Tala: Chatusra jati Triputa tala
Raga: Mayamalavagoula
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ss rr gg mm | pp dd nn ss || s*s* nn dd pp | mm gg rr ss ||
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ss rr gg mm | rr gg mm pp ||
gg mm pp dd | mm pp dd nn ||
pp dd nn ss | s*s* nn dd pp ||
nn dd pp mm | dd pp mm gg ||
pp mm gg rr | mm gg rr ss ||
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ss rr gg rr | ss rr gg mm ||
rr gg mm gg | rr gg mm pp ||
gg mm pp mm | gg mm pp dd ||
mm pp dd pp | mm pp dd nn ||
pp dd nn dd | pp dd nn s*s* ||
s*s* nn dd nn | s*s* nn dd pp ||
nn dd pp dd | nn dd pp mm ||
dd pp mm pp | dd pp mm gg ||
pp mm gg mm | pp mm gg rr ||
mm gg rr gg | mm gg rr ss ||
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ss rs sr sr | ss rr gg mm ||
rr gr rg rg | rr gg mm pp ||
gg mg gm gm | gg mm pp dd ||
mm pm mp mp | mm pp dd nn ||
pp dp pd pd | pp dd nn s*s* ||
s*s* ns* s*n s*n | s*s* nn dd pp ||
nn dn nd nd | nn dd pp mm ||
dd pd dp dp | dd pp mm gg ||
pp mp pm pm | pp mm gg rr ||
mm gm mg mg | mm gg rr ss ||
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sm gm rg sr | ss rr gg mm ||
rp mp gm rg | rr gg mm pp ||
gd pd mp gm | gg mm pp dd ||
mn dn pd mp | mm pp dd nn ||
ps* ns* dn pd | pp dd nn s*s* ||
s*p dp nd s*n | s*s* nn dd pp ||
nm pm dp nd | nn dd pp mm ||
dg mg pm dp | dd pp mm gg ||
pr gr mg pm | pp mm gg rr ||
ms rs gr mg | mm gg rr ss ||
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mm gg rr gg | ss rr gg mm ||
pp mm gg mm | rr gg mm pp ||
dd pp mm pp | gg mm pp dd ||
nn dd pp dd | mm pp dd nn ||
s*s* nn dd nn | pp dd nn s*s* ||
pp dd nn dd | s*s* nn dd pp ||
mm pp dd pp | nn dd pp mm ||
gg mm pp mm | dd pp mm gg ||
rr gg mm gg | pp mm gg rr ||
ss rr gg rr | mm gg rr ss ||
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Showing posts with label swara. Show all posts
Showing posts with label swara. Show all posts
Swara - Theory
Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency. Swaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada.
Unlike other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. Details of each of these variants shown in the image below:

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