Fundamentals of Music

KRS Murthy

The Wonder of the Human Ear (and the brain)

Human ear is unique es!ecially "hen combined "ith the
e#traordinary !rocessin$ !o"er of the brain What is not linear may sound linear to the human ear% & 'ery $ood e#am!le is the fact that our brains sense a sound !itch "ith res!ect to other sound !itches that are multi!les of the !o"er of ( & !itch and other !itches that are t"o times four times ei$ht times ) and so on (to include all !o"ers of t"o) sound similar e#ce!t for reco$ni*in$ that they are all !art of a frequency scale% They are called harmonics in +hysics% The frequency s!ace bet"een a frequency F and (F is called an octa'e% The "onder that our ears can uniquely reco$ni*e this fact hel!s us to en,oy (or intuiti'ely -understand.) music%

Silence and Sound

Sound is not alone/ silence is its com!anion% We "ould not differentiate or reco$ni*e that there is sound unless it is
!unctuated by silence% The reason is that our eye0brain combination is a 'ery $ood differential am!lifier% Therefore "e need silence for resettin$ our -differential am!lifier.% E'ery time the sound is !unctuated by silence our ear0brain differential am!lifier is able to sense the -u!s and do"ns.% 1n fact there is really nothin$ li2e silence in nature3 There are all ty!e of acti'ities in the uni'erse all the time 1t includes the earth the local $eo$ra!hy 4 s!ace "e li'e in "ith sound ambiance constantly e#istin$% 5ur ear0brain combination has been $ifted to con'eniently -i$nore. the bac2$round sound as noise &ll of us do not e'en reali*e that is al"ays some bac2$round sound 4 noise but thin2 that there is silence%

6onlinear Scale

The frequency s!ace bet"een successi'e octa'es 2ee!s

on increasin$ lo$arithmically (to the base of () as you $o u! the sound 4 music scale% Frequency s!ace bet"een (F and F is F Where as the frequency s!ace in the ne#t octa'e is 7F0 (F8(F Further octa'es 9F07F87F :;F09F89F and so on% Ho"e'er% our ear0brain combination !ercei'es the sound scale or the music scale as linear e'en%

The S"aras "ith in an 5cta'e

The octa'e is di'ided into many !arts ob'iously in a non0linear
scale% For e#am!le in a !iano "hich is made of discrete 2eys the octa'e is made u! of :( 2eys% 1f you ta2e any 2ey of your choice and mo'e u! (or do"n) countin$ one 2ey at a time (to include both "hite and blac2 2eys) you "ill reach the ne#t octa'e "hen you reach the:<th 2ey% Remember to count the first 2ey as : second 2ey as ( and so on% The :<th 2ey is the startin$ !oint of the ne#t octa'e% =ou can do this on an electronic 2eyboard harmonium or accordion%

6on0>inear "ith in and bet"een the 5cta'es

E'en thou$h 1 am not !lannin$ to ,um! into the conce!ts of 1ndian or
"estern musical scale yet 1 "ant to illustrate a !oint here% ?hallen$in$ some of the assum!tions 4 foundations of 1ndian music% >et us ta2e the 1ndian music scale from the !ers!ecti'e of the se'en s"aras The sa!tha (means se'en)@ sa ri $a ma !a dha% ni (Sa the be$innin$ of the ne#t octa'e)% The frequency s!ace bet"een ri and sa is smaller than the frequency s!ace bet"een $a and ri Which is further smaller than the frequency s!ace bet"een ma and $a and so on% This is !ro$ressi'e throu$h out the musical scale% The frequency s!ace bet"een $a and ri (for e#am!le) in any octa'e is smaller than the frequency s!ace bet"een $a and ri in the hi$her octa'e%

6on0>inearity in Music 1nstruments

We see the non0linearity in some musical instruments "here as "e do not see them ob'ious in others% 1n a !iano the 2eys are equally s!aced The 2eys loo2 in sha!e and color e#actly same as you $o from one end to the other% 5f course you hear it "hen you !lay% =ou "ill also notice it if you loo2 at the inner construction% The -continuous non0linearity is clearly 'isible in a $uitar% The frets in a $uitar become closer to each other as one mo'es u! the scale This is in -in'erse. to the sound $enerated as one mo'es u! the scale% This is because the strin$ len$th required to $o u! in frequency reduces as one $oes u! the scale% 1f you loo2 at the flute construction the si*e of the flute 2ee!s reducin$ (non0linearly) as you $o u! in the frequency%

