SAMPADA Level 2 (copy)

purvangam

first part

uttarangam

last part

pallavi

rendering of sahitya to any raga or tala

graha swara

beginning notes of any raga/swara phrase

sama graha

talam and the song start simultaneously

anagata graha

tala starts first, then song

ateethagraha

song starts first, then tala

amsa swara

dominant swara that is frequently used
(also known as jiva swara)

vadi swara

the king note of the raga

nyasa swara

the ending note of a raga/phrase

vinyasa swara

ending note of each phrase of raga alapana

apanyasa swara

intermittent ending note of raga alapana

sanyasa swara

ending note of last phrase of raga alapana

samvadi swaras

concordant intervals

* ex. Suddha R to suddha D
* prime minister to vadi

vivadi swaras

Suddha Gandhara

Shatsruti Rishabha

Suddha Nishada

Shatsruti Dhaivata

anuvadi swara

a note following a vadi swara

gati/nadai

movement of a tala indicating the subdivisions of a beat

* tisra, chaturasra, khanda, misra, sankeerna

chittaiswara

artistic swara phrases in 4-8 avartams that enhance a kriti

madhyama kala

medium tempo

sangati

melodic variation on a musical theme of a composition to bring out a raga
- the repetitions of a pallavi...

teermanam

mathematic, aesthetically woven bunch of svara configurations that give a good ending
- ending phrase

muktayi swaram

Combination of aesthetic patterns of either jatis (to end a composition) or svaras to end an alapana

swara

a musical note that "pleases the minds of the listeners" bc of innate upper harmonics

S

- shadjam
- born out fo 6 places in the mouth
- peacock

R

* shuddha rishabham
* catusruti rishabham
* \[shatsruti R\]
* bull/cow

G

- [shuddha Gandaram]
- sadharana G
- antara G
- bliss/fineness
- goat

M

* madhyama
* suddha M
* prati M
* middle note
* heron

P

panchamam
- "5th note"
- nightingale

D

- shuddha daivatam
- catusruti daivatam
- [shatsruti D]
- valorous
- horse

N

- [shuddha Nishadam]
- kaisiki N
- kakali N
- "ultimate note"
- elephant

vivadi swaras (specific)

- shuddha G --\> catusruti R
- shatsruti R \---\> sadharana G
- shuddha N --\> catusruti D
- shatsruti D --\> kaisiki N

raga lakshana

the features of a scale

raga’s primary features

* murchana (arohanam/avarohanam)
* origin
* type of scale

raga’s secondary features

* history
* prayogas
* important swaras (graha, amsa, etc.)

Mayamalavagowla history

from ramamatya's swaramelaKalanidhia

Mayamalavagowla
janaka/janya

* janaka raga
* 15th melakarta, 3rd in agni chakra
* sampurna raga

Mayamalavagowla Murchana/Swara sthanas

Arohanam: S R₁ G₃ M₁ P D₁ N₃ Ṡ

Avarohanam: Ṡ N₃ D₁ P M₁ G₃ R₁ S

Mayamalavagowla important swaras

amsa: G, P, S
nyasa: G, P, S
vadi: S
samvadis: SM, SP, RD, GN, MS, PS

Mayamalavagowla
prayogas

* janta and datu sancaras add beauty
* tristhayi raga
* full of bhakti and peace
* sung in the morning

Mayamalavagowla
special features

- symmetrical chords in utharanga and purvanga
- murchana raga (can generate another raga when tonic is shifted)
- when ma is S, it becomes simhendramadhyama
- janyas: malahari, goula

Mayamalavagowla
compositions

Sarali, janta, alankaras, and datu varsai Tulasidala by Tyagaraja and meru samana by tyagaraja

