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Thomas the Apostle

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Thomas the Apostle

From Wikipedia, the free encyclopedia

Thomas the Apostle

The Incredulity of St Thomas by Caravaggio

Apostle

Born 1st century AD

Galilee

Died 21 December 72

Mylapore (modern day India) [1][2]

Honored in Assyrian Church of the East

Catholic Church

Eastern Orthodox Church

Oriental Orthodox Churches

Anglican Communion

Lutheran Church

Respected and honored in Protestant Churches

Canonized Pre-Congregation

Feast 3 July (Roman Catholic Church's Latin, Syriac and Syro-Malabar components, but 21 December in the pre-1970 Roman Calendar)[3] 21 December – Indian Orthodox Church

21 December (Anglican Communion)

26 Pashons (Coptic Orthodox Church)

Thomas Sunday (the 1st Sunday after Easter, 6 October, and 30 June Synaxis of the Apostles) (Eastern Orthodox Church)

Attributes The Twin, placing his finger in the side of Christ, spear (means of martyrdom), square (his profession, a builder)

Patronage Architects, Builders, Ortona India, and others.

Thomas the Apostle, also called Doubting Thomas or Didymus (meaning "Twin," as does "Thomas" in Aramaic) was one of the Twelve Apostles of Jesus. He is best known for questioning Jesus' resurrection when first told of it, then proclaiming "My Lord and my God" on seeing Jesus in John 20:28. Traditionally he is said to have traveled outside the Roman Empire to preach the Gospel, traveling as far as India.

Contents [hide]

1 Thomas in the Gospel of John

2 Name and identity

2.1 Twin and its renditions

2.2 Other names

2.3 Feast Days

3 Later traditions

3.1 Thomas and the Assumption of Mary

3.2 Thomas and Syria

3.3 Thomas and India

3.3.1 Return of the relics

3.4 Tomb

4 Historical references to Thomas

4.1 Saint Thomas Cross

5 Writings attributed to Thomas

6 See also

7 References

8 Further reading

9 External links

[edit]Thomas in the Gospel of John

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Saint Thomas Christians

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Saint Thomas · Thomas of Cana · Mar Sabor and Mar Proth · Tharisapalli plates · Synod of Diamper · Coonan Cross Oath

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Paremmakkal Thoma Kathanar · Abraham Malpan · Gheevarghese Mar Gregorios of Parumala · Marth Alphonsa · Mar Kuriakose Elias Chavara · Mar Varghese Payyappilly Palakkappilly · Thoma of Villarvattom

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Thomas speaks in the Gospel of John. In John 11:16, when Lazarus has just died, the apostles do not wish to go back to Judea, where Jesus' fellow Jews had attempted to stone him to death. Thomas says: "Let us also go, that we may die with him" (NIV).[1]

[edit]Name and identity

[edit]Twin and its renditions

The Greek Didymus: in the Gospel of John.[11:16] [20:24] Thomas is more specifically identified as "Thomas, also called the Twin (Didymus)".

The Aramaic Tau'ma: the name "Thomas" comes from the Aramaic word for twin, t'oma (תאומא).

[edit]Other names

The Nag Hammadi copy of the Gospel of Thomas begins: "These are the secret sayings that the living Jesus spoke and Didymos Judas Thomas recorded." Syrian tradition also states that the apostle's full name was Thomas. Some have seen in the Acts of Thomas (written in east Syria in the early 3rd century, or perhaps as early as the first half of the 2nd century) an identification of Saint Thomas with the apostle Judas brother of James, better known in English as Jude. However, the first sentence of the Acts follows the Gospels and the Acts of the Apostles in distinguishing the apostle Thomas and the apostle Judas son of James. Few texts identify Thomas' other twin, though in the Book of Thomas the Contender, part of the Nag Hammadi library, it is said to be Jesus himself: "Now, since it has been said that you are my twin and true companion, examine yourself…"[4]

St. Thomas depicted in stone, St. Thomas Roman Catholic Church, Hyde Park, Chicago.

[edit]Feast Days

When the feast of Saint Thomas was inserted in the Roman calendar in the 9th century, it was assigned to 21 December, although the Martyrology of St. Jerome had a mention of the Apostle on 3 July, the date to which the Roman celebration was transferred in 1969, so that it would no longer interfere with the major ferial days of Advent.[5] 3 July was the day on which his relics were translated from Mylapore, a place along the coast of the Marina Beach, Chennai (Madras) in India to the city of Edessa in Mesopotamia. Roman Catholics (in the light of Vatican II follow the liturgical calendar published in 1970) and many Anglicans (including members of the Episcopal Church as well as members of the Church of England who worship according to the 1662 edition of the Book of Common Prayer)[6] still celebrate his feast day on 21 December.

The Eastern Orthodox and Byzantine Catholic churches celebrate his feast day on 6 October [7] (for those churches which follow the traditional Julian Calendar, 6 October currently falls on 19 October of the modern Gregorian Calendar). In addition the next Sunday of the Easter (Pascha) is celebrated as Sunday of Thomas, in commemoration of Thomas' question to Jesus which led him to proclaim, according to Orthodox teaching, two natures of Jesus, both human and divine. Thomas is commemorated in common with all of the other apostles on 30 June (13 July), in a feast called the Synaxis of the Holy Apostles.[8] He is also associated with the "Arabian" (or "Arapet") icon of the Theotokos (Mother of God), which is commemorated on 6 September (19 September).[9]

[edit]Later traditions

[edit]Thomas and the Assumption of Mary

St. Thomas receiving the Virgin Mary's girdle from heaven.

Main article: Dormition of the Theotokos

According to The Passing of Mary, a text attributed to Joseph of Arimathaea,[10] Thomas was the only witness of the Assumption of Mary into heaven. The other apostles were miraculously transported to Jerusalem to witness her death. Thomas was left in India, but after her first burial he was transported to her tomb, where he witnessed her bodily assumption into heaven, from which she dropped her girdle. In an inversion of the story of Thomas' doubts, the other apostles are skeptical of Thomas' story until they see the empty tomb and the girdle.[11] Thomas' receipt of the girdle is commonly depicted in medieval and pre-Tridentine Renaissance art,[12][13] the apostle's infamous doubting reduced to a metaphorical knot in the Bavarian baroque Mary Untier of Knots.

[edit]Thomas and Syria

"Judas, who is also called Thomas" (Eusebius, H.E. 1.13) has a role in the legend of king Abgar of Edessa (Urfa), for having sent Thaddaeus to preach in Edessa after the Ascension (Eusebius, Historia ecclesiae 1.13; III.1; Ephrem the Syrian also recounts this legend.) In the 4th century the martyrium erected over his burial place brought pilgrims to Edessa. In the 380s, Egeria described her visit in a letter she sent to her community of nuns at home (Itineraria Egeriae):

we arrived at Edessa in the Name of Christ our God, and, on our arrival, we straightway repaired to the church and memorial of saint Thomas. There, according to custom, prayers were made and the other things that were customary in the holy places were done; we read also some things concerning saint Thomas himself. The church there is very great, very beautiful and of new construction, well worthy to be the house of God, and as there was much that I desired to see, it was necessary for me to make a three days' stay there.[citation needed]

[edit]Thomas and India

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Christianity

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Background[hide]

Saint Thomas Christians (Nasrani) Synod of Diamper Coonan Cross Oath Saint Thomas Christian churches Malankara (historical)

People[hide]

St. Thomas the Apostle St. Francis Xavier St. Gonsalo Garcia Paremmakkal Thoma Kathanar Devasahayam Pillai St. Alphonsa Muttathupadam Thomas of Cana Alexis de Menezes Mother Teresa Palackal Thoma Malpan Mar Augustine Kandathil Mar Sabor and Mar Proth Marthoma Metrans Mar Gregorios of Parumala Mar Baselios Eldho Mar Kuriakose Elias Chavara Mar Varghese Payyappilly Palakkappilly Mar Joseph C. Panjikaran Palakunnathu Abraham Malpan Mathews Mar Athanasius of Palakunnathu Mar Geevarghese Dionysius William Carey

Denominations[hide]

Saint Thomas Christian Churches: Chaldean Syrian Jacobite Syrian Malankara Orthodox Syrian Malabar Independent Syrian Mar Thoma Syrian St. Thomas Evangelical Syro-Malabar Catholic Syro-Malankara Catholic

Latin Church: Cathlic Church

Protestant denominations: Andhra Evangelical Lutheran Church of North India Church of South India Garo Baptist IPC CGI North Bank Baptist Christian Northern Evangelical Lutheran Presbyterian The Pentecostal Mission Seventh-day Adventist True Jesus United Evangelical Lutheran

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Main articles: Christianity in India and Saint Thomas Christians

St. Thomas is traditionally believed to have sailed to India in 52AD to spread the Christian faith among the Jews, the Jewish diaspora present in Kerala at the time. He is supposed to have landed at the ancient port of Muziris (which was destroyed in 1341 AD due to a massive flood which realigned the coasts) near Kodungalloor. He then went to Palayoor (near present-day Guruvayoor), which was a Hindu priestly community at that time. He left Palayoor in AD 52 for the southern part of what is now Kerala State, where he established the Ezharappallikal, or "Seven and Half Churches". These churches are at Kodungallur, Kollam, Niranam (Niranam Jerusalem Marthoma Church), Nilackal (Chayal), Kokkamangalam, Kottakkayal (Paravoor), Palayoor (Chattukulangara) and Thiruvithancode Arappally – the half church.[citation needed]

It was to a land of dark people he was sent, to clothe them by Baptism in white robes. His grateful dawn dispelled India's painful darkness. It was his mission to espouse India to the One-Begotten. The merchant is blessed for having so great a treasure. Edessa thus became the blessed city by possessing the greatest pearl India could yield. Thomas works miracles in India, and at Edessa Thomas is destined to baptize peoples perverse and steeped in darkness, and that in the land of India.

—Hymns of St. Ephraem, edited by Lamy (Ephr. Hymni et Sermones, IV).

Eusebius of Caesarea quotes Origen (died mid-3rd century) as having stated that Thomas was the apostle to the Parthians, but Thomas is better known as the missionary to India through the Acts of Thomas, perhaps written as late as ca 200. In Edessa, where his remains were venerated, the poet Ephrem the Syrian (died 373) wrote a hymn in which the Devil cries,

...Into what land shall I fly from the just?

I stirred up Death the Apostles to slay, that by their death I might escape their blows.

But harder still am I now stricken: the Apostle I slew in India has overtaken me in Edessa; here and there he is all himself.

There went I, and there was he: here and there to my grief I find him.

—quoted in Medlycott 1905, ch. ii.

St. Ephraem, the great doctor of the Syrian Church, writes in the forty-second of his "Carmina Nisibina" that the Apostle was put to death in India, and that his remains were subsequently buried in Edessa, brought there by an unnamed merchant.[14]

A Syrian ecclesiastical calendar of an early date confirms the above and gives the merchant a name. The entry reads: "3 July, St. Thomas who was pierced with a lance in India. His body is at Urhai [another name for Edessa or Urfa] having been brought there by the merchant Khabin. A great festival." It is only natural to expect that we should receive from Edessa first-hand evidence of the removal of the relics to that city; and we are not disappointed, for St. Ephraem, the great doctor of the Syrian Church, has left us ample details in his writings.[14]

A long public tradition in the church at Edessa honoring Thomas as the Apostle of India resulted in several surviving hymns that are attributed to Ephrem, copied in codices of the 8th and 9th centuries. References in the hymns preserve the tradition that Thomas' bones were brought from India to Edessa by a merchant, and that the relics worked miracles both in India and at Edessa. A pontiff assigned his feast day and a king and a queen erected his shrine. The Thomas traditions became embodied in Syriac liturgy, thus they were universally credited by the Christian community there. There is also a legend that Thomas had met the Biblical Magi on his way to India.

According to Eusebius' record, Thomas and Bartholomew were assigned to Parthia and India.[15][16] The Didascalia (dating from the end of the 3rd century) states, “India and all countries condering it, even to the farthest seas...received the apostolic ordinances from Judas Thomas, who was a guide and ruler in the church which he built.”Moreover, there is a wealth of confirmatory information in the Syriac writings, liturgical books, and calendars of the Church of the East, not to mention the writings of the Fathers, the calendars, the sacramentaries, and the martyrologies of the Roman, Greek and Ethiopian churches.[1]

An early 3rd-century Syriac work known as the Acts of Thomas[2] connects the apostle's Indian ministry with two kings, one in the north and the other in the south. According to one of the legends in the Acts, Thomas was at first reluctant to accept this mission, but the Lord appeared to him in a night vision and said, “Fear not, Thomas. Go away to India and proclaim the Word, for my grace shall be with you. ”But the Apostle still demurred, so the Lord overruled the stubborn disciple by ordering circumstances so compelling that he was forced to accompany an Indian merchant, Abbanes, to his native place in northwest India, where he found himself in the service of the Indo-Parthian king, Gondophares. According to the Acts of Thomas, the apostle's ministry resulted in many conversions throughout the kingdom, including the king and his brother.[3]

Remains of some of his buildings, influenced by Greek architecture, indicate that he was a great builder. According to the legend, Thomas was a skilled carpenter and was bidden to build a palace for the king. However, the Apostle decided to teach the king a lesson by devoting the royal grant to acts of charity and thereby laying up treasure for the heavenly abode. Although little is known of the immediate growth of the church, Bar-Daisan (154–223) reports that in his time there were Christian tribes in North India which claimed to have been converted by Thomas and to have books and relics to prove it.[4] But at least by the year of the establishment of the Second Persian Empire (226), there were bishops of the Church of the East in northwest India, Afghanistan and Baluchistan, with laymen and clergy alike engaging in missionary activity.[5]

The Acts of Thomas identifies his second mission in India with a kingdom ruled by King Mahadwa, one of the rulers of a 1st-century dynasty in southern India. It is most significant that, aside from a small remnant of the Church of the East in Kurdistan, the only other church to maintain a distinctive identity is the Mar Thoma or “Church of Thomas” congregations along the Malabar Coast of Kerala State in southwest India. According to the most ancient tradition of this church, Thomas evangelized this area and then crossed to the Coromandel Coast of southeast India, where, after carrying out a second mission, he died near Madras. Throughout the period under review, the church in India was under the jurisdiction of Edessa, which was then under the Mesopotamian patriarchate at Seleucia-Ctesiphon and later at Baghdad and Mosul. Historian Vincent A. Smith says, “It must be admitted that a personal visit of the Apostle Thomas to South India was easily feasible in the traditional belief that he came by way of Socotra, where an ancient Christian settlement undoubtedly existed. I am now satisfied that the Christian church of South India is extremely ancient... ”.[6]

Martyrdom of St Thomas, Peter Paul Rubens

Piecing together the various traditions,[citation needed] one may conclude that Thomas left northwest India when invasion threatened and traveled by vessel to the Malabar coast, possibly visiting southeast Arabia and Socotra en route and landing at the former flourishing port of Muziris on an island near Cochin (c. AD. 51–52). From there he is said to have preached the gospel throughout the Malabar coast, though the various churches he founded were located mainly on the Periyar River and its tributaries and along the coast, where there were Jewish colonies. He reputedly preached to all classes of people and had about seventeen thousand converts, including members of the four principal castes. Later, stone crosses were erected at the places where churches were founded, and they became pilgrimage centres. In accordance with apostolic custom, Thomas ordained teachers and leaders or elders, who were reported to be the earliest ministry of the Malabar church.

According to tradition, St. Thomas attained martyrdom at St. Thomas Mount in Chennai and is buried on the site of San Thome Cathedral.[17]

[edit]Return of the relics

In A.D. 232 the greater part of relics of the Apostle Thomas are said to have been returned by an Indian king and brought back from India to the city of Edessa, Mesopotamia, on which occasion his Syriac Acts were written. Few relics are still kept in church at Mylapore, Tamil Nadu, India. The Indian king is named as "Mazdai" in Syriac sources, "Misdeos" and "Misdeus" in Greek and Latin sources respectively, which has been connected to the "Bazdeo" on the Kushan coinage of Vasudeva I, the transition between "M" and "B" being a current one in Classical sources for Indian names.[18] The martyrologist Rabban Sliba dedicated a special day to both the Indian king, his family, and St Thomas:

Coronatio Thomae apostoli et Misdeus rex Indiae, Johannes eus filius huisque mater Tertia ("Coronation of Thomas the Apostle, and Misdeus king of India, together with his son Johannes (thought to be a latinization of Vizan) and his mother Tertia") Rabban Sliba[18]

After a short stay in the Greek island of Chios, on 6 September 1258, the relics were transported to the West, and now rest in Ortona, Italy.

According to Indian Christian tradition, St. Thomas landed in Kodungallur in AD 52, in the company of a Jewish merchant Abbanes (Hebban). There were Jewish colonies in Kodungallur since ancient times and Jews continue to reside in Kerala till today, tracing their ancient history.

According to tradition, at the beginning of the 3rd century, the remains of Thomas appeared in Edessa, Mesopotamia, where they had been brought by a merchant coming from India (in that same period appeared the Acts of Thomas). They were kept in a shrine just outside the city, but, in August 394, they were transferred in the city, inside the church dedicated to the saint. In 441, the Magister militum per Orientem Anatolius donated to the church a silver coffin to host the relics. In 1144 the city was conquered by the Zengids and the shrine destroyed.[19]

In AD 522, Cosmas Indicopleustes (called the Alexandrian) visited the Malabar Coast. He is the first traveller who mentions Syrian Christians in Malabar, in his book Christian Topography. He mentions that in the town of "Kalliana" (Quilon or Kollam), there is a bishop consecrated in Persia. Metropolitan Mar Aprem writes, "Most church historians, who doubt the tradition of the doubting Thomas in India, will admit there was a church in India in the middle of the sixth century when Cosmas Indicopleustes visited India."[20]

There is a copper plate grant given to Iravi Korttan, a Christian of Kodungallur (Cranganore), by King Vira Raghava. The date is estimated to be around AD 744. In AD 822, two Nestorian Persian Bishops Mar Sapor and Mar Peroz came to Malabar, to occupy their seats in Kollam and Kodungallur, to look after the local Syrian Christians (also known as St. Thomas Christians).

Marco Polo, the Venetian traveller and author of Description of the World, popularly known as Il Milione, is reputed to have visited South India in 1288 and 1292. The first date has been rejected as he was in China at the time, but the second date is accepted by many historians. He is believed to have stopped in Ceylon (Sri Lanka) where he documented the tomb of Adam, and Quilon (Kollam) on the western Malabar coast of India, where he met Syrian Christians and recorded their tradition of St. Thomas and his tomb on the eastern Coromandel coast of the country. Il Milione, the book he dictated on his return to Europe, was on its publication condemned as a collection of impious and improbable traveller's tales but it became very popular reading in medieval Europe and inspired Spanish and Portuguese sailors to seek out the fabulous, and possibly Christian, India described in it.

Near Chennai (Madras) in India stands a small hillock called St. Thomas Mount, where the Apostle is said to have been killed in AD 72 (exact year not established). Also to be found in Chennai is the Dioceses of Saint Thomas of Mylapore to which his mortal remains were supposedly transferred.

Coin of Gondophares IV Sases (mid-1st century). Obv: King on horseback, corrupted Greek legend. Gondophares monogram. Rev: Zeus, making a benediction sign (Buddhist mudra). Kharoshthi inscription MAHARAJASA MAHATASA TRATARASA DEVAVRADASA GUDAPHARASA SASASA "Great king of kings, divine and saviour, Gondophares Sases", Buddhist trisula symbol.

thumb|left|Shrine of Saint Thomas in Mylapore, 18th century print.

Stamp issued in the honor of St. Thomas by India Post

[edit]Tomb

The Indian tradition, in which elements of the traditions of Malabar, Coromandel and the Persian Church intermingled firmly held that Thomas the Apostle died near the ancient town of Mylapore, where the San Thome Basilica is now sited. In the thirteenth century, what was said to be his relics were moved to the town of Ortona, in Italy where they are now buried in the church of St. Thomas the Apostle. On 27 September 2006, Pope Benedict XVI recalled that "an ancient tradition claims that Thomas first evangelized Syria and Persia (mentioned by Origen, according to Eusebius of Caesarea, Ecclesiastical History 3, 1) then went on to Western India (cf. Acts of Thomas 1–2 and 17ff.), from where also he finally reached Southern India."[21]

[edit]Historical references to Thomas

A 13th-century Armenian illumination, by Toros Roslin.

A number of early Christian writings written during centuries immediately following the first Ecumenical Council of 325 mention Thomas' mission.

