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05A. MUSICAL FRAME OF
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05A
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01. INTRODUCTION.
02. CONCEPTS OF
MUSIC.
03.
ARITHMETIC OF KARNATAK MUSIC.
04.
KARNATAK MUSIC AS A BASE FOR INNOVATION.
UNIVERSE OF VIBRATION
05. PRACTICAL
HIGHLIGHTS FOR FURTHER DEVELOPMENT
01.
INTRODUCTION
01A. CONCEPTS
OF MY LATE MOTHER - KADAYAM KASTHURI
KALYANI
( KKK- 3 )
-
Mathematics, frames the base of
Permutations and Combinations under ideal
conditions. Karnatak Music demonstrates its practical
Utility, Smoothness and Melody, through the frames of Ragas.
-
Music, through Sonic Notes are
Frequency modulated ( FM ). The beats to which they are tuned,
is Amplitude Modulated ( AM ). Hence, a properly
presented musical program is an integrated AMFM in
dimension.
-
Holy Sama
Vedham
has acoustically optimised MUSICAL
verses to Resonate and Revitalise the
organ functions of all species in the Universe.
-
If you master the basic
Ragas of Karnatak Music, then you will
perceive, understand, and enjoy the Arabic, Eastern and Western
music through a third dimension of Raga
combinations. Ultimately you could
participate and innovate in all other
music formations of the World.
See
Family Tree
01B. MY PRACTICAL EXPERIENCES
-
String and Acoustic
instruments could present a more ideally smoothened
melodies than any other instrument. It is because of their capability to
link two notes with intricate and un-defined
in-between notes.
{ Note : Human Voice is an
Acoustic organ }.
-
Every animate and in-animate thing
( Biological, Botanical, Mammal and all other objects ) in the universe
has a Sonic resonance frequency. If it is made to
vibrate and resonate with its
native frequency, it is re-vitalised to its
full potential and attains a considerable
reduction in Physical age. Music introduces
this effect.
-
Having lived near a Masjid for considerable
time, I experienced that Holy Quran has
acoustically
optimised verses, juxta-positioned
to Resonate and Revitalise the organ
functions of all species in the Universe.
(GO TOP)
02.
CONCEPT OF MUSIC
SHOPPING
02A. NATURAL MUSICAL SCALE
/ DIATONIC SACLE.
-
Sound,
produced and fitted into a pre-set order and
discipline is
Music.
-
Any thing which
follows certain order and discipline
can be expressed in Arithmetic formats.
-
Music was first
streamlined in the form of
Natural or Diatonic Scale, with
pre-set music intervals between the notes, They are 7
Notes represented by C, D, E, F, G, A, B in the
Western, and as SA, RI, GA, MA, PA, DHA, NI in
Karnatak Music of India.. These correspond to the
White keys of any musical organ. The
C ( SA ) could start at any frequency,
but the intervals upward towards B
should be as prescribed.
-
As seen in the
above Diagram, these base notes propagate into
7 directions from a
central point, the origin of music
production.
-
These set of
7 Notes are repeated, in such a way that the next C
is double frequency of the previous C
So the next D to B are double
the
previous D to B. These are
called the first Octaves.
-
Similarly the
Second, Third etc... Octaves are made.
Higher the Octave level,
shriller the note. In the above diagram, these
re-circulate with higher and higher frequencies.
02B. EQUALLY
TEMPERED SCALE.
Since the Natural or Diatonic Scale has notes
pre-fixed with longer intervals and an ideal
music production needs the use of certain in-between
notes. The London International Conference during 1939, agreed to accept
an Equally Tempered Scale. This had the following features.
-
Between the
Base C and the
Octave C, a set of 11 notes are
introduced. ( In place of 6 Notes in
the Diatonic Scale ). They are C#, D, D#, E, F, F#, G, G#, A,
A#, B ( # denotes Sharp ).
-
The frequency of
the Octave C remains as Double the
Base C. Similarly for D to B. Thus the Octave
interval is the same as Diatonic Scale.
-
The interval
between any two notes is fixed
as 12th Root of 2 or 1. 0595.
-
The Newly
introduced 5 Notes ( C#, D#, F#, G#, F#
) correspond to the
Black keys in any musical organ.