With in the 5cta'e

The startin$ !oint of the octa'e (or be$innin$ of one octa'e scale)
is called the Shad,a% Here the Ae'anaa$ari letter for -Sha. is different from the one used for the "ord Shan2ara% Bnfortunately En$lish al!habets bein$ only (; are inadequate to "rite Ae'anaa$ari (Sans2rit based) al!habets% &n easy "ay for me is to $i'e you e#am!les from En$lish "ords% The -sha. ty!e of sound in the "ord -fiction.% This -Sha sound is !roduced close to the throat Cut 65T the $uttural sound you hear in Brdu and also 65T at closer to the ti! of the ton$ue%

Shad,a D The aadhaara shruthi

Ho"e'er the s"ara Shad,a is normally abbre'iated as -sa. "hile sin$in$ and "ritin$ notations% For En$lish s!ea2ers this has the same -sa. !art of the sound as in -sun. or -son.% 1 may use the ca!ital letter S or the small letter s in an e#chan$eable fashion% Sa is the reference s"ara definin$ the octa'e Kee! in mind that the octa'e is defined as soon as sa the startin$ !oint of the octa'e is defined or chosen% T"ice the frequency of sa is the startin$ !oint of the ne#t octa'e% 1n 1ndian music sa is called the aadhaara shruthi Shruthi in Sans2rit means a !itch 1n !ractice the music teachers in 1ndia teach sa as THE SHRBTH1 lea'in$ out the "ord aadhaara% 1 ha'e a tendency to 2ee! usin$ the term aadhaara shruthi to refer to sa% Sometimes 1 call the remainin$ s"aras (for e#am!le 0 2eys in a !iano) "ith any one of the follo"in$ "ords@ shruthi s"ara note 2ey% Western musicians also refer to the startin$ !oint of the scale as -2ey. to im!ly% EWhere does your scale startFE

Sanctity of the shruthi

1t is 'ery im!ortant to understand that the sa can be fi#ed at any !oint in the frequency scale de!endin$ on the choice of the artist (s) 4 musician(s)% Ho"e'er the com!lete com!osition (aalaa!ana or any ty!e of com!osition) should maintain the same sa Most of the times the com!lete concert is !erformed usin$ the same sa% This sa is maintained rather -reli$iously. throu$hout the com!osition or concert by the use of tamboora% Tamboora is a drone ty!e of instrument !ro'idin$ the scale 4 octa'e reference to the artist(s)% 1f the artist looses the aadhaara shruthi or actually -falls off. the scale the artist is said to ha'e ->5ST THE SHRBTH1.% 1t is also considered as a dis$race by many artists for their -basic. inability to maintain their !erformance to a s!ecified scale% There are cases "hen some artists may -sli!. (out of little la!se of control or e'en bein$ !hysically and 'ocally tired) and consider that as a shame% 1t is almost as if a $ymnast "ere e#!ected to maintain -!erfect. fitness and ne'er sli! out of the a$ility and routine% This disci!line has become a tradition (and indeed a $reat tradition) in 1ndian classical music by sanctifyin$ the im!ortance of Shad,a and indeed the ri$id frame"or2 of the com!lete scale%

With in the 5cta'e

The octa'e is made u! of :( 2eys% The :( 2eys 4 s"aras are $i'en names% Sur!risin$ly and coincidently the Western and the 1ndian scales ha'e basically se'en names@ Ao Re Ma Fa So >a Ti 0 Western Tradition Sa Ri Ga Ma +a Aha 6i 0 1ndian Tradition Se'en En$lish al!habets D & C ? A E F G 0 are used in the Western system These se'en letters (re!resentin$ the 2eys are called -natural%. Total of :( 2eys are named as sho"n in the table% They are assi$ned the remainin$ se'en either as Shar! (denoted by H) or Flat (denoted by a small letter ne#t to the ?a!ital letter)% For e#am!le FH is the 2ey hi$her to F Cb (!ronounced as C Flat) is the 2ey lo"er to C%

Karnaata2 D Western D Hindustaani

Karnatak

sa Ri (Rishabha) R( Ga: (Gaandhaara) Ga ( Ma : (Madhyama) Ma ( +a (+anchama) Aha :(Ahai'atha) Aha ( 6i : (6ishaadha) 6i (

Western
(Shad,a) ? A Flat A Shar! E Flat E Shar! F Flat F Shar! G & Flat & Shar! C Flat C Shar!