The Acts of Thomas, sometimes called by its full name The Acts of Judas Thomas: 2nd/3rd century (c. 180–230)[22][23] Gist of the testimony: The Apostles cast lots as to where they should go, and to Thomas, twin brother of Jesus, fell India. Thomas was taken to king Gondophares the ruler of Indo-Parthian Kingdom as an architect and carpenter by Habban. The journey to India is described in detail. After a long residence in the court at Taxila he ordained leaders for the Church, and left in a chariot for the kingdom of Mazdei. According to the Acts of St. Thomas the Kingdom of Mazdai, in the Western India, Indus Valley, was ruled by King Misdeus. Parts of the Indus Valley,was then ruled by Persians called the Indo-Parthian Kingdom. Some Greeks Satraps, the descendents of Alexander the Great, were vassals to the Indo-Parthian Kingdom.[24][25] The king Misdeus was infuriated when St.Thomas converted the Queen Tertia, son Juzanes, sister-in-law princess Mygdonia (a province of Mesopotamia) and her friend Markia. The King Misdeus led St. Thomas outside the city and ordered four soldiers to take him to the nearby hill where the soldiers speared St. Thomas and killed him. Syphorus was elected the first presbyter by the brethren after the death of St. Thomas while Juzanes the prince became the deacon. The names of the King Misdeus, Tertia, Juzanes, Syphorus, Markia and Mygdonia suggest Greek descent or Hellenised Persian descent[26] There, after performing many miracles, he dies a martyr..[27] During the rule of Vasudeva I, the Kushan emperor, the bones of St. Thomas were transferred from the Indus Valley to Edessa. These are generally rejected by various Christian religions as either apocryphal or heretical. The two centuries that lapsed between the life of the apostle and recording this work, casts doubt on their authenticity.

Clement of Alexandria: 3rd century (d.c. 235); Church represented: Alexandrian/Greek Biographical Note : Greek Theologian, b. Athens, 150.[citation needed] Clement makes a passing reference to St. Thomas’ Apostolate in Parthia. This agrees with the testimony which Eusebius records about Pantaenus' visit to India.[citation needed]

Doctrine of the Apostles[citation needed] 3rd century; Church represented: Syrian [28] “After the death of the Apostles there were Guides and Rulers in the Churches…..They again at their deaths also committed and delivered to their disciples after them everything which they had received from the Apostles;…(also what) Judas Thomas (had written) from India”.

“India and all its own countries, and those bordering on it, even to the farther sea, received the Apostle’s hand of Priesthood from Judas Thomas, who was Guide and Ruler in the Church which he built and ministered there”. In what follows “the whole Persia of the Assyrians and Medes, and of the countries round about Babylon…. even to the borders of the Indians and even to the country of Gog and Magog” are said to have received the Apostles’ Hand of Priesthood from Aggaeus the disciple of Addaeus [29]

Origen century 3rd century (185–254?), quoted in Eusebius; Church represented: Alexandrian/ Greek Biographical. Christian Philosopher, b-Egypt, Origen taught with great acclaim in Alexandria and then in Caesarea.[30] He is the first known writer to record the casting of lots by the Apostles. Origen original work has been lost; but his statement about Parthia falling to Thomas has been preserved by Eusebius. “Origen, in the third chapter of his Commentary on Genesis, says that, according to tradition, Thomas’s allotted field of labour was Parthia”.[31]

Eusebius of Caesarea: 4th century (died 340); Church Represented: Alexandrian/Greek Biographical [32] Quoting Origen, Eusebius says: “When the holy Apostles and disciples of our Saviour were scattered over all the world, Thomas, so the tradition has it, obtained as his portion Parthia….” [33]

Ephrem: 4th century; Church Represented: Syrian Biographical [34] Many devotional hymns composed by St. Ephraem, bear witness to the Edessan Church’s strong conviction concerning St. Thomas’s Indian Apostolate. There the devil speaks of St. Thomas as “the Apostle I slew in India”. Also “The merchant brought the bones” to Edessa.

In another hymn eulogizing St. Thomas we read of “The bones the merchant hath brought”. “In his several journeyings to India, And thence on his return, All riches, which there he found, Dirt in his eyes he did repute when to thy sacred bones compared”. In yet another hymn Ephrem speaks of the mission of Thomas “The earth darkened with sacrifices’ fumes to illuminate”. “A land of people dark fell to thy lot”, “a tainted land Thomas has purified”; “India’s dark night” was “flooded with light” by Thomas.[35]

Gregory of Nazianzus: 4th century(died 389); Church Represented: Alexandrian. Biographical Note: Gregory of Nazianzus was born AD 330, consecrated a bishop by his friend St. Basil in 372 his father, the Bishop of Nazianzus induced him to share his charge. In 379 the people of Constantinople called him to be their bishop. By the Orthodox Church he is emphatically called “the Theologian’.[36] “What? were not the Apostles strangers amidst the many nations and countries over which they spread themselves? … Peter indeed may have belonged to Judea; but what had Paul in common with the gentiles, Luke with Achaia, Andrew with Epirus, John with Ephesus, Thomas with India, Mark with Italy?” [37]

Ambrose of Milan: 4th century (died 397); Church Represented: Western. Biographical Note: St. Ambrose was thoroughly acquainted with the Greek and Latin Classics, and had a good deal of information on India and Indians. He speaks of the Gymnosophists of India, the Indian Ocean, the river Ganges etc., a number of times.[38] “This admitted of the Apostles being sent without delay according to the saying of our Lord Jesus… Even those Kingdoms which were shut out by rugged mountains became accessible to them, as India to Thomas, Persia to Matthew..” [39]

St. Jerome (342–420). St. Jerome's testimony: “He (Christ) dwelt in all places: with Thomas in India, Peter at Rome, with Paul in Illyricum.”[citation needed]

St. Gaudentius (Bishop of Brescia, before 427). St. Gaudentius' testimony: “John at Sebastena, Thomas among the Indians, Andrew and Luke at the city of Patras are found to have closed their careers.”[citation needed]

St. Paulinus of Nola (died 431). St. Paulinus' testimony: “Parthia receives Mathew, India Thomas, Libya Thaddeus, and Phrygia Philip”.[citation needed]

St. Gregory of Tours (died 594) St. Gregory's testimony: “Thomas the Apostle, according to the narrative of his martyrdom is stated to have suffered in India. His holy remains (corpus), after a long interval of time, were removed to the city of Edessa in Syria and there interred. In that part of India where they first rested, stand a monastery and a church of striking dimensions, elaborately adorned and designed. This Theodore, who had been to the place, narrated to us.’[citation needed]

St. Isidore of Seville in Spain (d. c. 630). St. Isidore's testimony: “This Thomas preached the Gospel of Christ to the Parthians, the Medes, the Persians, the Hyrcanians and the Bactrians, and to the Indians of the Oriental region and penetrating the innermost regions and sealing his preaching by his passion he died transfixed with a lance at Calamina (present Mylapore),a city of India, and there was buried with honour”.[citation needed]

St. Bede the Venerable (c. 673–735).St. Bede's testimony: “Peter receives Rome, Andrew Achaia; James Spain; Thomas India; John Asia"[citation needed]

[edit]Saint Thomas Cross

In the sixteenth century work Jornada, Antonio Gouvea writes of ornate crosses “known as Saint Thomas Cross or Mar Thoma Sliba". These crosses date from the 6th century and are found in a number of churches in Kerala, Mylapore and Goa.[citation needed] Jornada is the oldest known written document to refer to this type of cross as a St. Thomas Cross.[citation needed] The original term used is “Cruz de San Thome” which literally translates as Cross of St. Thomas. Gouvea also writes about the veneration of the Cross at Cranganore, referring to the cross as "Cross of Christians.[citation needed]

[edit]Writings attributed to Thomas

Russian Orthodox icon of St. Thomas the Apostle, with scroll, 18th century (Iconostasis of Transfiguration Church, Kizhi Monastery, Karelia, Russia).

Let none read the gospel according to Thomas, for it is the work, not of one of the twelve apostles, but of one of Mani's three wicked disciples."

—Cyril of Jerusalem, Cathechesis V (4th century)

In the first two centuries of the Christian era, a number of writings were circulated. It is unclear now why Thomas was seen as an authority for doctrine, although this belief is documented in Gnostic groups as early as the Pistis Sophia In that Gnostic work, Mary Magdalene (one of the disciples) says:

Now at this time, my Lord, hear, so that I speak openly, for thou hast said to us "He who has ears to hear, let him hear:" Concerning the word which thou didst say to Philip: "Thou and Thomas and Matthew are the three to whom it has been given… to write every word of the Kingdom of the Light, and to bear witness to them"; hear now that I give the interpretation of these words. It is this which thy light-power once prophesied through Moses: "Through two and three witnesses everything will be established. The three witnesses are Philip and Thomas and Matthew"

—Pistis Sophia 1:43

An early, non-Gnostic tradition may lie behind this statement, which also emphasizes the primacy of the Gospel of Matthew in its Aramaic form, over the other canonical three.

Besides the Acts of Thomas there was a widely circulated Infancy Gospel of Thomas probably written in the later 2nd century, and probably also in Syria, which relates the miraculous events and prodigies of Jesus' boyhood. This is the document which tells for the first time the familiar legend of the twelve sparrows which Jesus, at the age of five, fashioned from clay on the Sabbath day, which took wing and flew away. The earliest manuscript of this work is a 6th century one in Syriac. This gospel was first referred to by Irenaeus; Ron Cameron notes: "In his citation, Irenaeus first quotes a non-canonical story that circulated about the childhood of Jesus and then goes directly on to quote a passage from the infancy narrative of the Gospel of Luke (Luke 2:49). Since the Infancy Gospel of Thomas records both of these stories, in relative close proximity to one another, it is possible that the apocryphal writing cited by Irenaeus is, in fact, what is now known as the Infancy Gospel of Thomas. Because of the complexities of the manuscript tradition, however, there is no certainty as to when the stories of the Infancy Gospel of Thomas began to be written down."

The best known in modern times of these documents is the "sayings" document that is being called the Gospel of Thomas, a noncanonical work whose date is disputed. The opening line claims it is the work of "Didymos Judas Thomas" – whose identity is unknown. This work was discovered in a Coptic translation in 1945 at the Egyptian village of Nag Hammadi, near the site of the monastery of Chenoboskion. Once the Coptic text was published, scholars recognized that an earlier Greek translation had been published from fragments of papyrus found at Oxyrhynchus in the 1890s.

[edit]See also

Christianity portal

List of Patriarchs of the Church of the East

Saint Thomas of Mylapur

São Tomé

Gospel of Barnabas

Throne of St. Thomas

[edit]References

^ a b "Saint Thomas (Christian Apostle) – Britannica Online Encyclopedia". Britannica.com. Retrieved 2010-04-25.

^ "Saint Thomas the Apostle". D. C. Kandathil. Retrieved 2010-04-26.

^ "Liturgical Calendar: December'". Latin-mass-society.org. Retrieved 2010-04-25.

^ Turner, John D. The Book of Thomas(NHC II,7 138,7–138,12). Retrieved on 10 September 2006

^ Calendarium Romanum (Libreria Editrice Vatricana 1969, p. 96

^ "Propers for St. Thomas the Apostle". Commonprayer.org. Retrieved 2010-04-25.

^ Holy, Glorious Apostle Thomas Orthodox icon and synaxarion for 6 October

^ Apostle Thomas—Synaxis of the Holy Apostles

^ Icon of the Mother of God Arapet (Arabian) Orthodox icon and synaxarion for 6 September]

^ Robinson, J. Armitage (2003). Two Glastonbury Legends: King Arthur and St. Joseph of Arimathea, 1926. Kessinger Publishing, p. 33. ISBN 0-7661-7738-6

^ "The Passing of Mary". Ccel.org. 2005-06-01. Retrieved 2010-04-25.

^ St Thomas Receiving the Virgin Mary’s Girdle at her Assumption dimus no. 17 (April 2008)

^ In imitation of Saint Thomas Aquinas: art, patronage and liturgy within a Renaissance chapel

^ a b MEDLYCOTT, India and the Apostle St. Thomas (London, 1905).

^ Ananthakrishnan G, (2006-12-26). "Thomas's visit under doubt". Times of India. Retrieved 2010-04-25.

^ "Thomas The Apostole". Stthoma.com. Retrieved 2010-04-25.

^ Neill, Stephen (2004). A History of Christianity in India: The Beginnings to AD 1707. Cambridge University Press. p. 29.

^ a b Mario Bussagli, "L'Art du Gandhara", p255

^ J.B. Segal, Edessa 'the Blessed City, Gorgias Press LLC, 2005, ISBN 1-59333-059-6, pp. 174–176, 250.

^ Mar Aprem, The Chaldean Syrian Church of the East, (Date and place of publication not available.)

^ General Audience in St Peter's Square on Wednesday, 27 September 2006 http://www.vatican.va/holy_father/benedict_xvi/audiences/2006/documents/hf_ben-xvi_aud_20060927_en.html retrieved 01/05/2011

^ Dr. Wright (Ed.), Apocryphal Acts of the Apostles, London, 1871 (Syriac Text in Vol.1, English translation in Vol. II); Rev. Paul Bedjan, Acta Martyrum et Sanctorum, Vol. III, Leipsic-Paris, 1892.A. E. Medlycott, India and the Apostle Thomas, London 1905, Appendix, pp. 221 -225.

^ The Acts of Thomas

^ Chandragupta Maurya and his times By Radhakumud Mookerji P.28

^ Greek Satrap of Indus Valley. Books.google.co.in. 1966. ISBN 978-81-208-0405-0. Retrieved 2010-04-25.

^ "Acts of St.Thomas". Gnosis.org. Retrieved 2010-04-25.

^ "Acts of Thomas". Earlychristianwritings.com. 2006-02-02. Retrieved 2010-04-25.

^ Cardinal Mai, Scriptorum Veterum Nova Collectio, Rome, 1838. W. Cureton, Ancient Syriac Documents, London, 1864: Latin Translation by A. Assemani; Vindobonae, 1856; Didascalia in Coptic, Ethiopic, and Arabic. Also see Medlycott, p. 33 ff.

^ (Cureton, pp. 32, 33, 34). 20th Century Discussions : Medlycott, pp 33–37 alias Menachery, STCEI, II, 20–21, Farquhar, p. 26 ff.

^ Eusebius, Historia Ecclesiastica, 3.1; Patrologia Graeca, Migne Edn., 20.215; Patrologia Latina, Migne, 21.478.

^ Farquhar, p. 30. 20th Century Discussions: Perumalil, pp. 50,51.E. R. Hambye, “Saint Thomas and India”, The Clergy Monthly 16 (1952). Comes, S. J., “Did St. Thomas Really come to India?”, in Menachery (Ed.) STCEI, II. Farquhar, pp. 30,31,

^ Patrologia Graeca (Migne), 19–24., 20.215.

^ J.C. Panjikaran, Christianity in Malabar w.s.r.t. The St. Thomas Christians of the Syro-Malabar Rite, Orientalia Christiana, VI, 2 (23), Roma I, April 1926, p.99 esp. for reference to Pantaenus’ Indian visit.

^ Bickell, S. Ephraemi Syri, Caramina Nisibena, Lipsiae, 1866; Monsignor Lamy, S. Ephraemi Syri Hymni et Sermones, (Quarto 4 vols.); Breviary acc. to the Rite of the Church of Antioch of the Syrians, Mosul, 1886–96. Also See Medlycott, pp. 21–32. Alias Menachery (Ed.) STCEI, II, p. 18 ff.

^ 20th Century Discussions : Medlycott, pp.21–32 alias Menachery (Ed.), STCEI, II, p. 18 ff.

^ Homil. XXXII,xi, Contra Arianos et de seipso. Migne, P.G. 36-228.

^ 20th Century Discussions : Medlycott, pp, 42,43; Perumalil pp. 43,44.

^ Migne, P-L 140 1143. (Also see 17. 1131, 17.1133, for his Indian knowledge.)

^ 20th Century Discussions : Medlycott, pp. 43, 44. Perumalil, pp. 44.45,Perumalil and Menachery (STCEI I, II), Migne Edns.; Wm. A. Jurgens, Faith of the Early Fathers:etc. History of Christianity-Source Materials by M. K. George, CLS, Madras, 1982 and the Handbook of Source Materials by Wm. G. Young.D. Ferroli, The Jesuits in Malabar, Vol. I. Bangalore, 1939, esp. notes and documents p. 71 ff.; W.S. Hunt, The Anglican Church in Travancore and Cochin, Kottayam, 1920, esp. p. 27, p.33 pp. 46–50; G.T. Mackenzie, i.c.s., “History of Christianity in Travancore”, in The Travancore State Manual, Vol-II, Edited by Nagam Aiya, Trivandrum 1906 pp. 135–233; Menachery, STCEI, I, II.

[edit]Further reading

A.C. Perumalil, The Apostles in India, Patna (India), XTTI, 1971.

Glenn W. Most, Doubting Thomas. Cambridge, Mass., London: Harvard University Press, 2005 (a study in the reception of Thomas’ story in literature and art).

Charles Nicholl, "The Other Thomas," London Review of Books vol. 34 no. 21 (8 November 2012), pages 39–43.

[edit]External links

Wikimedia Commons has media related to: Saint Thomas

Wikisource has the text of a 1920 Encyclopedia Americana article about Thomas the Apostle.

St. Thomas the Apostle

Apostle in India, The tomb of the Apostle

Mylapore santhomechurch built over the tomb of St. Thomas

Jacobite Syrian Christian Church

Mylapore Diocese of Jacobite Syrian Church

St. Thomas Indian Orthodox Church – Greater Washington

A.E. Medlycott, India and the Apostle Thomas, London 1905 (e-text)

Niranam Valiyapally and St. Thomas

The Nasrani Syrian Christians Network

Official Site of the Malankara Mar Thoma Syrian Church

Mar Thoma Churches all over the world

Passages to India

Orthodox Church Portal

St. Thomas – Apostle of India

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History of computers

Posted by quintustheresraj on April 9, 2013 at 2:45 AM

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History of computers can be traced way back to 1939 when Hewlett-Packard was founded.

David Packard and Bill Hewlett found Hewlett-Packard in a Palo Alto, California garage.

Their first product was the HP 200A Audio Oscillator, which rapidly becomes a popular piece of test equipment for engineers.

6th December 1948: An electrical 'brain' which stores up billing information installed in a Philadelphia telephone exchange by the Bell Telephone Laboratories.

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October 1953: A large computer used for calculating staff wages at J Lyons & Co, Cadby Hall, London.

Photographs: Bert Hardy/Getty Images

1955: Four reels of magnetic tape on which is recorded the entire bible.

The process took six months of work on the Unityper.

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1955: A man operating scientific equipment at the Nobel Institute at Stockholm, Sweden.

February 26, 1955: Ferranti's electronic brain is being installed in London to help industrial firms solve problems, including wage calculations, life tables for insurance companies, readership surveys and forecasting election results.

Photographs: Raymond Kleboe/Getty Images

Photographs: Harry Kerr/Getty Images

October 1956: British scientist Gordon Pask co-inventor of an electronic brain used as a teaching aid called Eucrates I.

Photographs: Jimmy Sime/Getty Images

January 26, 1959: Dr H A Thomas, manager of the Instrumentation and Control section of Unilever's engineering department gives the Faraday lecture at London's Festival Hall.

His subject is 'Automation' and here he demonstrates the workings of an electronic calculator or computer.

October 15, 1964: Employees of the manufacturers of the computer being used for the BBC television marathon election result programme, checking over the computer in the BBC television studio.

Photographs: Hulton Archive/Getty Images

July 22, 1966: British electronics inventor and innovator Clive Sinclair.

Photographs: Terry Disney/Getty Images

March 16, 1967: English film star Michael Caine plays the cockney spy Harry Palmer in Harry Saltzman's film 'Billion Dollar Brain'. A Honeywell computer is the basis of a huge film set at Pinewood Studios.

Photographs: Keystone/Getty Images

June 1, 1979: A shopper carries boxes of computer toys and games in London's Tottenham Court Road.

Photographs: Evening Standard/Getty Images

A man testing the Ferranti computer at the company's factory in Moston, Manchester.

Photographs: Raymond Kleboe/Getty Images

A man checking the installation of the Elliott 402 'Electric Brain' at the British Instrument Industries Exhibition at Earl's Court, London.

This electronic computer can solve complicated mathematical problems in one hour.

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Photographs: Derek Berwin/Getty Images

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Apple Computer Inc intensified its challenge to conventional computer design on January 5, 1999 by unveiling five bright new colors for its unusual-looking iMac desktop machine.

The company also lowered the price on the iMac by $100 to $1,200 and boosted its processing power and storage capacity.

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New iPod earphones are seen next to a display of the new iPod Nano at an Apple media event on September 12, 2006 in San Francisco.

Steve Jobs announced new iPods and video downloads from iTunes as well as a sneak peek at a device tenatively called iTV which allows you to channel iTunes to your television and is expected out in early 2007.

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The new Nintendo Gameboy Advance, left, and one of the earliest handheld games, the Atari Touch Me are displayed side by side on June 21, 2001 in London.

