Chapter 4 (Contd) APPLICATION OF SRUTIBHEDA TO JANAKA RAGAS - Dr. K Varadarangan Where samyukthaksharas or conjunet consonants figure in this katapayadi prefixes, the rule is that the second or last component letter of the conjunct consonant (i.e....
APPLICATION OF SRUTIBHEDA TO JANAKA RAGAS 4.1 Introduction This chapter deals with the application of modal shift of tonic to janaka ragas. The srutibheda possibilities for each janaka raga are determined using a computer program and tabulated. The results agree...
Chapter 3 (Contd.) SRUTIS AND THEIR FUNDAMENTAL PROPERTIES 3.5 Experimental observations. As experiment was conducted to observe how these 22 srutis actually sound. All of them may be generated and heard on a normal computer using the QBASIC (Quick Basic) program...
Chapter - 3 (continued) SRUTIS AND THEIR FUNDAMENTAL PROPERTIES 3.4.4 Analytical derivation of the 22 srutis We begin by referring to Table 3.2. which summarizes the relative frequencies of the 12 dominant swaras. This table is seen slightly modified in Table 3.6...
Chapter 3 SRUTIS AND THEIR FUNDAMENTAL PROPERTIES 3.4.1 The cycle of fifths and the cycle of fourths One way of deriving the 22 srutis of our music is to use the well-known cycle of fourths and the cycle of fifths. The ‘fifth’ note referred to above is nothing but...
Chapter 2 THE CONCEPT OF MODAL SHIFT OF TONIC 2.1 Introduction In the previous chapter the concepts of adhara shadja, the seven notes, and the 12 swarasthanas were discussed. Here we shall deal with an important concept in Indian music known as the modal shift of...