A Scale is a set of 7 notes in a proper order and interval. Or a scale is a set of 7 notes with predefined intervals. The distance between each note is called as interval. It is true that scales and ragas are not same. Apart from having seven different notes, there are not many similarities. There is a huge difference between a scale and raga in tonal quality or the sound density.
Melody and rhythm are the common grounds for music, be it western or Indian. Indian music is essentially monophonic single melody format or homophonic while Western music can be polyphonic multiple notes played or sung in harmonized arrangement , monophonic or a combination of both.
Western classical music is based upon the equal tempered scale, and rests upon melody, harmony and counterpart while swars and taalas are the two basic components of Indian classical music. Swars are the twelve notes and the intervening semitones, while a taal is a cycle of beats, starting with a stress point called the sam and ending with a release point called the khali. The original form was that of a pedal organ. The harmonium is a reed organ, with bellows that are operated by hand.
Over the years many vocalists preferred to be accompanied by the harmonium. The role of the Harmonium is to provide a backup for the main melodic line, thus endowing it with a sort of strength and an added dimension.
Before playing the harmonium instrument it should be placed on a stool alongside of which the vocalist may sit or on a chair of equal height. Or if the gathering of listeners is organized on a carpeted floor, the instrument may be put in front of the vocalist. Now we will again present a brief summary of our lessons as given below: 1. Harmonium and Keyboard are similar for Indian music so these lessons are equally suitable for both instruments.
For Harmonium we have to blow air all the time when we play. For Keyboard we have to select the best sound out of or more available. Suggested sounds are Flute, organ, Clarinet, Reed etc. Every Keyboard is different; therefore please select your sound of Keyboard yourself. For Harmonium first open at least 3 big knobs and then blower. In some there is straight blower, which is to be opened from both sides, and in other it should be opened only from left.
In Harmonium never blow air until any note black or white is pressed, otherwise air will not be able to go out from anywhere and the Harmonium will start leaking air from sides or anywhere.
Use left hand to blow air and right hand to play keys. Use right hand thumb to play white keys only and adjoining three fingers on black and white keys both. In Harmonium or keyboard thumb is very rarely used on black keys. For Keyboard you need to use right hand only. In these lessons fingering position is same for Harmonium as well as Keyboard. In keyboards as a general rule, an area of about two octaves can do the job of self-accompaniment. What you need is really four notes in the lower octave from your chosen tonic note, and another four notes farther from the upper tonic note taar.
With the key of the tonic note Sa pressed, pull the bellow gently toward yourself, with the left to get the sound of this note. Along with the sound of this tonic Sa note try to sing your song at this moment, by aligning the tune with the tonic note. Make a judgment of the pitch of the song in high as well as low places on the keyboard. Feel your way while singing; by touching the suitable keys on the harmonium with those notes, which are related to the song, you want to sing.
At this point, the touching of fingers will produce two kinds of sounds. One kind, which resemble the elements of your song and the second kind, which do not resemble. In fact second kind tones will sound boring, so you should avoid and pass over them.
As with solo alone playing of the keyboard, the fingers are made to skip over the notes besides other techniques, with self-accompaniment. The same fingering is done by a method called legato in modern musical terminology which implies constantly keeping pressed one of the appropriate keys along with singing, like a continuous flow of sound tones, exactly as a church organ.
In this way you will produce sound effect of a harmonium in your keyboard while practicing sargam. With a little practice, the fingers will get accustomed, to synchronize with the vocal sounds controlled by the mind. You get better knowledge of the technique of playing harmonium, before the actual accompaniment. Also a teacher, if available in the neighborhood, can help a lot to give a fairly good start or watch video lessons. In Indian Classical music 3 saptaks Octaves are usually utilized.
It is called Madh saptak middle octave. This has got no symbol in the notation system and is notated as simple S. Taar Saptak: The one higher than Madh Saptak is a taar saptak high octave. The notes are high and sharp.
Taar saptak is in right side of middle saptak and with a sign of apostrophe on right side e. Notes of this octave are sung or played in a low deep tone. This comprises of the saptak that is below the lower Sa. Notes of this saptak are indicated by a sign of apostrophe on left side e. In these saptak octave the Sa gets repeated after the Ni. The Frequency of the second Sa is twice the frequency of the first Sa. The second Sa is termed as Taar. In some keyboards from this Taar the same saptak gets repeated But this time at twice the frequency of the respective swar The Indian musical scale is said to have evolved from 3 notes to a scale of 7 primary notes, on the basis of 22 intervals.