The Atari vintage computer game, made in 1978, is part of an exhibition featuring 25 years of handheld electronic gaming and also launches the new Nintendo Gameboy Advance in Europe.

Photographs: Sion Touhig/GettyImages

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The new iMac is displayed after the then Apple CEO Steve Jobs introduced new versions of the iMac and iLife applications on August 7, 2007 in Cupertino, California.

The all-in-one desktop computers now have a slimmer design in aluminum casings with faster chips and glossy screens and is up to $300 cheaper then their predecessors.

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All Keyboards

Posted by quintustheresraj on April 9, 2013 at 2:35 AM

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Steps

Method 1: All Keyboards

1. 1

Identify the repeating pattern of keys on the piano. Find the note "C" on your keyboard, as shown in the image below. This is the first note of the C Major scale: C, D, E, F, G, A, B, and back to C.

Introducing Major Scale in Desi Style

For centuries, most Western music has been based on major and minor scales. That is one of the things that make it instantly recognizable as Western music. Most of the music of Eastern Asia is based upon thaat and ragas. A scale is a list of all the notes that begins with a specific key. Major scales all follow the same interval pattern. The simple, sing-along, nursery rhymes and folk songs we learn as children, the cheerful, toe-tapping pop and rock we dance to or Qomi Tarana, Pak Ser Zameen: Most music in a major key has a bright sound that people often describe as cheerful, inspiring, exciting, or just plain fun. In C Major Scale you may play the song "ik pyar kaa nagma hai". It consists all the white keys from any starting C to the next. C. Music in a particular key tends to use only some of the many possible notes available; these notes are listed in the scale associated with that key. The notes that a major key uses tend to build "bright"-sounding major chords. They also give a strong feeling of having a tonal center, a note or chord that feels like "home" in that key. The "bright"-sounding major chords and the strong feeling of tonality are what give major keys their pleasant moods. In this lesson we will learn all about the major scale. Although we will use a keyboard, the lesson should be of use to anyone who wants to learn about one of the most important and useful scales in music.

In a keyboard you will see the familiar repeating pattern of notes. Starting from one C and moving upwards to the next produces the notes: C D E F G A B C

Learn all the note names on a keyboard. The white key to the left of two black keys is always a C, now moving to the next white keys on the right we have D - E - F - G - A - B then back to C again. These note names just keep repeating. The name of the black keys (and some white keys as well) varies depending on whether it's a sharp or a flat. For example, the black key next to C may either be a C# or a Db. If you've played these C D E F G A B C notes on your keyboard - you've just played a Major Scale. This is the scale known as C Major. C Major is the most common scale in all Western music and there are eight notes in C Major scale. To simplify, you can memorize this formula to form a major scale:

Major Scale = whole step - whole step - half step - whole step - whole step - whole step - half step or w - w - h - w - w - w – h Or we can write

whole whole half whole whole whole half

step step step step step step step

1 to 2 to 3 to 4 to 5 to 6 to 7 to 8

Now, assign numbers to each note of a major scale, always assign number one to the root note. For example, in the C major scale the root note is C with number 1 and other numbers will be assigned as follows:

C = 1

D = 2

E = 3

F = 4

G = 5

A = 6

B = 7

C = 8

So, based upon this sequence a C major scale would be comprised of the following tones: C, D, E, F, G, A, B, C (in a single octave).

Understanding Tones and Semitones

To understand how to find other major scales we need to look more closely at the construction of our C Major Scale. Have a look at the keyboard again. By adding in the black notes, we can see that there are actually 12 notes between one C and the next. The distance from one of these 12 to its neighbor is known as a semitone. If you have a keyboard, try playing up the keyboard from one C to the next, playing all 12 notes.

Notice how some notes of the C major scale have another note in between them (eg. from C to D there is a black note in between), whereas some don't (e.g. from E to F). The gap from C to D consists of two semitones, and is known as a tone. This pattern of tones and semitones is how the scale gets its particular colour. The major scale is formed out of the following mixture of tones and semitones or we can say a major scale consists of 7 different notes. The intervals from note to note of the major scale in any key are:

tone - tone - semitone - tone - tone - tone - semitone

Finding other major scales in desi style.

To find any other major scale, you simply repeat the pattern of tones and semitones, starting from the note in question.

For example, let's try D major Scale which is: D E F# A B C#

1 First note D

2 Tone higher: E

3 Tone higher: F#

4 Semitone higher: G

5 Tone higher: A

6 Tone higher: B

7 Tone higher: C#

8 Semitone higher: D

(Just in case you're not clear, F# indicates the black note immediately above the F)

Many students of keyboards dread scales. But without the knowledge of scales, you will never be able to create your original melodies. Scales teach you correct fingering patterns.

Practice each hand separately, before attempting to play both hands! The fingering for the RH is: ascending 1 2 3 1 2 3 4 5 and descending 5 4 3 2 1 3 2 1. As you ascend, tuck your thumb under your third finger and complete the scale using finger numbers 1 2 3 4 5. When you descend, cross your third finger over your thumb and complete the scale using finger numbers 3 2 1. LH fingering: ascending 5 4 3 2 1 3 2 1 and descending 1 2 3 1 2 3 4 5. The same instructions apply regarding tucking the thumb under the second finger when descending and crossing the third finger over the thumb when ascending.

Throughout your study of the keyboard, especially when you are learning new music, or an exercise, it is important that you practice each hand separately at first. Once your finger muscles have memorized the movement (s) you may then practice with both hands. But remember to practice slowly at first. How can you run, if you can’t walk?

Getting Use to Keyboard Finger Movements:

Place your right hand on a tabletop or your thigh. Slowly, tap each finger, starting with your thumb and proceed with fingers 2-5. (I.e. 1-2-3-4-5, 1-2-3-4-5 etc.)

Repeat this at least ten times. Raise your fingers very high.

Now practice starting with your 5th finger and proceed with fingers 4-1. (i.e. 5-4-3-2-1, 5-4-3-2-1 etc.) Have you noticed that when you’re tapping fingers 1-5, you are moving up; and on the other hand when you are tapping fingers 5-1, you are moving down. These 5-finger movements are needed to play the keyboard well. Now here’s where the fun begins! Repeat the instructions above using your left hand. That’s right. If you are “right-handed”, your left hand is naturally weaker than your right. So, remember, a keyboardist is only as good as his weaker hand. Therefore, you must spend more practice-time using the weaker hand/fingers

Major scales in all 12 keys with flats and sharps

Fingering Scales

I. General Fingering Rules

1. The fingering always alternates 123 1234 (or 321 4321) so that the same fingering pattern repeats every octave.

2. The thumb always stays on the white keys and never on black keys.

3. The fourth finger always plays a black key (when there is a black key to be played in the scale).

4. The fifth finger is only used in practice of scales in all 3 octaves together.

5. When working out scale passages in the literature, consider alternatives that put the fingering patterns in alignment between the hands (thumbs happening together somewhere in the scale).

II. Fingerings Scales

1. These are just the fingering patterns: Feel free to use finger 5 when appropriate (first note, last note, turning around).

2. Feel free to revert to traditional fingerings, especially when performing the melodic minor scale ascending and descending.

3. In western scale “C” major contain white keys only, so we also use fifth finger in practice of scales.

Major & Minor Desi Scale Fingering Chart

Major Scales Natural Minor Scales

Key Fingering Key Fingering

RH C major 12312341 A minor 12312341

LH 14321321 14321321

RH G major 12312341 E minor 34123123

LH 32132143 14321321

RH D major 12312341 B minor 34123123

LH 21432132 13214321

RH A major 12312341 F# minor 34123123

LH 21321432 43213214

RH E major 12312341 C# minor 34123123

LH 14321321 32143213

RH B/Cb major 12312341 G#/Ab minor 34123123

LH 13214321 32132143

RH F#/Gb major 23412312 D#/Eb minor 31234123

LH 43213214 21432132

RH C#/Db major 23123412 A#/Bb minor 41231234

LH 32143213 21321432

RH Ab major 34123123 F minor 12341231

LH 32143213 21321432

RH Eb major 31234123 C minor 12312341

LH 32143213 21321432

(14321321)

RH Bb major 41231234 G minor 23412312

(12312341)

LH 32143213 21321432

(14321321)

RH F major 12341231 D minor 23123412

(12312341)

LH 32143213 21321432

(14321321)

Chords

Chords are used to play along with the melody of a song. There are many different types of chords; the most common are major and minor chords. Or a chord is a group of notes, which are played together. On electronic keyboards, it is possible to play a chord using only one finger in the extreme left octave. Find the auto bass chord section (eg. Yamaha Keyboards), or Casio-chord section (eg. Casio keyboards), or chord intelligence (eg. Rolland or Kawai keyboards) and select the single finger position. This will allow you to play chords using only one or two fingers. On electronic keyboards, chords can also be played with three, four or sometimes more fingers. Chords are usually played with the left hand and the melody is played with the right. Keyboard Chords, are formed by combining two or more scale notes. You know the notes that comprise all 12 major scales and you can play these scales smoothly and not quickly. Begin combining the scale notes to form chords. We will begin our study with the simplest and most common type of piano chords, the triad.In Western music, most harmony is based on chords. In other words chords are groups of notes built on major or minor triads (3 notes). In traditional triadic chords, there are always at least three notes in a chord. The notes of the chord may be played at the same time, or may overlap, or may be played separately but in a quick enough succession that they will be "heard" as a chord.

Major & Minor Chord Fingering

Shown above is the left and right hand with each finger numbered. Remember the finger numbers, as I will be using them in this section.

Left Hand

The simplest fingering for a three-note chord such as C major chord with the left hand is 5-3-1, that is, pinky, middle finger and thumb. The pinky would go on the C, the middle finger on the E and the thumb on the G. This fingering can be used for all major and minor chords on the keyboard regardless of whether they have black keys or not. The same fingering can be used for playing all major and minor chords.

Right Hand

The same fingering reversed can be used for playing C major chord with the right hand, 1-3-5. So in this case the thumb goes on C, the middle finger on E and pinky on G. The same reversed fingering can be used for playing all major and minor chords.

Exercises

Try working out and playing these chords and playing with either hand to test out this fingering. You can play each hand separately or play both hands together:

C Major

E Major - Notice that the fingering still works even though G# is a black key.

G Minor - B flat is a black key in this chord.

A flat Minor - This is a tricky one, its notes are A flat, B and E flat.

Chord Progression

A series of chords played one after another is a chord progression. Musicians may describe a specific chord progression e.g. "two measures of G major, then a half measure of A minor and a half measure of D seventh", or we simply say "G, A minor, D seventh" in short.

Major Chords

As the name implies a triad is composed of 3 notes from the major scale. We shall begin with the major triad. A major triad consists of the 1st, 3rd, and 5th notes or tone of a major scale. You will also see this referred to as the root (1st), major third (3rd), and perfect fifth (5th). So, based upon this C major chord would consist of the notes C, E, and G of the C major scale. The symbols for a major triad are Major, M, or Maj. Whenever you see these names or symbols following a keyboard note (C, D, Eb, F#, etc.) you know it is referring to major triad chords. Or if you are just given the note (C, D, etc.) it is inferred to be a major triad. Now, when you practice major chords, it is recommend that you form them using the 1st, 3rd, and 5th fingers of your right hand. Thumb (1st), middle finger (3rd), and pinky (5th). Your left hand will form these chords using the 1st, 3rd, and 5th fingers also, but the numbering is pinky (1st) middle finger (3rd) and thumb (5th).

1 D

2 E

3 F

4 G

5 A

6 B

Your First Chord

Now that you've got the melody down you want to make it sound a bit more like a keyboard piece by adding something with your left hand to it. That something is going to be chords. The reason for choosing Silent Night as your first piece is because it only contains three chords, and they are all of the same type like Major. Remember, a chord is a just two or more note played at the same time, for the purposes of this song we are going to be using three note chords also known as triads. So what are the chords you need to know? C Major, F Major and G Major, I will now show you how to play each of these chords on the keyboard. To play the chord simply press the keys marked for the chord. So to play C Major I would press C, E and G at the same time.

C Major

F Major

G Major

The next thing you need is a "chord with", this is a way of telling you where the chords come with respect to the melody and lyrics.

So to start you off, you would play the first note of the song (G) with your right hand while at the same time playing the C chord as given above with your left hand. Now simply keep holding the C chord while you play the first line of the song. When the melody gets up to the section where the G chord is simply play a G chord in your left hand and continue with the melody in the right. Continue this all the way through until you can play the whole song with chords in your left and melody in your right hand at the same time.

Playing Major Chord any where in the Keyboard:

Now you are going to know how to play Major chord anywhere on the keyboard. Say we wanted to work out the major chord G Major the process is as follows (its probably best to practice this at the keyboard). Find the note G on the keyboard this is known as the root note of the chord.

G major chord

Next count up 4 half tones from G to get you to B, this is the second note of your chord. Now count up 3 half tones from B to get you to D. This is your G major chord G-B-D. So the Major chord consists of the root note, a note 4 half tones above the root note, a note 3 half tones above the middle note. That’s it! As soon as you read that you just learnt all the major chords on the keyboard. The Major chord consists of the interval of 4 half tones followed by an interval of 3 half tones.Lets try another one, work out the A Major chord.

Find the root note, in this case A.

Count up 4 half tones from A to get C#.

Count up 3 half tones from C# to get E

And we have the A major chord, A - C#

How to find Chords in different desi keyboards rhythm section.

Yamaha and Technics Keyboard Chord Section:

To play G7 Chord on this type of keyboards, press lowest G key with the fourth finger of your left hand, together with the white key immediately to its left, using your fifth finger.

Casio Keyboard Chord Section

To play a G7 chord on this type of keyboard, press the lowest G key with the fourth finger of your left hand, together with the two white keys to its right, using your third and second fingers.

Kawai and Roland Keyboard Chord Section

To play G7 chord on this type of keyboard, press the lowest G key with the fourth finger of your left hand, together with the second key to its left, using your fifth finger.

When you add chords to a song, the keyboard also allows you to have a bass and drum accompaniment at the same time. Chords are indicated by chord symbols, which are written above notations of songs.

Chords in auto accompaniment section:

1. Setup the one finger chord function on your keyboard.

2. Select a disco, or tabla style beat from the rhythm section.

3. Find the switch called synchro/start (e.g: Yamaha keyboards).

4. Press the C chord key and release it immediately. Your keyboard will begin playing a C chord with bass and drum accompaniment, and continue playing until you press another key, or the stop button. Look in your owners manual if you need more help to use this feature.

How Minor Scales Are Formed

The sound of the minor scale generally makes people think of "Indian music" - although in truth, the scale isn't used much in that genre. A natural minor scale consists of 7 different notes. These intervals from note to note are:

tone - semitone - tone - tone - semitone - tone – tone

1 2 3 4 5 6 7

If we learn the formula of building all major and minor scales then we can make chords ourselves. Learn scales that are fundamentals of music and play songs with them. A natural minor piano scale is also known as a relative or related minor scale. To find the relative minor scale of any major scale, locate the 6th tone (note) in a major scale and you will have found it's related minor. For example, C major scale is composed of C, D, E, F, G, A, B, C (octave). The 6th note of the C major scale is A. Therefore A minor is the relative or related minor of a C major scale. This means that both A minor and C major are comprised of the same tones or notes. If you start at A on any on the keyboard and play all the white notes to next octave A, then you can count the series of whole and half steps which make up a natural minor scale. The sequence is whole step, half step, whole step, whole step, half step, whole step, and whole step.

To simplify, you can memorize this formula to form a minor scale = whole step - half step - whole step - whole step - half step - whole step - whole step or w - h - w - w - h - w - w.

Practice these keyboard scales with both hands until you can move smoothly or not necessarily quickly from beginning to end and back again in all 12 keys. When you practice your scales, you should use the fingering technique outlined in these lessons. This technique works with major and minor keyboard scales and will help with your finger movements and control. So get to it and practice these natural and minor scales. While the Major scale is considered the foundation of western music theory, the next most important is probably the Minor scale, also known as the Pure Minor or Natural Minor scale. The terms "major" and "minor" are essential concepts in music, and as with chords, they arise from the third degree of the scale. All major scales and chords include a major third degree (four semitones), giving them a strong, assertive feel.

All minor scales and chords include a minor third degree (three semitones) instead, giving them a gentle, melancholy or sad feel. When the Major scale was introduced earlier, you may have wondered why the key of C has the special privilege, compared to the other keys, of containing only natural notes. Why not for example, the key of A, which is our first alphabetical letter? Also, why do single semitone intervals occur only between B/C and E/F, while there are two semitones between all the other natural notes? It seems that centuries ago, when letters were first given to notes, the Natural Minor scale was considered the most important. Note letters were therefore allocated to suit the intervals of the Natural Minor scale. As you can see above, this means that the A Natural Minor scale contains all natural notes, the same as the C Major scale. The Natural Minor scales with other root notes all have at least one sharp or flat note. This makes a lot more sense. It also offers insight why it has the name of "Natural" minor, compared to the other minor scales, which have different names, and different patterns of intervals

Minor scales in all 12 keys with flats and sharps

Musical Emotions

The psychological effects of the major and minor scales, and their respective tonalities, can be understood as the emotional corollaries of these underlying ideas. The major scales revolve around the ideas and the concomitant emotions of order, purity, devotion, submission and worship. The minor scales revolve around the ideas and the related emotions of sacrifice, humanity, complexity and partnership. Minor scale songs show sorrow, grief and sadness

List of 700 Indian Songs Scale, Styles & Tempo Information In Excel:

Note:- Almost all famous Indian film songs can be played with these 40 styles. List of 700 Indian songs with information of their western scales, psr style to select, tempo to fix and mfd will be provided for free with 40 styles package if payment is made through western union. It is a great research work of Salesh Pujara who was once accordion player of Kalyanjee Anandjee and now playing tyros in UK. Salesh Pujara performed accordion for the films Muqadar Ka Sikandar, Amar Akbar Anthony and Naseeb etc.

Download MS Excel List:

700 Songs Scale, Style, Tempo Information in MS Excel for Yamaha, PSR, Download Demo List

If you know the scale of song then you can play that song yourself:

List of 700 famous Indian film songs scales, tempo, yamaha psr styles to play and mfd will be provided with the purchase of western style e.book.

Keyboard Lessons | Previous Page | Page 2 of 12 | Next Page

Goto Page: 1 2 3 4 5 6 7 8 9 10 11 12

Now Introducing Major Scale in Desi Style. Why learn keyboard in desi style free. Listen

o Note the pattern of white keys: three white keys enclosing two black keys, and four white keys enclosing three black keys.

o You can also see it this way: the black keys repeat a five-key pattern of two black keys separated by one white key, then two white keys, then three black keys separated by one white key, then two white keys.

o This pattern is constant on all keyboards. Every note on the keyboard is represented in this single 12-note octave—they're just higher or lower in pitch.

2. 2

Identify the black keys. Using the image below, identify and learn the black keys on the keyboard.

o Note that each black key has two possible names. For example, there is C sharp (C♯) and D flat (D♭). What you call this note depends on what key you are in or what chord you are playing. Here are the names of the notes on the black keys:

o 1st black key in the group is C♯ or D♭

o 2nd black key in the group is D♯ or E♭

o 3rd black key in the group is F♯ or G♭

o 4th black key in the group is G♯ or A♭

o 5th black key in the group is A♯ or B♭

o Notice that to find the note of a black key, you either go to the white key immediately before (to the left of) it and use a sharp sign, or you go to the white key immediately after (to the right of) it and use a flat sign.

3. 3

Find the octave the note is in. Use the image below as a reference.

o Start by finding Middle C. This note belongs in the octave 4, and is highlighted in red, above.

o Go down or up to reach the octave that your key is in, decreasing or increasing the octave number respectively as you go.

4. 4

Learn what the notes look like. Learning what the written notes look like can also help you understand the relationship of the notes.

o Here is a chart showing what the white notes look like, musically, starting at C4 (the C in the 4th octave).

o Here is a chart showing what the black notes look like, musically, starting at C♯4. On the top line, the notes are written as sharps. On the bottom line notes are written as flats. Though they look different, they sound exactly the same.

Method 2: 88-Key Keyboards and Pianos

1. 1

Start at the first key to the left. This is the lowest note playable and it is designated A0 (the A at the zeroth octave).

2. 2

Go up (to the right) the keyboard using only the white keys. The keys you'll encounter are detailed as follows:

o First (left-most or lowest) white key is: A0

o 2nd white key is: B0

o 3rd white key is: C1

3. 3

Follow the pattern. Notice and repeat the following pattern for the remainder of the white keys, starting at the third white key:

o 3rd white key is: C1

o 4th white key is: D1

o 5th white key is: E1

o 6th white key is: F1

o 7th white key is: G1

o 8th white key is: A1

o 9th white key is: B1

o 10th white key is: C2

o Notice how, after reaching B1, the pattern will repeat again for the next higher octave: C2. This pattern continues up the keyboard: C2 to C3, C3 to C4, and so on.

