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Microtones
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Improvisation
In the two main forms of Indian classical music, improvisation plays a very significant role. In the South Indian variety of classical music, Manodharma comes into the main foray much later into the concert, within a span of 3-4 hours.
In the North Indian music, there are two main styles, which can be termed classical. a)Dhrupad or Dhruvapada, b) Khyaal or roughly translated as Imaginative music. While the South Indian music gives us very little leverage in the “Composed parts of the music” to be changed, altered or rendered in different ways, it definitely depends on the Artist’s caliber, experience and dexterity to handle each Raaga, composition or segment of the composition with elan and elegance.
In the North Indian music, Khyaal system is all about Imaginative Improvisation–right from the word go.
Manodharma itself means “Righteousness of the Mind” and since Music is all about a “Flow” there cannot be just one kind of such a righteousness while dealing with 12 Notes, 72 Parents scales and hundreds of thousands of Raagaas derived out of these Parent scales.
The Violin: Queen of all musical instruments
“Sound {Naada} is the treasure of happiness for the happy, the distraction of those who suffer, the winner of the hearts of healers, the first messenger of the God of Love. It is the clever and easily obtained ‘beloved’ of passionate women. May it ever, ever, be honored. It is the fifth approach to the eternal wisdom, “the veda.”
(Sangeeta Bhaashya)Sukhini Sukhanidhaanam Dukhitaanaam vinodaha, Shravana Hrudaya Hari Manmathasyaagradootaha
Aatichatura sugamyo vallabhaha kaamininaam , Jayati Jayati Naadaha Panchamashchopachedaha
Sound is said to be of two kinds, one, a vibration of ether and the other a vibration of the air. The vibration of ether remains unperceived by the physical sense, and is considered the principle underlying all manifestation, the basis of all substance. It corresponds to what Pythagorous called the “Music of the spheres,” and follows permanent numerical patterns that lie at the very root of the world’s existence.
In the Indian music system which originates from South India, there is a particular form of classification and nomenclature of scales arising out of the maximum number of scales known as “Parent Raagas or Melakarrtaas” These are arranged in a very specific Ascending and descending order.
For instance, if we take the note “C” as our Tonic, then the following would be the order of the different sets of Raagas/ scales called “Chakras”:-
(Since we use the syllables “Sa, Re, Ga, Ma, Pa, Dha, Ni” instead of “Do, Re, Mi, Fa, So, La, Ti” I would be elaborating this system in the format where:-
First degree of any scale would be addressed as “Sa”, second would be Re, third would be Ga, fourht Ma, Fifth ‘Pa’, Sixth ‘Dha’ and Seventh would be ‘Ni’
Hence a Raga corresponding to the Major mode would be
Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa (Upper Octave-) Ascension
Sa, Ni, Dha, Pa, Ma, Ga, Re, Sa(Middle Octave) Descension.
Within the 16 Swara-sthaanas of 12 Swaras are 22 musical Sruthis. Out of these Sruthis, four Sruthis are each assigned for Shadja, Madhyama and Panchama, two each for Gaandhaara and Nishaada, three each for Rishabha and Dhaivata. This division of Sruits is clearly described in the following Sloka:
“Chatush, chatush, chatushchaiva,, Shadja, Madhyama, Panchama,
dwai, dwai, Nishaada-gaandhaarou, thrisri Rishabha-Dhaivatashcha”
Which means, Shadja (SA), Madhyama (MA) and Panchama (PA) have Four Intervals each and two intervals each for Gaandhaara(GA) and Nishaada (NI) and three intervals each for Rishabha (RI or Re) and Dhaivata ( DHA).
Microtones
Panorama City, CA 91402
United States
fax: 818-895-2152
admin