-
It could be seen
from the above diagram, how the total 12 notes
fit in a circle to a multi-directional Musical frame,
with the Sound origin in the centre.
(GO TOP)
===========================================================
03. ARITHMETIC OF KARNATAK
MUSIC
SHOPPING
Karnatak Music,
the innovative primitive music of South India,
used the Permutation and Combination of
the 7 Notes of the Diatonic Scale
with the added 5 Notes of the Equally Tempered
Scale. Each set of possible combination was designated
as a Ragam. Each Ragam has a Number and Name.
The innovation in this design are very interesting.
-
Each Ragam is
represented by a combination of Notes Forward
( Base C to Octave C, called Arohanam ) plus a
combination of notes
Backward
( Octave C to Base C, called Avarohanam )
-
Reference notes (
called Sruthi ) are Base C, G and
Octave C ( SA-PA-SA ).
-
Notes
Forward start from
Base C and move towards B. Notes
Backward start from Octave C and and
move towards C#.
-
Thus
the combination is
presence or absence of 12 Notes forward and 12
notes backward.
-
This could be
numerically represented by a 24 digit code
which I have designate as a
HexOctal Code
( Hexa Decimal is 16 and Octal is 8 ). If the presence
of a note is 1 and the absence of a note is
0, then it is represented by a 24 digit
Binary Code, understood by any
Computer.
-
The Notes
Forward + the Notes Backward together forms a Ragam,
depending upon which combination of
notes ( White or Black Key notes ). Each Ragam is
generated by a
maximum of 14 or less of the
total 24 notes. Each Ragam is
numbered as well as named.
-
With the
HexOctal , each Ragam could be assigned a 24 Digit Binary Code.
-
With all
the 7 Notes Forward + 7 Notes backward in various
combination (of White and Black Keys ) it is possible to generate
72
Ragams . These are called the Primary Ragams ( Called Melakartha
Ragams in Karnatak Music, because of their whole-ness with all
14 Notes ).
-
It is possible to
drop one or more Notes in the Forward
as well as one more notes in the Backward direction. .
These result in new Secondary-Ragams (called Janya
Ragams ) The following table summarises the 34,766
possible Ragams by these permutations, up to 2
drops ( 7-2 = 5 ).
|
NOTES |
RAGAMS |
|
Forward |
Backward |
|
7 |
7 |
72 |
PRIMARY |
|
7 |
6 |
6 |
483 SECONDARY RAGAMS FOR EACH PRIMARY
RAGAM
TOTAL
483 X 72 = 34,766 SECONDARY RAGAMS
|
|
7 |
5 |
15 |
|
6 |
7 |
6 |
|
6 |
6 |
36 |
|
6 |
5 |
90 |
|
5 |
7 |
15 |
|
5 |
6 |
90 |
|
5 |
5 |
225 |
|
TOTAL |
483 |
-
REFERENCE : Ganamrutha Varna Malika
(Expanded - September 1991),
By : Sangeetha Kalanithi A.S.Panjabhakesa Iyer, Principal, Bharathiya
Music College, Bombay 400 022. India. Pages 1-2, 13 to 16.
-
It is possible to
drop 3 also ( 7- 3 = 4 Note combination ), and
get 7-4, 6-4, 5-4, 4-7, 4-6, 4-5 and 4-4. It will add another
1,280 Secondary Ragams, called
Janya Ragams. Then the Total Secondary Ragams are
( 483 + 1,280 ) = 1,763 X 72 = 126,936 Possible combinations
Ragams.
(GO TOP)
04. KARNATAK MUSIC
AS A BASE FOR INNOVATION
SHOPPING
Playing the notes as
per the Forward and Backward specifications
of the Ragams, results in an ideal Classical
Music. The classical music attracts its own group of audience.
But to get into
popular music of a large-volume mass appeal, it
is customary and necessary to mix the notes belonging to
different Ragams, with logical and melodious
combinations.
To innovate into the Musical
world, by understanding of the Arithmetics of Karnatak Music, and the
Ragams, the methodology is very simple.
-
Understand and be
clear of the
72 Primary Ragams. (
Automatically you will relate the Secondary Ragams to the Primary origin
by hearing the Note combinations ).
-
Whenever you hear
any music ( Of any Country, Region, Language etc...) try to
find the appearance of all possible Primary Ragam combinations ( It
could be 1 or more ).
