So Sorry… Do not call me for temple

5 04 2015


Mounting created Bloggif

Mounting created Bloggif

Mounting created Bloggif


27 03 2015

1.0 History
History of Indian music, lost in antiquity, is so interwoven with mythology and legends, that it is surrounded by misconceptions and mystery. In spite of this, Indian music has maintained it’s characteristics in it’s highly developed melodic and rhythmic structure. Traditionally, the history of Indian music is divided into three periods. They are:

[1] The Ancient period (6000 BC? to between 200 BC and 400 AD)
[2] The Medieval period (400 AD to 1500 AD)
[3] The Modern period (1500 AD onwards)
2.0 Concepts
2.1 Naada, shruti, swara [Musical sound or tone, microtone, note]
Naada is a musical sound. It is a series of regular vibrations in a medium like air (as opposed to irregular vibrations, which would be heard as noise). The frequency of a vibration decides the pitch of the sound it represents (how high or low the sound feels to the ear). The frequency is reported in a unit called Hertz (Hz). The frequency range of a sound the human ear can hear is 20 Hz to 20,000 Hz.
Now, as an example, take a sound (or tone) having a frequency of 100 Hz. Another sound, having twice the frequency, that is, 200 Hz, will sound the same. But it will sound ‘higher’. The frequency ratio 200:100, which is 2:1, represents what is called an octave. The number of sounds that the human ear can hear, in an octave, is infinite. But the number of sounds that it can discern, differentiate, or grasp, is 22. They are called shruti-s (microtones). Shruti has been variously translated as: microtone, microtonic interval, interval, step etc. It is mainly determined through fine auditory perception
So, to continue with our example, there exist 22 shruti-s, starting with the first shruti on the starting point of 100 Hertz. Taking the sound represented by 100 Hz as the point of reference, we get 22 ratios. The 23rd ratio takes us to the sound represented by 200 Hz. These ratios are called intervals. The intervals are measured in relation to the reference sound (100 Hz in our example). The octave is represented by the ratio 200:100, or the interval 2:1. This sound of reference is called tonic, key, or “Sa”, etc. In Indian musical terminology, it is known as shadja, “Sa” for short. It is represented by the symbol S. Out of the 22 shruti-s, 7 are selected to form a musical scale. The tonic is fixed first, followed by 6 more shruti-s to form a 7-ladder scale. These 7 sounds, or tones, are called swara-s (or notes). The tonic, in our example, would fall on the sound represented by 100 Hz. This would be our “Sa (S)”. The Sa would be followed by 6 more notes, 7 in all. The 8th note, the sound represented by 200 Hz, would sound like the tonic, but it would sound “higher”. The 7 notes form the “saptaka” of Indian music; the 8 notes– the eighth note being the “higher” Sa — form the “octave” of the Western music. The seven notes are named as follows:

shadja, “Sa” for short, symbol S; rishabha, “Re”, R; gandhara, “Ga”, G; madhyama, “Ma”, m; panchama, “Pa”, P; dhaivata, “Dha”, D; and the 7th, nishada, “Ni”, N.
For convenience, let us call the Western musical note, C, as our tonic, the “Sa”. Then the seven notes would be: C, the “Sa”; D, “Re”; E, “Ga”; F, “Ma”; G, “Pa”; A, “Dha”; and the 7th, B, “Ni”.The first and the fifth notes, namely C (Sa) and G (Pa), are regarded immutable (“achala”). The remaining 5 notes have two states each. Thus we have 12 notes in an octave. The 12 notes are designated short names and symbols as under:

# Name Symbol
Indian Symbol
Western Key
1 Sa shuddha (natural) S C 1st white
2 Re komala (flat) r D flat 1st black
3 Re shuddha (natural) R D 2nd white
4 Ga komala (flat) g E flat 2nd black
5 Ga shuddha (natural) G E 3rd white
6 Ma shuddha (natural) m F 4th white
7 Ma teevra (sharp) M F sharp 3rd black
8 Pa shuddha (natural) P G 5th white
9 Dha komala (flat) d A flat 4th black
10 Dha shuddha (natural) D A 6th white
11 Ni komala (flat) n B flat 5th black
12 Ni shuddha (natural) N B 7th white

The octave can be divided into two equal parts: the lower tetrachord, consisting of C-D-E-F, and the upper tetrachord, made up of G-A-B-C. This last-mentioned C has the interval 2:1 with the first C in the lower tetrachord. The lower tetrachord is called “poorvaanga” (poorva + anga), the upper tetrachord, “uttaraanga” (uttara + anga) in Indian musicology. Further, Full expression of Indian music requires up to 3 octaves. They are: the “mandra saptaka” (lower octave), the “madhya saptaka” (middle octave), and the “taara saptaka” (higher octave). Note: The notes in Western music use the tempered scale, while in Indian music the notes use the natural harmonic scale.