4. 4

Learn the black keys. Starting at the lowest black note on the keyboard—at the leftmost side—the first black key is A♯0 or B♭0.

o The symbol ♯ is read as sharp', and the symbol ♭ is read as flat.

5. 5

Move up (to the right) in the keyboard, you'll find the following group of 5 black keys immediately after the first black key:

o 2nd black key is C♯1 or D♭1.

o 3rd black key is D♯1 or E♭1.

o 4th black key is F♯1 or G♭1.

o 5th black key is G♯1 or A♭1.

o 6th black key is A♯1 or B♭1.

o As with the white keys, the black keys continue the same pattern up the keyboard.

Edit Video

Edit Tips

• Memorize all the white and black notes for one octave—C to C. Once you have those memorized, they are exactly the same for every octave on the keyboard. Whether your keyboard has 2 octaves or 8, it's all the same!

• When starting to learn the piano, spend time watching your hands and learning the right position. Practice the proper posture when playing as this is very important as you progress. It is always harder to undo bad habits!

Edit Warnings

• Do not write the names of the notes directly onto a piano or keyboard. Some keyboards have the note names written already so if you really want that feature, buy one of those. However, the practice itself is not recommended. While it may seem easier at first, It will become a crutch that will actually slow down your progress.

Edit Things You'll Need

• A Piano or Keyboard.

• You might want to print the diagrams above at first.

• The dedication of some time to learning and memorizing the notes on the keyboard.

Edit Related wikiHows

• How to Read Music

• How to Choose a Piano

• How to Play the Piano

• How to Be Good at Piano

• How to Play Middle C on the Piano

• How to Choose Between Digital or Acoustic Piano

• How to Learn the Piano Keyboard

Edit Sources and Citations

• Piano key frequencies - Wikipedia

• Pitch (Music) - Wikipedia

Article Info

Categories: Piano and Keyboard

Recent edits by: K53_PDX, Analogous Mind, Steve

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Features of a Raga in Indian Music

by Mukul Shri Goel

The Raga in Indian classical music is a musical atmosphere – defined by a set of properties – that imparts a distinctive melodious sound to all the diverse compositions that are based on it. The set of properties that characterize a raga include the allowable notes and order of their application (ascend and descend; aroha and avroha), the key groupings of notes (pakad), the most prominent note (vadi), the second most significant note (samvadi), the parent scale (thaat), the time (hours and/or season), and the nature or mood (prakriti).

For the purpose of learning more about these basic characteristics of a raga, let’s take an example of a simple yet celebrated raga – Vrindavani Sarang.

(Key: Musical Notes on the Higher Octave are in Bold, Notes on a Lower Octave are in Italics, Komal (soft) notes are Underlined, Shuddha notes are in regular script, a comma denotes a slight pause at the musician’s discretion.)

The Allowable Notes and their Order

Out of the twelve notes on the keyboard, Raga Vrindavani Sarang uses six notes; namely, Sa, Re, Ma, Pa, Ni, and Ni. However, there exists a condition: shuddha nishad (Ni) is to be used only in the ascend, and komal nishad (Ni) is allowed during the descend only. This condition makes five notes permissible while ascending (from Sa to higher notes) and five notes allowable while descending (from Sa to lower notes), making the raga a member of the audav-audav (five note-five note) family (jaati). Ga, Dha or teevra Ma can never be used.

On satisfying these conditions and arranging the notes in their natural order, the aroha (ascend) for this raga becomes:

Ni Sa Re, Ma Pa, Ni Sa

And the avroha (descend) becomes:

Sa Ni Pa, Ma Re, Sa

Prominent Notes and Preferred Progression

You must have noticed the slight pauses after Re and Pa in the above aroha-avroha sequences. The reason for pausing at these notes in a presentation is that these two notes demand special status in Raga Vrindavani sarang – they are to be used prominently for an authentic display of this raga. Because Re is the most important note of the raga (vadi note), the longer one holds this note in a performance, the easier it is form the atmosphere of the raga. Similarly, the second most significant note (samvadi note) is Pa. Such relative importance of notes must be kept in mind during both raga-based composing and improvising (alaap/ taan).

The preferred note progression, pakad, for Raga Vrindavani Sarang is as follows:

Ni Sa Re, Ma Re, Pa Ma Re, Sa

Repeated use of these key groupings of notes can highlight the uniqueness of this raga and prevent the performer from entering the domains of closely associated ragas, either from its parent scale (thaat Kafi ) or the sarang-group. In the pakad, you can again note the significance of the note ‘Re’ for this raga.

The Timing and Mood

The time of this raga is ‘afternoon.’ Even though the rule regarding time is not strictly followed by many musicians, it is believed that the vibrations of Vrindavani Sarang would be more effective in creating the desirable effect on its listeners if it is performed in the afternoon. Besides, this raga is more suitable for the monsoon (rainy) season. Because the name of this raga has originated from the town of Vrindavan, where Krishna enacted many divine plays (leelas) during His incarnation, devotional songs are often composed in this raga. The mood of this raga is believed to be devotional. Though lyrics in classical presentations are regularly short so that the mood and intricacies of the raga can be focused upon, lyrics, while composing, must be chosen to match this feel of the raga.

A Composition

A traditional composition (chhota khayal) with a devotional flavor, commonly taught to beginners in Hindustani Classical Music, is given below.

Lyrics

Ban-ban dhoondhan jaaoon. Kithoon chhip gaye Krishna Murari.

Sheesh mukut aur kanan kundal, bansi dhar man rang firat Girdhari.”

(Implied Meaning: Having searched numerous places in the material world, the devotee wonders where Lord Krishna, adorned with a crown on the head, earrings, and a flute, is hiding.)

Sthayi (part 1)

Antara (part 2)

The rhythmic cycle (taal) involved in this khayal is – Teentaal (16 beats), the most popular taal of Hindustani classical music. From the perspective of percussion, the major ‘pulse’ (sam; first beat) in a teentaal composition can be felt after every 16 beats. (This is the moment where most members of the audience nod their head.) Minor pulses (internal divisions) in this cycle can be felt every four beats. The song is set to medium-fast tempo.

________________________________________

DiscussThe Melekartha System is the most scientific system of creation and classification of ragas and forms the basic of the classical carnatic music system.

Melakartha system uses a powerful scientific algorithm to create the fundamental 72 ragas of the carnatic music system. All other ragas in the carnatic music system are derived from one/more of these 72 ragas. The derived ragas are called janya ragas.

Classical Instruments

In the Melakartha system we divide the 12 keys of an octave (in the keyboard) into 7 swaras as follows:

1. Shadjama

S = Shadjama = First key of the octave

2. Rishaba

R1 = Shudhdha Rishabha = Second key of the octave

R2 = Chathushruthi Rishabha = Third key of the octave

R3 = Sathshruthi Rishabha = Fourth key of the octave

3. Gandhara

G1 = Shudhdha Gandhara = Third key of the octave

G2 = Sadharana Gandhara = Fourth key of the octave

G3 = Anthara Gandhara= Fifth key of the octave

4. Madhyama

M1 = Shudhdha Madhyama = Sixth key of the octave

M2 = Prathi Madhyama = Seventh key of the octave

5. Panchama

P = Panchama = Eigth key of the octave

6. Daivatha

D1 = Shudhdha Daivatha = Nineth key of the octave

D2 = Chathushruthi Daivatha = Tenth key of the octave

D3 = Sathshruthi Daivatha = Eleventh key of the octave

7. Nishadha

N1 = Shudhdha Nishadha = Tenth key of the octave

N2 = Kaishika Nishadha = Eleventh key of the octave

N3 = Kaakali Nishadha = Twelveth key of the octave

You can see above that R2=G1, R3=G2, D2=N1 and D3=N2. The reason for this lies in the Melakartha algorithm.

Melartha Algorithm

The Melakartha algorithm is as follows:

• A Melakartha Raga has all the 7 swaras in it.

introduction

The term "Indian Classical Music" refers to two related, but distinct, traditions rooted in antiquity. Both are very much alive in India today. The North Indian style is known as "Hindustani", while the South Indian tradition is referred to as "Carnatic". This page deals mainly with Hindustani Classical Music, about which I know a little bit. While I also appreciate Carnatic music, I do so as an outsider.

What is Hindustani Classical Music? Like any kind of music, it is hard to say in a few words. But let me try, in case the reader is totally unfamiliar with this music.

The basic scale of Hindustani music is similar to the western 12-note scale. The main difference is that the Hindustani scale is not tempered. Thus, the intervals between consecutive notes are not equal. Indeed, they can be varied slightly to suit the particular raga that is being performed. The same note, in different ragas, may have slightly differing positions. The notes themselves have names as in Western music, and here they are:

Hindustani: Sa Re Ga Ma Pa Dha Ni

Western: Do Re Mi Fa So La Si

These seven notes are like the white keys on a piano keyboard. There are intervals between them: to be precise, there are five intermediate notes. The one between Sa and Re is called "Komal Re" (like Re flat), between Re and Ga is "Komal Ga" (like Mi flat), between Pa and Dha is "Komal Dha" (like La flat), and between Dha and Ni is "Komal Ni" (like Si flat). That accounts for four notes. The fifth lies between Ma and Pa Carnatic on Keyboard

In the carnatic music system we distribute the 12 keys of an octave among the 7 swaras of a raga. The seven swaras are sa,re,ga,ma,pa,dha,ni.

Sa & Pa have one key associated with them each ie., the First and Fifth white key respectively.

Ma can take any of the two keys ie., either third black key or fourth white key.

Ri and Ga can share any two of the four keys between Sa (First white key) and Ma (Third black key).

Similarly Dha and Ni can share any two of the four keys after Pa (Fifth white key).

See below for details of representing the twelve keys of an octave in Carnatic keyboard notes.

 s - Shadjama - First key in an octave

 r1 - Shuddha Rishaba - Second key in an octave

 r2 - Chatushruthi Rishaba - Third key in an octave

 r3 - Satsruthi Rishaba - Fourth key in an octave

 g1 - Shuddha Gaandhaara - Third key in an octave

 g2 - Saadhaarana Gaandhaara - Fourth key in an octave

 g3 - Anthara Gaandhaara - Fifth key in an octave

 m1 - Shuddha Madhyama - Sixth key in an octave

 m2 - Prathi Madhyama - Seventh key in an octave

 p - Panchama - Eighth key in an octave

 d1 - Sudhdha Dhaivatha - Ninth key in an octave

 d2 - Chatusruthi Dhaivatha - Tenth key in an octave

 d3 - Shatsruthi Dhaivatha - Eleventh key in an octave

 n1 - Sudhdha Nishaadha - Tenth key in an octave

 n2 - Kaisiki Nishaadha - Eleventh key in an octave

 n3 - Kaakali Nishaadha - Twelveth key in an octave

The above notations refer to middle octave of the keyboard.

Higher octave (octave immediately above) notations will also be the same as above except that they will be in capital letters.

For instance: n3 in higher octave shall be written as N3

Lower octave notations will also be same as above except that they will be underlined.

For instance: n3 in lower octave shall be written as n3

Octave above the higher octave (i.e the second higher octave) will be indicated with a capital letter and an overscore above the note.

For instance: n3 in second higher octave shall be written as N3.

Carnatic-Western Keyboard Map

Below is a mapping of keys between classical Indian and Western notations:

Indian Notation Western Equivalent Keyboard key

s C First key in an octave

r1 C# (C Sharp) Second key in an octave

r2 / g1 D Third key in an octave

r3 / g2 D# (D Sharp) Fourth key in an octave

Indian Classical Music: Tuning and Ragas

Module by: Catherine Schmidt-Jones. E-mail the author

Summary: For the Western listener, a basic introduction to the tuning and scales used in the classical music of India.

Links

[hide links]

Prerequisite links

• Tuning Systems

• Modes and Ragas

Supplemental links

• Scales that Aren't Major or Minor

• Harmonic Series

Introduction

The music of India sounds quite exotic to most Western audiences. Two major reasons for this are the differences between the two traditions in tuning and scales. The following is a short introduction to these differences, meant for someone who has a basic understanding of Western music theory but no knowledge of the Indian music tradition. For an introduction that concentrates on music appreciation and avoids music theory, please see Listening to Indian Classical Music. (For more about Western scales and tuning, please see Major Keys and Scales, Minor Keys and Scales, and Tuning Systems.)

The term Indian Classical Music encompasses two distinct but related traditions. The Northern Indian tradition is called the Hindustani tradition. The Southern Indian tradition is called Carnatic. (As with many Indian words, there are a variety of spellings in common usage in English, including Karnatak and Karnatik.) Both traditions feature a similar approach to music and music theory, but the terms used are often different. For example, where the Hindustani tradition has that, the Carnatic has mela. The following discussion focuses on the Hindustani tradition, as it is more familiar to the rest of the world.

Ragas

One reason that Indian music sounds so different to the Westerner is that the major/minor tonal system is not used. Harmony, and specifically tonal harmony, has been the basic organizing principle in Western music - classical, folk, and popular - for centuries. In this system, a piece of music is in a certain key, which means it uses the notes of a particular major or minor scale. The harmonies developed using those notes are an integral, basic part of the development and form of the music. Most of the complexity of Western music lies in its harmonies and counterpoint.

The music of India does not emphasize harmony and does not feature counterpoint. In fact, most Indian classical music features a single voice or instrument on the melody, accompanied by drone and percussion. There is no counterpoint and no chord progression at all. Instead, the interest and complexity of this music lies in its melodies and its rhythms. (Just as Indian music can seem confusing and static to someone accustomed to listening for harmonic progressions, Western melodies - based on only two types of scales - and Western rhythms - based on only a few popular meters - may sound overly similar and repetitive to someone accustomed to Indian music.)

Western music divides an octave into the twelve notes of the chromatic scale. But most pieces of music mainly use only seven of these notes, the seven notes of the major or minor key that the piece is in. Indian music also has an octave divided into twelve notes. These twelve notes are called swaras; they are not tuned like the notes of the chromatic scale (please see below). Also similarly to Western music, only seven notes are available for any given piece of music.

But there are important differences, too. Western scales come in only two different "flavors": major and minor. The two are quite different from each other, but any major key sounds pretty much like any other major key, and any minor key sounds basically like every other minor key. This is because the relationships between the various notes of the scale are the same in every major key, and a different set of relationships governs the notes of every minor key. (Please see Major Keys and Scales and Beginning Harmonic Analysis for more on this.)

The seven-note thats of Indian music, on the other hand, come in many different "flavors". The interval pattern varies from one that to the next, and so the relationships between the notes are also different. There are ten popular thats in Hindustani music, and Carnatic music includes over seventy mela.

Note:

Although the first note of an Indian scale is often given as C, Indian thats and ragas are not fixed in pitch; any raga may actually begin on any pitch. The important information about each that and raga "scale" is the pattern of intervals, the (relative) relationship between the notes, not absolute frequencies.

Some Example That

Figure 1: Here are the scale notes for some that. For ease of comparison, it is assumed that each raga is beginning on a (Western) C. Notice that the pattern of half step, whole step, and minor third intervals is unique to each that. Do you notice anything else? (Answer is below, in the section on tuning.)

Making for even more variety, a piece of Indian classical music may not even use all seven of the notes in the that. The music will be in a particular raga, which may use five, six, or all seven of the notes in the that. And a that can generate more than just three ragas (one pentatonic, one hexatonic, and one full raga). For example, Bilawal raga includes all 7 notes of Bilawal that (which corresponds to the Western C major scale). Meanwhile, Deshkar and Durga are both five-note ragas that are also based on Bilawal that. Deshkar omits the two notes (Ma and Ni) corresponding to F and B; and Durga omits the two notes (Ga and Ni) corresponding to E and B.

Further confusing the issue for the novice, the two traditions often use the same name for completely different ragas, and there can be disagreement even within a tradition as to the name or proper execution of a particular raga. Ragas may be invented, combined, borrowed from other traditions, or dropped from the repertoire, so the tradition itself, including the "theory", is in many ways more fluid and more varied than the Western tradition.

It is also important to understand that a raga is not just a collection of the notes that are allowed to be played in a piece of music. There are also rules governing how the notes may be used; for example, the notes used in an ascending scale (aroha) may be different from the notes in a descending scale (avaroha). Some notes will be considered main pitches, the "tonic" or "most consonant" in that raga, while other notes are heard mostly as ornaments or dissonances that need to be resolved to a main note. Particular ornaments or particular note sequences may also be considered typical of a raga. The raga may even affect the tuning of the piece.

If this seems overly complicated, remember that the melodic and harmonic "rules" for major keys are quite different from those of minor keys. (Consider the melodic and harmonic minor scales, as well as the tendency to use different harmonic progressions.) This actually is quite analogous; the big difference is that Indian music has so many more scale types. Since the nuance and complexity of Indian music are focused in the melody rather than the harmony, it is this large number of scales that allows for a great and varied tradition.

Those who are particularly interested in modes and scales may notice that there is a rough correlation between some Hindustani thats and the Western church modes. For example, the pattern of intervals in Asavari is similar to that of the Aeolian mode (or natural minor scale), and that of Bilawal is similar to the Ionian mode (or major scale). Some thats do not correlate at all with the Western modes (for example, take a close look at Purvi and Todi, above), but others that do include Bhairavi (similar to Phrygian mode), Kafi (Dorian), Kalyan (Lydian), and Khamaj (Mixolydian). Even for these, however, it is important to remember the differences between the traditions. For example, not only is Asavari used in a very different way from either Aeolian mode or the natural minor scale, the scale notes are actually only roughly the same, since the Indian modes use a different system of tuning.

Tuning

The tuning of modern Western Music is based on equal temperament; the octave is divided into twelve equally spaced pitches. But this is not the only possible tuning system. Many other music traditions around the world use different tuning systems, and Western music in the past also used systems other than equal temperament. Medieval European music, for example, used just intonation, which is based on a pure perfect fifth. (Please see Tuning Systems for more about this.)

The preferred tuning system of a culture seems to depend in part on other aspects of that culture's music; its texture, scales, melodies, harmonies, and even its most common musical instruments. For example, just intonation worked very well for medieval chant, which avoided thirds, emphasized fifths, and featured voices and instruments capable of small, quick adjustments in tuning. But equal temperament works much better for the keyboard instruments, triadic harmonies, and quick modulations so common in modern Western music.

In India, the most common accompaniment instrument (as ubiquitous as pianos in Western music) is the tanpura. (There are several alternative spellings for this name in English, including taanpura and tambura.) This instrument is a chordophone in the lute family. It has four very long strings. The strings are softly plucked, one after the other. It takes about five seconds to go through the four-string cycle, and the cycle is repeated continuously throughout the music. The long strings continue to vibrate for several seconds after being plucked, and the harmonics of the strings interact with each other in complex ways throughout the cycle. The effect for the listener is not of individually-plucked strings. It is more of a shimmering and buzzing drone that is constant in pitch but varying in timbre.

And the constant pitches of that drone are usually a pure perfect fifth. You may have noticed in the figure above that C and G are not flatted or sharped in any of thats. Assuming tuning in C (actual tuning varies), two of the strings of the tanpura are tuned to middle C, and one to the C an octave lower. The remaining string is usually tuned to a G (the perfect fifth). (If a pentatonic or hexatonic raga does not use the G, this string is tuned instead to an F. The pure perfect interval is still used however, and you may want to note that a perfect fourth is the inversion of a perfect fifth.) So a just intonation system based on the pure fifth between C and G (or the pure fourth between C and F) works well with this type of drone.

Pure intervals, because of their simple harmonic relationships, are very pleasing to the ear, and are used in many music traditions. But it is impossible to divide a pure octave into twelve equally spaced pitches while also keeping the pure fifth. So this brings up the question: where exactly are the remaining pitches? The answer, in Indian music, is: it depends on the raga.

Indian music does divide the octave into twelve swaras, corresponding to the Western chromatic scale. Also, just as only seven of the chromatic notes are available in a major or minor scale, only seven notes are available in each that. But because just intonation is used, these notes are tuned differently from Western scales. For example, in Western music, the interval between C and D is the same (one whole tone) as the interval between D and E. In Indian tuning, the interval between C and D is larger than the interval between D and E. Using the simpler ratios of the harmonic series, the frequency ratio of the larger interval is about 9/8 (1.125); the ratio of the smaller interval is 10/9 (1.111). (For comparison, an equal temperament whole tone is about 1.122.) Western music theory calls the larger interval a major whole tone and the smaller one a minor whole tone. Indian music theory uses the concept of a shruti, which is an interval smaller than the intervals normally found between notes, similar to the concept of cents in Western music. The major whole tone interval between C and D would be 4 shrutis; the minor whole tone between D and E would be 3 shrutis.