A scale is divided into 22 shrutis or intervals, and these are the basis of the musical notes. These 7 notes of the scale do not have equal intervals between them. A Saptak is a group of 7 notes, divided by the intervals as given below: Sa Re Ga Ma Pa Dha Ni 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 The first and fifth notes Sa and Pa do not alter their positions on this interval. The other 5 notes can change their positions in the interval, leading to different ragas.
Just as the English word "alphabet" is derived from the Greek letters "alpha, beta", in the same way the word "Sargam" is derived from "Sa-Re-Ga-Ma". Sa, Re, Ga, Ma, is simply the initial notes swar of the Indian musical gamut. Musical notes are chosen by certain names. However, the names do not refer to notes of fixed absolute pitch. Having decided on the schedule and key in which the performance is to take place, the singer or musician determines the pitch, which will be the fundamental pitch, and designates it as the first note of the octave, calling it by the label " Sa ".
In addition there are of course certain notes that are komal flat or tiver sharp versions of some of these. Mandr saptak is situated in extreme left of harmonium or keyboard and notes of mandr saptak have a sign of apostrophe on left side e.
Middle saptak is without any sign and taar saptak is in extreme right. Notes written in taar saptak are shown by a sign of apostrophe on right e. Full twelve tone scale in all three saptak We will use as the fundamental note the C which lies in middle octave in western system. This will correspond to Sa in madh saptak of Indian system. Many male vocalists will use C or D as their fundamental starting note. Female vocalists tend to place their fundamental somewhere in the range from F to A.
Female sound pitch is higher than male. Lowercase small letters are shown as "komal" or flat notes, and the uppercase capital letters are shown as "tiver" or sharp.
All notes except for Sa and Pa have an alter ego, whose nature is either komal or tiver. Sa and Pa are never sharp or flat. As tiver or "bright" Ma is written with an upper case M. Shuddh Ma, however, is written with a lower case m. It is the only note ever referred to as sharp. However, C, C are commonly used as Sa. Most persons prefer to play music from the western C as their starting point. In other words, they select Sa from C , which is a common expression which is easy to remember.
It is suggested to use C if you are beginning to play harmonium or keyboard as a student of music for simplicity and ease. After learning you may start playing from any note and corresponding notes will change according to our chosen khraj note.
Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, and modulation. When you have a basic understanding of the notes of a sargam, it will help you sing and play better.
You will need the following: A good teacher is essential because this person will correct your mistakes and set a good example to follow. Your teacher should be someone capable of performing and have a good reputation for teaching.
Treat your teacher with respect and consideration at all times, even when you are no longer learning from him. Instrumentalists must be sure to learn from both a vocal and instrumental teacher. From the instrumental teacher you will learn techniques and from the vocal teacher to implement these techniques as though your instrument is singing the words. It is not enough to just attend a class once a week.
Practice everyday, even for as little as half an hour. For those who wish to be performers, weekday practice should be hours.
You must be ready to listen carefully to your teacher and to other performers. Listening to great recordings of old semi-classical will help you learn faster. Attend concerts as well. On the keyboard, the area S through N is called a saptak an octave. The lower octave is situated to the left of the middle; the upper octave is situated to the right of the middle octave. Again, this is clearly shown in the diagram above. A note belonging to the middle octave has no sign when represented on the paper; for example, the Pa of the middle octave is represented simply as: P.
The note belonging to the lower octave has an apostrophe to its left. Thus, for example, the Pa in the lower octave is represented as: 'P. The note belonging to the higher octave has an apostrophe to its right. Thus, for example, the P in the higher octave is represented as: P'. The 36 keys of harmonium represent the notes in all three octaves. In keyboards there could be additional higher saptak or additional lower saptak that cannot be used in singing a song due to their higher or lower pitch of sound.
The rule of achal, fixed tiver and komal will apply to all three octaves as given below. There may be five saptaks in a keyboard. The saptak to the extreme left of the keyboard is for playing chords and to the extreme right is one additional taar saptak but with very sharp voice. We can also play melody in chords saptak or rhythm section of a keyboard but the sound of melody will produce base sound.
