chakravakam js

आयाहि रे, आयाहि रे - Manasaganga - Sanskrit Song

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honoured!

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Purdue Thyagaraja Aaradhana 2016-sands

PROUD OF SANDS ,,,THANKS FOR REPRESENTING GEETANJALI GLOBAL GURUKULAM AT PURDUE.

shivaratri 2016

Gana naatha-geetam

D:\D drive\geetanjali lessons\AUDIO FOR UPLOAD


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GUITAR-

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Music Theory For Guitarists • Harmonizing The Major Scale • Triads, Tetrads, Stringset Positions, Practical Applications

Updated on February 27, 2016

Review from hansd: The book starts at a basic level but some more advanced chord knowledge is needed or can be obtained during the study.

To purchase the PDF copy, please follow this link:

• Learning Blues Guitar | Sellfy

Learning Blues Guitar

I have been teaching guitar professionally since 1992, when Don’t Fret Guitar Instruction was established. Over the years, I have taught countless students (beginners to advanced) how to play or improve their chops. Past students include four members of PROTEST THE HERO.

With this book, my goal is to relate the scales with chords and rhythms as opposed to just learning solos or licks and having no idea how to apply them. Good rhythm playing and knowledge is crucial to good soloing and vice versa. This comes through understanding the relationship between chords and scales. This book provides that important foundation.

The book is unique in the fact that each chapter is based around a different key signature and an open (contains unfretted notes), pattern of the pentatonic scale. There are five chapters covering the key signatures of E, A, D, G and C, and the five open ‘box patterns’ (scale patterns) of the pentatonic scale. Eventually all the box patterns are covered, from the open strings to the fifteenth fret.

There is no endless scale practice or useless licks to learn. Instead, each chapter begins with a chord progression, moves into various rhythm patterns derived from the chord progression, and then culminates with solos based on the scale and key covered. These solos tie in with the chord progression and rhythm patterns to form a complete lesson for each chapter.

The book is progressive. Upon completion, the student will have a solid foundation in blues guitar, and will understand the rhythm, lead connection.

The book is best studied from beginning to end, without slighting any material. All theory is explained in the simplest terms. There are fretboard diagrams for the scales, chord grids, and photos of hand positions as well as videos posted on YouTube to aid in the learning process.

It is best, but not necessary, to have a knowledge of barre and open chord shapes before beginning this course. All the chords have fretboard grids associated with them.

Good luck and have fun. Music is a celebration. Enjoy!

Lorne K. Hemmerling

Introduction

Harmonizing a scale forms the chords in that scale. For the major scale, the procedure is quite simple. Start with the major scale and form triads (three note chords), by adding the third and fifth above the root. If the root is on a line, the third and fifth will be found on adjacent lines above the root note. If the root is on a space, the third and fifth will be found on adjacent spaces above the root note. The chords formed are always the same shapes corresponding to theintervals of the major scale: Major, minor, minor, Major, Major, minor, diminished, Major.

The C Major Scale

This is quite simply, Do Re Mi Fa So La Ti Do. The key of C Majorhas no sharps or flats, the notes are all natural: C D E F G A B C. A standard way of notating intervals is with roman numerals I II III IV V VI VII VIII.

Music Theory For Guitarists • Harmonizing The Major Scale.

Triads In The Key Of C Major

When the C Major scale is harmonized to form triads, the resultingchords are: C Major, D minor, E minor, F Major, G Major, A minor, B diminished, C Major. These are the chords in the key of C Major. This means that the C Major scale can be used over any of these chords for improvisation or composing purposes. This is also a strong song writing tool, as many pop and rock songs are diatonic (contained within one key). Play these chords in any order, and the resulting sound is very pleasing to the ear. The song, Runaway Train, is a perfect example of a song that is strictly diatonic. There are no chords outside of the key of C Major. The ever popular, One Four Five progression is found here. The One chord is C, the Four chord is F and the Five chord is G. For every Major scale the shapes and order of the chords are always the same Major, minor, minor, Major, Major, minor, diminished and Major (octave higher) . I have notated both the scale and the chords along the fifth string for clarity, but they do not have to be played this way. Any voicing of the chords will work

Music Theory For Guitarists • Harmonizing The Major Scale.

4 Note Chords In The Key Of C Major

To form four note chords, simply add one more note onto the triads. Follow the same procedure: if the notes are on lines, add one more note above the triad on the adjacent line, if the notes are on spaces, add one more note above the triad on the adjacent space. The resulting chords are C Major 7, D minor 7, E minor 7, F Major 7, G7, A minor 7, B diminished 7, C Major 7. All of these chords areseventh shapes and have a strong jazz sound. Once again, I have notated all the chords with the root along the fifth string. Some of these shapes are very had to play with these voicings. Try normal voicings for these chords, the results will be the same. The C Major scale will fit with all of these chords. In fact, it will sound better, because some of the notes from the scale that are commonly passing tones will sound much more pleasing. For example: across a C Major chord, the B note is normally used as a passing tone, because it will clash with the root C, but over C Major 7 the B is contained in the chord. A very serene sound.

Music Theory For Guitarists • Harmonizing The Major Scale.

Harmonizing Scales In All Keys

I have transcribed all the sharp and flat keys on recurring string sets. Obviously, working out all the triads for each key on ALL strings sets is a monumental task. Try to memorize one key and one string set per day. Then try to mix and match the same key on different string sets (I have included an example for G Major). This is a huge study and requires a lot of work, but will open up the fretboard for improvisation and composition.

Harmonization Of All The Major Scale Sharp Keys

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Harmonization Of All The Major Scale Flat Keys

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

Music Theory For Guitarists • Harmonizing The Major Scale.

