Nandree, for your clear and simple explanation! I am sending your video to my Turkish Mevlevi Music teachers who wonder how I am managing their music ! I have been able to master and sing gratefully since 2011 ,Turkish Music, even though I cannot read Western music notes. Strangely they teach Western style which fails miserably in interpreting nuances in note transitions. My background in Karnatic and Hindusthani music then simply by acute listening and then reproducing made it happen. When I have trouble in catching certain nuances, I find by figuring svara patterns in them I always get them. Similiarly being trained in teaching Kerala Natanam and Bharatanatyam I find that when I play "usuls" on the bendir drum I am falling back on vaithaari/cholkettus. All praise to and long live Bhaaratheeya Shaastriya Sangeetham Once again, thank you.
Thank you for these! I'm relearning violin after a hiatus of a few years. Ive decided on learning to play a different style (classically trained in western style). After deciding to work within the carnatic system i found your channel and everything youve posted has been exceptionally helpful!
please upload more videos about voice techniques and music theory! you explain things excellently, i feel like i understand it much faster when you teach it :)
Tejas, could you please do another video on the swara sthanas by singing each note separately with explanation? There is still some confusion between r R, g G, d D, n N and the overlaps of R g, D n... You have a very nice and logical way of explaining and demonstrating. Would really appreciate your input. it would be very helpful to everyone. Thank you.
Bharatanatyam and carnatic music have their roots in tamil SATHIR AATTAM AND TAMIL PAN. “It is a well - known fact that Tamizh language is one of the oldest languages in the world. Not only is it old but also it is very rich in literature. But what makes Tamizh unique and special is that it has survived the ravages of time and is still spoken by millions of people across the globe. Dance and music (or for that matter any form of fine arts) has always been part of Tamizh culture. ‘Tholkaappiyam‘, the authentic work on Tamizh Grammar that was written in 500BC by Tholkaapiyar-considered to be a student of the great sage ‘Agaththiyar’ mentions a lot about classical dance. Starting from Tolkappiyam, many texts like Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance. ‘Pancha Marabu‘by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya,kooththu,,naatyam.It also describes the letters to be used for jathis-tha,thi,tho,ki,k. Then there is ‘Kooththa nool‘ authored by Saaththanaar. This is the oldest available text on the grammar of classical dance.‘Kooththa Nool’ has two sections, ‘Suvai’ and ‘Thogai’ with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord. It also says that ‘Om’ is the beginning and the end for everything. The author seems like a good psychiatrist, philosopher and most importantly an intellectual. The link between human life and the Nava Rasaas have been described in detail by the author. Here is a verse form Koothanool. Tastes emerge from the feelings within and these are expressed as dance. Feeling is the soul, Taste is the Mind, and expression is the body’. அகம்உயிர் ஆகச் சுவைஉளம் ஆக இழைஉடல் ஆக இயல்வது கூத்து. It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now. And this is applicable to any art form. However, ‘Silappathigaaram‘-one of the five major epics in Tamizh-is considered to be a complete book on classical dance. ‘Silappathikaaram’ gives a perfect description about Classical Dance and Music..In the words of the Czech Professor Dr.Kamil Zvelebil, ‘‘The epical poem of Silapathikaaram which by its baroque splendour and by the charm and magic of its lyrical parts belongs to the epic masterpieces of the world and should be admired and beloved by all in the same was as Poems of Homer, the Dramas of Shakespeare, the Pictures of Rembrandt, the Cathedrals of France and Sculptures of Greece”. Silapathiikaram Author, Ilango AdigaL has presented this simple but complex story, what attracts a connoisseur is the way he has structured the