In some ragas, some notes may be flattened or sharpened by one shruti, in order to better suit the mood and effect of that raga. So, for tuning purposes, the octave is typically divided into 22 shrutis. This is only for tuning, however; for any given that or raga, only twelve specifically-tuned notes are available. The 22 shrutis each have a specific designation, and the intervals between them are not equal; the frequency ratios between adjacent shrutis ranges from about 1.01 to about 1.04.

As mentioned above, there is a great variety of traditions in India, and this includes variations in tuning practices. For example, Dhrupad, a very old form of North Indian music, can be considered as dividing the octave into 84 rather than 22 microtones, including unusual variations on the C and G drone pitches which are not based on the pure intervals.

In spite of the fact that these tunings are based on the physics of the harmonic series, Indian music can sound oddly out of tune to someone accustomed to equal temperament, and even trained Western musicians may have trouble developing an ear for Indian tunings. As of this writing, one site devoted to helping Western listeners properly hear Indian tunings was The Perfect Third.

Note Names

As mentioned above, Indian music, like Western music, recognizes seven notes that can be sharped or flatted to get twelve notes within each octave. A flatted note is called komal. A sharped note is called teevra.

Indian Note Names

Figure 2: Since Indian scales are not fixed to particular frequencies, remember that it is more accurate to consider these scale names as being compared to a "moveable do" system (in which "do" may be any note) than a "fixed do" (in which do is always the C as played on a Western piano).

Acknowledgements and Suggested Resources

The author is grateful to Dr. S. S. Limaye, a professor of electronics at Ramdeobaba Engineering College and amateur musician, who provided much of the information on which this module is based. Thanks also to other corespondents who have offered encouragement as well as further explanations and clarifications. Any insights provided here are thanks to these very kind contributors. Any errors due to misunderstanding are my own.

sslc model paper karanataka-english,maths,social ,hindi 2012

Posted by quintustheresraj on April 8, 2013 at 5:55 AM

comments (0)

P107

I. Four alternatives are given for each of the following questions / incomplete statements.

Only one of them is correct / most appropriate. Choose the most appropriate alternatives and

write it in the space provided along with the correct letter: [15 x 1 = 15]

1. The incident behind James Watt’s invention was:

a) falling apples b) thinking new thoughts

c) boiling kettles d) watching the stone rolling down.

Ans. ______________________________________________________________

2. According to the author liberty is:

a) only a personal affair b) a social contract

c) not a personal affair d) not a social contract.

Ans. ______________________________________________________________

3. According to Sudha Chandran, the seed of achievement lies in:

a) your heart b) your hard work

c) your perseverance d) the human mind.

Ans. ______________________________________________________________

4. Mihir Sen had to postpone his swim by 48 hrs. because of:

a) a chill he caught due to an equatorial storm.

b) a very high tide because of the full moon night.

c) a cyclonic storm which was very dangerous.

d) the south-west monsoon which was about to break.

Ans. ______________________________________________________________

Common Instructions to Candidates :

1) This is a question cum answer paper booklet.

2) Space is provided to write answers below each question. Answer should be written within the

space provided.

3) This question paper has 63 questions including the matching type question.

4) Candidate should not write the answer with pencil. Answer written with pencil will not be evaluated.

5) In case of multiple choice, fill in the blanks and matching questions, scratching, rewriting &

marking is not allowed. Answers with such errors will not be evaluated.

c) boiling kettles 1

b) a social contract 1

d) the human mind. 1

a) a chill he caught due to an equatorial storm. 1

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5. If a non - specialist does the job of snipping the hair around the ears, the result will be:

a) it could set up a nasal trouble

b) the hair will not be cut properly

c) it might result in a distressing blunder

d) accidents like severance of part of the ear

Ans. ______________________________________________________________

6. The ultimate goal of human life is to:

a) be unhoused b) attain spiritual upliftment

c) do the yoga d) attain immortality

Ans. ______________________________________________________________

7. Sohrab was angry because:

a) His mother sent a wrong message.

b) Rustum threw his spear even after he said, he was his son.

c) Rustum denied that Sohrab was his son.

d) Rustum did not believe him.

Ans. ______________________________________________________________

8. Full grown lambs bleat because:

a) they want to go home

b) they are tired of waiting

c) the night is coming

d) they are hungry.

Ans. ______________________________________________________________

9. ‘May toss him to my breast’. The speaker here is:

a) the poet b) god

c) man d) the reader

Ans. ______________________________________________________________

[P.T.O.

d) accidents like severance of part of the ear 1

b) attain spiritual upliftment 1

c) Rustum denied that Sohrab was his son. 1

a) they want to go home 1

b) god 1

14E

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P107

10. ‘The thieves broke the door using a hammar’. The passive form of the sentence is:

a) Using a hammar the thieves broke the door.

b) The thieves broke the door with the hammar.

P107

5. If a non - specialist does the job of snipping the hair around the ears, the result will be:

a) it could set up a nasal trouble

b) the hair will not be cut properly

c) it might result in a distressing blunder

d) accidents like severance of part of the ear

Ans. ______________________________________________________________

6. The ultimate goal of human life is to:

a) be unhoused b) attain spiritual upliftment

c) do the yoga d) attain immortality

Ans. ______________________________________________________________

7. Sohrab was angry because:

a) His mother sent a wrong message.

b) Rustum threw his spear even after he said, he was his son.

c) Rustum denied that Sohrab was his son.

d) Rustum did not believe him.

Ans. ______________________________________________________________

8. Full grown lambs bleat because:

a) they want to go home

b) they are tired of waiting

c) the night is coming

d) they are hungry.

Ans. ______________________________________________________________

9. ‘May toss him to my breast’. The speaker here is:

a) the poet b) god

c) man d) the reader

Ans. ______________________________________________________________

[P.T.O.

d) accidents like severance of part of the ear 1

b) attain spiritual upliftment 1

c) Rustum denied that Sohrab was his son. 1

a) they want to go home 1

b) god 1

14E

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P107

10. ‘The thieves broke the door using a hammar’. The passive form of the sentence is:

a) Using a hammar the thieves broke the door.

b) The thieves broke the door with the hammar.

c) The door was broken with the hammar.

d) The door was broken by the thieves using a hammar.

Ans. ______________________________________________________________

11. ‘It’s your birthday’. The correct question tag is:

a) is it? b) was it?

c) wasn’t it? d) isn’t it?

Ans. ______________________________________________________________

12. ‘Produce it _ _ _ _ _ _ _ _ the counter there’.

The correct preposition to be filled in is:

a) in b) at

c) on d) to

Ans. ______________________________________________________________

13. ‘He tried very hard _ _ _ _ _ _ finally succeeded. The correct conjunction to be

filled in is:

a) and so b) and

c) but d) then

Ans. ______________________________________________________________

14. ‘My friend recalled meeting him at the bus-station’. The underlined word is:

a) Gerund b) Participle

c) Progressive verb d) Continuous tense.

Ans. ______________________________________________________________

15. ‘The whole country was watching the match between India and Australia’. The

figure of speech here is:

a) Alliteration b) Synecdoche

c) Simile d) Metaphor.

Ans. ______________________________________________________________

d) The door was broken by the thieves using a hammar. 1

d) isn’t it? 1

b) at 1

b) and 1

a) Gerund 1

b) Synecdoche 1

14E

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P107

II. Fill in the blanks with appropriate words, choosing from the words given in the brackets:

(allow, people, expert, discipline, entitle, enduring, civilians). [5 x 1 = 5]

16. The war kills not only soldiers, but also _ _ _ _ _ _ _ _ _ _ _ _.

Ans. _____________________________________________________________

17. Liberty does not _ _ _ _ _ _ _ _ the pedestrians to walk down the middle of the

road.

Ans. _____________________________________________________________

18. I make my diagnosis and pass you onto _ _ _ _ _ _ _ _ hands.

Ans. _____________________________________________________________

19. King Revata mode his daughter _ _ _ _ _ _ _ _ _ and strong.

Ans. _____________________________________________________________

20. We are expected to observe _ _ _ _ _ _ _ _ _ _ in class.

Ans. _____________________________________________________________

III. 21. Match the Columns in A with the appropriate words taken from Column B and

write the correct letter in Column C. [5 x 1 = 5]

Column C

Column A Column B A B

1. Raphael a. Hairologist 1.

2. Hazlitt b. Shuetaketu’s sister 2.

3. Dr. Follicle c. King Kukudmin’s daughter 3.

4. John d. An essayist and critic 4.

5. Revathi e. A famous Italian painter 5.

f. Robert Baldwin’s son

[P.T.O.

civilians 1

entitle 1

expert 1

enduring 1

discipline 1

e. A famous italian painter

d. An essayist and critic

a. Hairologist

f. Robert Baldwin’s son

c. King Kukudmin’s daughter

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IV. 22. Quote from Memory: [4]

“Seven years I could not walk a step.

When I to the great physician came

He demanded : Why the crutches?

And I told him : I am lame.

He replied : That’s not surprising.

Be so good and try once more.

Yet let him keep the rest,

But keep them with repining restlessness:

Let him he rich and weary, that at least,

If goodness lead him not, yet weariness

May toss him to my breast.

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P107

V. Answer the following questions: [4 x 1 = 4]

23. Frame a question to get the words underlined as the answer:

“I have a Cell phone”.

Ans. _____________________________________________________________

24. Combine the sentences using ‘neither _ _ _ _ nor’:

He is not a doctor. He is not a specialist.

Ans. _____________________________________________________________

25. Use punctuation marks in the following sentences:

sir please come in and take your seat he said.

Ans. _____________________________________________________________

26. Combine the sentences using “not only _ _ _ _ _ _ but also”.

He was very bright. He was very talented.

Ans. _____________________________________________________________

VI. Answer the following questions in three sentences each: [15 x 2 = 30]

27. Why do we observe the rules according to C.E.M. Joad?

Ans. _____________________________________________________________

__________________________________________________________________

_________________________________________________________________

28. What conclusions did the narrator reach, looking at the two boys playing the game?

Ans. _____________________________________________________________

__________________________________________________________________

_________________________________________________________________

[P.T.O.

What do you have (or do you have a cellphoned)

He is neither a doctor, nor a specialist

“Sir, please come in and take your seat”, he said.

He was not only bright, but also very talented

If we do not observe rules we will get into rows we’ll

be quarrelling and fighting and getting into each others

ways.

May be the white boy realised his superiority at a young

age and the little black boy realised that he would

growup to serve the white man.

14E

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P107

29. How did Sudha’s story help her Indian fans after the release of her films?

Ans. ______________________________________________________________

_____________________________________________________________________

30. Why do we need specialization in certain professions?

Ans. ______________________________________________________________

_____________________________________________________________________

31. Why had Balarama to change his technique while fighting with Revathi?

Ans. ______________________________________________________________

_____________________________________________________________________

32. Why did Baldwin go to meet Gresham.

Ans. ______________________________________________________________

_____________________________________________________________________

Her Indian fans wrote to say that they were inspired

by her story and that it had given them a new hope.

Specialization is necessary in certain profession like

Medicine, so that we can get the best treatment

necessary like heart, brain, bones etc.

Soon Balarama, who thought he was playing against a

child had to change his technique as the adversary was

skilled and she had a dogged spirit.

Gresham was arrested by the police for the fraud which

crashed his bank. Baldwin was the only Witness who

worked with the Bank and Gresham had called him to

the jail to meet him.

14E

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P107

33. How does ‘Yoga’ help the soul to reach its goal?

Ans. ______________________________________________________________

_____________________________________________________________________

34. Why did the tiger king change his plan of action the second time?

Ans. ______________________________________________________________

_____________________________________________________________________

35. Why did the lady put away her labour and her leisure?

Ans. ______________________________________________________________

_____________________________________________________________________

36. How was the physician ‘Great’ in ‘The Crutches’?

Ans. ______________________________________________________________

_____________________________________________________________________

[P.T.O.

Yoga is a system of meditation and self-control

intemded to bring about the union of the individual

soul with the universal spirit. So it helps the soul to

reach its goal

First time the tiger king ment alone. But in an hour, he

was back with the block patch on his eye and his tail

in a sling. He drew up a new strategy with the tiger

people to deal with Ajamil’s dog.

Death came as a gentleman to take her in his horse -

drawn carriage. Because of his kindness (Politeness)

in stopping for her, she put away her labour and leisure

and agreed to go with him.

The physician was ‘Great’, as he understood the cause

of the narrator’s lameness. He was also popular and

famous.

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P107

37. ‘Sachin Tendulkar is one of the Greatest batsman in the world’.

(Change into the other two degrees of comparison).

Ans. _____________________________________________________________

_____________________________________________________________________

38. “Why did you shout at me?” he asked.

(Change into reported speech).

Ans. ______________________________________________________________

39. Use the word “show” both as a noun and as a verb in separate sentences:

Ans. ______________________________________________________________

_____________________________________________________________________

40. He was very sensitive. He did not object.

(Use ‘too _ _ _ _ _ _ _ to’).

Ans. ______________________________________________________________

41. I thought of my friend. I felt sad.

(Combine the two sentences into a complex sentence).

Ans. ______________________________________________________________

_____________________________________________________________________

Positive Degree : Very few batsman in the world are

as great as Sachin Tendulkar.

Comparative Degree : Sachin Tendulkar is greater than

most of the batsman in the world.

He asked him why he had shouted at him.

Noun : We went to watch an open air show yesterday.

Verb : Please show me what work you have done.

He was too sensitive to object

When I thought of my friend, I felt sad.

14E

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P107

VII. Answer the following in 5 sentences each: [10 x 3 = 30]

42. Why did the white man feel surprised at the narrator’s explanation and what answer

did he give?

Ans. ______________________________________________________________

_____________________________________________________________________

43. When did Akshinov suspect that Makar was the real murder and why?

Ans. _____________________________________________________________

_____________________________________________________________________

[P.T.O.

When the narrator started to explain how we grown ups impute

motives to children’s innocent actions or games, he was

surprised, because he knew all about the game and he had

played the game himself. Besides he was the father of the

three boys and they were both his children born to his

coloured wife. He said that he knew all about the game.

The boys were his sons and they were brothers.

When Makar laughed and said that the murder must have

been the one in whose bag the knife was found, he wondered

how Makar knew about all this and suspected Makar of being

the real murder. Because he knew that the bag was under

Akshinov’s head when Makar hid the knife.

14E

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P107

44. How did Sohrab console his desperate father?

Ans. ______________________________________________________________

_____________________________________________________________________

45. What are the various activities we note in nature during ‘Autumn’?

Ans. ______________________________________________________________

_____________________________________________________________________

Sohrab crawled close to Rustum and held his hand from

killing himself with the sword and told Rustum that the doom

of his fate was written in heaven, before his birth and Rustum

was chosen by God as his instrument to carry out that fate.

He told him to call him ‘his son’ and to kiss his checks and

he will be satisfied.

Autumn is personified as a woman carrying out various tasks

of the Harvest season. It cuts the havest while its hair is

soft-lifted by the winnowing wind, it sits in the middle of a

half seaped furrow and falls a sleep drowsed by the smell of

poppies. It acts as a gleaver, carrying a corn bundle across

the brook and keeping the head steady. It also acts as a cider

- presser watching the last dozings of the apple - juice.

14E

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P107

46. How did Krishna pursuade Balarama to go to the help of King Kukudmin?

Ans. ______________________________________________________________

_____________________________________________________________________

47. Explain the following with reference to the context:

“Being good is a sign of civilization”.

Ans. ______________________________________________________________

_____________________________________________________________________

[P.T.O.

Krishna pitied King Kukudmin and his daughter and said

that he wondered how only the two of them could win back

Kushasthali. He wished that they could help, but said that they

are wanted in Mathura and pretended that he could go to

Kushasthali while Balarama could look after Mathura.

Actually he wanted Balarama to go to Kushasthali.

Taken from “A Dialogue on Civilization”. Written by C.E.M.

Joad. It is said by the narrator C.E.M. Joad. He says that being

good means acting justly towards your neighbour and

respecting his property, obeying bonus etc. It is part of

civilization.

14E

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P107

48. “The goal was in sight, but not the end of the ordeal”.

Ans. ______________________________________________________________

_____________________________________________________________________

49. “Ivan Dmitrich, forgive me!”.

Ans. ______________________________________________________________

_____________________________________________________________________

It is taken from “Operation Indian Ocean”, written by Mihir

Sen. During his swim across the Palk straits, as the moon

was setting, he could see the silvery strip of land on the

sacred shores of Dhanuskodi. But he still had two-and-ahalf

hours of tough fight ahead and he was very tired.

It is taken from “The long Exile”, written by Leo tolstoy.

It is said by Makar semyonich to Ivan Dmitrich Akshinov.

Due to Makar Semyonich’s crime Ivan had to suffer in jail

for 26 years. Yet he saved Makar by not telling his name to

the Governor. So Makar feels sorry and asks his forgiveness.

14E

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P107

50. “We were coming to see you as friends”.

Ans. ______________________________________________________________

_____________________________________________________________________

51. “I first surmised the horse’s heads were towards eternity”.

Ans. ______________________________________________________________

_____________________________________________________________________

[P.T.O.

It is taken from “Ajamil and the Tigers”, written by Arun Kolatkar.

It is said by the tiger king to Ajamil. When the tiger king

and the tigers were chained and thrown infrontof Ajamil

by the dog, they were helpless but were too proud to admit

defeat. So the tiger king pretended that he wanted to make

friendship with Ajamil, but the dog mistook them.

It is taken from “Because I could not stop for Death” written

by Emily Dickinson.

She says that Death came as a gentleman to take her. So she

went with him. They passed the school, playground, fields

and come to the moud which was a graveyard. After that

they continued the journey beyond the Horizon and the

Horse’s heads were towards eternity.

14E

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P107

VIII.Answer the following in a paragraph each: [3 x 4 = 12]

52. How can we resolve the clash of liberties?

Ans. ______________________________________________________________

_____________________________________________________________________

53. What is Mihir Sen’s message to the youth of India?

Ans. ______________________________________________________________

_____________________________________________________________________

Gardiner says that in our personal matters we can be as free

as we like. But when it comes to social matters, we have to

keep in mind also the liberties of other people. We have no

right to disturbe the liberties of other people and disturbe

peace. So we cannot be complete marchists nor complete

socialists but we must be a judicious mixture of both. We

have to preserve both liberties - our individual liberty and

our social liberty.

Mihir Sen’s message to the youth of India is that nothing is

impossible for them - all they have to do is to Believe and

persevere and the goal will be theirs. It is his firm conviction

that unless we individually become adventurous and

positively setless and enterprising, India will not be able to

break the bonds of apathy and tradition, whether on the

physical or on intellectual fronts.

14E

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P107

54. How does the ‘Sublime love’ of the dog help him to survive in the harsh climate on

the Helvellyn mountains?

Ans. _____________________________________________________________

_____________________________________________________________________

[P.T.O.

The traveller ‘Charles Gough’ had gone angling to the

Helvellyn mountains and while going over had slipped and

fallen over the cliff and died. But his dog had watched over

his dead body for three months without any nourishment

and withstood the harsh climate. So the poet wondered what

gave the dog the strength to stand up to the climate. He comes

to the conclusion that it was the sublime love that nourished

the dog. 4

14E

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P107

IX. 55. Expand the given outline into a well-knit story and give a title and moral to the

story:

A miser _ _ _ _ _ _ _ never has bought an umbrella _ _ _ _ _ _ _ walks in rain and

shine without one _ _ _ _ _ _ _ a friend presents one _ _ _ _ _ _ _ goes out one day

taking the umbrella _ _ _ _ _ _ _ it rains heavily on way back home _ _ _ _ _ _ _

he puts his umbrella in his coat-pocket dripping wet, but worried if the umbrella

will get spoilt _ _ _ _ _ _ _ down with fever. [4]

Ans. _____________________________________________________________

_____________________________________________________________________

Readable story:

Grammatically correct sentences with

proper punctuation marks.

Suitable title

Moral of the story

14E

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P107

X. 56. Consider that you are Mohan / Suma from Bangalore. Write a letter to the Manager,

Kirloskar Electrical Company, applying for the post of a technician. [5]

Write a letter to your younger brother, advising him to take post in sports and

games.

Ans. ______________________________________________________________

_____________________________________________________________________

[P.T.O.

Date: xxxxxxxxx

Place:xxxxxxxxx

From, (Address)

xxxxxxxxxxxxxxxxxxxxx

To, (Address)

xxxxxxxxxxxxxxxxxxxxx

Salutation,

Subject:

Body of the Letter

Thanking you,

Mohan / Suma

Yours Sincerely or faithfully,

Address on the envelop

To,

Kirloskor electrical Company

The Manager

OFFICIAL LETTER

14E

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P107

Ans. ______________________________________________________________

_____________________________________________________________________

From, (Address)

Body of the Letter

Mohan / Suma

Yours lovingly,

To,

(Younger Brother’s address)

PERSONAL LETTER

(Right hand side)

Date :

Dear . . . . . .,

14E

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P107

XI. 57. Write an essay, not exceeding a page on any one of the following topics: [5]

a) How has pollution affected the health of the people?

b) What are the advantages of computers in the modern world?

c) How has population explosion slowed down India’s progress?

