n.D.P, R,
GM, R g R S
S. N d P M r
M, r S, S r r M r S
S
S M, M P, D P M, P M
S
RS
N is used less
to avoid Sohni
41 Khamaj
Khamaj
SGMPD
N S.
42 Lalit
Marva
43 Madhuvanti
10 pm to 1
am
.N r G M, M'
R. N D, M' D .NRGM, DM', MG,
M G, M' D
M' M G, R S M'GRS
S.
4 to 7 am
Todi
.N S g M' P S. N D P M'
.NSGM'P, M'GRS
N S.
gRS
4 to 7 am
Madhyamad
Sarang
Kafi
7 to 10 am
45 Malgunji
Kafi
.D .N S R G
S. N D P M
M, G M, D
G, M g R S
N S.
night
46 Malkauns
Bharavi
.n S g M d n S. n d M g M M g, M d n d, M g, M
M
S.
gS
g, S
1 to 4 am
10 pm to 1
am
44
S. n D P M G G M P D n D, M P
RS
D,MG
GMgRS, .D.nSRGM
.N R S, G M
S. N D P, G .NSGMP, GMRS,
47 Maluha Kedar Bilaval P, D P M, M
M P G M R S .D.P.M.P.NS
P N S.
48 Mand
S G R M G,
S. D N P, D S, RG, S, R, MMP, D,
Bilaval P M D P, N
S
M P G M S PDS.
D S.
all time
49 Maru Bihag
Kalyan
10 pm to 1
am
50 Marva
Marva
.N r G M' D S. N D M' G
D, M' G r, G M' G r S D
N S.
rS
evening
Kafi
S. n D n P, M SRS, .nD.nP,
S R M R, M
P, M R M R, .M.P.n.D.NS, R, MR, R
P n D N S.
S .N S
PMR.NS
10 am to 1
pm
R M R S, M
S. n D, n M
R P, M P n
P, g M R S
D, N S.
10 pm to 1
am
53 Multani
Todi
.N S g M' P S. N d P M' g
.N S, M' g, P g, r S
N S.
rS
1 to 4 pm
Kalyan
SGM,P
D , N P S.
S. D, N P, D
M' P, G M D GMDP, RSGM
PRS
10 pm to 1
am
S. D P , G P,
G, RS, .D, .P.DS
GRS
all time
4 to 7 am
51
54
Miya Ki
Sarang
Nand Anandi
RMR S .n .p, .M .P .n
M
.D .N S, P g M R S
It is a Sandhi
Prakash Raga
55 Pahadi
Bilaval S R G P D S.
56 Paraj
Poorvi
S. N d P, M'
.N S G, M' d
S., N d P, M' P d P, G
P d P, G M
S.
N S.
MG
G, M' G r S
57 Patdeep
Kafi
S g M P N S.
1 to 4 pm
It's N is little
(towards 4
sharper
pm)
58 Piloo
Kafi
S. n D P n d
.N S G M P
.P .N S R g S, G M P g
PdPMgS
G
N S.
S, .N S
.N S
All 12 notes
1 to 4 pm are used in this
raga
59 Pooriya
Marva
.N r S, G, M' S. N D M' G G, .N r S,
D, N r. S.
rS
.N.D.N.M'.D, r S
M'
evening
It is a Sandhi
Prakash Raga
Poorvi
evening
It is a Sandhi
Prakash Raga
Poorvi
evening
It is a Sandhi
Prakash Raga
60
Pooriya
Dhanashri
61 Poorvi
S. N D P M g
D P, g, M P N S.
RS
Khamaj
S G M D N S. n D M G R GMDN S. n DM,
S.
S
GMRS, .D .n S G M
10 pm to 1
am
Kafi
S. n D n P, D
.N S, R G M,
P M, P g, M RPMGM, nPgMRS
n D n P N S.