grammar of Music and Dance. Though there are lot verses, I am giving below one sample verse that speaks volumes about the quality of the work. It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’ ஆடலும் பாடலும் அழகும் என்று இக் கூறிய மூன்றில் ஒன்று குறைவு படாமல் ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில் சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி. However, it is the description about Classical Dance in ‘Silappadhigaaram’ that calls for special mention and appreciation. Ilango adigaL must have been a perfectionist. The author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’. He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists. What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated. If the verse எழுகோல் அகலத்து எண்கோல் நீளத்து ஒருகோல் உயரத்து உறுப்பினது ஆகி உத்தரப் பலகையொடு அரங்கின் பலகை வைத்த இடை நிலம் நாற்கோல் ஆக ஏற்ற வாயில் இரண்டும் பொலியத் தோற்றிய அரங்கினில் தொழுதனர் gives the desired dimensions of a stage, தூண் நிழல் புறப்பட மாண் விளக்கு எடுத்து ஆங்கு ஒருமுக எழினியும் பொருமுக எழினியும் கரந்து வரல் எழினியும் புரிந்துடன் வகுத்து talks about the lighting. He then goes on to describe the ‘Pancha Sandhi’ Kavuththuvum-an item that is performed in the beginning to ward off evil forces-and then the 11 different dances called as ‘Pathinoru aadal’.. And that is the reason ILango AdigaL paid importance to music as well while talking about dance. In just one verse, he gives the names of the seven swaras as per Tamizh PaN. குரலே, துத்தம், கைக்கிளை, உழையே இளியே, விளரி, தாரம் என்றிவை எழுவகை இசைக்கும் எய்தும் பெயரே சவ்வும் ரிவ்வும் கவ்வும் மவ்வும் பவ்வும் தவ்வும் நிவ்வும் என்றிவை ஏழும் அவற்றின் எழுத்தே ஆகும் Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam. In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale. But more than all these, what leaves one wonder struck is his definition of Gruha Bedam-tonic shift. He calls this as ‘Kural Thiribu’. He says ‘if the Thuththam(ri) of Mohanam is the base, it would give Madhyamavathi, if the KaikkiLai(ga)is the base it would give Hindolam, the ILi(pa) would give Sudhha Saveri and the ViLari(dha) Sudhha Dhanyasi’. Is it not amazing that somebody in the Tamizh land defined all these as early as the 5th century?Bottom of Form ‘MaNimekalai’- considered to be an offshoot of ‘Silappathikaaram’ since MaNimekalai was the the daughter of Madhavi and Kovalan- also talks a lot about the dance. Written by ‘Seeththalai Saaththanaar’, the text mentions about Tala Aruthi,the eleven different forms of dance-as already mentioned in detail in ‘Silappathikaaram’-the two forms of ‘Kooththu’ and the existence of a grammar book on ‘Bharatam’. In another major text, ‘Seevaka ChintamaNi’, the chief protagonist, Seevakan himself is a dancer. Sources: Mr. Rajendra Kumar who acknowledged the information provided by Prof.Raghuraman in the book titled ‘Tamizhar Natana Varalaaru’. Here are a few websites that you may access for further reading www.thinnai.info/downloads.php - for downloading Tamil Documents tamil.net/projectmadurai/- Project
Thankyou Mr.Tejas Mallela..simple and reachable..i think there is a small typo at the end of video..G# instead of C# in mayamalavagowla..correct me if I'm wrong..im jus a beginner
Hi my daughter is year she is learn carnatic music she is learn just lesson 14 sarali varisaigal but she don't no what is sruthi pls help me how to teach her about sruthi, she can't find out sruthi different, she told me this sound is just like ummmmmmmm thats it
Thank you for the amazing tutorial! 1 question - Is Mayamaulava gowla raga in g scale and shankarabaranam in c scale? Or are the terms "scales" and "raga" unrelated? Do "scales" and "sruthi" mean the same instead?
How can we relate western music notes in Carnatic music.I mean watt will be C or D or F notes in Carnatic music.can we say C note as SA ,D as RI ,E as Ga........like this can we relate?.
No, the western notes you mention have fixed frequencies. The Indian system is where any frequency can be the tonic note, Sa. Once that is set, the rest of the notes emerge certain ratios away. But if C is sa, D is the higher ri, chatushruti rishbham; and G is the panchamam.