Malahari history

- raga mentioned very early on

Malahari janaka/janya

janya of mayamalavagoula

* audava shadava
* krama raga (str8 up and down)
* varja: N

Malahari murchana/swarasthanas

Arohana: S R1 M1 P D1 S

Avarohana: S D1 P M1 G3 R1 S

Malahari important swaras

- rakti raga (very attractive)
- graha: R, M, D, S
amsa: M, P, D
vadi/samvadi: R-D
nyasa: P D

Malahari special features

Known as a morning raga bringing out a sense of calmness
Lot of scope for swarakalpana
Ascribed to the rainy season, meaning "purifying"

Malahari compositions

\
* gitams: sri gananatha (purandaradasa), kundagowla, kereya neeranu
* varnam: vara siddhi
* kriti: panchamatanga (dikshitar)

Mohana history

- existed since 10th century
- one of the first audava ragas

Mohana janaka/janya

- janya of meca kalyani (65)
could also be janyam of shankarabharanam (29) or harikambhoji (28)

Mohana murchana/swaras

* audava raga
* *arohana* : S R₂ G₃ P D₂ Ṡ
* *avarohana* : Ṡ D₂ P G₃ R₂ S

Mohana important swaras

graha: all
nyasa: all
amsa: all
varjya: M, N
Vadi: S
samvadi: SP, RP, GD, RD, PS

Mohana prayogas

- janta and datu important
- raga can be rendered to its raga lakshanas at any time
- tristhayi raga

Mohana special features

- rakthi raga, producing moods of love and attraction
- used in poetry, drama
- easy and magnificent

Mohana compositions

- varaveena - gitam
ninnukori - varnam
rama ninnu - tyagaraja
nanupaalimpa - tyagaraja
nagalingam - dikshitar

Kalyani history

one of the 6 most important ragas in carnatic music

Kalyani janaka/janya

- 65th melakarta, janaka ragam
- mecha kalyani
- 5th raga in rudra chakra (11th)

Kalyani murchana/swarasthanas

* sampurna raga
* krama raga
* **Aarohanam**: S R2 G2 M2 P D2 N3 S
* **Avarohanam:** S N3 D2 P M2 G2 R2 S
* only raga that has M2

Kalyani important swaras

graha: SRGPN
amsa: SGMPN
nyasa: RGDN
vadi/samvadi swaras: SP, RP, RD, GN, MN, PS

Kalyani special features

- Very auspicious raga that can be sung at any time
- Supposed to be "bravery inducing"
- Tonic note shifting (murchana kaaraka mela raga)
- tristhayi raga
- popular janya ragas: saranga, hamirkalyani, yamunakalyani

Kalyani musical compositions

- kamala jadala - gitam
- vanajakshiro - varnam
- vanajakshi ninne - varnam
- amma ravamma - tyagaraja kriti

Sankarabharanam history

- formerly called ranjani
- has shadja P and shdja madhyamasamvaadi
- major scale in western music

Sankarabharanam
janaka/janya

- melakarta 29
- 5th raga in 5th cakra (bana cakra)

Sankarabharanam
murchana/swaras

Arohanam: S R₂ G₃ M₁ P D₂ N₃ Ṡ

Avarohanam: Ṡ N₃ D₂ P M₁ G₃ R₂ S

Sankarabharanam
important swaras

graha: S M G
amsa: GPS
jiva - G
nyasa: G P S

Sankarabharanam
prayogas

- can be sung without s
- janta and datu
- madhyama is unique

Sankarabharanam
special features

- Very robust raga with a shit ton of compositions
- Used to create nottu swaras by dikshitar
- One of the major six ragas
- Can be sung without any gamaka
- janyas: aarabhi, bilahari, kannada

Sankarabharanam
compositions

- saami ninne - varnam
- manasuswadhina - tyagaraja
- yendukupeddala - tyagaraja

Kambhoji history

- existed since 7th century
- referred to as thakkesivan

Kambhoji
janaka/janya

- bhashanga (has swaras not in its janaka)
- 28th melakarta harikambhoji is parent

