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{{Use dmy dates|date= | {{Use dmy dates|date=February 2022}} | ||
{{Carnatic}} | {{Carnatic}} | ||
'''''Graha Bhedam''''' in [[Carnatic music]] is the process (or result of the process) of shifting the [[Tonic (music)|Tonic]] note (''[[Śruti (music)|śruti]]'') to another note in the rāgam and arriving at a different rāgam. Its equivalent in [[Hindustani classical music]] is called a ''murchhana''. Expressed in [[Classical music|Western music theory]] terms, this is the process of arriving at a different scale by shifting to another mode in the key. | '''''Graha Bhedam''''' in [[Carnatic music]] is the process (or result of the process) of shifting the [[Tonic (music)|Tonic]] note (''[[Śruti (music)|śruti]]'') to another note in the rāgam and arriving at a different rāgam. Its equivalent in [[Hindustani classical music]] is called a ''murchhana''. Expressed in [[Classical music|Western music theory]] terms, this is the process of arriving at a different scale by shifting to another mode in the key. | ||
''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the [[drone (music)|drone]]), it is also sometimes called '''''Swara Bhedam''''' or '''''Śruti Bhedam''''' though ''Śruti Bhedam'' and ''Graha Bhedam'' have some technical differences.<ref>[http://www.sangeethamshare.org/tvg/UPLOADS-1601---1800/1743-Tanjore_S_Kalyanaraman-Lecdem-GruhaBedam/ Lecture Demonstration on Graha bhedam]</ref> | ''Graha'' literally means ''position'' and ''Bhedam'' means ''change''. Since the position of the ''śruti'' is changed (pitch of the base note or [[drone (music)|drone]]), it is also sometimes called '''''Swara Bhedam''''' or '''''Śruti Bhedam''''' though ''Śruti Bhedam'' and ''Graha Bhedam'' have some technical differences.<ref>[http://www.sangeethamshare.org/tvg/UPLOADS-1601---1800/1743-Tanjore_S_Kalyanaraman-Lecdem-GruhaBedam/ Lecture Demonstration on Graha bhedam]</ref> | ||
== Definition == | == Definition == | ||
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*C as the base for ''Shankarabharanam'' is chosen for above illustration only for convenience, as Carnatic music does not enforce ''strict'' frequency/pitch structure. The ''Shadjam'' (S) is fixed by the artist as per the vocal range or the instrument's tonic note. All the other ''swarams'' are relative to this ''Shadjam'', falling into a Geometric progression-like frequency pattern. This note is applicable to all tables that are illustrated further below in this page. | *C as the base for ''Shankarabharanam'' is chosen for above illustration only for convenience, as Carnatic music does not enforce ''strict'' frequency/pitch structure. The ''Shadjam'' (S) is fixed by the artist as per the vocal range or the instrument's tonic note. All the other ''swarams'' are relative to this ''Shadjam'', falling into a Geometric progression-like frequency pattern. This note is applicable to all tables that are illustrated further below in this page. | ||
*The 6th ''Graha Bhedam'' of ''Shankarabharanam'' has both ''Madhyamams'' (Ma) and no ''Panchamam'' (Pa) and hence will not be considered a valid ''Melakarta'' (ragam having all 7 swarams and only 1 of each). This is only a classification issue with respect to ''Melakarta'', while this structure could be theoretically used well to create good music | *The 6th ''Graha Bhedam'' of ''Shankarabharanam'' has both ''Madhyamams'' (Ma) and no ''Panchamam'' (Pa) and hence will not be considered a valid ''Melakarta'' (ragam having all 7 swarams and only 1 of each). This is only a classification issue with respect to ''Melakarta'', while this structure could be theoretically used well to create good music. Hindustani classical raga Lalit has 2 Ma and no Pa, however it has different Ga and Ni than this structure | ||
*The gaps in the above table are for the missing ''swara'' positions in these ragams, which happens to be the Sharp / Flat notes in western music. | *The gaps in the above table are for the missing ''swara'' positions in these ragams, which happens to be the Sharp / Flat notes in western music. | ||
*The 6 Melakarta ragams in above table in graha bhedam are equivalent to the western [[Major Scale]] (Ionian mode) and it's 5 consequent modes with the exception of 7th mode (Locrian) as it doesn't correspond to any valid Melakarta ragam. | |||
== Melakarta Rāgams == | == Melakarta Rāgams == | ||
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{{Reflist}} | {{Reflist}} | ||
[[Category:Melakarta | [[Category:Melakarta ragas|*]] | ||
[[Category:Janya | [[Category:Janya ragas]] | ||