Ans. ______________________________________________________________

_____________________________________________________________________

Introduction

Matter :

Conclusion:

Correct usage of language

[P.T.O.

14E

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P107

XII. Read the following passage and answer the questions that follow: [6 x 1 = 6]

The greatest defect of our civilization is that it does not know what to do with its

knowledge. Science has given us powers fit for the Gods, yet we use them like small

children. For example, we do not know how to manage our machines. Machines were

made to be man’s servants; yet he has grown so dependant upon them that they are in a

fair way to become his masters. Already most men spend most of their lives looking

after and waiting upon machines. And the machines are very stern masters.

They must be fed with coal, and petrol to drink and oil to wash with, and they must

be kept at the right temperature. And if they do not get their meals when they expect

them, they grow sulky and refuse to work, or burst with rage and blow up, and spread

ruin and destruction all around them. So we have to wait upon them very attentively and

do all that we can to keep them in good temper. Already we find it difficult either to

work or play without the machines and a time may come when they will rule us all -

together just as we rule the animals.

58. What is the greatest defect of our civilization.

Ans. ______________________________________________________________

_____________________________________________________________________

59. How do we use the powers given to us?

Ans. ______________________________________________________________

_____________________________________________________________________

The greatest defect of our civilization is that it does not

know what to do with its knowledge.

We use the powers given by science like small children.

14E

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60. Why were the machines first made?

Ans. ______________________________________________________________

_____________________________________________________________________

61. How do most men spend most of their lives?

Ans. ______________________________________________________________

_____________________________________________________________________

62. What is the food for the machines?

Ans. ______________________________________________________________

_____________________________________________________________________

Machines were made to be man’s servants.

Most men spend most of their lives looking after and waiting

upon the machines.

The food for the machines is coal and the drink for

the machines is Petrol.

[P.T.O.

14E

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63. How do machines react if they are not given food at the expected time?

Ans. ______________________________________________________________

_____________________________________________________________________

_______________________________________________________________________

________________________________________________________________________

P118 81E

Space for Rough Work

I. Four alternatives are given to each of the following incomplete statements. Select the

most appropriate one and write its serial letter and also the correct answer in the space

provided. [20 x 1 = 20]

1. If Tn = (–1)n, then the correct relation between the sum of terms is

a) S1 = S2 b) S2 = S3

c) S3 = S4 d) S2 = S4

Ans. ______________________________________________________________

2. HCF of ab, bc and ac is

a) abc b) a2 b2 c2

c) 1 d) ab + bc + ac.

Ans. ______________________________________________________________

3. The corresponding sides of two similar triangles are in the ratio 4 : 9. The ratio

between their areas is

a) 2 : 3 b) 16 : 81

c) 81 : 16 d) 14 : 19

Ans. ______________________________________________________________

Common Instructions to Candidates:

1) This is a question cum answer paper booklet.

2) Space is provided to write answers below each question. Answer should be written within the

space provided.

3) This question paper has 58 questions including the matching type question.

4) Candidate should not write the answer with pencil. Answer written with pencil will not be

evaluated (Except graphs, diagrams & maps).

5) In case of multiple choice, fill in the blanks and matching questions, scratching, rewriting &

marking is not allowed. Answers with such errors will not be evaluated.

d) S2 = S4

c) 1

b) 16 : 81

-3-

P118 81E

Space for Rough Work

4. If 9 x = 12 + 147, the value of x is

a) 12 b) 9

c) 3 d) 3

Ans. ______________________________________________________________

5. The incorrect statement among the following is

a) nPn = nCn b) nP1 = nC1

c) nP0 = nC0 d) nPn = nPn–1

Ans. ______________________________________________________________

6. An example for HP among the following is

a) 1,

b) 1, 1

, 1

c) 1, 2

d) 1,

Ans. ______________________________________________________________

7. A non - traversable network among the following is

a) b)

c) d)

Ans. ______________________________________________________________

[P.T.O.

c) 3

a) nPn = nCn

c) 1, 2

, 1

, 2

-4-

P118 81E

Space for Rough Work

8. The fourth term of the sequence 3, 3, 3 3 is

a) 9 b) 21

c) 27 3 d) 9 3

Ans. ______________________________________________________________

9. The LCM of (x + y)2, (x – y)2 and (x2 – y2) is

a) (x2 + y2)2 b) x4 – y4

c) (x2 - y2)2 d) (x + y) (x – y)3

Ans. ______________________________________________________________

10. The sum and the product of three numbers are 0 and 30 respectively. The sum of

their cubes is

a) 0 b) 90

c) 160 d) 900

Ans. ______________________________________________________________

11. If v2 = u2 + 2as, then the value of ‘u’ is

a) v2 - 2as b) ± v2 + 2as

c) ± v2 − 2as d) 2as – v2

Ans. ______________________________________________________________

12. The quadratic equation whose roots are 1 and –1 is

a) ax2 – x – 1 = 0 b) ax2 – 1 = 0

c) x2 = 1 d) x2 + 1 = 0

Ans. ______________________________________________________________

a) 9

c) (x2 - y2)2

b) 90

c) ± v2 − 2as

c) x2 = 1

-5-

P118 81E

Space for Rough Work

13. If a

abc

Σ = 0, then a

abc

Σ 3 is

a) 0 b) 1

c) –3abc d) 3abc

Ans. ______________________________________________________________

14. The value of 1! × 3! × 0! is

a) 6 b) 0

c) 3 d) 1

Ans. ______________________________________________________________

15. In the given figure if ∠PAO = 30º, the measure of ∠POQ is

a) 60º b) 120º

c) 90º d) 30º

Ans. ______________________________________________________________

16. The pure quadratic equation in the following is

a) 4x = 81

b) x + 1

= 5

c) (x + 2)2 = 3x d) 5 – x2 = x

Ans. ______________________________________________________________

[P.T.O.

d) 3abc

a) 6

b) 120º

a) 4x = 81

-6-

P118 81E

Space for Rough Work

17. The diagonal of a square is 10 2 cm, then the length of its side is

a) 2 cm b) 10 cm

c) 8 cm d) 20 cm

Ans. ______________________________________________________________

18. The Harmonic Mean between 1 and 2 is

a) 1

b) 1

c) 1

d) 1

Ans. ______________________________________________________________

19. The matrix of the given network is

2 0

0 2



 



 

2 1

1 2



 



 

2 1



 



 

1 1



 



 

Ans. ______________________________________________________________

20. The value of n

n=1

nΣ

+ (n −1)

n=1

nΣ

a) n(n –1) b)

c) 2n2 d) n2

Ans. ______________________________________________________________

P Q

b) 10 cm

c) 1

2 1

1 2



 



 

d) n2

-7-

P118 81E

Space for Rough Work

II. Complete the following statements by filling the blanks. [10 x 1 = 10]

21. If the order of matrix A is m × n and the order of matrix B is n × p, then the order

of matrix AB is ________.

Ans. ______________________________________________________________

22. A regular polyhedron enclosed by pentagonal faces is ___________.

Ans. ______________________________________________________________

23. If P and Q are non - empty sets and P – Q = P, then P ∩ Q is _________.

Ans. ______________________________________________________________

24. The mathematician who proposed Basic Proportionality Theorem is ____________.

Ans. ______________________________________________________________

25. The angle in a semi circle is _____________.

Ans. ______________________________________________________________

[P.T.O.

m × p

Do decahedron

φ or Null set or { }

Thales

90º or Right angle

-8-

P118 81E

Space for Rough Work

26. The formula used to find the coefficient of variation is ___________.

Ans. ______________________________________________________________

27. The conjugate of a x +b y is ______________.

Ans. ______________________________________________________________

28. A solid described by the revolution of a semi circle about a fixed diameter is ______.

Ans. ______________________________________________________________

29. The formula used to find the curved surface area of a cylinder is __________.

Ans. ______________________________________________________________

30. The reciprocals of the terms of an AP form _____________.

Ans. ______________________________________________________________

a x−b y

Sphere

2π rh

Mean

×100 or σx

×100

-9-

P118 81E

Space for Rough Work

32. If one root of the equation px2 + 3x + 2 = 0 is reciprocal of the other, then find the

value of p.

Ans.

[P.T.O.

Px2 + 3x + 2 = 0

let m, n be the roots

m + n = −b

a = − +3

= −3

mn = c

a = 2

m = 1

(given)

∴mn = 1

× n = 2

1 = 2

Ρ; P = 2

III. Solve the following problems in the space provided.

31. In a group of 25 persons 8 drink tea only, 7 drink coffee only and 4 persons drink

both tea and coffee. Draw a Venn diagram to show how many of them neither

drink tea nor coffee.

1234567890123456789012345678901212345678901234567890123

[2]

8 4 7

a = p

b = + 3

c = 2

-10-

P118 81E

Space for Rough Work

33. Solve the equation x2 + 1 = 8x using the formula. [2]

Ans.

x2 – 8x + 1 = 0

x = −b ± b2 − 4ac

−(−± (−8)2 − 4 ×1×1

2 ×1

= 8 ± 64 − 4

8 ± 60

2(4± 15)

= 4 ± 15

Given ratio of three numbers as

= 10 : 6 : 5

let the numbers be 10x, 6x, 5x,

According to problem

(10x)2 + (6x)2 + (5x)2 = 644

100x2 + 36x2 + 25x2 = 644

161x2 = 644

34. Three numbers are in the ratio 1

. If the sum of their squares is 644, find the

numbers. [2]

a = 1

b = –8

c = 1



 

 



 

 



 

 

-11-

P118 81E

Space for Rough Work

35. A =

1 2

3 0



 



 

. Find the value of ΑΑ′. [2]

Ans.

Α =

1 2

3 0



 



 

; Α′=

1 3

2 0



 



 

Α×Α′=

1 2

3 0



 



 

1 3

2 0



 



 

(1+ 4) (3 + 0)

(3 + 0) (9 + 0)



 



 

5 3

3 9



 



 

[P.T.O.

x2 = 644

161

x2 = 4

x = ±2

the numbers are 20, 12, 10.



 

 

(Neglect negative value)

2 + 1

-12-

P118 81E

Space for Rough Work

36. Two girls and four boys are made to sit in a line for a photograph. In how many

different ways they can be seated so that the two girls are always together. [2]

Ans.

G1 G2 B1 B2 B3 B4

Taking two girls as one unit

we can arrange all of them in 5P5 ways.

Girls may be inter changed in 2 ways.

∴ Total No. of ways = 5P5 × 2

= 120 × 2

= 240

37. Rationalise the denominator and simplify

3 2+2 3

3 2−2 3

[2]

Ans. RF of 3 2−2 3 is 3 2+2 3

∴3 2+2 3

3 2−2 3

×3 2+2 3

3 2+2 3

(3 2+2 3)2

(3 2)2 − (2 3)2

(3 2)2 + (2 3)2 +2(3 2)2 3

9 × 2 − 4 × 3

P118 81E

Space for Rough Work

Solve for a ; a + 12d = 38 × 1

a + 6d = 20 × 2

a + 12d = 38

(–) 2a + 12d = 40

Sub –a = –2

a = 2

a = The first term of HP = 2

(–) (–)

44. Construct Cayley’s table under multiplication modulo 10 on S = {2, 4, 6, 8}. [2]

Ans.

10 2 4 6 8

2 4 8 2 6

4 8 6 4 2

6 2 4 6 8

8 6 2 8 4

⊗

2 mark for

each correct

row / column



 

 

(–)

(or) Any other

alternate method

-19-

P118 81E

Space for Rough Work

Ans.

[P.T.O.

A B C

A 0 2 2

B 2 0 1

C 2 1 0

45. Draw the graph for the following matrix [2]

0 2 2

2 0 1

2 1 0













A B

-20-

P118 81E

Space for Rough Work

B C

E F

Ans.

V = 6

F = 5

E = 9

Euler’s formula

V + F = E + 2

6 + 5 = 9 + 2

11 = 11

46. Verify Euler’s formula for the solid given below. [2]

B C

E F

-21-

P118 81E

Space for Rough Work

Ans.

[P.T.O.

4 cm circle

Radii

dev

64, 64r, 64r2, 64r3 . . . . . . . . GP.

64 + 64r3

= 140

64 + 64r3 = 280

64r3 = 280 – 64 = 216

r3 = 216

= 27

= 3





r = 3

= 11

48. The first term of a GP is 64 and the common ratio is ‘r’. If the average of the first

and the fourth term is 140, find the value of ‘r’. [2]

100º

47. In a circle of radius 4cm, draw two radii such that the angle between them is 100º.

Draw two tangents at the ends of the radii. [2]



 

 



 

 

(or) Any other

alternate method

-22-

P118 81E

Space for Rough Work

Ans.

IV. 49. If a + b + c = 2s, then show that [3]

a2 + b2 − c2 + 2ab

a2 − b2 − c2 + 2bc

= s

(s − b)

Nu → a2 + b2 + 2ab – c2 a + b + c = 2s

= (a + b)2 – c2 a + b = 2s – c

= (a + b + c) (a + b – c)

= 2s (2s – 2c)

= 4s (s – c) 1

De → a2 – (b2 + c2 – 2bc)

a2 – (b – c)2

(a + b – c) (a – b + c)2 a + b = 2s – c

(2s – 2c) (2s – 2b) a + c = 2s – b

4(s – b) (s – c) 2 1

Divide 1 by 2

4s(s− c)

4(s − b)(s − c)

= s

s − b proved

-23-

P118 81E

Space for Rough Work

Ans.

[P.T.O.

Data : O is the centre of the circle.

PA & PB are tangents from Ext. point P.

AO & BO joined

To prove : PA = PB

Proof : compare Δles PAO and PBO

AO = BO (radii of same circle)

OP = OP (common)

PAˆ O = PBˆ O (Radius and tangent

at a common point)

∴ ΔPAO ≅ ΔPBO (RHS)

∴ PA = PB

50. Prove that the tangents drawn to a circle from an external point are equal. [3]



   

-24-

P118 81E

Space for Rough Work

Ans.

51. Calculate the standard deviation for the following frequency distribution. [3]

C.I f

20 – 24 2

25 – 29 3

30 – 34 5

35 – 39 3

40 – 44 2

C.I. f x fx d d2 fd2

20-24 2 22 44 –10 100 200

25-29 3 27 81 –5 25 75

30-34 5 32 160 0 0 0

35-39 3 37 111 5 25 75

40-44 2 42 84 10 100 200

15 480 550

Arith. Mean = 480

15 = 32 Μ = Σ fx



Std. Deviation : σ = Σ fd2

= 550

= 36.6 = 6.05 1

σ = 6.05

fx = 1

M =

d2 = 1

fd2 = 1

-25-

P118 81E

Space for Rough Work

Ans.

[P.T.O.

52. There are 16 cricket players in a club, of whom 5 are batsmen, 4 are bowlers and

the rest are allrounders. In how many ways a team of 11 be selected so as to contain

3 batsmen, 2 bowlers and the remaining allrounders. [3]

3 batsmen are selected out of 5 in 5C3 ways

2 bowlers are selected out of 4 in 4C2 ways

6 allrounders are selected out of 7 in 7C6 ways

Total no. of ways = 5C3 × 4C2 × 7C6.

= 10 × 6 × 7 = 420 Teams

Ans.

53. Find the L.C.M. of :

(x3 – 9x2 + 26x – 24) and (x3 – 6x2 + 11x – 6). [3]

x x3 – 9x2 + 26x – 24 x3 – 6x2 + 11x – 6 1

x3 – 5x2 + 6x x3 – 9x2 + 26x – 24

(+) (–) (+) (–) (+)

–4 –4x2 + 20x – 24 3x2 – 15x + 18

–4x2 + 20x – 24 ÷3

0 x2 – 5x + 6

x2 – 5x + 6) x3 – 9x2 + 26x – 24 (x – 4

x3 – 5x2 + 6x

–4x2 + 20x – 24

Electric cars: Can they win any road space in India?

Posted by quintustheresraj on April 1, 2013 at 5:10 AM

comments (0)

Electric cars: Can they win any road space in India?

By Sunitha Natti 24th March 2013 09:13 AM

Photos

The launch of e20, developed by Mahindra Reva Electric Vehicles, comes at a time when passenger car sales in the country are the worst hit.

It started life as a two-seater ten years; last week it re-entered public space as a four-seater hatchback. Reva, now re-branded e20, the country’s first electric car, has come up in life. But it still remains to be seen if it can set the ball rolling for electric cars in India.

The launch of e20, developed by Mahindra Reva Electric Vehicles (M&M acquired Reva Electric Car Company three years ago), comes at a time when passenger car sales in the country are the worst hit. High fuel prices and spiralling interest rates have dragged car sales in February to a 12-year low of 14,51,278 units, from 15,34,910 just a year ago.

But M&M believes there’s a latent demand for electric cars and is looking to get the first mover advantage. “We have invested significantly in this project only because there’s a demand. We hope to sell 400 to 500 EVs a month and Delhi will be the biggest market with an anticipated 150 to 200 unit sales every month,” explains Pawan Goenka, president (automotive and farm equipment sectors), M&M, which has invested Rs 100 crore to produce 30,000 units annually of the e20 at its Bangalore facility.

Globally, it is anticipated that by 2020, five per cent or nearly two million cars will be Electric Variants (EVs). In India, less than five per cent of the passenger cars are pegged to be electric by 2017. This would imply a market size of 1,75,000 electric units in an overall passenger market of 3.5 million units. But it seems unlikely.

Auto makers such as Hyundai, Tata Motors, Maruti Suzuki and Hero Electric had earlier announced decisions to debut electric cars. But nothing seems to be happening. Tata Motors, which showcased the Vista EV at the Geneva Motor Show and India Auto Show in 2010, is yet to make it commercially available. Similarly, Maruti Suzuki, which earlier expressed its intent to roll out an EV in association with Suzuki, is yet to firm up plans. “We have the technology in place and have showcased both Chevrolet Spark and Chevrolet Beat Electric vehicles in the Indian market in the past. But we will look at the option of introducing electric vehicles depending upon the availability of the required infrastructure and readiness of the market,” says P Balendran, vice-president, General Motors India.

Japanese auto giant Nissan India echoes similar views. “We have lined up about 10 models to be introduced in India this year. It’s too early to talk about electric cars,” says Takayuki Ishida, MD & CEO, Nissan Motor India Pvt Ltd.

Given the auto makers’ lack of enthusiasm, the Indian government too seems to playing blind. In 2010, the Ministry of New and Renewable Energy had launched a scheme offering incentives of up to 20 per cent on ex-factory prices of EVs. It hasn’t bothered to extend the scheme, which expired on March 31, 2012. M&M says the e20, which is priced upwards of `5.96 lakh in Delhi could be cheaper if the government were to do a rethink.

However, in Delhi, EVs are still entitled to a 15 per cent subsidy on base price, a VAT refund (which is 12.5 per cent) and a 50 per cent cut in road tax. Still, the industry feels this is insufficient.

“To reduce the ownership cost of EVs, full government support in terms of project incentives, project subsidy, tax incentives, VAT refund, exemption from road tax, registration charges and leasing options for batteries are essential,” says GM’s Balendran.

According to industry body Society of Indian Auto Manufacturers (SIAM) vice-president Vikram Kirloskar, who is also vice-chairman of Toyota Kirloskar Motor, an ecosystem has to be in place for EVs to succeed in this country. “Most importantly, the infrastructure in terms of charging stations, availability of power, provision for charging in residential buildings etc are crucial and will determine the success of these models,” he says.

According to a Toyota official, the company is solely focusing on hybrid models, which the company thinks is more promising than EVs.

Meanwhile, sensing a market potential, M&M plans to export its new electric car to Europe in six to nine months besides extending the electric mobility technology to its two-wheelers. It remains to be seen if other players follow suit.

senors

Posted by quintustheresraj on March 19, 2013 at 2:10 AM

comments (0)

SENSORS - CURRENT SENSORAutomatic Street Light

Automatic Street light

An introduction:

Needs no manual operation for switching ON and OFF. When there is need of light. It detects itself weather there is need for light or not. When darkness rises to a certain value then automatically street light is switched ON and when there is other source of light i.e. day time, the street light gets OFF. The sensitiveness of the street light can also be adjusted. In our project we have used four L.E.D for indication of bulb but for high power switching one can connect Relay (electromagnetic switch) at the output of pin 3 of I.C 555. Then it will be possible to turn ON/OFF any electrical appliances connected all the way through relay.

