BOOKS ON MUSIC NOTATIONS

Melodic notation is a visual record of heard or envisioned melodic sounds or a bunch of visual guidelines for the execution of music. It normally takes composed or printed structure and is a  relentless cycle. It mostly has one of either intentions: as a guide to memory or as correspondence. Based on the former, it helps the forming of an arrangement to a degree of complexity that is incomprehensible in absolutely oral practice. Based on the latter option, it fills in to preserve music (albeit deficiently and defectively) throughout extensive periods, facilitates execution by others, and presents music in a structure reasonable for study and examination. In the musical notation of Indian rāga, a solfege-like framework called Sargam is utilized.

As in Western solfege, there are names for the seven fundamental pitches of a significant scale (Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada, generally abbreviated to Sa Re Ga Ma Pa Dha Ni). The essential components of melodic sound are pitch, or the position of melodic sound on the scale (span, or distance, between notes); length (consequently mood, meter, beat); tone or timbre; and volume. Practically speaking, no documentation like musical notations can deal with these components with accuracy. Most adapt to a determination of them in fluctuating levels of refinement. Some handle just a solitary example — e.g., a tune, a cadence; others handle a few concurrent patterns. Some recognized figures in this field are-

1. Saint Thyagaraja

Saint Thyagaraja changed the face of the torpid Carnatic Music. This type of Music depends on one of a kind "Ragas and Talas" (melodic notes) like any remaining types of Indian traditional music. It delightfully communicates Bhakti (commitment) and Sringara (love). It was initially performed for the recognition of God. Afterwards, it included singing about the magnificence of extraordinary kingdoms. Thyagaraja had an affinity for music since the beginning. Ramayana and Lord Ram additionally impacted the melodic legend. He sang numerous kritis (a reflection type of arrangement in Carnatic music) of Lord Ram. He prevalently made the kritis in the Telugu language.

2. Muthuswami Dikshitar

Muthuswami Dikshitar, or Dikshitar, was a South Indian writer, vocalist, veena player, and an amazing author of classical Indian music, who is viewed as one of the melodic trinity of Carnatic music. He had composed around 450 to 500 melodies, the majority of which are broadly sung by artists today in Carnatic music shows. The greater part of his arrangements are in Sanskrit and the Krithi structure, i.e., verse set up with good music. Muthuswami Dikshitar ventured out to many sacred holy places all through his life and formed krithis on the divinities and temples he visited. 

FAQ's

Q1. What does Sa Re Ga Ma Pa mean?

The meaning of the seven swaras is-

• SA stands for Agni Deva,

• RE Rishabha stands for Brahamma Devta, 

• GA Gandhar stands for Sarasvati, 

• MA Madhyam stands for God Mahadev, 

• PA Panchama stands for Goddess Laxmi, 

• DHA Dhaivata stands for Lord Ganesha

• NI Nishad stands for Sun God

Q2. What is Sargam notation?

Notation of Sargam is a music documentation language for Carnatic music. Every documentation begins with a particular raga, tala, and mela. At times, the notes utilized in rising scale and sliding scale, known as arohana and avarohana, are expressively characterized at the beginning of the composition.