-
Once you have
fairly de-ciphered it, then you automatically know the
name of the Ragam / Ragams, and how they are
inter-spaced in the song.
-
Then intutively
you know the Note combinations Forward
and Backward.
-
Using this note
combination rule, you can easily
reproduce the original song with its inherent
Melodies and Rhythms.
-
Then you can
apply the Arithmetics of Karnatak Music, and innovate on the song.
ARABIAN MUSIC
In the musical world, Arabian music occupies an
Ancient, Prime and Unique position,
because of its origin from the Dancing
Gypsies of Egypt, the historically old
African continent.
Beating an instrument produces a combination
of
sounds, depending upon the angle,
pressure and the spot on which one
beats. Hence it is audio modulated, within
a fixed frequency, to which the instrument is tuned.
On the other side, a tune is a combination of different frequencies (Notes)
within a fixed amplitudes (Base and Octaves), and hence
it is frequency modulated.
Every musical presentation has a Tune
and an accompanying Beats. In all the musical
presentations of the world, the Beats are set to
suit the tunes, while in the Arabian Music, the
beats play a primary role, and the tunes
are blended into the flow of the
beats, which provides the base for a dance
and the associated steps. Hence, Arabian Music has
certain musical sounds and notes
not defined in the Diatonic or Equally tempered scale.
They are beat synchronising sound formations.
Hence, in Arabian Music, one could find a
conjunction and perfect synchronisation
of the music and the associated beats. (What you are listening
now)
A large number of Arabian
melodies could be grouped into the following two Karnatak
Ragams.
-
Primary Ragam 27 - Nata
Bhairavi (North Indian) - Sarasaangi (Karnatak).
-
Primary Ragam 22 - Harahara Priya.
-
This blend used all the
7 White Keys (Diatonic scale) and only 3 Black
Keys.
Mellifluous
blend of Arabian tunes in Indian Music could be perceived from the
old (1940s to1960s) Indian Hindi Film songs directed
by
O.P.Nayyar (Click
to Listen-TuneM1),
with
Asha Bhonsle (Click
to Listen-TuneM2)
and Mohammed Rafi (Click
to Listen-TuneM3)
as the prime playback
singers. He optimally set most of these melodies to the
3 Beats accompaniment (Waltz of Western,
Roopka Thalam of South Indian Karnatak and Theen
Thal of North Indian Music), which provides the most suited
rhythm for Ball Room dancing steps.
(Click to Listen-TuneM4)
Asha Bhonsle of India,
Noorjahan of Pakisthan and
Roona Laila of Bangla Desh are
the melody queens, who sang a number of Eastern Light
tunes, with the best of Arabian blend.
The O.P.Nayyar styled Asha Bhonsle's music can be
enjoyed in the light music by Peenaz
Masani. She appears randomly in Sony / Sahara TV
programs from India.
EASTERN MUSIC
In Indian Music, Eastern
Music refers to the Asian, East and Far-East musical
concepts. It separately identifies the three main Indian,
Chinese and Japanese (Mangolian) blends. It is because of the
exchange of visitors and Explorers in the
ancient time from these regions, with the prime motive of
knowledge gain and trade, unlike the European teams, who
came to
colonise and capture these regions.
WESTERN MUSIC
In India, the term Western
Music covers the European and Far Western
(American, Caribbean etc...) musical formations. Because of
the British rule, there was always an
attempt by the Indian Karnatak musical experts to blend
the Western patterns of notes, in Karnatak music.
Shri
Madhurai Mani Iyer of Madras, India, was a
pioneer to format and present a full-blend of English
note formed purely by the Karnatak musical Raga
combinations (Click to Listen-TuneM4)
. This blend optimally mixed the following Ragams in
upward and downward combinations, as required.
-
Primary Ragam 11
- Kokila Priya.
-
Primary Ragam
28 - Harigambhothi.
-
Primary Ragam
65 - Mecha Kalyani.
-
This blend uses all the
7 White Keys (Diatonic scale) and only 4 Black
Keys
-
From HMV Stereo
Cassette Tape# STHVS 847760, The Gramophone Company of India Ltd, 1983
"Madhurai Mani Iyer built
up a vast repertoire of compositions of various kinds, but his
forte was swara singing.