God Rest Ye Merry Gentleman Chord Melody

I know it is the wrong time of year for this tune (I definitely do want to rush the cold weather), but this arrangement puts the triads to work. They can be extremely valuable in chord melody composition. It is not all that hard when you have this knowledge. Voice the melody note as the highest note and build the triad underneath. Not that easy to play or memorize and it will have you running all over the fretboard. With enough practice, you might master it in time for the festive season.

Music Theory For Guitarists • Harmonizing The Major Scale.

© 2013 Lorne Hemmerling

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jai ganesa,lingashtakam ragupate

jay jagadeesa hare

Jaya Jagadeesha Hare (Devotional Song)

Om Jai Jagadish Hare
Swami Jai Jagadish Hare
Bhakt Jano Ke Sankat
Daas Jano Ke Sankat
Kshan Men Door Kare
Om Jai Jagadish Hare

Jo Dhyaave Phal Paave
Dukh Bin Se Man Kaa
Swami Dukh Bin Se Man Kaa
Sukh Sampati Ghar Ave
Sukh Sampati Ghar Ave
Kasht Mite Tan Kaa
Om Jai Jagadish Hare

Maat Pita Tum Mere
Sharan Kahoon Kiski
Swami Sharan Kahoon Kiski
Tum Bin Aur Na Dooja
Tum Bin Aur Na Dooja
Aas Karoon Jiski
Om Jai Jagadish Hare

Tum Pooran Paramatma
Tum Antaryami
Swami Tum Antaryami
Paar Brahm Parameshwar
Paar Brahm Parameshwar
Tum Sabke Swami
Om Jai Jagadish Hare

Tum Karuna Ke Saagar
Tum Paalan Karta
Swami Tum Paalan Karta
Main Moorakh Khalakhami
Main Sevak Tum Swami
Kripa Karo Bharta
Om Jai Jagadish Hare

Tum Ho Ek Agochar
Sab Ke Praan Pati
Swami Sab Ke Praan Pati
Kis Vidhi Miloon Dayamaya
Kis Vidhi Miloon Dayamaya
Tum Ko Main Kumati
Om Jai Jagdish Hare

Deen Bandhu Dukh Harta
Thaakur Tum Mere
Swaami Rakhshak Tum Mere
Apne Haath Uthao
Apni Sharan Lagao
Dwaar Padha Tere
Om Jai Jagadish Hare

Vishay Vikaar Mitaao
Paap Haro Deva
Swami Paap Haro Deva
Shradha Bhakti Badhao
Shradha Bhakti Badhao
Santan Ki Seva
Om Jai Jagadish Hare

Om Jai Jagadish Hare
Swami Jai Jagadish Hare
Bhakt Jano Ke Sankat
Daas Jano Ke Sankat
Kshan Men Door Kare
Om Jai Jagadish Hare

Language : Hindi

Song : Jaya Jagadeesha Hare

Movie : Aarti Song (devotional)

Scale/Key: C (See Legend for more details)

Pallavi

-------

Om jaya jagadeesha hare, Swami jaya jagadeesha hare

gC C C C C CDCb C D D E F G G G A GF E FD

C G C F G

Bhakta janana ke sankata, Dena janana ke sankata

D ED E F F FE DEDC C DED E F F FE DEDC C

G G7 C G G7 C

Kshana mei dura kare, Om jaya jagadesha hare

b C D EDC b Ca aD D D D D EDC b C

Gsus4 G F G C

Charanam 1

----------

Jo dya wei phala pawei, Dukha veenashei manaka

DC C b D C C b DCC G G F E F E D C ED

C F C Gsus4

Swami dukha veenashei manaka

DG G G A G FE F E D C CED

F C Gsus4

Sukah sampati ghara awei, Sukah sampati ghara awei

D E D EF F F E DEDC D E D EF F F E DEDC

G F C G F C

Kasta mitei tana ka, Om jaya jagadesha hare

C D D E D C b Ca aD D D D D EDC b C

Gsus4 C F G C

Song: Janani Janani

Janani Janani (Thaai Moogaambigai)

Film: Thaai Moogaambigai

janani janani jagam nee agam nee

n.n.s s s s s n. r ss s

B.B.C C C C C B. D CC C

jaga kaarani nee paripoorani nee

m m p m g r s n.r s s s

F# F# G F# E D C B.D C C C

jaga kaarani nee paripoorani nee

n n S n n d p p m g g r

B B C+ B B A G G F# E E D

(janani)

Stanza 1:

oru maan maruvum siru poondhiraiyum

mm p p p p p m d p p p

F#F# G G G G G F# A G G G

sadai vaar kuzhalum idai vaaganamum

m d mdnS n d p mg r g m p

F# A F#ABC+ B A G F#E D E F#G

konda naayaganin kulir dhaegaththilae

p m md d d nd p m md d d nd

G F# F#A A A BA G F# F#A A A BA

ninra naayagiyae ida vaagaththilae

m d mdnSnd p pm md p p p

F# A F#ABC+BA G GF# F#A G G G

jagan moahini nee simma vaahini nee

n n S S S S S n nR S S S

B B C+ C+ C+ C+ C+ B BD+ C+ C+ C+

jagan moahini nee simma vaahini nee

n n nR R R Sn Sn Sn nR R R Sn

B B BD+ D+ D+ C+B C+B C+B BD+ D+ D+ C+B

jagan moahini nee simma vaahini nee

n R GMRn d p m d nSdSnd p

B D+ E+F#+D+B A G F# A BC+AC+BA G

Prannav violin kamalajadala

ARUNASREE KEY BOARD--PUNNAGAI MANNAN