The chords saptak and extra taar saptak is not perfect for playing melody of a song due to its higher and lower pitches of sound. In a complete saptak there are 12 notes, which are seven white keys and five black keys.
In a harmonium there are three saptak and 36 keys but in a professional keyboard there are commonly five or four saptak and notes. It should be noted that while playing songs you will only deal with three saptaks and for chords you will use chords saptak that is located to the extreme left of keyboard. Most of the songs start in madh or middle saptak. Achal means fixed notes without saathi notes. All notes belong to madh saptak by default; they have no sign of apostrophe.
Notes of mandr saptak are preceded by ' sign of apostrophe e. Lastly, a comma , represents a pause between notes. Learn saptak notes system e. Each note in a scale is referred to as a scale degree. Though the scales from musical traditions around the world are often quite different, the pitches of the notes in any given scale are usually related by a mathematical rule.
Scales are theoretical constructs that may be used to control a composition, but much music is written without any scale in mind. Scales may be described as tonal, modal, diatonic, derived or synthetic, and by the number of tones included. The C major scale of western music system is one of the most important scales to start learning because it has no sharps or flats, and is very easy to play on most instruments like piano simply play all the white keys.
The official name of the major scale is Ionian, and belongs to the group of the church scales. Natural white keys of western scale The scale in diagram above, illustrates only "white" keys that are natural notes. As mentioned earlier we have assumed the first white key to be the Sa S. But from now we will use first black key as khraj note for starting point for convenience. You will find that there are 5 sets of black keys in a keyboard.
The first white key is that white key which lies immediately to the left of the first black key. Since there are several sets of 5 black keys, there will also be several "first white" keys. You are going to use only your right hand to play the harmonium. There are total twelve notes in one saptak because five notes also have their saathi notes. Only two notes are called achal notes because they do not have any saathi.
The Achal notes are Sa and Pa. The following five swar have their saathi swars: 1. Dha 5. Ni Sa and Pa are not included in the above-mentioned five swar. The reason is this that their saathi swar do not exist.
Sa and Pa are called achal swar and these achal swars are neither komal nor tiver. Here S and P are called achal or qyme swar which are without komal and tiver saathi swar. When all the swar are tiver in a sargam then it will become the sargam of raga kalyan. In the Sargam of Raga kalyan all swar will be tiver along with Sa and Pa, which are achal swar.
This rule will apply to all three saptak. Below we have shown notes from three saptak. In the Diagram 5 we are beginning from left side. The immediate key just attached to Sa is r with key number 2. With r the next immediate key attached is R with key number 3.
The next key just attached to R is g with key number 4 and so on. The keys attached with each other are shown by numbering 1,2,3,4,5…… In each saptak the specified sequence will be repeated. If you will recognize komal and tiver swar sequence then you will be able to understand thaat and in the end ragas.
Saptak is the complete set of five-komal and five-tiver swar along with two achal swars that are Sa and Pa. So there are total twelve swar in a complete Sargam.
Transpose Option: Transposing keyboards such as transposing harmoniums or electronic keyboards with a transpose function can have a similar effect, but are now usually called transposing instruments. These instruments allow the player to change the instrument's transposition electronically or mechanically. Scale changer harmoniums are called transposing instruments. Singers can change scale with transpose option of keyboard while sing-along music.
With transpose option singers can perform with convenience. If the scale of your voice is higher then first black key, you may press transpose button in keyboard one-step higher.
In this way your voice will synchronize with the scale of keyboard. We can fix any key as our own starting point for singing and playing simultaneously. In harmonium use scale changing option that is available in scale changing harmoniums. If you have taken proper music training and learned your scales well, then you won't need a scale-changing harmonium, as you already know how to play things in different keys. Transposing Or Scale Changing Notes with cross is not to be played Diagram 5 Thaat Bilawal Note: - We can select any key as our khraj note that is Sa and from that position of Sa our key combination will change in each figure as shown in diagram 5, 7, 8, 9.
Some person cannot sing in loud scale so; the musician will select suitable scale for them. Selecting scale means selecting first note elsewhere on a harmonium or keyboard. The name of first note from where we start playing will become the name of the scale. Notes with cross sign XXXX shown here are not for playing and will not be shown in future diagrams of thaat.