Principle :

This circuit uses a popular timer I.C 555. I.C 555 is connected as comparator with pin-6 connected with positive rail, the output goes high(1) when the trigger pin 2 is at lower then 1/3rd level of the supply voltage. Conversely the output goes low (0) when it is above 1/3rd level. So small change in the voltage of pin-2 is enough to change the level of output (pin-3) from 1 to 0 and 0 to 1. The output has only two Burglar Alarm

The circuit illustrated here is used as an Burglar alarm. LDR is kept at such a place that when thief enters our house then a shadow will fall on the LDR. A small beam of light source is also needed to supply continuous signal to LDR. For best Light source we can use Laser diode which will work for few KMs. For home use Infra Red LED’s will be good and will be tricky to thief and works with same efficiency at night.

This circuit uses a popular timer I.C which is 555. I.C 555 is connected as comparator with pin 6 connected with positive supply, the output goes high-1 when the trigger pin 2 is at lower than 1/3 level of the supply voltage. Conversely the output goes low-0 when it is above 1/3. So small change in voltage of pin 2 is enough to change the output state of pin 3 from 1 to 0 and 0 to 1. The output has only two states high and low and can not remain in any intermediate stage. Burglar Alarm Circuit Diagram

LED = Light Emitting Diode

LDR = Light Dependent Resistance

IC = Integrated Circuit

Components:-

1) 9V battery with snap

2)LDR

3)Variable resistance 100K ohms

4)Resistance 470 ohms

5)LED

6)IC 555

7)Switch

It is power by 9V battery for portable use. The circuit is economic in power consumption. Pin 4,6& 8 is connected to the positive supply and pin 1 is grounded.

To detect the present robber we have used LDR and a source of light.

LDR is a special type of resistance whose value depends on the brightness of the light which is falling on it. It has a resistance of about 1 megaohms when in total darkness,but a resistance of only about 2-5 k ohms when brightly illuminated. It responds to a large part of the light spectrum.

The source of light and LDR is so adjusted with a reflector that light will directly fall on the LDR but when robber enters inside then it will block the beam of light and LDR will be under darkness.

We have made a potential divider circuit with LDR and 100 K variable resistance connected in series. Voltage is directly proportional to conductance so more voltage we will get by this divider when LDR is getting light and low voltage in darkness. Sensitiveness can be adjusted by variable resistance. Divided voltage is given to pin 2nd of 555. As soon as LDR gets dark the voltage of the pin 2 drops 1/3 of the supply voltage and pin 3 gets high and Buzzer Beeps.

For Demo we have used simple LED for LED1 may be Red or White Color

states high and low and can not remain in any intermediate stage. It is powered by a 6V battery for portable use. The circuit is economic in power consumption. Pin 4, 6 and 8 is connected to the positive supply and pin 1 is grounded. To detect the present of an object we have used LDR and a source of light. LDR is a special type of resistance whose value depends on the brightness of the light which is falling on it. It has resistance of about 1 mega ohm when in total darkness, but a resistance of only about 5k ohms when brightness illuminated. It responds to a large part of light spectrum. We have made a Electronic Eye

ELECTRONIC EYE PROJECT

THEORY AND CIRCUIT DIAGRAM

Electronic eye has much use in this electronic age. Also Known as magic eye. It can be used as an automatic guest indicator at the door, If fitted on the bottom of the door entrance. Once it is installed at the door there is no need to install a call bell. It can also be used at homes or in banks as a burglar alarm.

Fix the LDR to the wooden door or a locker to be protected in such a manner that when anybody tries to open it, a shadow falls on the LDR and the circuit gets activated and produce a pleasant sound through the buzzer.

This electronic eye circuit uses NOT gate from CMOS I.C CD 4049. CD 4049 contains 6 independent NOT gate in one package; we have used here (a) one only. NOT gate output goes high(1) when the input pin 3 is at lower then 1/3rd level of the supply voltage. Conversely the output goes low (0) when it is above 1/3rd level. So small change in the voltage of pin-2 is enough to change the level of output (pin-3) from 1 to 0 and 0 to 1. The output has only two states high and low and can not remain in any intermediate stage. It is powered by a 9V battery for portable use. The circuit is economic in power consumption. Pin 1 is connected to the positive supply and pin 8 is grounded.

To detect the present of an object we have used LDR and a source of light. LDR is a special type of resistance whose value depends on the brightness of the light which is falling on it. It has resistance of about 1 mega ohm when in total darkness, but a resistance of only about 5k ohms when brightness illuminated. It responds to a large part of light spectrum.

We have made a potential divider circuit with LDR and 220 KΩ resistance connected in series. We know that voltage is directly proportional to conductance so more voltage we will get from this divider when LDR is getting light and low voltage in darkness. This divided voltage is given to input of NOT gate.

As soon as LDR gets dark the voltage of input not gate Touch Switch

Fire Alarm

NAND Gate

Part List

Transistor = BC548 or any general purpose NPN Transistor will work. Dynamo

Consider a coil of fine insulated wire wound on a plastic or cardboard tube. Connect the ends of the coil to a DC milliammeter or galvanometer (for demonstration purposes!). A center-zero meter is preferred for this demonstration. Now take a bar magnet and thrust the magnet into the coil. The meter will deflect. Now withdraw the magnet. The meter deflects the other way. As we insert and withdraw the magnet, the meter deflects from one side to the other. With the magnet stationary, the meter reads zero. What’s happening? We see that when the magnet is moving, a current is induced in the coil. The moving magnetic field, from the moving magnet, cuts the conductors forming the coil.

PREVIOUS POST: Electronic Eye

NEXT POST: Heat SensorSolar Cell

The circuit illustrated below is used as Solar Cell. You can get plate from your old faulty solar calculator. Carefully dissemble plate with out tearing its 2 wire. Connect both wire to a LED through a switch. When Solar Plate is kept in sunlight and switched ON you will see LED glows .

Please make sure for the correct polarity of LED.

Theory :

When energy is added to pure silicon, for example in the form of heat, it can cause a few electrons to break free of their bonds and leave their atoms. A hole is left behind in each case. These electrons then wander randomly around the crystalline lattice looking for another hole to fall into. These electrons are called free carriers, and can carry electrical current

Solar Plate can be made by :

Step 1

Stain the Titanium Dioxide with the Natural Dye

Step 2

Coat the Counter Electrode

Step 3

Add the Electrolyte and Assemble the Finished Solar Cell

Musical Bell

This circuits uses very few component and gives melody sound. It uses 3 terminal IC UM66 and can be build small enough to be placed inside a greeting card and operatedFM Transmitter

Image of FM TransmitterFM Transmitter

Image of FM Transmitter

Circuit Diagram of FM Transmitter

The circuit uses only single Transistor but good voice quality. This Circuit is very simple and uses few components. Main part of the circuit is RC ( Resistance Capacitor )circuit to produce RF at required Frequency band.

At FM receiver side Radio waves(oscillating magnetic lines) produces current in Arial. Which is further amplified, Demodulated and feed to a Speaker.

Part List

Capacitor :

10 Mfd, .01 Mfd, .001Mfd, 2.2pf, 4pf, 5pf, 27pf, 68pf

Resistance :

3.3K, 2.7K, 3.9K, 220 Ohms

Transistor=494B

Mic = Condenser Mic

3V battery with Container, Switch

Arial

This Video explains how Radio waves are produced

PREVIOUS POST: Logic Gates

NEXT POST: Automatic Street Light

Using Fuse Tube Light

The circuit illustrated below can RE use your thrown tube light. A high DC voltage can glow a a weak florescent tube light. An used florescent tube gets black at one edge. Which indicates weakness. At such end Positive voltage should be applied and can be marked as anode and other clear end cathode can be marked for Negative voltage or electron will be supplied.

Please see circuit Diagram.For converting AC in to DC we have used a Rectifier Circuit. Choke Should be used in series with rectifier circuit for limiting current.Rectified voltage(DC) is applied to both end of the tube.

PREVIOUS POST: Musical Bell

NEXT POST: Telescope

Circuit Diagram of FM Transmitter

At FM receiver side Radio waves(oscillating magnetic lines) produces current in Arial. Which is further amplified, Demodulated and feed to a Speaker.

Part List

Capacitor :

10 Mfd, .01 Mfd, .001Mfd, 2.2pf, 4pf, 5pf, 27pf, 68pf

Resistance :

3.3K, 2.7K, 3.9K, 220 Ohms

Transistor=494B

Mic = Condenser Mic

3V battery with Container, Switch

Arial

This Video explains how Radio waves are produced

off a single 3V flat button cell.

There is not much to the circuit. The UM66 is connected to its supply and its output fed to a transistor for amplification. Any common speaker can be used or a “flat” piezoelectric tweeter like the one found in alarm wrist watches. If you use the piezo, then it can be connected directly between the output pin 1 and ground pin 3 without the transistor.

The UM66 looks like a transistor with 3 terminals. It is complete miniature tone generator with a tune. Now they come with wide variety of different tunes.

For amplification we have used a NPN transistor which is BC548. Here BC548 makes a common emitter circuit. For limiting the base current we have used a resistance of 220 Ohms so that transistor will not get damaged by excess current.

Circuit Diagram of Musical Bell

PROCEDURE :

1. Draw circuit diagram on ply board and make hole with compass or broader for component pin insertion.

2. Identify emitter base collector of transistor and pin no. of IC UM66

3. Solder all parts according to the circuit. You will need soldering iron, Soldering flux and flexible wire.

4. Make sure all points are well soldered according to the Circuit Diagram and no dry solders. Wrong connection of IC may heat up and get damage.

5. After loading battery power ON the circuit. Now you can check the function of the project.

PREVIOUS POST: Rain Alarm

NEXT POST: Using Fuse Tube Light

LED (Light Emitting Diode) any Color except white.

Resistance = 10 K,270 k and 220 ohms.

3 Pcs Slide Switch

1 battery container for connecting 2 cell.

This circuit works well and consumes only 3 Volt.

Circuit Diagram of NAND GATE is given below.

Other logic gate such as NOT,AND, OR can also be designed by NAND, NOR Gates.You can use NAND, NOR as Universal gate.

See my next project. I have made AND, OR, NOT by using NAND Logic gate IC CD4011.

MP3 Player Kit

MP3 Player with Digital FM Radio Receiver

This circuit project is used for playing mp3 files from a memory chip, card reader or from a pen drive. Same circuit is also used for receiving telecast of FM band Radio with digital Display of frequency.

You will need MP3 Kit.

Kit include MP3 Card with Digital Display, USB port, Remote Control and connecting cables as shown in the fig below :

Four Tone Siren

FOUR TONE SIREN

UM3561 PROJECT CIRCUIT

UM3561 IC includes oscillator and selector circuits so few external component is used for construction of four tone siren.

The UM3561 contains programmed mask ROM to simulate siren sound. Power consumption of IC is low.It is powered by 3 Volt. One NPN Transistor is used for amplification of audio signal.

Circuit Diagram of Four Tone Siren

Part List :

IC UM3561

Resistance = 220 Ohms

Condenser 100Mfd

Transistor BC548

Battery Container 3V

Switches

PREVIOUS POST: Touch Switch

NEXT POST: Fire Alarm

You will need IR (Infra Red) Sensor which is commonly used in TV, DVD Player etc.

Robot Kit

Microcontroller based Project

As you know our site is based on Simple Electronics Project Circuit. But to achieve higher performance, (Engineering Level Project) now day’s electronics kits uses Advance Digital Circuit for high quality output.

Advance Project requires a circuit which can be programmed for different work and can be capable of sensing from surroundings by using all types of sensors or module available in the market. i.e. (Remote Sensor, Keyboard,LCD Panel, Ultra sound sensor, RF Data, Sound, Gas Sensor, Memory chip reader/writer, humidity sensor etc.)

Among many I found two advance types of Kits which will be best for Hobby Circuit and also can be used in Robot.

This two Advance Controller Kits are PICAXE and ARDUINO which you can use in almost all Electronics Project. Among both arduino is more advance.

PICAXE Kits PICAXE microcontrollers are exciting, low-cost, re-programmable chips that can be used as low-cost ‘brains’ in many kinds of electronic project.

Among different PIC chips, I recommend PICAXE 28×1. PICAXE needs Serial port for programming which can be directly connected to computer on the other hand Arduino supports USB which is commonly used everywhere.

PICAXE is programmed using a simple BASIC language or via the Logicator flowcharting software. Windows Mac and Linux are all supported by the free BASIC software which can be downloaded from www.picaxe.com

Arduino Uno is a new version 2011 microcontroller board based on the ATmega328. It has 14 digital input/output pins (of which 6 can be used as PWM outputs), 6 analog inputs, a 16 MHz crystal oscillator, a USB connection, a power jack, an ICSP header, and a reset button. It contains everything needed to support the microcontroller; simply connect it to a computer with a USB cable or power it with a AC-to-DC adapter or battery to get started.

Benefits:

*Contains everything required to support the microcontroller

*User friendly USB connection (or can be powered with a AC-DC adapter or a battery)

*14 digital input/output pins (6 of these can be utilised as PWM outputs)

*6 analog inputs

*16 MHz crystal oscillator

*USB connection, and power jack for 9V supply

*ICSP header

*Reset button

PREVIOUS POST: MP3 Player Kit

You will need Power Supply Source of 5V. You can use Voltage Regulator IC7805 if source voltage is greater then 6 Volt.

Power Supply Source can be 4Pcs chargeable Pencil Battery for portable use or for mains 230V Supply you have to use a 9V Transformer with rectifier circuit also known as adapter plus a Regulator IC 7805 as shown in the fig below.

You can also use SMPS type adapter of 5 Volt 1A. which is commonly available for mini cd Player or ipod charger. In that case you don’t need to use Regulator IC.

Half Amp current is enough if you are not using an Amplifier Circuit.

If you wish to use Speaker then you have to use Amplifier Circuit.

For Amplification you can use 6283 Circuit.

For Simple Circuit new Project we have omitted panel button which is marked K1,K2,K3 and K4 on PCB. All function is included in remote.

Circuit Diagram of this project will be available soon.

6283 Amplifier Circuit will be available soon.

Circuit Diagram of low cost refrigerator will be available soon.

PREVIOUS POST: Automatic Street Light

IC CD4011 Contains 4 NAND Gates so I used 2 IC in this project. Other components are :-

3 Pc of 470 ohms, 3pcs led, 5 pcs mini SPDT Switch, 1 Rocker Switch, 9V Battery with Snap, Varo board IC type.

NEXT POST: Touch Switch

Here is a simple circuit which can be used as a Fire Alarm. 3 Volt is enough to operate. There is not much to the circuit. The IC UM66 is connected to its supply and its output fed to a transistor for amplification.

UM66 is a complete miniature tone generator with a ROM of 64 notes, oscillator and a preamplifier. For amplification we have used a NPN transistor which is BC548. Here BC548 makes a common emitter circuit. For limiting the base current we have used a resistance of 220 Ohms so that transistor will not get damaged even if IC is wrong connected.

For heat sensor we have used tube light starter in place of manual switch. In a starter there is a metal plate and a pin with small gap. When starter gets heated then metal plate of starter expands and get in contact with the pin and circuit is completed and we get audio from speaker. For fast sensing we can use starter without its glass body by carefully breaking glass cover.

Circuit Diagram of Fire Alarm

PREVIOUS POST: Four Tone Siren

NEXT POST: Burglar Alarm

Same Circuit can be use as Touch Alarm, Rain Alarm etc

THEAFS ARE ATTRACTED TO EXPENSIVE THINGS WHEN THEY COME IN OUR HOUSES. WE CAN PROTECT OUR PRODUCT OR THING BY MAKING THEM TOUCH PROOF OR WE CAN STOP ANY UNIDENTIFIED PERSONS ENTRY IN OUR HOUSE BY MAKING DOOR AND WINDOW TOUCH PROOF.THIS CIRCUIT ALERT US WHEN ANY THEAF COME TO STOLE PRODUCTS FROM OUR HOUSE OR TOUCH ANY METALLIC THING AT DOOR / WINDOW OR IN SIDE . WE CAN USE THIS CERCUIT TO PROTECT OUR CAR OR BIKE BY MAKING THEM TOUCH PROOF.

AS WE HAVE DISCRIBE ABOVE THIS PRODUCT GIVE ALARM WHEN ANY HUMAN BODY TOUCH ANY OF THE METTALIC THING WHICH ARE PROTECTED BY THIS CIRCUIT. THIS PROJECT IS WORKING ON TWO TRANSISTORS

WHICH MAKE COMPLIMENTORY PAIR DIRECT COUPLED AMPLIFIER. THIS CIRCUIT BASICALLY A AUDIO OSILATOR FOR OSILATION WE USE COLLECTOR OF TRANSISTOR BC558 WHICH IS CONNECTED TO THE BASE OF TRANSISTOR BC 548 VIA RESISTANCE 18 K .01 or .02 MFD CAPACITOR . TRANSISTOR BC-548 IS WORKING AS A PREAMPLIFIER.

WHEN ANY HUMAN BODY TOUCH THE TOUCH SENSOR WHICH IS CONNECTED TO BASE OF TRANSISTOR BC-548. THIS TRANSISTOR CONDUCT WITH HUMAN SKIN CONDUCTANCE . WHEN TRANSISTOR BC-548 START CONDUCTING IT’S FORCED TO Logic Gates

Simple Logic Processor Circuit or you can say a simple computer.

Picture of our Logic Gate Project

We have made three logic gate in our project. 1st is OR Gate, 2nd is AND Gate and 3rd one is NOT Gate. LED’s as indicator glows to show output level high or low.Here we have kept glow as “1″ and dark for “0″ This circuit uses Diode and Transistor for switching.

3V supply is enough for the circuit.

Component List :

LED Red or Green – 3Pcs

Switch mini SPST or slide Switch – 5 Pcs

Diode 4007 – 2Pcs

Transistor BC558 – 3Pcs

Resistance 1 K – 3 Pcs

Resistance 220 Ohms – 1 Pc

Battery Container 3V

I have made another Project which include AND & NOT Gate. See picture below.

For AND gate I have used 2 NPN Transistor in series which is BC548 whose each base is driven by switch and resistance of 10K ohms. Output is connected to a LED through a resistance of 220 ohms.

By combining both the gate you can make NAND logic gate. Circuit diagram given below.

Now days logic gate IC is used instead of basic circuit. Two Type available TTL and CMOS.

OR Gate =

AND Gate =

NOT Gate = CD4049, 7404

NAND Gate = CD4011, 7400

PREVIOUS POST: Electronic Letter Box

NEXT POST: FM Transmitter

• SENSOR CIRCUIT

o ELECTRONIC LETTER BOX

o CLAP SWITCH

o RAIN ALARM

o HEAT SENSOR

o AUTOMATIC STREET LIGHT

o ELECTRONIC EYE

o BURGLAR ALARM

o TOUCH SWITCH

o FIRE ALARM

• DIGITAL CIRCUIT

o NAND GATE

o LOGIC GATES

o MP3 PLAYER WITH FM

o ROBOT CIRCUIT

• POWER SUPPLY CIRCUITS :

o DYNAMO

o SOLAR CELL

• MUSICAL CIRCUIT

o MUSICAL BELL

o FOUR TONE SIREN

• MISC PROJECT

o FM TRANSMITTER

o TELESCOPE

o USING FUSE TUBE LIGHT

•

TRANSISTOR BC558 TO START CONDUCTING . SO WE GET ALARM SOUND FROM SPEAKER. WHEN WE TAKE BACK OUR HAND THEN DOES NOT CONNECTED TO BASE OF TRANSISTOR BC-548 . SO IT’S DOES NOT CONDUCT WE DO NOT GET THE ALARM SOUND.

Circuit Diagram of Touch Switch / Touch Alarm / Rain Alarm

PREVIOUS POST: NAND Gate

NEXT POST: Four Tone Siren

drops 1/3rd of the supply voltage and pin 2 gets high and LED or buzzer which is connected to the output gets activated.

Advantage of using Logic gate is that data can be easily send to other digital interface device ie one can easily fed data to computer using parallel port or for further processing .

Circuit Diagram of Electronic Eye

Part List :

potential divider circuit with LDR and 100K variable resistance connected in series. We know that voltage is directly proportional to conductance so more voltage we will get from this divider when LDR is getting light and low voltage in darkness. This divided voltage is given to pin 2 of IC 555. Variable resistance is so adjusted that it crosses potential of 1/3rd in brightness and fall below 1/3rd in darkness.

Sensitiveness can be adjusted by this variable resistance. As soon as LDR gets dark the voltage of pin 2 drops1/3rd of the supply voltage and pin 3 gets high and LED or buzzer which is connected to the output gets activated.

Circuit Diagram of Automatic Street Light

Component used

9v Battery with strip

Switch

L.D.R (Light Depending Resistance)

I.C NE555 with Base

L.E.D (Light Emitting Diode) 3 to 6 pieces.