This feature of Karnatic music is the inherent tonal relationship of a
raga delineated through solfa passages. Mani Iyer evolved an
unusual pattern of weaving notes of a raga
into a fabric of melodic and rhythmic
consonance".
This guideline could be further extended to
explore more applications. For Example, the popular English Melody
KE SARA SARA (Clck
to Listen-TuneM5) has the
combinations of the following Ragams.
-
Forward :
Primary Ragam No 65 - Mecha Kalyani.
-
Backward : Primary Ragam No
28. Harigambhothi.
-
This uses all the 7
White Keys (Diatonic scale) and only 2 Black
Keys
By this identification tags, the
song can be played by anybody, using the designated Note
( Key ) combinations.
-
The forward and Backward order
of Ragams could be inter-changed to hear the new
Rhythm.
-
One up and one down
( 66, 64 ) Ragams in the forward and the same
in backward ( 29,27 ) Note combination of the Ragams could be
tried to compose a new melody having the flow of the original song.
The forward and Backward order of these new Ragams
could be inter-changed to hear an entirely new
Rhythm etc......
(GO
TOP)
This leads us back
to the KKK concept, on the top of this page.
****************************************
GO TO THEME JOKE - MUSIC
:
CARPETED CROONER
GO TO THEME
RECIPE - MUSIC :
JEEVA RASAM
GOOD
LUCK
&
SEARCH
SHOPPING
****************************************
|
A)
UNIVERSE OF VIBRATION
v
In this universe,
nothing is static or at rest.
Evan a stone is made up
of molecules, which in turn made of atoms. In a micro level, the
particles inside an atom are Proton, Neutron and Electron. The electrons
inside the shell of an atom are constantly circling the Protons at the
centre. So
are the structure of all animate and inanimate objects in the universe.
v
In a macro level, the
large planets rotate around another planet, mostly in an elliptical path
or in a circle (Example – Earth around the Sun. Moon around the Earth). Any
particle or matter in motion sets a vibration around. Every Vibration
has a frequency measured in
hertz (Hz)
named after the German physicist Heinrich Hertz. Frequency is a measure
of the number of occurrences of a repeating event per unit time (second).
v
The self
rotation of the Earth at 1 round in 24 hours is equivalent to
194.18 Hz = 91 beats per minute = Orange red
colour = Note G - 24th Octave. The rotation of the Earth round the Sun in 365/366 Days is
equivalent to
136.10 Hz = Blue green
(Turquoise) colour = Note C# (Sharp) 32nd
Octave = Shadjam in Karnatak music.
v
Audible vibrations set
the media around (air and other objects) to a sound wave.
(lower frequencies).
|
Interval |
Frequency Ratio |
Examples |
|
Octave |
2:1 |
512 Hz and 256
Hz |
|
Third |
5:4 |
320 Hz and 256
Hz |
|
Fourth |
4:3 |
342 Hz and 256
Hz |
|
Fifth |
3:2 |
384 Hz and 256
Hz |
A constellation
identified by the Greeks called “Lyra” (by the ancient Indian Astronomers
as “Swara Mandalam”or Synchronised sound region) is a small constellation,
in the mid Northern sky (30
TO 40 Deg N
and
18.50 TO 19.50
Deg W). It is visible in the mid northern sky. It is surrounded by constellations Draco on the
north,
Cygnus and Vulpacula in the West, and Hercules in the East and South. Lyra took its name from the stringed musical instrument Lyre. The
planets and the matters inside this constellation, revolve within “audio” frequencies.
The
principal star, Vega (Abhijith in Indian astronomy, Aldhabih in Arabic) is a brilliant blue-white star, the 5th brightest in the
sky.
For the past few
centuries, star Vega (Abhijith)
in Lyra falls on the line connecting the space between the Zodiac
constellations Sagittarius (9th - Dhanush) and Capricorn (10th
Makharam) to the north pole.
Vega
was a tiny star far
away on the sky. But in 12,000 BC it fell down to 25.3 light years height
(Mahabharatha, Vana Parva, Chapter 230, Verses 8 to 11). It was the North
pole star for a considerable centuries. But it slowly slipped to the
current position between12,000 BC and 10,000 BC. Ancient Indian astronomy recognized only 27 as zodiac stars.
