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Part IScientific Basis of Melody 21191
Theory of Consonance SamvadaTatva 3752
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Ahobala Amsas ancient Apanyasa ascending Asthayi Bhairava Cadence Cadence-Norm called character Characteristic Phrases Chrom Chromatic Melas Chromatic Scales Chyuta compositions consonant cycle descending Dhrupad dissonant false Third Fifth Scale Fourth Scale Gandhara Group Hexachordal hexatonic Hexatonic Scales Hindola Hindusthani music Indian music intervals Jati Kaishika Kheyal Lakshanas Lochana Madhyama Grama Major Matras medieval Mela Melakarta melodic Minor Sixth Minor Third Mode of Primary Mode-octave modern Murchhanas musicians Natya Shastra nonatones Nyasa Tana obliquely octave omitted notes Pentachord pentatonic Prim Primary Melas Primary Scales Ra Go Raga Ramamatya Ri and Dha Ro Go Sadharana Samvadi Sangita Saranga Scale of Origin scheme Second Scale Semitone Semitonic Notation Shadava Shadja Grama Sharngadeva Shruti Shuddha songs South Indian Southern India starting note Style sung Svara Tala tetrachord Tivra Tivratara Tone Tonic Triads Trichordal Unitary Scales Upanta Tana Upper Tonic Vadi Varjita Vasanta Vikrita notes Vishishta Tanas Vitthala