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Raga Modal Harmony - Example

Example 1: Vasuchakra Raga modal harmony is an attempt to extend Berklee's modal harmony concepts to South Indian music scales (ragas, or melas). The Berklee method deals exclusively with the Greek modes, assigning to each one of them a characteristic pitch (CP). This characteristic pitch is one of the forming pitches of the tritone, and it gives the characteristic sound to each mode. All possible tertian and quartal chords formed on each of the pitches of the mode are evaluated in terms of their stability and whether they contain the characteristic pitch. Some people have tried to extend this to other scales ( see here ). My approach is an attempt to exhaustively examine all possible modes included in the melakarta scheme . Now, the tricky part: what is the characteristic pitch in scales that can potentially contain up to 3 tritones? This is where I had to make a personal, and probably temporal, concession. I just called characteristic pitches all pitches other than the tonic ...
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Muktai with mridangam yati palas

2 cycles of tala 9 = 18 beats = 72 matras (in chatusra gati) Pala = 23 Karve = 2 72 = 23 (2) 23 (2) 22 | +1 Each pala (of 23 matras) follows a mridangam yati logic: 23 = 2+3+4+5+4+3+2 So the end result is Ta Ka Ta Ki Ta Ta Ka Di Mi Ta Di Gi Na Tom Ta Ka Di Mi Ta Ki Ta Ta Dim .. Ta Ka Ta Ki Ta Ta Ka Di Mi Ta Di Gi Na Tom Ta Ka Di Mi Ta Ki Ta Ta Dim .. Ta Ka Ta Ki Ta Ta Ka Di Mi Ta Di Gi Na Tom Ta Ka Di Mi Ta Ki Ta Ta | Dim!
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