North Indian/Hindustani
sa ri 2omal ri ti'ra $a 2omal $a ti'ra ma 2omal ma ti'ra !anchama dha 2omal dha ti'ra ni 2omal ni ti'ra

Shatshruthi sam$eeta
The ancient 1ndian musicolo$ists defined an octa'e "ith much finer
$raduations in it than the :( s"aras% 1ndian classical music has been concei'ed and modeled "ith the hel! of an &dhaara Shruthi <( intermediate shruthis or s"aras in the octa'e% This includes ; shruthi0lets of each of the s"aras Ri Ga Ma Aha 6i That is ;IJ 8 <K !lus the Sa and +a D Total <( For reasons un2no"n +anchama denoted as +a or + has also been deemed unique% +anchama does not ha'e any shruthi0lets or subdi'isions unli2e the other s"aras% Sa and +a are called the +ra2ruthi s"aras (meanin$ natural s"aras)% The other shruthi0lets of Ri Ga Ma Aha 6i are called Li2ruthi s"aras (meanin$ non0natural s"aras)%

+resent Aay sam$eeta

The ; shruthi0lets are based on the Shat0Shruthi
San$eetha tradition% Shat (!ronounced li2e -Shut.) means si#% Ho"e'er it should be noted that the !resent day 1ndian classical music utili*es only three of the ; shruthi0lets Ri Ga Aha and 6i ha'e three shruthi0lets% Ma has only t"o% The me>a2artha system de'ised and documented by the !ioneer Len2atama2hi uses@ S R: R( R< G: G( G< M: M( + A: A( A< 6: 6( 6< S (Shad,a of the u!!er octa'e)%

Mela2arta System

Len2atama2hi has systemati*ed M( me>a2artha ra$as These are di'ided into t"o hal'es of <; raa$as 5ne set for M: and the other for M(% 1nstruments li2e !iano electronic 2eyboard accordion or harmonium use the Western scale sim!lification "ith S R: R( G: G( M: M( + A: A( 6: 6( S This is a total of :( s"aras (2eys) includin$ S/ u!!er Shad,a denoted by bold letter S corres!onds to the u!!er octa'e% The dia$ram sho"s the corres!ondin$ 2eys for "estern scale "ith ? used for Shad,a% +lease note that 1ndian scale uses relati'e !ositions unli2e the "estern scale usin$ fi#ed 2eys%

What is a raa$aF
& ra$a is reduced to a suite of loci of musical cur'es Cased on s"aras (chosen shruthis ) in s!ecified
ascendin$ and descendin$ orders% The real ra$a is based on multitudes of musical cur'e combinations The cur'es of the ra$a are thus reduced to !iece0"ise linear a!!ro#imations of the real 4 ideal musical cur'es% Aefinition and !rofile conce!ts of ra$a is com!le#

Salient !oints of raa$a

S"aras (J ; or M ta2en at a time)% & ra$a is defined by a scale of J ; or M s"aras% 5nly one of the s"ara0lets or shruthi0lets may be used in a ra$a/ for

e#am!le only one R is used% This rule is based on the current tradition% Murthy has de'elo!ed and is currently documentin$ other 'ariations !ossible "ith lo$ical e#!lanations to each of his !ro!osal% Murthy has also con,ectured the !ossible reasons for the traditional thin2in$ of the musicolo$ists "ho ha'e de'elo!ed "ith their o"n assum!tions%

&scendin$ and Aescendin$ orders

&scendin$ and descendin$ orders are also
defined aar5ha6a and a'ar5ha6a The number of s"aras in the ascendin$ order could be different from the number in the descendin$ order% For e#am!le Mohana (Choo!ali in Hindusthani) has fi'e s"aras in the ascendin$ order The descendin$ order has the same fi'e s"aras% 1n $eneral ascendin$ D descendin$ combinations could be M0M ;0; J0J M0; M0J ;0 M ;0J J0M or J0;%

>inear or 6on0>inear +rofile

Some ra$as ha'e linear ascendin$ and
descendin$ orders% 5thers ha'e non0linear or croo2ed (called 'a2ra ra$as) orders defined as !art of the ra$a !rofile% +lease note that the non0linearity $uideline ensures the flo" characteristics 4 loci of the 'a2ra ra$a%

?haracteristic Musical ?ur'es

?haracteristic musical cur'es Aefined as 'arious combinations Further the combination $rou!s of the s"aras are !ro'ided for $uideline% ?haracteristic cur'es are !ro'ided as a $uideline for the ra$a These cur'es are !ro'ided as recommendations to enable the musician to in'o2e the -!ersonality. of the ra$a%