P g, M R S
rainy
season
64 Ramkali
Bhairav
S. N d P, M'
SrGMPd
d P, M'PdndP, GM', r
P d n d P, G
P
N S.
PMG r S
MrS
morning
65 Rasranjani
Bilaval
S R M D N S. N D M, D
S.
MRS
midnight
66 Saraswati
Khamaj
R. n D P M'
S R M' P, n
R M P, M' R
D P, n D S.
S
midnight
67 Shankara
Bilaval S G P N S.
10 pm to 1
am
68 Shivranjani
Kafi
S R g P D S. S. D P g R S
midnight
69 Shri
Poorvi
S. Nd P, M' P
S r r S, r M'
S r r S, r M' P, d M' G
d M' G r, P r
R
P N S.
rGrS
GrS
evening
7 to 10 pm
62 Rageshwari
63
Ramdasi
Malhar
70
Shuddh
Kalyan
S. N D, N D
GRS, .N.D.N.D.P, S,
Kalyan S R G P D S. P, M' G R, G
G
GR, PR, GRS
RPRGRS
71
Shuddh
Sarang
Kafi
S R M P, M' S. N D P M'
P N S.
GRS
10 am to 1
pm
72
Shyam
Kalyan
Kalyan
S. N D P M'
.N S R M' P
.N S R M' P, G M R
P G M R .N
N S.
.N S
S
7 to 10 pm
73
Sindhu
Bhairavi
Asavari
S R g M P d S. n d P M g
n S.
RS
10 am to 1
pm
74 Sohni
Marva
S. r. S. N D,
S G M' D N
S. N D, G M' DNS. r.
G M' D, G M'
D
S.
S.
G, M' G r S
4 to 7 am
75 Sughrai
Kafi
.n S R g, M S. D, N P, M .n S R g, MP n P, DP,
P
P, N S.
P, g , M R S MP g MRS
10 am to 1
pm
10 pm to 1
am
S R G S, R
S. P D M G, .P.NSRG, S, RPMG,
76 Tilak Kamod Khamaj M P D, M P,
S R G, S .N S.N
S.
77 Tilang
Khamaj
SGMPN
S.
10 pm to 1
am
78 Todi
Todi
10 am to 1
pm
79 Vibhas
Bhairav
SrGPdP
S.
S. d P G P d
P, G r S
morning
S. n P M R S .N S R, MR, PMR, S
d , P , GP, G r S
80
Vridavani
Sarang
Kafi
SRMPN
S.
10 am to 1
pm
81
Yaman
Kalyan
Kalyan
7 to 10 pm
Bilaval
.N R G, M R S. N D P, M'
.N R G, M' PMG,
G P, M' P, D P M G, R G
RGRS
N S.
RS
morning
Yamani
82 Bilaval
Taal
S. n P M G S
It is a Sandhi
Prakash Raga
Indian Music
Foreword by Pandit S.P.Tata
I do not reside in Vaikuntha, nor do I dwell in the hearts of yogis.
There alone I abide, O Narada, where my devotees sing!
Lord Vishnu to Narada in Narada Samhita 1:17
Indian music is as old as time itself as it dwells in a world of moods and
perceptions. It is a realm of beauty where experiences through sound
transcend into metaphysics and feelings soar to the point of equation with
the sublime. It creates a world of ecstasy, where involvement is
spontaneous and perception a matter of total communion with the
nuances of sound. Indian music is evocative. It evokes a gamut of moods,
feelings, sentiments and emotions and mental cadences that few other
forms of performing arts are capable of.
Whether it is the pangs of separation or the joys of reunion, the sublimity
of devotion or the recklessness of passion, the haze of summer noon or the
mellifluous metronome of the monsoon, the warmth of fire or the softness
of the silvery moon beams, it evokes every known sensation, feeling, mood
and sentiment. Whether it be classical or flock, filmy or devotional, its
range is vast, rich and varied, opening the floodgates to a treasure house
of memorable experience that one lifetime is too short to comprehend.
