Carnatic raga
It has several components: a primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka), and important tones.
Example of melakartha ragas are: Shankarabharanam, Kalyani, Natabhairavi, Chala Nattai, Harikambhoji, Kharaharapriya, Mayamalavagowla, and Chakravakam.
Examples of Upanga ragas are: Malahari, Mohanam, Begada, Shriragam, Hamsadhvani, Vasanta, Janaranjani, Hindolam, and Todi.
There are different types of swara sthayis, or note pitches, that lead to the total number of melakartha ragas.
If we label these swaras as Sa, Ra, Ri, Ru, Ga, Gi, Gu, Ma, Mi, Pa, Dha, Dhi, Dhu, Na, Ni, Nu.
Auḍava rāgas are janya ragas that have exactly five notes in ascending and descending scale (arohana and avarohana).
Examples are : 1)Mohanam (S R G P D S. S. D P G R S) 2)Hamsadhwani (S R G P N S. S. N P G R S) Shadava rāgas are janya ragas that have exactly six notes in ascending and descending scales.
A Carnatic raga has several components - a primordial sound (nāda), tonal system (swara), intervals (shruti), scale, ornaments (gamaka) and important tones (vadi and samvadi).
[2] The Carnatic tonal system consists of seven basic pitches, expressed by the solfa syllables: Sa (shadja), Ri (rishabha), Ga (gandhara), Ma (madhyama), Pa (panchama), Dha (dhaivata) and Ni (nishadha).
Gamaka encompasses controlled shaking, articulating, sliding, glottal stops and other vocal or instrumental manipulation.
[11] Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).
[12] Kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place (idam) in the tala cycle.
[14] Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.
On the other hand, these swaras are more elongated in Nayaki, as illustrated in the pallavi of Muttusvami Dikshitar's famous composition, RanganayakamBhavayeham.
The Harikatha tradition, which originated in the Indian state of Maharashtra, involves popular storytelling combined with dance and music.
Krishna Bhagavathar, an exponent of Carnatic music, is responsible for creating the South Indian harikatha style - singing in raga, dancing with tala, and narrating stories in a manner that sustains the attention of the audience.
In effect, Harikatha is an art form that requires knowledge of raga, Carnatic music, dance, speech, diction and dramatic technique.
[15] In Indian classical music, ragas are precise and well organised melodic structures which have the capability to evoke distinct moods and emotions.
