Sthayi or Asthaayi is an initial phrase or line of a fixed, melodic composition in Hindustani music. [1] It is a way of having the parts of a composition. The Sthayi part of a Dhrupad is the first of four stanzas and uses the middle octave's first tetrachord and the lower octave notes. [2]
Sthayi means an octave.
In music, an octave or perfect octave is a series of eight notes occupying the interval between two notes, one having twice the frequency of vibration of the other. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most musical systems". The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave have the same name and are of the same pitch class.
In music theory, a scale is "any consecutive series of notes that form a progression between one note and its octave", typically by order of pitch or fundamental frequency.
Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, and is also related to the South Indian Carnatic tradition. It is a term of Sanskrit origin, derived from dhruva and pada. The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text Natyashastra, and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana, where the theories of music and devotional songs for Krishna are summarized.
Khyal or Khayal is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad and is sung with the tabla instead of the pakhavaj. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Shastriya Sangeet and Marg Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from the eastern part of India is Odissi music, which has evolved over the last two thousand years.
Hindustani classical music is the classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet. The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Kannada, Telugu, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj, Avadhi, Bhojpuri, Bengali, Rajasthani, Marathi and Punjabi.
Dadra is associated with the Hindustani classical music of the Indian subcontinent.
Antarā is the equivalent of a verse in Hindustani classical music.
In Carnatic music, Sthai or Sthaayi refers to the octave. Madhyamasthai refers to the middle octave, Tarasthai refers to the upper octave and Mandhrasthai refers to the lower octave. Sthai can be defined as the interval or span made up of shadja to nishabam in Indian Music.
The balungan is sometimes called the "core melody" or, "skeletal melodic outline," of a Javanese gamelan composition. This corresponds to the view that gamelan music is heterophonic: the balungan is then the melody which is being elaborated. "An abstraction of the inner melody felt by musicians," the balungan is, "the part most frequently notated by Javanese musicians, and the only one likely to be used in performance."
Notation plays a relatively minor role in the oral traditions of Indonesian gamelan but, in Java and Bali, several systems of gamelan notation were devised beginning at the end of the 19th century, initially for archival purposes.
An electronic tanpura is an electronic instrument that replicates the sound of an Indian string instrument known as the tanpura (tambura), used to provide a constant drone to accompany another's vocal or instrumental melody.
Gamelan gender wayang is a style of gamelan music played in Bali, Indonesia. It is required for wayang and most sacred Balinese Hindu rituals. The smallest of gamelan ensembles, it requires only two players and is complete at four, the additional instruments doubling an octave above. Like other gamelan genres, it incorporates delicate interlocking melodies and active contrapuntal movement, yet poses unique challenges in technique and composition.
Étude Op. 25, No. 9 in G-flat major, known as the Butterfly étude, is an étude by Frédéric Chopin. The title Butterfly was not given by Chopin ; however Arthur Friedheim said, "while some titles were superfluous, this one is inadequate."
Bhairavi is a janya rāgam in Carnatic music. Though it is a sampoorna rāgam, it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam.
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
A Carnatic raga refers to ragas used in Carnatic music. It has several components: a primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka), and important tones.
The musical system of ancient Greece evolved over a period of more than 500 years from simple scales of tetrachords, or divisions of the perfect fourth, into several complex systems encompassing tetrachords and octaves, as well as octave scales divided into seven to thirteen intervals.
Rondeau fantastique sur un thème espagnol: "El Contrabandista", S. 252, is a classical musical composition for piano solo by Franz Liszt, written in 1836, and published in 1837 as Liszt's Opus 5 No. 3. It is based on a Spanish song popular at that time. It lasts approximately 8–9 minutes according to the high tempo Liszt assigned, though most pianists play it slower due to its incredible difficulty.
Geet (Hindi:गीत) (Urdu:گیت) in Hindi and in Urdu may refer to any poem set to music that can be sung alone or as a duet or in chorus. It has remained popular in all parts of the Indian sub-continent particularly in the Hindi and Urdu speaking areas.
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