Insight on Musical Terms - Page 6

Originally posted by: Indradhanush

BTW informative input flowing Rock n Roll, keep it up.

Originally posted by: Indradhanush

yup dear Rock N Roll notes are same but pattern of playing is different as you said. And raagas are very strit about it.

Originally posted by: rock&roll

Sankarabharanam and C major have the same notes......Maybe C major does not have the notes in the same order...In raga sankarabaranam ,we have an aarohanam and avarohanam and the notes are arranged in a certain order.......But the notes(though) orderwise might be different are still fundamentally the same....[/quote]

Basically, yes, but this is a vast subject! In Indian music (both Hindustani and Carnatic), scales are conceptual, rather than tied to fixed pitches: the Sa you want to sing will be at the pitch you are comfortable with, and a tanpura tuned to your pitch will naturally lead you into the other notes (if you have any musical sense at all).

C Major is just a convenient reference point, mainly because it uses only the white (safed) keys of a piano (or harmonium). B-flat Major, for example, on such tempered instruments starts one whole tone lower (on the "kaali paanch") but follows exactly the same ratio sequence for the notes The significant factor of all such major scales is the pattern of tones and semitones after the Sa (or the Do of the Western solfege): 2-2-1-2-2-2-1; thus the piano/harmonium keys K5-S1-S2-K2-S4-S5-S6-(K5) for B-Flat Maj.

The natural major scale is the pattern of "shuddh swaras" (S-R-G-m-P-D-N-S') in the Bilawal thaat, also known as the Ionian mode in Western music. Minor scales of Western music have the pattern 2-1-2-2-1-2-2. This is the Asavari thaat, or Aeolian mode. (For all white keys, start at A or safed chheh).

The natural minor scale, as a pattern, can be viewed formally as a rotation of the major scale pattern: 5 positions to the left or equivalently, 2 to the right. Other rotational shifts give rise to the other modes of Western (classical "Greek") music, and to various thaats in Hindustani music which have at least one vikrit (komal/tivra) swara. viz:

1 left / 6 right (2-1-2-2-2-1-2 : S-R-g-m-P-D-n-S') is Kafi thaat, Dorian mode (start at D or S2 for all safed keys)
2 left / 5 right (1-2-2-2-1-2-2 : S-r-g-m-P-d-n-S' ) is Bhairavi thaat, Phrygian mode (E, S3)
3 left / 4 right (2-2-2-1-2-2-1 : S-R-G-M-P-D-N-S') is Kalyan thaat, Lydian mode (F, S4)
4 left / 3 right (2-2-1-2-2-1-2 : S-R-G-m-P-D-n-S') is Khamaj thaat, Mixolydian mode (G, S5)
5 left / 2 right (2-1-2-2-1-2-2 : S-R-g-m-P-d-n-S') is Asavari thaat, Aeolian mode (A, S6)

6 left / 1 right (1-2-2-1-2-2-2: S-r-g-m-M-d-n-S') is special. There is no thaat in Hindustani, but the Carnatic system has raga Rohinipriya for this (the Locrian mode, used in the West only in Jazz compositions.) The peculiarity of this pattern -- and probably why there is no thaat, but only the theoretical possibility -- is that it has both shudh Ma and tivra Ma but no Pa.

The remaining thaats in HM -- Bhairav (S-r-G-m-P-d-N-S' or 1-3-1-2-1-3-1), Marwa (S-r-G-M-P-D-N-S' or 1-3-2-1-2-2-1), Purvi (S-r-G-M-P-d-N-S' or 1-3-2-1-1-3-1) and Todi (S-r-g-M-P-d-N-S' or 1-2-3-1-1-3-1) have no counterparts at all in the Western system, AFAIK.

Edited by arayq2 - 17 years ago

Originally posted by: Indradhanush

BTW informative input flowing Rock n Roll, keep it up.

Originally posted by: Rasny

i'm planning 2 take online music lessons from anita ji😛.

Originally posted by: Indradhanush

hame bhi kuch sikha dijiye...😳

wada karte hai publicly kabhi nahi gayenge 😆