In India, music, painting and drama are considered divine arts. Brahma,
Vishnu, and Shiva the Eternal Trinity-were the first musicians. The
Divine Dancer Shiva is scripturally represented as having worked out the
infinite modes of rhythm in His cosmic dance of universal creation,
preservation, and dissolution, while Brahma accentuated the time-beat
with the clanging cymbals, and Vishnu sounded the holy MRIDANGA or
drum. Krishna, an incarnation of Vishnu, is always shown in Hindu art
with a flute, on which he plays the enrapturing song that recalls to their
true home the human souls wandering in MAYA-delusion. Saraswati,
goddess of wisdom, is symbolized as performing on the VINA, mother of
all stringed instruments. The SAMA VEDA of India contains the worlds
earliest writings on musical science.
The ancient Hindu way of life aimed at a totally integrated system of
knowledge covering all aspects of life. The ancient scriptures of India
There are three stages in the rendering of a raga by an artist. They are
called Ragam Thanam Pallavi in South India and Raag, Vilambit &
Dhrut in North India.
Ragam or Raag
In this first part, the musician starts by creating the mood of raga by
playing the basic notes and lays a foundation for composition to follow. It
is a solo rendering with out any accompaniments.
Thanam or Vilambit is the second part where the artist expands the raga
and shows his skill in playing with the notes and beats. Normally there
are some interesting duet-duels between the main artist and the
accompanying artists.
Pallavi is the equivalent of a refrain in Western music. The basic style in
Pallavi rendition is to sing the Pallavi in different speeds and beat
patterns. The Pallavi challenges the musicians ability to improvise with
complex and intricate patterns. The whole exercise is very demanding,
both technically and musically, since all the artistes musicianship is put
to test.
Around the 13th century, the Indian classical music bifurcated into
Hindustani classical music in North India and Pakistan, and Carnatic
classical music in South India.
Owing to Persian and Islamic influences in North India from the 12th
century onwards, Hindustani music and Carnatic music styles diverged.
By the 16th and 17th centuries, there was a clear demarcation between
Carnatic and Hindustani music. It was at this time that Carnatic music
flourished in Thanjavur, where the Vijayanagar Empire of Andhra
Pradesh was at its best. Purandara Dasa, 1484 1564, who is known as
the father (Pitamaha) of Carnatic Music, formulated the system that is
commonly used for the teaching of Carnatic music. Venkatamakhin
invented and authored the formula for the melakarta system of raga
classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD).
Govindacharya is known for expanding the melakarta system into the
sampoorna raga scheme the system that is in common use today.
Patronized by the kings of Vijayanagaram, Mysore and Tanjavuru,
South India produced many noted composers, Vocalists and
instrumentalists proficient in playing musical instruments, such as the
veena, rudra veena, violin, ghatam, flute, mridangam, nagaswara. Three
of the greatest composers and singers of that era are Syama Sastri (1762
1827),
Muttuswami Dikshitar (Born March 24, 1775 Died October 21, 1835) and
the legendary Tygarja Born May 4, 1767 Died January 6, 1847. They
are called the Trinity of Carnatic music. Two famous court-musicians
and instrumentalists were Veena Sheshanna (1852-1926) and Veena
Subbanna (1861-1939),
The Melakarta Ragas
The Melakarta Ragas refers to the basic 72 Janaka (parent) ragas in
Carnatic Music. All of these ragas have seven notes saptaswaras, that is
that they have all seven swaras which are- Sa, Ree, Ga, Ma, Pa, Da, Ni,
and Sa. The system is further divided into two sets of 36 ragams each
The first set with the first Ma and the second with a sharper Ma. This is
very similar to the Western concept of scales and the circle of flats.
The Melakarta Ragas are the Janaka (Root) ragas for all of the infinite
others Ragas in Carnatic Music. The system is divided into two sets of 36