&nchor S"aras

Students of classical music are tau$ht the Nee'a s"aras% S"aras of the ra$a are used as anchors to illustrate the
outline of the ra$a% The ra$as are also modeled to ha'e !rime anchors called the Nee'a s"aras or Laadi s"aras Sub0!rime anchors called the Hras'a s"aras or Sam'aadi s"aras% This modelin$ of the ra$as dictates that ma,ority of the musical cur'es% Aurin$ the e#!oundin$ and rendition of the ra$a the raa$a should be centered around three im!ortant anchors@ The &adhara shruthi or the Shad,a shruthi the Laadi and the Sam'aadi s"aras%

6=&&S& SW&R&

6yaasa s"ara is the s"ara "ith "hich you finish an aala!ana% Generally in aala!ana the nyaasa s"ara "ill be either Shad,a or

+anchama% 1n raa$as li2e Hindola "hich does not ha'e +anchama it may be Madhyama also% &ala!ana is com!osed of many units% Aurin$ the elaboration of the raa$a the different !hrases con'er$e in a nyaasa s"ara% 1n other com!ositions li2e son$s or 2ritis the s"ara "ith "hich the com!osition is finished is the nyaasa s"ara% Croadly .6yaasa. means finish% Len2atama2hi the author of ?haturdhandi +ra2aashi2am terms it as Lidari and Mu2thaayi Es!ecially to connote the last !art of the !resentation of the raa$a a!!licable to aalaa!ana and com!ositions 4 son$s%

Gama2a
The trans$ression from a s"ara to the ne#t one in the
scale durin$ rendition and e#!oundin$ of the ra$a should not be sim!ly "ith the hel! of linear mo'ement% 1nstead the trans$ression should be !erformed em!loyin$ a 'ariety of musical cur'es% The trans$ression cur'es em!loyed should ensure that the ra$a is clearly distin$uishable from other ra$as "ith similar loci% 1n fact all the ra$as are defined "ith distinction of characteristic trans$ression loci bet"een its s"aras% These trans$ressions are called Gama2as

Lar,ya S"aras
The only requirement is that the
trans$ression bet"een the s"aras should ensure that the locus of the musical cur'e does not d"ell on Lar,ya s"ara This is the s"ara to be a'oided as defined for the ra$a%

Suite of Musical >oci

+rofile of the ra$a comes to life by ca!ably
em!loyin$ a suite of loci of musical cur'es !ro'ided as $uidelines by e#am!les and carried on by tradition used to e#!ound the ra$a% 1t should be noted that musicians ha'e im!ro'ised and disco'ered throu$h e#!lorations the different characteristics of ra$as throu$h out the !ast centuries albeit some resistance from traditionalists%

Scientific &!!roach
The theoretical foundations of 1ndian classical music are 'ery
scientific in nature% E'en thou$h most of the musicians do not understand 4 !ractice and are unable to reinforce the scientific basics to their students% So the inte$rity of the musical 2no"led$e and its transmission to succeedin$ $enerations has suffered from !oorly reali*ed and obser'ed foundations% 1n addition the tradition of classical music has failed to utili*e many useful techniques a'ailable in the modern "orld% For e#am!le t"o0dimensional $ra!hs used in many facets of modern "orld ha'e not been attem!ted for documentin$ and as teachin$ aids of 1ndian classical music% &n I0= !lot "ith time on the I0a#is and frequency on the =0a#is "ould be 'ery hel!ful for students to 'isuali*e the ascendin$ 4 descendin$ orders musical cur'es and com!arison of ra$as% Talas can also be 'ery "ell dis!layed on $ra!hs% ?om!uters music synthesi*ers and electronic 2eyboards "ith M1A1 interface "ill be 'ery handy in such endea'ors%

?urrent Music Teachin$

Teachers of 1ndian classical music ha'e been
follo"in$ the tradition of teachin$ the musical scale and ra$as based on discrete s"aras% 1n effect the teachin$ tradition is based on !iece0"ise linear a!!ro#imation of the musical cur'es% The ra$as are also tau$ht "ith the &adhara Shruthi used as the !aramount anchor for the ra$a%

 &n alternate a!!roach "ould be to introduce the students to

&nother &!!roach

a Etool 2itE of musical cur'es "ith out any a!!arent &adhara Shruthi% The cur'es "ould be tau$ht as Shruthi0inde!endent re!ertoire to be used in 'arious combinations to sin$ or !lay music% The tool 2it is used to ma2e the student functional% The theoretical foundations are tau$ht after the student is tau$ht the s2ills to re!roduce musical cur'es and also after $ainin$ the ability to creati'ely e#!ound "ith the foundations of the Etool 2itE%