From what I can tell from this video, is that in the Indian system, the Sa, is like a moveable DO. If you know your solfeggio. do, re, mi fa, sol, la ti do, you can sing in any key/everything relates to whatever Sa (Do) that you set. Sa is Do, Pa is sol or the dominant or the fifth. The lower and upper case versions of each note appear to correspond to half and whole steps, like when you use ri instead of re to raise it a half step or te to lower ti a half step. If you happen to set do as c, then re would be d natural while ri would be d sharp.
You could try doing it backwards by mapping a Carnatic scale to western notes, but depending on the instrument you’re playing, it might not sound right at all because Carnatic music uses a set of 22 whole-number-ratio intervals from the tonic and Western music uses a scale of 12 equally-spaced notes. But if you want to see what I mean, the basic Ab Mayamalavagowla scale he played was almost Ab-Bbb-C-Db-Eb-Fb-G or G#-A-B#-C#-D#-E-Fx and the Shankarabharanam scale is basically the Western major scale.
Somehow th second option sounds like th western c scale? I find it out of tune once you hear th .. first option.. And it s been th only scale iv used being from Spain.. But now that iv discovered this other one..wow.. another realm for th ears..
I've humble request for help, whats the usage and the mothode for the detection of these 7 notes. If there is a song somebody is singing then how may i know where is he using sa or ma etc... Plz ans my question or grant me any contact number please...
There are indeed 12 Swara- Sthanas (note places) but they are viewed as 7 notes. At a simplistic level it is like how an alphabet might have 2 sounds depending on context, but yet the alphabet is the same. Scales (or ragas) are viewed as being complete when they have different combinations of these 7 swara-sthanas. It is interesting to note that most musical systems around the world use 7 musical notes in an octave (called Heptatonic scales).
True, but natural languages are known to be fuzzy and context-dependant. In fact, different English-speaking people like American, English, Australians, Scots etc often pronounce the same vowel differently in the same word. shAstrIya sangIt should be more precise and rigorous. Since a singer cannot just interchange M1 to M2 as they wish, under most conditions, they should be regarded as different. That was my point. Thanks for taking the time to reply. Regards, Murthy
Sankaran Murthy Music too evolves naturally to an extent greater than most people would like to imagine. Just as there are battles for standardization in language, there are debates about standardization in music.In any case in theory and practice there are 7 swaras and 12 positions in an octave.
I've humble request for help, whats the usage and the mothode for the detection of these 7 notes. If there is a song somebody is singing then how may i know where is he using sa or ma etc... Plz ans my question or grant me any contact number please...
Mobile Service that ability is called swara gyanam, to be able to figure notes by ear. One needs to learn music and work at gaining that ability. It is not something you can learn otherwise.
Nandree, for your clear and simple explanation! I am sending your video to my Turkish Mevlevi Music teachers who wonder how I am managing their music !
I have been able to master and sing gratefully since 2011 ,Turkish Music, even though I cannot read Western music notes. Strangely they teach Western style which fails miserably in interpreting nuances in note transitions.
My background in Karnatic and Hindusthani music then simply by acute listening and then reproducing made it happen. When I have trouble in catching certain nuances, I find by figuring svara patterns in them I always get them. Similiarly being trained in teaching Kerala Natanam and Bharatanatyam I find that when I play "usuls" on the bendir drum I am falling back on vaithaari/cholkettus.
All praise to and long live Bhaaratheeya Shaastriya Sangeetham
Once again, thank you.
An excellent teacher of music with clarity in what he wants to convey.
Thank you for these! I'm relearning violin after a hiatus of a few years. Ive decided on learning to play a different style (classically trained in western style). After deciding to work within the carnatic system i found your channel and everything youve posted has been exceptionally helpful!
This is so cool...
As a singer I am inspired by so many different cultures...
I REALLY wanna learn this...😌❤🙌
Lovely... Very clear and easy to understand... Thanks a lot for this video brother...
Very useful for beginners. Thoughtfully explained.
please upload more videos about voice techniques and music theory! you explain things excellently, i feel like i understand it much faster when you teach it :)
Tejas, could you please do another video on the swara sthanas by singing each note separately with explanation? There is still some confusion between r R, g G, d D, n N and the overlaps of R g, D n... You have a very nice and logical way of explaining and demonstrating. Would really appreciate your input. it would be very helpful to everyone. Thank you.
