npub1knzsux7p6lzwzdedp3m8c3c92z0swzc0xyy5glvse58txj5e9ztqpac73p (npub1knz…c73p)
In carnatic music (the South Indian counterpart), we have the Melakarta classification... which is more complete than the thaat system vis-a-vis the 12 tone scale in western music, and it has 36*2 =72, 7 note scales/ragas. All of them have western modal counterparts and more. We also have compositions and expositions in all of the 72 and their derived/children ragas.
There are also group/permutation structures (graha/sruti bedham, i.e., base pitch shifts) to transform one raga to another. Leaving certain notes out (like having only pentatonic for example), gives rise to janya (child/originating from one of the 72) ragas.
https://en.wikipedia.org/wiki/Melakarta
Karthik Srinivasan /
npub160…76fkd
2024-01-15 00:38:40
in reply to nevent1q…s4ff
Author Public Key
npub160cfnc8ucrqhs3n85wtnhvje5v6sms4jtj0jeg9ltqxgq3meuftq776fkdPublished at
2024-01-15 00:38:40Event JSON
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"content": "nostr:npub1knzsux7p6lzwzdedp3m8c3c92z0swzc0xyy5glvse58txj5e9ztqpac73p \n\nIn carnatic music (the South Indian counterpart), we have the Melakarta classification... which is more complete than the thaat system vis-a-vis the 12 tone scale in western music, and it has 36*2 =72, 7 note scales/ragas. All of them have western modal counterparts and more. We also have compositions and expositions in all of the 72 and their derived/children ragas. \n\nThere are also group/permutation structures (graha/sruti bedham, i.e., base pitch shifts) to transform one raga to another. Leaving certain notes out (like having only pentatonic for example), gives rise to janya (child/originating from one of the 72) ragas.\n\nhttps://en.wikipedia.org/wiki/Melakarta",
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