The Power Of Indian Music

21 01 2010

Mounting created Bloggif
Mounting created Bloggif



આપણા પ્રાચીન ભારતીય શાસ્ત્રોના અનુસાર કુંડલીની એ મૂળ પ્રાણ તત્વ છે, જે મનુષ્યને જીવન પ્રદાન કરે છે.જ્યારે માતાનાં ગર્ભમાં બાળક ચાર મહિનાનું થાય ત્યારે આ પ્રાણ તત્વ ગર્ભમાં દાખલ થાય છે. તે બાળકનાં માથાંનાં(તાળવા નાં) ભાગમાંથી પ્રવેશ કરે છે. જેને સહસ્ત્રાર ચક્ર કહેવાય છે. કરોડરજ્જુમાં આવેલા સાત ઉર્જાશક્તિનાં મુખ્ય કેન્દ્રો(ચક્રો)નું ભેદન કરી, મધ્યનાડીમાંથી પસાર થઇ કરોડરજ્જુનાં અંતભાગમાં ત્રિકોણાકાર સ્વરુપે સ્થિર થાય છે. શરીરમાં પ્રવેશ કરતા આ શક્તિ બધાંજ ચક્રોને સક્રિય કરે છે. માતાનાં જે ચક્રો સક્રિય હોય , બાળકનાં તે ચક્રો , તે શક્તિ ગ્રહણ કરી સશક્ત બને છે અને જે ચક્રો આ ઉર્જા ને ગ્રહણ નથી કરી શક્તા તે ચક્ર કમજોર, નબળા રહે છે. દા.ત.ગર્ભાવસ્થા દરમ્યાન જો માતા આત્મગ્લાનીની લાગણી અનુભવે તો બાળકનું વિશુધ્ધિ ચક્ર પ્રભાવિત થાય છે. માતાના અજાણતા થયેલા આ વિચારોના કારણે બાળક આજીવન વિશુધ્ધિ ચક્રના દોષો ભોગવે છે,દરેક કાર્યક્ષેત્રમાં અસફળ રહે છે.

The seven chakras are Sahasrara, Ajna, Vishudhi, Anahatha, Manipura, Swadhistana and Mooladhara. Each chakra is associated with an endocrine gland and controls specific organs. Each swara resonates with one major chakra. When each note is sung concentrating on the shruthi, vibration of the corresponding chakra can be experienced. According to an ancient Indian text, Swara Sastra, the seventy-two melakarta ragas control the 72 important nerves in the body. It is believed that if one sings with due devotion, adhering to the raga lakshana and sruti shuddhi,the raga could affect the particular nerve in the body in a favourable manner.The vibration of the notes activate a chakra and through the nadis emanating from the chakras, the organ at the side of the disease begins the healing process.

swarv saptak banner copy

Raga is derived from the Sanskrit word ‘ranja‘ meaning ‘color of mind‘. Ragas are composed of ‘shabdas‘. A Shabda, contrary to what many believe, is different from words. Shabda is defined as the cosmic flow of sound. According to this definition, silence is also a shabda. The ancient sages of India had discovered an essential cosmic shabda – ‘Om‘.

The seven suras of Indian music – Sa, Re, Ga, Ma, Pa, Dha and Ni are all derived from cosmic word ‘om’. Ragas are essentially composed of these seven suras and are not songs, but framework upon which melodies can be composed or improvised. Indian music composers were once known for their ability to improvise upon the best and the most difficult of ragas.

Each of the 7 suras have one to one correspondence with the 7 chakras of the human body. Ragas evoke these chakras by increasing the blood flow to and from the region. Different ragas evoke these chakras in different proportions, thereby being able to heal different diseases.

In terms of acoustics (the study of sound), most ragas have 70-75 beats per minute. This is exactly because the heart beats at this rate. A raga with a standard beat has the ability to normalize the human body. A raga with higher beat energizes a person whereas a raga with lower beat is relaxing in nature.

Mounting created Bloggif

There is a limited amount of scientific literature on the idea behind Indian classical music as a healing therapy. Its position in the genre of healing through music, though proven through the ages, has not been researched and applied as thoroughly and on the scale that it ought to have been. Every parent knows that soothing tones and sounds pacify even the most irritable of babies. Therefore, the primary proof of the efficacy of music or Raga therapy is the lullabies we sing to infants and toddlers. This is later heightened into Raga therapy for more mature perceptions of adults and adolescents. Practitioners of music therapy have living proof of the effectiveness of music in therapeutic applications on a daily basis. They treat conditions like stroke, brain injury, depression, autism, Alzheimer’s disease and many others.
The therapeutic effect of ragas in Hindustani and Carnatic classical music is a time-tested one, described in the ancient system of Nada Yoga. It channelizes vibrations emanating from sounds to uplift the level of the patient’s consciousness. Raga Chikitsa, an ancient manuscript in Tanjore’s Saraswati Mahal Library built by Raja Serfoji, a Maratha king, contains a treasure on ragas and spells out their application and use in fighting common ailments and diseases.

