Thank you for this video! It would be wonderful to see more such theory related videos because we tend to learn carnatic krithis without knowing the actual theory behind it!
Nicely Presented. Your efforts are laudable. At the same time, It's quite difficult to grasp the nuances & complexities involved in the Carnatic Music Grammar unless we learn them formally from the scratch. At the same time, I must also tell that still, many of the average listeners are able to identify or Recognise the Raagaas when rendered in the form an AAlaabanaa OR as a Krithi quite easily when compared to trying to comprehend the Swaraas hidden in a Raagaa based on their listening experience observing the way a tune travels. Though I hv bn listening to this Music over the last 3 decades, I cannot decipher the Swaraa aggregates that constitute a Raagaa. That's where, I believe, God's Blessing is required to attain that Extraordinary Gnaanaa. (For instance, here, as U demonstrated the exercise of Graha Bedha of Karakarapriya, my obsolete mind @ best heard Sri Ranjani only here & there. Of course, that may be due to my inadequacy; just shared my experience.) Any way, your attempt to elaborate on the Thamizh PuNNs simultaneously is quite interesting. Keep it up pls. We will keep listening to U. All the Best.
Wonderful video clip.. very informative 👌👌👍..Glad to know how from the notes of Vedas Karaharapriya originated and from that the other ragas are derived by Graha Bedha..Also happy to know about Tamizh paN.. good work.. keep writing..
You have said that a scale is fixed and ragas are sung to that scale for those graha bedha ragas from Karaharapriya.. if you could give some examples with singing, it would be more explanatory i guess
No. It can be done in audava and shadava ragas too. For example, in the raga mohanam , if u do a graha bedam with ri as sa, you get madhyamavathi, another 5 note raga.
I have learnt new concept of graha bedam... Thank you very much for this wonderful video... If you use Harmonium instead of keyboard it will be even more closer to grasp the derived ragas..🙏
I totally agree with you on learning of this new concept so clearly.. Thank you very much madam... No issues on use of keyboard... Great work!! This serves everyone who wants to learn the concept which is otherwise rarely explained so well
Namaste,Madamji ,In Kharaharapriya(Dorian) Modal shift on D to D it gives new Scale in Western Music that is Locrian Scale or Locrian mode .The Scale is CD(Flat)E(Flat)F F(shrap )A(Flat))B(Flat)C.In indian music doesn't consider a Raga. This is only information, Thanks madamji .
Yes sir...we have a system called 72 melakartha scheme. It is designed in a particular scientific way. The scale that you are saying is not possible in that scheme and hence is not considered a raga. Western music is more about scales and this scale is very much present in that system of music.
Namaste Madamji,Thank you Madamji, I have lot of information about Grahbeda of all Raags whether it is Audav,Shadav,Sampurna and vis versa.For example The Model shifting of Hansanandini is fromed Pentatonic Blues which exist in western Music,The following Scales are come(1)Major Pentatonic Blue(2)Minor Pentatonic Blue(3)Scchotish Pentatonic Blue(4)Minor Pentatonic#5Blue(5)Suspended Pentatonic Blue.This is only information Madamji.
Wonderful explanation!
Great. What a clarity.
எளிதாக புரிந்து கொள்ள முடிகிறது... அருமை...நன்றி...
Brilliant, Superb, Mesmerizing!!! Know most of these, but presented so mellifluous, great learning, Kudos to Carnatic music and Vilasini!!!
It was explained in a simple way to understand a complex answer how different Ragas derived or evolved. 👏
very very nicely explained...thank u so much
Insightful presentation
Such a valuable information on carnatic music! Thank you ma'am
Thank you for sharing this useful info 🙏superb 👌👍🙏🙏
Thank you very much. i was looking for explanation on grahabedam and now i have got it. thank u very much.
Thank you so much. Using the keyboard has made the explanation Even more clearer
Thank you for this video! It would be wonderful to see more such theory related videos because we tend to learn carnatic krithis without knowing the actual theory behind it!