1n'o2e the child in you

To illustrate the a!!roach let us understand the "ay a child learns
lan$ua$e% & child learns to s!ea2 by imitatin$ sounds "ords and e#!ressions from other children and adults% We do not teach the child al!habets of a lan$ua$e first and then "ords "ith meanin$s and then sentences% 1t "ould be a stran$e "orld if "e attem!ted such techniques at all% The child "ould be able to s!ea2 fluently before it learns any al!habets% Scri!t is used as a communication tool in school "or2 and throu$hout life% 1f "e can ima$ine the "ords and !hrases of a lan$ua$e to be similar to musical cur'es and their combinations in the "orld of music my su$$ested a!!roach becomes clear%

MurthyOs Aia$ram

This illustration in the dia$ram uses a cloc2 analo$y to

demonstrate a number codin$ conce!t for the raa$as% The lo"er Shad,a is denoted by K (Pero) "here as the hi$her Shad,a is denoted by :(% Raa$as are coded for the s"aras in the raa$a "ith the number difference bet"een the ad,acent s"aras% Murthy has created this "ith only t"o each of R G M A and 6 to ma2e it easy for !layin$ 2eyboard or harmonium% &n e#!anded 'ersion can be created for a ShatSruthi system a system "ith S1I each of R G M A and 6 "ith one +anchama%

Mohana E#am!le
1 ha'e sho"n the middle lo"er and u!!er octa'es% The students may ima$ine and com!rehend that the raa$a (and its
!rofile remains intact) is same in the lo"er and u!!er octa'es also ,ust that the scale is different% The dia$ram sho"s the corres!ondin$ 2eys for "estern scale "ith ? used for Shad,a% +lease note that 1ndian scale uses relati'e !ositions unli2e the "estern scale usin$ fi#ed 2eys% E#am!le of Mohana (Choo!ali) is sho"n belo"@ 5ut of the :( 2ey octa'e of S R: R( G: G( M: M( + A: A( 6: 6( S only fi'e notes S R( G( + A S (Hi$her 5cta'e) are used% 1t is a raa$a "ith same s"aras in ascendin$ and descendin$ orders% Mohana or Choo!ali Raa$a S R( G( + A S K ( ( < ( < (:()

Shruthi +allata
+lease note that the total of the codes is al"ays
:(% Therefore "e only need to code s"aras other than Shad,a3 Mohana can be coded or noted as K((<(< or sim!ly ((<( lea'in$ out the S (Shad,a) boundaries% &fter doin$ &adhaara Sruthi !allata (or rotation in the cloc2"ise by one ne#t s"ara) you can $et the follo"in$ combination of ra$as@ (<(< (SR(M:+6:)/ <(<( (SG:M:A:6:)/ <((< (SG:M:+6:) (bac2 to the startin$ !oint)%

+H=S1?S CEH16A MBS1?

1t is 'ery im!ortant to understand that the ratio of the

frequencies (!itch) for any s"ara in an octa'e (scale) or Sthaayee and the res!ect'e s"ara in the lo"er ocati'e (scale) or Sthaayee is TW5 1n other "ords the frequency doubles from one octa'e (Sthaayee) to the hi$her octa'e (Sthaayee) 1t is 'ery im!ortant to reali*e that the frequency scale is 65T linear% This means that the arithmetic frequency differences bet"een any 2ey and its ne#t 2ey 2ee!s on increasin$ as you mo'e u! the scale or !itch%

Human Ear and 6on0>inearity

Human ear does not reali*e the non0linearity of the scale% Therefore
"e may assume (or feel that) that the Rishabha s"ara% For e#am!le is di'ided into !arts to ma2e u! R: and R( (or more !arts in the case of shatshruthi system)% Similarly "e may feel that Gaandhaara Ahai'atha and 6ishaadha are made of t"o or more !arts and that the Madhyama is made into t"o !arts 0 Shudha and +rathi Madhyama (M: and M()% 1t is 'ery im!ortant to reali*e that the t"o Madhyamas are as distinct from each other as +anchama is from lo"er Ahai'atha% 1n summary the t"el'e s"aras !layed on a 2eyboard are distinct from each other e#ce!t for the non0linear frequency nature of the musical scale%