How does the system of Raga therapy actually work? A Raga is the sequence of selected notes (swaras) that lend appropriate ‘mood’ or emotion in a selective combination. It’s a yoga system through the medium of sonorous sounds. Depending on its nature, a raga could induce or intensify joy or sorrow, violence or peace, and it is this quality which forms the basis for musical application. Thus, a whole range of emotions and their nuances could be captured and communicated within certain melodies. Playing, performing and even listening to appropriate ragas can work as a medicine.

To be rendered effective, Ragas are used in a combination with Ayurveda, the ancient science of Vedic healing. A Raga must be played or sung to a patient keeping in mind his/her physical nature of vatapitta or kapha. The time assigned to the Raga during the day or night is also important. Moreover, it is to be seen whether the time of the day or night is naturally suited to vatapitta and kapha.

Let’s take an example. Early morning is the natural kapha time for Ayurveda. A kapha-type person should be treated to an early morning Raga like Bhairav, to cure physical imbalances. The later part of the morning and afternoon is pitta time. Raga Bilawal can be used during these hours to treat patients. Late afternoon and evening is vata time, when Raga Pooriya Dhanashri and Marwa can be used as a cure. It is very important, however, that the Ayurvedic constitution of the patient be kept in mind – as to whether he or she is a vatapitta or kapha person.

The people at the core of this treatment would be the music therapist, the client, the clinical facility whether at home or in a hospital, and music providers. Music therapists interact with their clients and the use of music. They assess their clients and create a clinical plan for treatment in coordination with the team and client goals. This is what determines the course of clinical sessions. A music therapist works within a client-centered, goal-directed framework.

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out visit1 copy

Time Raga Benefit
4am – 7am Raga Bhairavi
Raga Bhairava
Ragas Ramakali & Jogiya
emotional strength ,Devotion and Peace
Peace Integration, Compassion
Peace & Serenity
7am – 10am Raga Komala Rishabha Asawari
Raga Deshkara
Raga Jaita
Raga Gurjari Todi
Raga Todi
Raga Alahiya Bilavala
Increased Energy
Compassion ,Patience
Peace and Happiness
10am – 1pm Ragas Gauda & Vrindavani Saranga
Raga Shuddha Saranga
Raga Ahir Lalita
Raga Vrindavani Saranga
Success, Knowledge
Greater Energy
1pm – 4pm Raga Multani
Raga Madhuvanti
Raga Samanta Saranga
Raga Bhimapalasi
Achievement, Affuence
4pm – 7pm Ragas Kafi & Madhuvanti
Raga Mishra Pilu
Raga Puriya Dhanashri
Raga Marwa
Raga Puriya Kalyana
Creativity and Happiness
Celebration & Joyfulness
Coherence ,Happiness
7pm – 10pm Ragas Puriya & Rageshri
Raga Hansadhwani
Raga Maru Bihaga
Raga Desh
Raga Durga
Raga Maru Bihaga
Harmony and Rejuvenation
Celebration & Happiness
10pm – 1am Raga Darbari-Kanhra
Raga Bageshvari
Raga Gunji Kanada
Raga Abhogi
Raga Malkaunsa
Restful Quality of Sleep
Relaxation & Rest
Better Sleep
Peaceful Slumber
Restful Sleep ,Tranquility
1am – 4am Raga Sohini & Bhatiyara
Raga Basanta
Raga Sindhu Bhairavi
Raga Lalita
Raga Nata Bhairava
Healthy Mind and Body
Love & Happiness
Peace & Tranquillity

MUSIC THERAPY – ” For – Brain, Body & Soul “

The entire concept of Music Therapy is experimental.  For me it is a kind of YOGA,which acts upon the human organism and awakens and develops their proper functions to extent of self-realisation.

Music therapy is a scientific method of effective cures of disease through the power of music. It restores, maintains and improves emotional, physiological and psychological well being. The articulation, pitch, tone and specific arrangement of swaras (notes) in a particular raga stimulates, alleviates and cures various ailments inducing electro magnetic change in the body.

 Music is basically a sound or nada generating particular vibrations which moves through the medium of ether present in the atmosphere and affects the human body. Music beats have a very close relationship with heart beats. Music having 70-75 beats per minute equivalent to the normal heart beat of 72 has a very soothing effect. Likewise rhythms which are slower than 72 beats per minute create a positive suspense on the mind and body. Rhythms which are faster than the heart rate excite and rejuvenate the body.

30 07 2008”સંપૂર્ણ પલ્લી યાત્રા”

coming soon

video album       “સંપૂર્ણ પલ્લી યાત્રા”

એસ.વી.ફિલ્મ્સ એન્ટરપ્રાઇઝ અને વરદાયિની ઇન્ફોટૅક પ્રસ્તુત
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