Kambhoji
murchana/swaras

Arohana: S R2 G3 M1 P D2 S

Avarohana: S N2 D2 P M1 G3 R2 S (N3 P D2 S)

Kambhoji
important swaras

amsa: MDN
nyasa: G M P D

Kambhoji
prayogas

- PDMG is a big one
- a lot of alapana
- very auspicious raga

Kambhoji
compositions

- mandaradharare - gitam
- pankajakshi - varnam
- sarasijanabha - swathi thirunal
- emayya rama - krithi

Hamsadhwani history

- dikshitar's invention
- means sound of a swan

Hamsadhwani
janaka/janya

- janya of 65th (mecakalyani)
- also possibly of shankarabharanam

Hamsadhwani
murchana

* **Arohanam:   S R2 G3 P N3 S**
* **Avarohanam:   S N3 P G3 R2 S**
* Audava raga

Hamsadhwani
important swaras

graha: all
jiva: all
nyasa: all
vadi: all
samvadis: SP, RP, GN, PS

Hamsadhwani
prayogas

- good starting raga for any event
- V auspicious
- janta and datu as per usual

Hamsadhwani
special features

- rakthi raga
- bhava yukta \-- used for devotion and evotional
- used in singing poetry, dramas, harikathas, and film music
- identified with ganapati

Hamsadhwani
compositions

jalajakshi - varnam
vinayakaninnu - veena kuppayer
vatapi ganapatim - dikshitar

Vasanta history

- ancient, mentioned in sangita ratnakara
- existed before 72 melakarta scheme
- same as carnatic twinkle twinkle star

Vasanta
janaka/janya

- janya ragam of 17th melakarta suryakantam
- audava/shadava
- varjya raga, missing P R on arohana and P in avarohana
- upanga raga

Vasanta
murchana

\
* Could also be vakra (non linear) by saying smgmdns
* arohana : S G₃ M₁ D₂ N₃ Ṡ
* avarohana : Ṡ N₃ D₂ M₁ G₃ R₁ S

Vasanta important swaras

graha: SGMD
amsa: SGMD
vadi/samvadi: SM, GD, MN, MS
raga chaya: GMDN
nyasa: M D

Vasanta
prayogas

Smgm is the main prayogads
G and D (dheergha swaras - long held notes) gives this ragam beauty

Vasanta
special features

- Very bhakti based raga
- Auspicious, evemning raga
- Also one of those translatory ragas

Vasanta
musical compositions

- sitamma mayamma - tya
- tillana - pallavi seshayyar

Suddha Saveri murchana

* *Arohana* : S R₂ M₁ P D₂ Ṡ
* *Avarohana* : Ṡ D₂ P M₁ R₂ S

(audava-audava)

Hindola history

- one of the more popular ragas
- in many annamacharya songs

Hindola
janaka/janya

- janya of 20th melakarta natabhairavi
- could also be of hanumathodi
- audava/audava
- varjya
- upanga, krama,

Hindola
murchana

**Arohanam:   S G2 M1 D1 N2 S**

**Avarohanam:   S N2 D1 M1 G2 S**

(samajavaragamana, mamavathusree)

Hindola
important swaras

graha: SMN
amsa: all
vadi/samvadi: SM, GD, GN, MN, MS
nyasa: M, also gdn
raga chaaya: GMDN

Hindola
special features

- has svarupa
- bhakti raga
- can do translating thing
- allows for gammakam

Hindola
musical forms

- manasija varnam
- samaja vara gamana - tyagaraja
- nirajakshi - dikshitar
- samagana lole - balasubramanian

sthayi

singing a swara verse of straight S's

arohi

notes in regular ascending order

avarohi

in descending order

sanchari

mix of all three types of singing

tana varna
intro

- practiced after gitams and swarajathis
- branch of ragam, tanam, pallavi

tana varna
characteristics

- include special prayogams
- sahityam about bhakti or love
- balance in purvanga and uttaranga
- to be practiced in three speeds
- graham of tana varnam is sama graham of tala