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Tuesday, 7 October 2014

Every Online Indian Classical Music Lessons Helps

Best Music Production Schools in California will be discussing Online Indian Classical Music Lessons in  Shuddh Sarang which is a mutual raga that is widely accepted by musicians & lead singers.  As per the name recommends, it is connected closely as a Raga of the Sarang Family Unit.  

The Aaroh & Avroha of this Raga is as under
Ni, Sa, Re, Ma(t), Pa, Ni, Sa’
Sa’, Ni, Pa, Ma(t), Pa, Re, Ma, Re, Sa, Ni, Sa

The upward slope applies Tivra Madhyam, while the downward movement includes natural madhyam in the classifiable style.   It could take place in combination with Rishabh  as Ma or Re which is a distinguishing slide belonging to ragas as a whole of the Sarang Family Line.  Natural Madhyam can also be utilized in any melodic phrase only if it is instantaneously accompanied by Re, as in Ni Sa Re Ma (t) Re.

Even in descendant musical phrase where natural madhyam occurs after pancham, it is abided by  Rishabh.  Tivra Ma & Natural Ma are broadly not be toned in instantaneous chronological sequence without the instance of Re or Pa occurring in between. On the other hand a lot of instrumentalists do take freedom of choice with this standard, as also seen in the signal that encodes sound which has been recorded here.      

The most meaningful musical notes are Re and Pa, whereas Ni, mainly the lower Ni, is the crucial harmonious note for finishing the downward phrases.  Moreover, it could be the beginning note for the upward melody movement.

Dhaivat is considered only in the downward melody slope and likewise implicitly in phrases such as Ma, Pa, Dha, Ma, Pa and Ni, Dha, Sa, Ni. 

Some prominent attributes of phrases are as under:
Ma(t) Re Ni Sa Ni
Ni Dha Sa Ni Re Sa
Re Ma Pa Dha Ma Pa
Ma Pa Re Ma(t) Re

Even though there is a collection containing   variety of   things for this raga, applying flat Ni in add-on to the higher position notes, there is no any common feature as on today’s date.  

Gandhar being absent in Shuddh Sarang keeps it different   from Raga Shyam Kalyan, while the act of including Dhaivat & Tivra Madhyam keeps it Recognizable & Marked from the supplementary Ragas of the Sarang Collection.

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