Nicely Presented. Your efforts are laudable. At the same time, It's quite difficult to grasp the nuances & complexities involved in the Carnatic Music Grammar unless we learn them formally from the scratch. At the same time, I must also tell that still, many of the average listeners are able to identify or Recognise the Raagaas when rendered in the form an AAlaabanaa OR as a Krithi quite easily when compared to trying to comprehend the Swaraas hidden in a Raagaa based on their listening experience observing the way a tune travels. Though I hv bn listening to this Music over the last 3 decades, I cannot decipher the Swaraa aggregates that constitute a Raagaa. That's where, I believe, God's Blessing is required to attain that Extraordinary Gnaanaa. (For instance, here, as U demonstrated the exercise of Graha Bedha of Karakarapriya, my obsolete mind @ best heard Sri Ranjani only here & there. Of course, that may be due to my inadequacy; just shared my experience.) Any way, your attempt to elaborate on the Thamizh PuNNs simultaneously is quite interesting. Keep it up pls. We will keep listening to U. All the Best.
Wonderful presentation 👏🏻
Very nicely explained ma’am 🙏🏻✨
Thank you so much
Wonderful explanation madam!! 👍🙏It really helped me understand the concept of Grahabedam
Woww great...its so easy. Understood through your lesson.
Thankyou so much mam.
Thank you so much for this wonderful information.
Very nicely explained. Thank you 🙏👍👌💝
Thank you so much mam. Best of luck. 👍🙏
Very informative Vilasini. Keep going dear. God Bless u dear
Great Mam
Awesome and extremely informative aunty❤️❤️❤️🤩🤩
Very informative...thanks for sharin
Simple and excellent explanation Vilasini.👍
Awesome
Very well explained Vilasini
We r waiting upcoming classes
👌Madam.
Wonderful video clip.. very informative 👌👌👍..Glad to know how from the notes of Vedas Karaharapriya originated and from that the other ragas are derived by Graha Bedha..Also happy to know about Tamizh paN.. good work.. keep writing..
You have said that a scale is fixed and ragas are sung to that scale for those graha bedha ragas from Karaharapriya.. if you could give some examples with singing, it would be more explanatory i guess
Thank you very much madam😊🙏
Excellent
Thank u😊
Very nicely explained . Want to try griha bhedam for other ragas too 😊
Oh sure. You should. It would be really interesting exercise. You can also derive some audava(5 note)and shadava (6 notes) ragas from these ragas
@@Vilzbuzz Thanks for your reply .
So, grahabhedam can be done only for sampoorna ragas, am I right?
No. It can be done in audava and shadava ragas too. For example, in the raga mohanam , if u do a graha bedam with ri as sa, you get madhyamavathi, another 5 note raga.
I have learnt new concept of graha bedam... Thank you very much for this wonderful video... If you use Harmonium instead of keyboard it will be even more closer to grasp the derived ragas..🙏
Totally agree with u. Harmonium is closer to the voice. I don't have one..so had to make do with keyboard
I totally agree with you on learning of this new concept so clearly.. Thank you very much madam...
No issues on use of keyboard...
Great work!!
This serves everyone who wants to learn the concept which is otherwise rarely explained so well
Helpful, thank you. Wish all the keys played were in the frame. :-/
Very nice
Very useful
Great
What's the use of griha bedam ?
Namaste,Madamji ,In Kharaharapriya(Dorian) Modal shift on D to D it gives new Scale in Western Music that is Locrian Scale or Locrian mode .The Scale is CD(Flat)E(Flat)F F(shrap )A(Flat))B(Flat)C.In indian music doesn't consider a Raga. This is only information, Thanks madamji .
Yes sir...we have a system called 72 melakartha scheme. It is designed in a particular scientific way. The scale that you are saying is not possible in that scheme and hence is not considered a raga. Western music is more about scales and this scale is very much present in that system of music.
Thank you very much for this interesting info :)
Namaste Madamji,Thank you Madamji, I have lot of information about Grahbeda of all Raags whether it is Audav,Shadav,Sampurna and vis versa.For example The Model shifting of Hansanandini is fromed Pentatonic Blues which exist in western Music,The following Scales are come(1)Major Pentatonic Blue(2)Minor Pentatonic Blue(3)Scchotish Pentatonic Blue(4)Minor Pentatonic#5Blue(5)Suspended Pentatonic Blue.This is only information Madamji.
nice madam
Bringing down Karaharapriya by one scale also gives Shankarabharanam...
👍
If U would have demonstrated litle bit of the ragad with your key board, it will be more helpful.
please remove low contrast vedio
Excellent