What a great teacher u r expecting more videos for the beginers...
Excellent Tejas.Basics explained well
Thank you so much continue please 🙏
It was very helpful sir!
Wow..great video
why aren't you doing more videos? please do it!
Very useful for beginners, thank you so much
Bharatanatyam and carnatic music have their roots in tamil SATHIR AATTAM AND TAMIL PAN. “It is a well - known fact that Tamizh language is one of the oldest languages in the world. Not only is it old but also it is very rich in literature.
But what makes Tamizh unique and special is that it has survived the ravages of time and is still spoken by millions of people across the globe.
Dance and music (or for that matter any form of fine arts) has always been part of Tamizh culture.
‘Tholkaappiyam‘, the authentic work on Tamizh Grammar that was written in 500BC by Tholkaapiyar-considered to be a student of the great sage ‘Agaththiyar’ mentions a lot about classical dance.
Starting from Tolkappiyam, many texts like Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance.
‘Pancha Marabu‘by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya,kooththu,,naatyam.It also describes the letters to be used for jathis-tha,thi,tho,ki,k.
Then there is ‘Kooththa nool‘ authored by Saaththanaar. This is the oldest available text on the grammar of classical dance.‘Kooththa Nool’ has two sections, ‘Suvai’ and ‘Thogai’ with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord.
It also says that ‘Om’ is the beginning and the end for everything.
The author seems like a good psychiatrist, philosopher and most importantly an intellectual.
The link between human life and the Nava Rasaas have been described in detail by the author.
Here is a verse form Koothanool. Tastes emerge from the feelings within and these are expressed as dance. Feeling is the soul, Taste is the Mind, and expression is the body’.
அகம்உயிர் ஆகச் சுவைஉளம் ஆக
இழைஉடல் ஆக இயல்வது கூத்து.
It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now. And this is applicable to any art form.
However, ‘Silappathigaaram‘-one of the five major epics in Tamizh-is considered to be a complete book on classical dance. ‘Silappathikaaram’ gives a perfect description about Classical Dance and Music..In the words of the Czech Professor Dr.Kamil Zvelebil,
‘‘The epical poem of Silapathikaaram which by its baroque splendour and by the charm and magic of its lyrical parts belongs to the epic masterpieces of the world and should be admired and beloved by all in the same was as Poems of Homer, the Dramas of Shakespeare, the Pictures of Rembrandt, the Cathedrals of France and Sculptures of Greece”.
Silapathiikaram Author, Ilango AdigaL has presented this simple but complex story, what attracts a connoisseur is the way he has structured the grammar of Music and Dance.
Though there are lot verses, I am giving below one sample verse that speaks volumes about the quality of the work.
It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’
ஆடலும் பாடலும் அழகும் என்று இக்
கூறிய மூன்றில் ஒன்று குறைவு படாமல்
ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில்
சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி.
However, it is the description about Classical Dance in ‘Silappadhigaaram’ that calls for special mention and appreciation.
Ilango adigaL must have been a perfectionist. The author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’.
He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists.
What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated.
If the verse
எழுகோல் அகலத்து எண்கோல் நீளத்து
ஒருகோல் உயரத்து உறுப்பினது ஆகி
உத்தரப் பலகையொடு அரங்கின் பலகை
வைத்த இடை நிலம் நாற்கோல் ஆக
ஏற்ற வாயில் இரண்டும் பொலியத்
தோற்றிய அரங்கினில் தொழுதனர்
gives the desired dimensions of a stage,
தூண் நிழல் புறப்பட மாண் விளக்கு எடுத்து ஆங்கு
ஒருமுக எழினியும் பொருமுக எழினியும்
கரந்து வரல் எழினியும் புரிந்துடன் வகுத்து
talks about the lighting.
He then goes on to describe the ‘Pancha Sandhi’ Kavuththuvum-an item that is performed in the beginning to ward off evil forces-and then the 11 different dances called as ‘Pathinoru aadal’..