The first swar or key attached just after Sa is always komal r shown with cross and with note no. If we do not play notes with cross sign then it will become sargam of thaat bilawal with notes S, R, G, m, P, D, N, S' as shown in diagram 5 above. Or we can write whole sargam as: S, R, G, m, P, D, N, S' Notes with sign of cross is not to be played Diagram 6 We can select any key as our Sa and from that position of Sa our key combination will change in each diagram.
See diagram 6 above. By ignoring notes with cross sign following sargam will be formed again. First swar or key attached just after Sa is always komal r shown with cross and with note no. See diagram 7 above. In a scale all 8 notes are always included, in that order and eighth note is always added in a scale or sargam.
The set of eight notes ascending and descending is called a thaat and thaat produce ragas. The system of classification for the raga in different groups is called a thaat. Thaat system is an "artificial" way to classifying ragas. Classification in thaat system is purely for academic purpose. It is not necessary that Ragas from the same thaat might have same or similar personality. The idea behind thaat is pretty simple.
If one makes various variations of these notes, one can think of 72 different combinations. Hindustani system, however, adds further restrictions on the way these notes are used. It is usually not allowed to use both pure and corresponding flat notes one after the other and since this is an evolved art form and not science, there are always exceptions to such rules.
When such restrictions are factored in, the numbers of thaat reduce to ten. It is important for beginners to practice Kalyan thaat to begin practice with. As they get comfortable with it, they may switch to bhairavi thaat. I also find from my own experience that Bhairav thaat too presents some interesting fingering challenges. If one gets command on these three, the other thaat usually follow pretty easily. If you learn thaat then you can easily learn ragas and can play many songs in keyboard or harmonium.
You can play few songs with thaat but unlimited songs can be produced with ragas and ragas produce beauty. It is easy to play songs in a thaat that contain fixed number of ascending and descending notes.
In a raga there may not be fix number of notes in ascending and descending order so, it is not easy to play songs in the first instance. There are certain rules for representation of thaat.
These rules of classification of thaat are defined as under. A thaat must have seven notes out of the twelve notes placed in an ascending or descending order. Both the forms of the notes can be used. Thaat has only one arohi and one amrohi. Thaat is not to be sung and is for only playing music songs but the ragas produced from the thaat are sung. Thaat is named after the popular raga of that thaat.
For example bhairavi is a popular raga and the thaat of the raga bhairavi is named after the raga. It is worth noting that almost all the ten thaat are also Ragas; and yet a thaat is a very different musical entity from a raga, and in this difference may lie, crucially, a definition of what a raga is or is not.
A thaat is a musical scale, conceived of as a Western musical scale might be, with the seven notes presented in their order of ascent Arohi. Out of ten thaat about 80 ragas are developed and performed these days. But for beginner 30 popular ragas or less are sufficient to bring perfection in learning. Presently in Indian classical music the thaat classifications of ragas is commonly known.
It is important to point out that Bhatkande's thaat-raga theory is hardly infallible, but it is yet an important classificatory device with which to order, and make sense of, a confusing group of Ragas; and it is also a useful tool in the transmission of music to the students.
Practice all ten thaat unless you are very comfortable playing each of them correctly, without looking at the keyboard. Playing a thaat require particular fingering but playing a song of any kind, does not necessarily demand any specific finger placements. So, a particular finger does not play a particular note of the song. After you get familiar with the thaat sargam you may use your fingers according to the ease while playing a song.
However, there is a big, very big difference here. The difference is this: In the thaat, shown above, our playing was restricted to only to middle octave. But the song may take us beyond one octave. So, now, we need to practice in the three octaves, namely, the middle, the higher, and the lower octaves.
For playing a song, the rules are: For ease and convenience of playing you should not run out of fingers whether you are playing to go up right , or to go down left. Try using the first three fingers more frequently, try to reserve the fourth finger and especially the fifth finger for playing the last notes before you have to go descending. This requires that you keep moving your wrist, to the left or to the right as required, so that the fingers get re-arranged conveniently and you always have a finger to reach and play the note required by the song.
By practice, you will formulate your own fingering rules, in addition to given rules. Each Raga has its own scale consisting of minimum five and maximum seven notes swars.