Because of the brightness, as well as to compensate the calculation of the
Moon’s rotation around the Earth in 27 Days 7 Hours and 43.1 Minutes
(Lunar month), Vega was added as a part of the zodiac stars, making the
total to 28. But Vega was shifting the position slowly and is expected to
become the Northern pole star again by 14,000 AD. Hence Indian astronomy
dropped Vega from the list of Zodiac stars, because of its non
consistency. (NOTE -
In Sanskrit Abhijith
means a non consistent personality.
The stars near the pole shift their position
frequently because of a combinational effect of the changing tilt of the Earth's axis,
as well as the star's own movement on the universe !!)
=====================================
Higher frequencies
of vibration lead to Electro-magnetic waves, in which the visible colours (Violet,
Indigo, Blue, Green, Yellow,
Orange
and Red known as VIBGYOR) is in the frequency range of
4.3 x 1014 to
7.5 x 1014 Hz. The higher frequency table is
|
Spectrum of
Electromagnetic Radiation |
|
Wave Region |
Frequency (Hz) |
|
Radio |
Less than 3 x 109 |
|
Microwave |
3 x 109
to 3 x 1012 |
|
Infrared |
3 x 1012
to 4.3 x 1014 |
|
Visible
(VIBGYOR) |
4.3 x 1014
to 7.5 x 1014 |
|
Ultraviolet |
7.5 x 1014
to 3 x 1017 |
|
X-Rays |
3 x 1017
to 3 x 1019 |
|
Gamma Rays |
Over 3 x 1019 |
v
Thus the whole
universe is dominated by waves of infinite frequencies at
different
points.
SHOPPING
====================================
B)
SIMPLE HARMONIC MOTION.
v
A frequency of
vibration represents the impact of a forces from 0 to a
maximum forward
and backward, on a particle or object. This is called
a “Simple Harmonic
motion”, mathematically represented by
X = R Sin (P)
The shape of the
vibrating matter is a "Sine curve", up by R
and down by R, symmetric to the X axis. The angle P varies from 0 to 180
(PI) degrees.
v
TWO SHMs induct complex motion on the particle if their equations are
X = R sin
(P) and Y = S sin (k.P + E).
The angular phase difference is E and the ratios of their amplitudes
S/R
causes infinitely more complex motions on the particles. These are
called "Lissajous figures".
SHOPPING
====================================
C-1) LISSAJOUS FIGURES
AMPLITUDE OF X AND Y ARE THE SAME = R.
Lissajous Figures were first described in 1815 by
Nathaniel Bowditch (1773 -1838), who is best known for his book "The
New American Practical Navigator"and available even today, in
original version. He also wrote
widely on mathematics and astronomy, while pursuing a career as a
navigator, surveyor, actuary and insurance company President, as well as
a member of the Corporation of the Harvard College. The optical
production of the curves was first demonstrated in 1857 by Jules Antoine Lissajous (1833-1880).
The Lissajous figure above shows the series in the first line of all possible
figures as below.
C-2) LISSAJOUS FIGURES
AMPLITUDE OF X AND Y ARE NOT THE SAME
ROWS 2 TO 9
Note - Row 1 is the same as (C-1) above
SHOPPING
===================================
D)
UNIVERSE : A QUIVERING UNDULATION.
A)
The entire
universe is explained mathematically by the SHM and the Lissajous figures.
The entire universe is dominated by 2 energy sources vibrating in SHM. The
amplitude and the angle between these 2 change in a slow, but in a
synchronised pace. They are
X = R sin (P)
and Y = S sin (k.P + E).
B) The
energy generating source for these 2
Everlasting SHMs, is and a fixed total X and Y in quantum. X
could be Bright or
Gravity or
Hot or Male or
Positive (charge
or magnetic) or
Sound or in any dimension, one can think
of. Correspondingly Y could be Dark or
Anti-gravity or
Cool or Female or
Negative (charge or
magnetic) or Silence or in any
opposite dimension, one can think of.
C)
The total X+Y
= 0 at any point of time.
D)
When R = S
(As per Lissajous figures C-1 above).
Note - Velocity of light in vacuum = C =
299,792,458,000 cm / sec.
e = 1 unit of energy = 1 Erg. m = 1 gram of
Mass
Expansion Cycle
01) At E = 0º,
the SHMs vibrate all particles and matters into a 45º
right slanted straight flat surface. The
status is full of Simple Harmonic Wave energy (Mass = 0).
