Raaga – Hindi Tamil Telugu and Malayalam Songs

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R?ga (Sanskrit, lit. “colour” or “mood”; or r?gam in Carnatic music) refers to melodic modes used in Indian classical music.[1] It is a series of five or more musical notes upon which a melody is founded. In the Indian musical tradition, r?gas are associated with different times of the day, or with seasons. Indian classical music is always set in a r?ga. Non-classical music such as popular Indian film songs or ghazals sometimes use r?gas in their compositions.

Visit to Raga here http://raaga-music.blogspot.com

????? ?????????????? ???????????????? ??????? ??????????? ? ? ??? ??????? ??”That which is a special dhvani, is bedecked with swara and varna and is colorful or delightful to the minds of the people, is said to be r?ga” – Matanga in the Brihaddeshi.

R?ga describes a generalised form of melodic practice. It also prescribes a set of rules for building the melody. It specifies the rules for movements up (aaroha [????]) and down (avroha [?????]) the scale, which Swara (notes) should figure more and which notes should be used more sparingly, which notes may be sung with gamaka, phrases to be used, phrases to be avoided, and so on. The result is a framework that can be used to compose or improvise melodies, allowing for endless variation within the set of notes.

The basic mode of reference in modern Hindustani practice (known commonly as the shuddha – basic – form) is a set which is equivalent to the Western Ionian mode — this is called Bilawal thaat in Hindustani music (the Carnatic analog would be Sankarabharanam). In both systems, the ground (or tonic), Shadja, Sa, and a pure fifth above, Pancham, Pa, are fixed and essentially sacrosanct tones. In the Hindustani system, in a given seven-tone mode, the second, third, sixth, and seventh notes can be natural (shuddha, lit. ‘pure’) or flat (komal, ‘soft’) but never sharp, and the fourth note can be natural or sharp (tivra) but never flat, making up the twelve notes in the Western equal tempered chromatic scale (Western enharmonic pitch equivalences like, for example, A? and B? do not apply; e.g.: Re tivra may, to a Western musician appear enharmonic to Ga shuddha in that system, but in practice is not.) Visit to Raga here http://raaga-music.blogspot.com



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