In today's Indian classical music raga is the backbone. The word raga comes from Sanskrit word which means to delight or to make happy and to satisfy.
Here it's necessary to clarify that not all ragas project a happy mood. The raga can produce various moods. Raga is neither a scale, nor a mode. It is, however, a scientific, precise and melodic form with its own peculiar ascending and descending movement that consists of either a full octave, or a series of six or five notes. Raga has its own principal mood such as tranquility, devotion, eroticism, loneliness, pathos, heroism, etc.
Each raga is associated, according to its mood, with a particular time of the day, night or a season. A music, which follows the characteristics of this tradition, is called classical - in opposition to western classical music, where classical means belonging to a period of time approximately from 16th to 17th century. All classical music follows this rule even if some completely different styles exist side by side.
Indian classical music is based on the ragas "colors" , which are scales and melodies that provide the foundation for a performance. Unlike western classical music, that is deterministic, where Indian classical music allows for a much greater degree of "personalization" of the performance, almost to the level of jazz-like improvisation.
Thus, each performance of a raga is different. The goal of the raga is to create a mood of delight. Thus they do not represent mind of the composer but a universal idea of the world. Another difference is that Indian music is monophonic, not polyphonic. Hindustani North Indian ragas are assigned to specific times of the day or night and to specific seasons. Many ragas share the same scale, and many ragas share the same melodic theme.
There are hundreds of ragas, but thirty are considered fundamental. A raga is not necessarily instrumental and if vocal, it is not necessarily accompanied. But when it is accompanied by percussion such as tablas , the rhythm is often rather complex because it is constructed from a combination of fundamental rhythmic patterns or talas. The main instrument of the ragas is the sitar. To develop precisely a raga, the musician needs the presence of a drone, whatever the music. Singers are always accompanied with the taanpura or the harmoniums, which produce the singer's tonic and dominant Sa and Pa.
Classical music is mainly divided into two branches, North and South. North Indian Classical music some people know as Indian in reference of the Hindi speaking region going to Northwest and to the East. Many styles and genres have been developed and encouraged by a family system now called Gharana. These numerous Gharanas all over North India have developed very different styles of music, genres and instruments. What is a Raga? The combination of several notes woven into a composition in a way, which is pleasing to the ear, is called a Raga.
The raga is an Indian scale that utilizes varying ascending and descending patterns — certain notes on the way up and certain notes on the way down — but always in the set sequence.
The raga never has less than five notes that is the minimum requirement for a tune. Each raga creates an atmosphere, which is associated with feelings and sentiments. Any stray combination of notes cannot be called a Raga.
At a more academic level, it is a musical composition that functions within a structure and follows certain rules with relation to the kind of notes used in it. We can assign to a raga certain meta-characteristics. Every raga is said to be born of a Thaat that is its parent. Every raga is composed of notes. A simple combination of notes is not a raga unless it sounds good.
It is also difficult to accurately define what sounds good. Later we will attempt to describe what this means in terms of harmonies and melodies. Minimum of five notes are necessary in a Raga. Therefore a Raga can have five, six or seven notes. There cannot be two notes that are adjacent on the octave in the same raga. But this is not strictly true, as we shall see in case of certain ragas like Lalit where there are two Madhym together.
Every Raga has an Arohi and an Amrohi. The base note Sa cannot be absent from a Raga. The notes Ma and Pa cannot be absent from a Raga at the same time. A raga is also identified by a Vadi main note and a Samvadi second note. The Vadi is a note that is stressed the most in the raga.
The Samvadi is stressed after that. Two Ragas can have the same set of notes but differing vadis and samvadis that then make them different ragas. For instance both the ragas Bhupali and Deshkar have the same set of notes and the same arohi and amrohi but they have differing pakads and also different vadis and samvadis that make them different ragas.
Bhupali has a vadi ga and samvadi dha but deshkar has a vadi dha and samvadi ga. Every Raga has a Pakad that is a set of notes that uniquely identify that Raga. It has been said earlier that a Raga can have five, six or seven notes in the arohi and the amrohi. A Raga sequence arohi or amrohi with five notes is said to be Odho five. A Raga sequence with six notes is called Shadav or Khado six and a raga sequence with seven notes is called Sampoorn since seven notes is the maximum number that the raga sequence can have.