02)
At E = 22.5º, the SHMs
vibrate all particles and matters into a 45º
right slanted
thin elliptical surface. This starts the energy
conversion into matters. (gas, liquid,
solid formation) within the shell space. 1 Gram of mass = 1 Erg /
c2.
15% Mass (with Static, Potential and Gravitational Energy) + 85% Simple
Harmonic Wave Energy.
03)
At E = 45º,
the SHMs vibrate all particles and matters into a 45º
right slanted
medium elliptical surface. This
accelerates the energy conversion into matters within the shell
space. 25% Mass (with Static,
Potential and Gravitational Energy) + 75% Simple Harmonic Wave Energy.
04)
At E =
67.5º,
the SHMs vibrate all particles and matters into a 45º
right slanted
large elliptical surface. This distributes the energy and matters
evenly into the total shell space.
50% Mass (with Static, Potential and Gravitational Energy) + 50%
Simple Harmonic Wave Energy.
(Current status of the Universe )
05) At E = 90º,
the SHMs vibrate all particles and matters into a perfect
circular surface. Now the entire energy
is converted into matter within the total shell space. This is
a no-energy status within the circular shell.
100% Mass (with Static, Potential and Gravitational Energy) + 0%
Simple Harmonic Wave Energy.
Contraction Cycle
06)
At E = 112.5º, the SHMs
vibrate all particles and matters into a 45º
left slanted
large elliptical surface. This initiates the
conversion of matters back into energy,
and evenly distribution within the total shell space.
1 Erg = 1 Gram X c2.
50% Mass (with Static,
Potential and Gravitational Energy) + 50% Simple Harmonic Wave Energy.
07)
At E = 135º,
the SHMs vibrate all particles and matters into a 45º
left slanted
medium elliptical surface. This
accelerates the matter conversion into energy, within the total
shell space. 25% Mass (with
Static, Potential and Gravitational Energy) + 75% Simple Harmonic Wave
Energy.
08)
At E = 157.5º, the SHMs
vibrate all particles and matters into a 45º
left slanted
thin elliptical surface. This ends the matter
conversion into energy within the
shell space. 15% Mass (with
Static, Potential and Gravitational Energy) + 85% Simple Harmonic Wave
Energy.
09)
At E = 180º,
the SHMs vibrate all particles and matters into a 45º
left slanted straight flat surface.
The status is full of Simple Harmonic
Wave energy (Mass = 0). This is
the same as the status 01
above. But at 45º to the left
E)
Then the R is not equal to
S cycle stars.
(as per Lissajous figures C-2 Rows 2 to 9 above). The combination
matrix of Energy, Matters and their shapes are infinite.
F)
The third dimension.
Universe is 3 dimensional. When X and Y
act in a synchronised combination, the Z energy emerges from within in a
third dimensional direction. It could be Life, Intelligence (upgrading
through experience), Survival ability in a given environment, Exploration
etc…. Hence the Universe is in a three dimensional
Energy+Matter+Conscience balance namely X+Y+Z or Spiritually A+U+M, the
universal vibration.
SHOPPING
====================================
G)
SUMMARY
 Matter
can neither be created nor destroyed, but can be converted from one to
another form of Matter or Energy or a combination of both, without any
loss or gain, so that the aggregate quantum of Matter + Energy is a
constant in the Universe.
All
the laws of Energy are applicable to the Mass (Matter), and all the laws
of Mass (Matter) are applicable to the Energy. Any object created in the
universe is annihilated (destroyed / died). This is to continue the cycle
of Energy to Matter and back, in a multi-dimensional Simple Harmonic format for ever and for
ever !!! Universe is in a "Quivering (Shaking, Trembling) Undulation
(Curved and back and forth motion, Simple Harmonic)" audio (musical),
video (light+cosmic waves) and other cosmic waves !!! We should listen, see, get
enlightened / motivated, Merge with it and Enjoy.
SHOPPING
|
THEME PICTURE & QUOTATION - MUSICAL
 |
|
03. MAGIC OF
MUSIC |
05. PRACTICAL
HIGHLIGHTS FOR FURTHER DEVELOPMENT
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