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TIVRA

Yaman (raga)

mode. None of the three great treatises of music, accept the existence of tivra ma,[text missing] Not to be mistaken, Raag Yaman is slightly different from

Shaktipata

Shaivism, depending on its intensity, shaktipata can be classified as: tīvra-tīvra-śaktipāta - the so-called "Super Supreme Grace" - produces immediate

Bihag

music swars, and both Madhyams (Shuddha and tivra) are used. The Shuddha Madhyam is more prominent; tivra Madhyama is only used with Panchama in the phrase

Svara

svaras) that are unalterable, while the remaining have flavours (komal and tivra svaras) that differs between the two major systems. North Indian Hindustani

Musical note

(ei) = ♯ (sharp); 変 (hen) = ♭ (flat) According to Bhatkhande Notation. Tivra = ♯ (sharp); Komal = ♭ (flat) According to Akarmatrik Notation (আকারমাত্রিক

Sargam notes

either shudda or komal; Ma may be either shudda or tivar and is then called tivra Ma. Sa and Pa are immovable (once Sa is selected), forming a just perfect

Kedar (raga)

(G) and Sixth (D), both natural and sharp (tivra) versions of the Fourth (m and M, respectively "( m- tivra, M- shuddh)" and predominantly natural versions

Bilaval

pitches of Bilaval thaat are all shuddha (natural). Flat (komal) or sharp (tivra) pitches always occur regarding the interval pattern in Bilaval thaat. Bilaval

Shadja

the next raga to begin distinctly. The svara of Shadaj is never komal or tivra, it is always Shuddha in any given raga. It is said that Shadaj is the basic

Jana Gana Mana

occasions. "Jana Gana Mana" is sung in the Alhaiya Bilaval raga, whereby the tivra Madhyama svara is employed. Tagore's translation of "Jana Gana Mana" on