In a raga, notes can repeat. There are twelve notes in the chromatic scale. The seven notes that make up the thaat are picked from these twelve notes. Raga is the basis of classical music. A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave. A performer with sufficient training and knowledge alone can create the desired emotions, through the combination of notes.
Raga' belong to certain classes or categories called thaat. A thaat is defined as that set of seven notes from which a Raga can be made. Odho or pentatonic, a composition of five notes, 2. Shadav Or Khado is hexatonic, a composition of six notes, 3. It is emphasized in various ways, such as stopping for some time on the note, or stressing it.
The ascent and descent of the notes in every raga is very important. Some ragas in the same scale differ in ascent and descent. In every raga, there is an important cluster of notes by which the raga is identified. There are certain ragas that move in a certain pitch and if the pitch is changed, the raga fails to produce the mood and sentiment peculiar to it. According to Indo Pak ancient theory, the musician's task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga.
So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter. Play some classical sounding music and try to see if any particular Raga thrills you. Anything that turns you off completely?
Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece. Is there a piece that moves you? Puts you in a sublime or inspiring mood. Ragas are also allotted a particular time space in the cycle of the day. Time based ragas are divided into four types: 1. Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi.
Mid-day and Mid-night ragas that include the notes ga and ni komal. Ragas for the first quarter of the morning and night that include the notes re, ga, da and ni komal. For the last quarter of the day and night, the raga includes the notes Sa, ma and Pa.
The entire ragas are divided into two groups: 1. Poorvi Ragas 2. Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight. The Uttar Raga is sung between 12 midnights and 12 noons.
This raga classification is about years old and it takes us to Mughals era. The beauty of the raga will not be spoiled by the time of the day it is sung. It is the psychological association with the time that goes with the mood of the raga.
The object of a raga is to express a certain emotional mood and sentiment without any reference to time and season. For a student of classical music, this classification may give an idea as to how to base his reasons for the traditional usage of raga. Classification of ragas under five principals: 1.
Hindol, There are also five ragnis for each class 2. Deepak, 3. Megh, 4. Shri, 5. Maulkauns, From these five ragas, other ragas are derived. The first derivatives of the ragas are called raganis, and each of the five ragas has five raganis under them. There are 25 raganis for the above five ragas. Raganis are female and raga is male. You can guess raganis and raga from the name of the ragas. Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis.
Every raga has a fixed number of komal soft or tiver sharp notes, from which the thaat can be recognized. In other words, a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat. Facts About Ragas: It took a long time for music to come to the form found in present-day India.
The most important advance in music was made between the 14th and 18th centuries. During this period, the music sung in the north came in contact with Persian music and absorbed it, through the Pathans and the Mughals.
It is then that two schools of music resulted, the Hindustani and the Carnatic. Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave. Detailed melodic modes are used in Ragas.
Traditionally, ragas are based on a complex Vedic philosophy of sound. A raga is also basically a set of Vedic-rooted rules for how to build a melody. It specifies rules for movements up arohi and down amrohi the scale, which notes should figure more and which notes should be used more cautiously.
Which phrases to be used and which phrases to be avoided, and so on. The result is a framework that can be used to compose or improvise melodies, allowing for endless variation within the set of notes.
As ragas were never codified but transmitted orally from teacher to student, some ragas can vary greatly across regions, traditions and styles. Indian classical music is always set in raga, but all raga music is not necessarily classical. Many popular Indian film songs are themselves based on ragas.
Raga is the essential concept of Indian classical music. Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics. The concept of raga is proud contribution to the world music. It is defined as melody mould or melody style. The goal of absolute music is reached in the concept of raga. Ragas are the artistic facts that can be recognized by a trained ear. Ragas are acoustic facts and every musician is aware of them.
They are the creative talents of a musician. The ragas form the basis of all melodies in India. Composed by Wolfgang Amadeus Mozart Arranged by Wilhelm Lutz. KV Similar items. JavaScript is required. Allegretto from Symphony No. If you use and like Free-scores. Medias All. Works type All. Original member's compositions. Karg-Elert, Sigfrid : Basic studies in the harmonium Op. Trascrizione per Harmonium Orgue man.
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