Bilawal is a raga and basic "thaat" (musical mode) in Hindustani classical music, it is equivalent to which rāga in Carnatic music?
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Bilaval Bilawal is a raga and basic "thaat" (musical mode) in Hindustani classical music. It is equivalent to the Carnatic melakarta raga Dheerasankarabharanam, as well as the Western Ionian mode (major scale) and contains the notes S R G m P D N S' ("see swara for explanation"). The pitches of Bilawal thaat are all shuddha, or natural. Flat (komal) or sharp (tivra) of pitches always occurs with reference to the interval pattern in Bilawal thaat. The Indian national anthem  Jana gana mana is sung in raag Bilawal.
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Dheerasankarabharanam Dhīraśankarābharaṇaṃ, commonly known as "Śankarābharaṇaṃ", is a rāga in Carnatic music. It is the 29th "Melakarta" rāga in the 72 "Melakarta" rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as ""Sarva Gamaka Maṇika Rakti Rāgaṃ"" in Telugu.
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Ragam Thanam Pallavi Ragam Tanam Pallavi is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates "raga alapana", "tanam", "niraval", and "kalpanaswara". In more elaborate ragam tanam pallavis, a "tani avartanam" may follow.
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Dharmavati Dharmavati is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 59th "Melakarta" rāgam in the 72 "melakarta" rāgam system of Carnatic music. It is called Dhaamavati in Muthuswami Dikshitar school of Carnatic music. "Madhuvanti" is the nearest Hindustani music scale to "Dharmavati".
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Tappa Tappa is a form of Indian semi-classical vocal music. Its specialty is its rolling pace based on fast, subtle and knotty construction. Its tunes are melodious, sweet and depict the emotional outbursts of a lover. Tappe (plural) were sung mostly by songstresses, known as "Baigees", in royal courts.
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Sangita Sangita (Devanagari: संगीत , IAST: saṃgīta ), also spelled Samgita or Sangeeta, refers to "music and associated performance arts" in the Indian traditions. According to Guy Beck, the root "saṃ-" implies "combining, coming together, convergent wholesome blending, unison" in the context of musical arts. "Sangita" connotes any form of singing with music, harmonious recitation or chorus singing in particular. In some medieval era literary genre such as the Puranas and poetic texts such as "Kathasaritsagar", a related term "Sangita-shastra" and "Sangita-vidya" mean the "art, science or knowledge of singing and dancing with music". According to Alison Arnold and Bruno Nettl, the modern term music fails to capture the historic sense of "Sanskrit "sangita" and Greek "mousike"". In the Indian tradition, the term "sangita" includes melodious singing, rhythmic dancing, instrumental music, classical, provincial, ritual chanting and incidental forms of music-related performance arts.
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Tarana Tarana or Taranah (Urdu: ‎ , Hindi: तराना ) is a type of composition in Hindustani classical vocal music in which certain words and syllables (e.g. "odani", "todani", "tadeem" and "yalali") based on Persian and Arabic phonemes are rendered at a medium ("madhya") or fast ("drut") pace ("laya"). It was invented by Amir Khusro (1253-1325 CE), and is similar to the Qalbana form of Sufi poetry. In modern times, the tarana is most commonly associated with the singer Amir Khan, who helped popularize it and researched its origins and the syllables used. Tarana was also used by Sikh tenth Guru Sri Guru Gobind Singh in his compositions like "jagardang nagardang bagardang".
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Khamaj Khamaj (Devanagari:खमाज,Urdu: ‎ , Bengali: খাম্বাজ ) is one of the ten Thaats (parent scales) of Hindustani music. It is also a specific raga within the Khamaj thaat.
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Dadra Dadra (Devanagari: दादरा) is either of two separate but originally linked concepts in Hindustani classical music.
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Ramkali Ramkali is a sweet early morning raga in Hindustani classical music which belongs to Bhairav thaat. In this raga, as in Bhairav, second degree (rishabh) and sixth degree (dhaivat) are flat. The vadi-samvadi are P/S, the aroha is S r G M P, G M d N S' and the avroha is S' N d P m P, d (N)d P, G M r S. Flat nishad (seventh degree) and sharp madhyama (fourth degree) are used often.
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Dhanashree Dhanashree is an Indian classical raga that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib.
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Saveri Saveri (pronounced sāvēri) is a Carnatic music ragam. This raga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga brings out karuna rasa, i.e. it brings mood of pity.
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Poornachandrika Poornachandrika is a raga in Carnatic music, classical music of South India. It is a "janya" raga of Shankarabharanam, 29th in the 72 Melakarta ragas.
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Jor (music) In Indian music, the jor (Hindi: जोर, ] ; also spelled jod and jhor) is a formal section of composition in the long elaboration ("alap") of a raga that forms the beginning of a performance. It comes after "alap" and precedes "jhala", the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well-defined rhythmic cycle.
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Multani (raga) Multani is a Hindustani classical raga. The newer raga Madhuvanti was inspired by Multani. Multani belongs to Todi Thaat. It is generally sung in the third prahar of the day, that is, around 1 PM to 4 PM.
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Asa (raga) Raga Asa is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
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Tanam Tanam or Taanam (pronounced tānam) is one of the methods of raga improvisation ("manodharma") in Carnatic Classical Music tradition, suited mainly for vocal music, Violin and Veena.
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Malayamarutam Malayamarutam is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a "janya" rāgam (derived scale), as it does not have all the seven "swaras" (musical notes). This scale is used in Hindustani music in recent years by instrumentalists. This is a morning raga and regularly used in programmes and functions of the mornings.
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List of Indian classical music festivals The following is an incomplete list of Indian classical music festivals, which encapsulates music festivals focused on Indian classical music. The origins of Indian classical music can be found in the Vedas, which are the oldest scriptures in the Hindu tradition dating back to 1500 BC. Indian classical music has also been significantly influenced by, or syncretised with, Indian folk music. There are two divisions in Indian classical music. Hindustani music is mainly found in North India. Carnatic music, from South India, tends to be more rhythdogs have bonessive and structured than Hindustani music. While some festivals such as the Carnatic event Tyagaraja Aradhana (founded in the 1840s) continue to focus on traditional Carnatic classical music, an emergent trend of the past few decades has been that of fusion music, where genres such as khyal and western music are intermixed to appeal
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Gayatri Gayatri (Sanskrit: "gāyatrī ") is the feminine form of "gāyatra ", a Sanskrit word for a song or a hymn, having a Vedic meter of three "pada"s, or lines, of eight syllables. In particular, it refers to the Gayatri Mantra and the Goddess Gāyatrī as that mantra personified.
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Kosalam Kosalam (pronounced kōsalam) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 71st "Melakarta" rāgam in the 72 "melakarta" rāgam system of Carnatic music and is the "prati madhyamam" equivalent of "Shoolini", which is the 35th "melakarta". It is called Kusumākaram in Muthuswami Dikshitar school of Carnatic music.
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Pakad In Hindustani music, a pakad is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the pakad a person who knows the raga is usually able to identify it. In many cases, the ragas contain the same swaras (notes), then the pakad also contains information about gayaki or chalan (the way the notes are to be ordered and played/sung). Usually, the pakad is formed from short convolutions of the arohana and avarohana, while in some cases it is quite different from them. The pakad for a particular raga need not be unique, its sole purpose is to clarify what raga it is.