And that is the reason ILango AdigaL paid importance to music as well while talking about dance.
In just one verse, he gives the names of the seven swaras as per Tamizh PaN.
குரலே, துத்தம், கைக்கிளை, உழையே
இளியே, விளரி, தாரம் என்றிவை
எழுவகை இசைக்கும் எய்தும் பெயரே
சவ்வும் ரிவ்வும் கவ்வும் மவ்வும்
பவ்வும் தவ்வும் நிவ்வும் என்றிவை
ஏழும் அவற்றின் எழுத்தே ஆகும்
Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam.
In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale.
But more than all these, what leaves one wonder struck is his definition of Gruha Bedam-tonic shift. He calls this as ‘Kural Thiribu’.
He says ‘if the Thuththam(ri) of Mohanam is the base, it would give Madhyamavathi, if the KaikkiLai(ga)is the base it would give Hindolam, the ILi(pa) would give Sudhha Saveri and the ViLari(dha) Sudhha Dhanyasi’.
Is it not amazing that somebody in the Tamizh land defined all these as early as the 5th century?Bottom of Form
‘MaNimekalai’- considered to be an offshoot of ‘Silappathikaaram’ since MaNimekalai was the the daughter of Madhavi and Kovalan- also talks a lot about the dance.
Written by ‘Seeththalai Saaththanaar’, the text mentions about Tala Aruthi,the eleven different forms of dance-as already mentioned in detail in ‘Silappathikaaram’-the two forms of ‘Kooththu’ and the existence of a grammar book on ‘Bharatam’.
In another major text, ‘Seevaka ChintamaNi’, the chief protagonist, Seevakan himself is a dancer.
Sources: Mr. Rajendra Kumar who acknowledged the information provided by Prof.Raghuraman in the book titled ‘Tamizhar Natana Varalaaru’.
Here are a few websites that you may access for further reading
www.thinnai.info/downloads.php - for downloading Tamil Documents
tamil.net/projectmadurai/- Project
very nice and useful bro
very nice explanation my friend
excellent and vivid presentation. Are you teaching online also sir?
tq u for nice explaining. .and I have lot interest in carnatic music
Kindly upload video of carnatic violin classes sir
Thankyou Mr.Tejas Mallela..simple and reachable..i think there is a small typo at the end of video..G# instead of C# in mayamalavagowla..correct me if I'm wrong..im jus a beginner
The tonic note (Sa) was set to G# at the end of the video. That isn't a mistake.
great sir............was helpful.... can u post with using of 4 swords and 8 swords also please?
Lovely voice sir.
Excellent class
FELICITĂRI!!!!!
Hi do you teach Harmoinum? I like to learn sound identifying - converting swarms to tune and tune to swaras. Can u help me?
Sir
as you are teaching carnatic music it will be more excellent when you mix gamakas as these are absent in western scale only
Atddsduz
Very usefully explained thankyou so much
How to identify Swara sthanas in a song?
Thankyou for giving notes
Hi my daughter is year she is learn carnatic music she is learn just lesson 14 sarali varisaigal but she don't no what is sruthi pls help me how to teach her about sruthi, she can't find out sruthi different, she told me this sound is just like ummmmmmmm thats it
How to tune a ukelele to th maya malavagawLa???
pls confirm in c scale for shankara baranam whether it is small g or G
Make videos on all raaga
you are such a great!!
Anna, kindly tell hw to frame swaram for a song
Sir explain about sapthaks
Thank you for the amazing tutorial! 1 question - Is Mayamaulava gowla raga in g scale and shankarabaranam in c scale? Or are the terms "scales" and "raga" unrelated? Do "scales" and "sruthi" mean the same instead?
How can we relate western music notes in Carnatic music.I mean watt will be C or D or F notes in Carnatic music.can we say C note as SA ,D as RI ,E as Ga........like this can we relate?.
No, the western notes you mention have fixed frequencies. The Indian system is where any frequency can be the tonic note, Sa. Once that is set, the rest of the notes emerge certain ratios away. But if C is sa, D is the higher ri, chatushruti rishbham; and G is the panchamam.