6yaasa S"ara
E#am!les@ 1n aalaa!ana of raa$a &bho$i the artist ends
!hrases in Madhyama@ AMGRGM SARSAM%%%%RGRRSRSSASAM%%% M (6adhyama) is nyaasa s"ara% Similarly A (Ahai'atha) "ill be the nyaasa s"ara if the !hrases end in A li2e@ GMASA SRGSRSA MASAMGRGMA GRSRASAMA%%% The s"ara at "hich the aalaa!ana ends finally is also called a 6yaasa s"ara% Similarly the s"ara at "hich a 2riti 2eerthana or any com!osition ends is the nyasa s"ara%

Western and 1ndian Scale

The table $i'es a!!ro#imate com!arisons bet"een the
Western scale and the t"o 1ndian scales "ith their names% 1 ha'e sho"n ? as an equi'alent to Sa Ho"e'er unli2e the "estern system a s"ara does not refer to a $i'en 2ey% =ou should read the table as Eif "e choose to use ? as SaE% 1 ha'e $i'en the full name of the s"aras@ Ri 8Rishabha/ Ga 8 Gaandhaara/ Ma 8 Madhyama/ +a 8 +anchama/ Aha 8Ahai'atha/ 6i 8 6ishaadha%

S!ecial Gift of the Human Ear

We reco$ni*e sound 4 music !atterns or cur'es "hich are really lo$arithmically ma$nified as one $oes u! the scale as -linear.% Therefore a musical cur'e in any octa'e is !ercei'ed similar as the one hi$her u! in scale e'en thou$h it is a ma$nified 'ersion% >et us thin2 of an analo$y% & mountain ran$e startin$ from a !oint close to a 'ie"er and s!read a"ay from the 'ie"er "ith many mountains of different si*es may loo2 similar in sha!e% & small mountain closer may loo2 similar in si*e (and sha!e) to a lar$er mountain farther a"ay from the 'ie"er% This ability of !attern reco$nition and es!ecially -automatic. si*e and sha!e ad,ustment is !robably the ability of the brain common to !rocessin$ information from all our sense or$ans li2e ear eye ton$ue s2in and nose% Than2s for the $ift of the brain.s differential am!lifier li2e !ost !rocessin$ for other"ise "e could not function in this "orld as "ell as "e are co!in$ no"% 1n summary the brain enables us to a!!reciate the combination of the sound and silence !unctuatin$ each other and also the frequency cur'es ma!!ed from a lo$arithmic scale to a liner scale/ the result is music% Music is nothin$ but dancin$ sound 'ariations/ many times it is a choreo$ra!hy of multitudes of sounds (tones D the !ersonality of the sound) in the !asture of our ear0brain !latform 4 sta$e%

Cila"al Ahaat

Khamaa, Ahaat

Kafi Ahaat

&asaa'ari Ahaat

Chaira'i Ahaat

Chaira' Ahaat

Kalyaan Ahaat

Maar'a Ahaat

+oor'i Ahaat

ToAi Ahaat

More thaats
There are !roblems "hene'er one is tal2in$ about the
number of thaats% Generally only ten are ac2no"led$ed/ t"enty are in common usa$e% <( are !ossible $i'en !resent conce!ts of scale construction% This has created a lot of confusion in north 1ndian !eda$o$y% Three common scales "hich are not !art of the ten thaats are &hir Chaira' ?haru2esi or Kiru'ani%

Re$ions of 1ndian Styles

Mohana 0 Choo!
Raga Mohana Raga : Mohana Mela: Hari2ambho,i 0 Mela (9 Other Names@ Mohanam/ Choo! (Hindustani)/ Re$u!ti ( Tamil +an) Arohana: S R( G( + A( S QQ S Ri Gu +a Ahi S Avarohana@ S A( + G( R: S QQ S Ahi +a Gu Ra S References@ Sancharas: A+ G+AR+GR RG+ASA G+ARS RSSAA+G G+AR +AS ASR !R!"!RS A!R!SR ARSAR +G+ASAR+ G+AR+GR GR+GRRS0RSdR+dRs

Mohana 0 Choo!
Rasa@ Lira Kroda ?hallen$e
#ime:6i$ht $eeva S%ara@ R G A Amsa S%aras: G + !raha S%aras : G + A S&ecial 'onsiderations: Gama2as for all s"aras% Found in ?hinese Na!anese and S"edish music Murchanakaraka Ragas: R0S Madhyamati/ + 0S Hindolam/ G 0S Sudha Sa'eri/ A 0S Bdayara'ichandri2a