From what I can tell from this video, is that in the Indian system, the Sa, is like a moveable DO. If you know your solfeggio. do, re, mi fa, sol, la ti do, you can sing in any key/everything relates to whatever Sa (Do) that you set. Sa is Do, Pa is sol or the dominant or the fifth. The lower and upper case versions of each note appear to correspond to half and whole steps, like when you use ri instead of re to raise it a half step or te to lower ti a half step. If you happen to set do as c, then re would be d natural while ri would be d sharp.
You could try doing it backwards by mapping a Carnatic scale to western notes, but depending on the instrument you’re playing, it might not sound right at all because Carnatic music uses a set of 22 whole-number-ratio intervals from the tonic and Western music uses a scale of 12 equally-spaced notes.
But if you want to see what I mean, the basic Ab Mayamalavagowla scale he played was almost
Ab-Bbb-C-Db-Eb-Fb-G or G#-A-B#-C#-D#-E-Fx
and the Shankarabharanam scale is basically the Western major scale.
super explanation thank you very much sir
wow useful video to learners
so great! thanks
Does this relate to the seven chakras?
Nice explanation
Will try to put this into the next drone song. Thanks!
Why S is represented as S and S' (dot above it)
It represents higher octave
thank you it was sooooooooooo helpful
Great
sir what music name starting plz tell me....
srujan gm That's a small bit of alapana I played in the raga Shankarabharanam.
raga so good
thank you so much replaying...
PLEASE TELL R1 R2 or G1G2
Baga explain chestunaru
Somehow th second option sounds like th western c scale? I find it out of tune once you hear th .. first option..
And it s been th only scale iv used being from Spain..
But now that iv discovered this other one..wow.. another realm for th ears..
Logically explained
Are teaching online class?
Namasté..!!! Muchas gracias...
Well done!
Thank you ji
very good lucid
Thank you.
I've humble request for help, whats the usage and the mothode for the detection of these 7 notes. If there is a song somebody is singing then how may i know where is he using sa or ma etc...
Plz ans my question or grant me any contact number please...
Still don't difference between the r,R gG etc
Merci
sir wii learn on line classes
Guruji 🙏
Well explained
spt swr vdo next vdo bidi sir
🙏
Lk dn I love sangeetham
thanks
thankyou
Helpfull
02:44..ooo..l see now..u v mentioned tht..
Oo dear...th western scale now hurts th ears...sooo wierd..
So there are actually 12 swaras. No problem, why call them saptaswaras then?
There are indeed 12 Swara- Sthanas (note places) but they are viewed as 7 notes. At a simplistic level it is like how an alphabet might have 2 sounds depending on context, but yet the alphabet is the same. Scales (or ragas) are viewed as being complete when they have different combinations of these 7 swara-sthanas. It is interesting to note that most musical systems around the world use 7 musical notes in an octave (called Heptatonic scales).
True, but natural languages are known to be fuzzy and context-dependant. In fact, different English-speaking people like American, English, Australians, Scots etc often pronounce the same vowel differently in the same word. shAstrIya sangIt should be more precise and rigorous. Since a singer cannot just interchange M1 to M2 as they wish, under most conditions, they should be regarded as different. That was my point. Thanks for taking the time to reply. Regards, Murthy
Sankaran Murthy Music too evolves naturally to an extent greater than most people would like to imagine. Just as there are battles for standardization in language, there are debates about standardization in music.In any case in theory and practice there are 7 swaras and 12 positions in an octave.
there are seven swaras and twelve swarasthanas
Can I have your number please?
modify your accent, slow down your English, speak clearly, so NRI children can understand....
I've humble request for help, whats the usage and the mothode for the detection of these 7 notes. If there is a song somebody is singing then how may i know where is he using sa or ma etc...
Plz ans my question or grant me any contact number please...
Mobile Service that ability is called swara gyanam, to be able to figure notes by ear. One needs to learn music and work at gaining that ability. It is not something you can learn otherwise.
Well it depends: are you trying to identify the notes in Carnatic music, or in pop songs on the radio?