Variable Resistance of 47 Kilo ohms

P.C.B (Printed Circuit Board of 555 or Vero board.

COMPONENTS :

a) Battery: For 9v power supply we can use 6pcs dry cell or 6F22 9v single piece battery.

b)Switch:Any general purpose switch can be used. Switch is used as circuit breaker.

c) L.D.R: (Light Depending Resistance)

it is a special type of resistance whose value depends on the brightness of light which is falling on it. It has resistance of about 1mega ohm when in total darkness, but a resistance of only about 5k ohms when brightness illuminated. It responds to a large part of light spectrum.

d) L.E.D:

A diode is a component that only allows electricity to flow one way. It can be

thought as a sort of one way street for electrons. Because of this characteristic, diode are used to transform or rectify AC voltage into a DC voltage. Diodes have two connections, an

anode and a cathode. The cathode is the end on the schematic with the point of the triangle pointing towards a line. In other words, the triangle points toward

that cathode. The anode is, of course, the opposite end. Current flows from the anode to the cathode. Light emitting diodes, or LEDs, differ from regular diodes in that when a voltage is applied, they emit light. This light can be red (most common), green, yellow, orange, blue (not very common), or infa red. LEDs are used as indicators, transmitters, etc. Most likely, a LED will never burn out like a regular lamp will and requires many times less current. Because LEDs act like regular diodes

and will form a short if connected between + and -, a current limiting resistor is used to prevent that very thing. LEDs may or may not be drawn with the circle surrounding them.

e) Variable resistance:(Potentiometer)

Resistors are one of the most common electronic components. A resistor is a device that limits, or resists current. The current limiting ability or resistance is measured in ohms, represented by the Greek symbol Omega. Variable resistors (also called potentiometers or just “pots”) are resistors that have a variable resistance. You adjust the resistance by turning a shaft. This shaft moves a wiper across the actual resistor element. By changing the amounts of resistor between the wiper connection and the connection (s) to the resistor element, you can change the resistance. You will often see the resistance of resistors written with K (kilohms) after the number value. This means that there are that many thousands of ohms. For example, 1K is 1000 ohm,2K is 2000 ohm, 3.3K is 3300 ohm, etc. You may also see the suffix M (mega ohms). This simply means million. Resistors are also rated by their power handling capability. This is the amount of heat the resistor can take before it is destroyed. The power capability is measured in W (watts) Common wattages for variable

resistors are 1/8W, 1/4W, 1/2W and 1W. Anything of a higher wattage is referred to as a rheostat

f) PCB (Printed Circuit Board)

with the help of P.C.B it is easy to assemble circuit with neat and clean end products. P.C.B is made of Bakelite with surface pasted with copper track-layout. For each components leg, hole is made.

Connection pin is passed through the hole and is soldered.

WORKING:

When light falls on the LDR then its resistance decreases which results in increase of the voltage at pin 2 of the IC 555. IC 555 has got comparator inbuilt, which compares between the input voltage from pin2 and 1/3rd of the power supply voltage. When input falls below 1/3rd then output is set high otherwise it is set low. Since in

brightness, input voltage rises so we

obtain no positive voltage at output of pin 3 to drive relay or LED, besides in poor light condition we get output to energize.

Precautions:

a) LDR used should be sensitive.

Before using in the circuit it should be tested with multimeter.

b) I.C should not be heated too much while soldering, can destroy the I.C. For safety and easy to replace, use of I.C base is suggested. While placing the I.C pin no 1 should be made sure at right hole.

c) Opposite polarity of battery can destroy I.C so please check the polarity before switching ON the circuit. One should use diode in series with switch for safety since diode allows flowing current in one direction only.

d) L.E.D glows in forward bias only so incorrect polarity of L.E.D will not glow. Out put voltage of our project is 7.3 volt therefore 4 LED in series can be easily used with out resistance.

e) Each component should be soldered neat and clean. We should check for any dry soldered.

f) LDR should be so adjusted that it should not get light from streetlight itself.

PREVIOUS POST: FM Transmitter

NEXT POST: MP3 Player Kit

• SENSOR CIRCUIT

o ELECTRONIC LETTER BOX

o CLAP SWITCH

o RAIN ALARM

o HEAT SENSOR

o AUTOMATIC STREET LIGHT

o ELECTRONIC EYE

o BURGLAR ALARM

o TOUCH SWITCH

o FIRE ALARM

• DIGITAL CIRCUIT

o NAND GATE

o LOGIC GATES

o MP3 PLAYER WITH FM

o ROBOT CIRCUIT

• POWER SUPPLY CIRCUITS :

o DYNAMO

o SOLAR CELL

• MUSICAL CIRCUIT

o MUSICAL BELL

o FOUR TONE SIREN

• MISC PROJECT

o FM TRANSMITTER

o TELESCOPE

o USING FUSE TUBE LIGHT

•

Current Sensing

Current sensing is as it says - sensing the amount of current in use by a particular circuit or device. If you want to know the amount of power being used for any robot component, current sensing is the way to go.

Applications

Current sensing is not a typical application in robotics. Most robots would never need a current sensing ability. Current sensing is a way for a robot to measure it's internal state and rarely required to explore the outside world. It is useful for a robot builder to better understand power use of the various components within a robot. Sensing can be done for DC motors, circuits, or servos to measure actuator power requirements. It can be done for things like microcontrollers to measure power performance in different situations. It can be useful for things likerobot battery monitors. And lastly, robot hand grasp detection devices and collision detection. For example, if the current use suddenly increases, that means a physical object is causing resistance.

Methods

There are several methods to sense current, each having its own advantages and disadvantages.

The easiest method is using a typical benchtop DC power supply.

Electronic Letter Box

To detect the present of letter we have used LDR and a source of light. LDR is a special type of resistance whose value depends on the brightness of the light which is falling on it. It has a resistance of about 1 megaohms when in total darkness, but a resistance of only about 2-5 k ohms when brightly illuminated. It responds to a large part of the light spectrum.

The source of light and LDR is so adjusted in the letter box that light will directly fall on the LDR but when letter is kept inside then it will block the beam of light and LDR will be under darkness.

We have made a potential divider circuit with LDR and 100 K variable resistance

connected in series. Voltage is directly proportional to conductance so more voltage we will get by this divider when LDR is getting light and low voltage in darkness. Divided voltage is given to pin 2nd of 555. As soon as LDR gets dark the voltage of the pin 2 drops 1/3 of the supply voltage and pin 3 gets high and LED glows.

The circuit illustrated below is used as an electronic letter box. When letter is kept in this box then a LED glows which indicates that letter is inside the Box.

This circuit uses a popular timer I.C which is 555. I.C 555 is connected as comparator with pin 6 connected with positive supply, the output goes high-1 when the trigger pin 2 is at lower than 1/3 level of the supply voltage. Conversely the output goes low-0 , when it is above 1/3 level. So small change in the voltage of pin 2 is enough to change the output of pin 3 from 1 to 0 and 0 to 1. The output has only two states high and low and can not remain in any intermediate stage. It is power by 9V battery for portable use. The circuit is economic in power consumption. Pin 4,6&8 is connected to the positive supply and pin 1 is grounded.

We have made a potential divider circuit with LDR and 100 K variable resistance

This device is somewhat expensive as it ranges in the hundreds, but they are very common and you can easily find one available in any typical university lab. These devices are a must for any electrical engineer or robot builder. Operation of this device should be straigtforward. Apply a voltage to your component, and it will quickly give a readout of the current you are drawing. Although this takes seconds and little effort to do, there are a few disadvantages to this method.

The first disadvantage is that it is not highly accurate. Usually they can only measure in increments rounded off to the nearest 10mA. This is fine for high powered applications where an extra 5mA does not matter, but for low current draw devices this can be an issue. The next disadvantage is timing. A benchtop power supplies only takes current measurements in set periods of time - usually 3 times a second. If your device draws a steady current over time this is not a problem. But if for example your device ramps from 0 to 3 amps five times a second, the current reading you get will not be accurate. The last major disadvantage is that there is no data logging ability - therefore you cannot analyze any complex current draw data on a computer.

The second method is using a digital multimeter. Heat Sensor

Here is a simple circuit which can be used as a heat sensor. In the following circuit diagram thermistor and 100 Ohms resistance is connected in series and makes a potential devider circuit . If thermistor is of N.T.C (Negative temperature Coefficient ) type then after heating the thermistor its resistance decreases so more current flows through the thermistor and 100 Ohms resistance and we get more voltage at junction of thermistor and resistance. Suppose after heating 110 ohms thermistor its resistance value become 90 Ohms.then according to potential devider circuit the voltage across one resistor equals the ratio of that resistor’s value and the sum of resistances times the voltage across the series combination. This concept is so pervasive it has a name: voltage divider. The input-output relationship for this system, found in this particular case by voltage divider, takes the form of a ratio of the output voltage to the input voltage.

This output voltage is applied to a NPN transistor through a resistance. Emitter voltage is maintain at 4.7 volt with a help of Zener diode.

This voltage we will use as compare voltage. Transistor conducts when base voltage is greater than emitter voltage. Transistor conducts as it gets more than 4.7 base Voltage and circuit is completed through buzzer and it gives Sound.

Heat Sensor Circuit Diagram

PREVIOUS POST: Dynamo

NEXT POST: Rain Alarm

The digital multimeter is another commonly available device capable of analyzing many different characteristics of your circuit - voltage, current, capacitance, resistance, temperature, frequency, etc. If you do not already have one, you definitely need one to make a robot. It would be like cooking without heat if you didnt have one . . . For cost, they range in price from around $10 to about $100. The price depends on features and accuracy. To measure current, all you do is connect your two leads in series with one of your power source wires. But again, there are disadvantages to this method.

Like the benchtop power supplies, digital multimeters suffer timing issues. However, accuracy is usually an extra one or two decimal places better. Good enough for most applications. As for data logging, several available multimeters actually have computer linkup cables so that you may record current data to process later.

The last method is using a chip called a Current Sense IC.

This ~$5 chip, using a really tiny resistor and a built in high gain amplifier, outputs a voltage in proportion to the current passing through it. Put the chip in series with what you want to measure, and connect the output to a data logging device such as a microcontroller. The microcontroller can print out data to hyperterminal on your computer, and from there you can transfer it to any data analyzing program you wish (like Excel). Clap SwitchRain Alarm

GIVES BEEP WHEN WATER IS IN CONTACT WITH THE WIRE

Water is a conductor of electricity. When water is in contact with the probe then there is a flow of current which reaches to the base of Q1. Transistor Q1 is a NPN transistor which conducts. With the conduction of Q1 electron reaches to Q2 which is a PNP transistor .Q2 also conducts and current flows through the speaker. In a speaker there is inductive coil which causes motion in one direction and also produce induce current which is in opposite direction to the flow of current this induce current in the form of pulse flows through a capacitor, resistance and switches off Q1 and relax .this process repeats again and again till probe is in contact with water or we can say there is a oscillation in the circuit thus speaker diaphragm vibrates and gives a tone. Frequency of the circuit depends on the value of Speaker Coil impendence, Capacitor and Resistance Value.

Circuit Diagram of Rain Alarm

PREVIOUS POST: Heat Sensor

NEXT POST: Musical Bell

Here is a Hobby Circuit for electronics hobbyists that can switch on & off a light, Fan, Radio etc. by the sound of clap.The sound of clap is received by a small microphone that is shown biased by resistor R1 in the circuit. The microphone changes sound wave in to electrical wave which is further amplified by Q1.Transistor Q1 is used as common emitter circuit to amplify weak signals received by the microphone. Amplified output from the collector of transistor Q1 is then feed to the Bistable Multivibrator circuit also known as flip-flop.

Flip flop circuit is made by using 2 Transistor, in our circuit Q2&Q3. In a flip-flop circuit, at a time only one transistor conduct and other cut off and when it gets a trigger pulse from outside source then first transistor is cutoff and 2ndtransistor conducts. Thus output of transistor is either logic-0 or logic-1 and it remains in one state 0 or 1 until it gets trigger pulse from outer source.

The pulse of clap which is a trigger for flip-flop which makes changes to the output which is complementary (reverse). Output of flip-flop which is in the low current form is unable to drive relay directly so we have used a current amplifier circuit by using Q4 which is a common emitter circuit. Output of Q4 is connected to a Relay (Electromagnetic switch) which works like a mechanical switch and it becomes easy for connecting other electrical appliance.

The relay contact is connected to the power line and hence turns on/off any electrical appliance connected all the way through relay.

Circuit Diagram of Clap Switch

How Clap Switch Works

Part List:

Resistors

R1=15KΩ, R5,R6=1.5KΩ

R2,R11,R12=2.2MΩ, R13=2.2KΩ

R3=270KΩ, R4=3.3KΩ

R7,R8=10KΩ, R9,R10=27KΩ

Capacitors

C1=1000µf/16v

C2=.01µf,C3,C4=.047µf

Semiconductor

Q1,Q2,Q3= BC548

D2,D3,D4= IN 4148

D1,D5=IN 4007, Q4=BC368

Misc

T1=12v/500mA Transformer

Mic= Condenser Microphone

K1= 12V Relay, B1= Bulb or Load

PREVIOUS POST: LED Driver

NEXT POST: Hello Students and Hobbyist !

• SENSOR CIRCUIT

o ELECTRONIC LETTER BOX

o CLAP SWITCH

o RAIN ALARM

o HEAT SENSOR

o AUTOMATIC STREET LIGHT

o ELECTRONIC EYE

o BURGLAR ALARM

o TOUCH SWITCH

o FIRE ALARM

• DIGITAL CIRCUIT

o NAND GATE

o LOGIC GATES

o MP3 PLAYER WITH FM

o ROBOT CIRCUIT

• POWER SUPPLY CIRCUITS :

o DYNAMO

o SOLAR CELL

• MUSICAL CIRCUIT

o MUSICAL BELL

o FOUR TONE SIREN

• MISC PROJECT

o FM TRANSMITTER

o TELESCOPE

o USING FUSE TUBE LIGHT

•

This particular schematic below (click for the full expanded circuit) can measure current use of a servo. But it can easily measure current from any other device with no modification - and even multiple items simultaneously too! The capacitor is optional as it acts as a voltage buffer, ensuring maximum continuous current.

Has this site helped you with your robot? Give us credit - link back, and help others in the forums!

forum SMF post simple machines

mother teresa

Posted by quintustheresraj on March 19, 2013 at 1:00 AM

comments (0)

Mother Teresa of Calcutta, the tiny woman recognized throughout the world for her work among the poorest of the poor, was beatified October 19, 2003. Among those present were hundreds of Missionaries of Charity, the Order she founded in 1950 as a diocesan religious community. Today the congregation also includes contemplative sisters and brothers and an order of priests.

Born to Albanian parents in what is now Skopje, Macedonia (then part of the Ottoman Empire), Gonxha (Agnes) Bojaxhiu was the youngest of the three children who survived. For a time, the family lived comfortably, and her father's construction business thrived. But life changed overnight following his unexpected death.

During her years in public school Agnes participated in a Catholic sodality and showed a strong interest in the foreign missions. At age 18 she entered the Loreto Sisters of Dublin. It was 1928 when she said goodbye to her mother for the final time and made her way to a new land and a new life. The following year she was sent to the Loreto novitiate in Darjeeling, India. There she chose the name Teresa and prepared for a life of service. She was assigned to a high school for girls in Calcutta, where she taught history and geography to the daughters of the wealthy. But she could not escape the realities around her—the poverty, the suffering, the overwhelming numbers of destitute people.

In 1946, while riding a train to Darjeeling to make a retreat, Sister Teresa heard what she later explained as â€œa call within a call. The message was clear. I was to leave the convent and help the poor while living among them.â€ She also heard a call to give up her life with the Sisters of Loreto and, instead, to â€œfollow Christ into the slums to serve him among the poorest of the poor.â€

After receiving permission to leave Loreto, establish a new religious community and undertake her new work, she took a nursing course for several months. She returned to Calcutta, where she lived in the slums and opened a school for poor children. Dressed in a white sari and sandals (the ordinary dress of an Indian woman) she soon began getting to know her neighbors—especially the poor and sick—and getting to know their needs through visits.

The work was exhausting, but she was not alone for long. Volunteers who came to join her in the work, some of them former students, became the core of the Missionaries of Charity. Other helped by donating food, clothing, supplies, the use of buildings. In 1952 the city of Calcutta gave Mother Teresa a former hostel, which became a home for the dying and the destitute. As the Order expanded, services were also offered to orphans, abandoned children, alcoholics, the aging and street people.

For the next four decades Mother Teresa worked tirelessly on behalf of the poor. Her love knew no bounds. Nor did her energy, as she crisscrossed the globe pleading for support and inviting others to see the face of Jesus in the poorest of the poor. In 1979 she was awarded the Nobel Peace Prize. On September 5, 1997, God called her home.

Comment:

Mother Teresa's beatification, just over six years after her death, was part of an expedited process put into effect by Pope John Paul II. Like so many others around the world, he found her love for the Eucharist, for prayer and for the poor a model for all to emulate.

Quote:

Speaking in a strained, weary voice at the beatification Mass, Pope John Paul II declared her blessed, prompting waves of applause before the 300,000 pilgrims in St. Peter's Square. In his homily, read by an aide for the aging pope, the Holy Father called Mother Teresa â€œone of the most relevant personalities of our ageâ€ and â€œan icon of the Good Samaritan.â€ Her life, he said, was â€œa bold proclamation of the gospel.â€

New! Saint of the Day—now available on the iPhone.

Monday, September 05, 2011

Blessed Mother Teresa of Calcutta

(1910-1997)

Comment:

Quote:

New! Saint of the Day—now available on the iPhone.

In the Hands of Jesus

What is peace? Not having to worry about anything. To be content, satisfied, and know total love. What a tall order. Who could possibly do all of these things? Jesus can. But He can't if you won't let Him. Doesn't that sound strange. Who wouldn't want to have all of these blessings. From the high heart attack rate I would say a lot of people have completely missed the boat. I know I did for forty years, fighting the worlds battles before I learned how to trust the Lord. And I think some people do love misery, just look at the soap operas. Pain and misery. But they don't like it that well when it's happening to them. But it doesn't have to be that way with you. Just collect on Jesus' promises.

(Philippians 4:6-7) 6) Do not be anxious about anything, but in everything, by prayer and petition, with thanksgiving, present your request to God. 7) And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus.

That is a command from God. Do not be anxious about anything, but in everything, by prayer and petition, with thanksgiving, present your request to God. You not only do not have to worry, He is telling you not too. He is telling you that if you have something to worry about to give it to Him, through prayer and petition, with thanksgiving. If you are thanking Him that means He has already taken care of it, or will shortly. We must learn to trust Gods word. And what kind of peace is He going to give you? And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus. I can tell you that is total, complete, beyond your imagination.

(1 Peter 5:7) Cast all your anxiety on Him because He cares for you.

Again not some of your cares. All of them. Why? because He cares for you. If you love your children wouldn't you do that for them? Of course. Well we can't begin to comprehend the love God has for us. He sent His only Son to sacrifice Himself for us so we could live with Him forever. All He wants is your love and faith in Jesus. Trust Him, take Him at His word. Try it and watch your worries leave. After all think on this.

(Matthew 6:27) Who of you by worrying can add a single hour to his life? On the contrary you will take years off of your life.

I'll tell you what I do when I want total peace and to feel the fullness of Gods love, I read two of my favorite psalms #91 and #103. Please read them in their entirety. I'll give you a verse of each to show you how magnificent Gods love is.

Psalm # 91

14. "Because he loves me," says the Lord, "I will rescue him; I will protect him, for he acknowledges my name.

15. He will call upon me, and I will answer him; I will be with him in trouble, I will deliver him and honor him.

16. With long life will I satisfy him and show him my salvation."

Psalm #103

1. Praise the Lord, O my soul; all my inmost being, praise his holy name.

2. Praise the Lord, O my soul, and forget not all his benefits.

3. who forgives all your sins and heals all your diseases,

4. who redeems your life from the pit and crowns you with love and compassion

5. who satisfies your desires with good things so that your youth is renewed like the eagle's.

THANK YOU JESUS!

Ferd Sebastian

In the Hands of Jesus

(1 Peter 5:7) Cast all your anxiety on Him because He cares for you.

(Matthew 6:27) Who of you by worrying can add a single hour to his life? On the contrary you will take years off of your life.

Psalm # 91

14. "Because he loves me," says the Lord, "I will rescue him; I will protect him, for he acknowledges my name.

15. He will call upon me, and I will answer him; I will be with him in trouble, I will deliver him and honor him.

16. With long life will I satisfy him and show him my salvation."

Psalm #103

1. Praise the Lord, O my soul; all my inmost being, praise his holy name.

2. Praise the Lord, O my soul, and forget not all his benefits.

3. who forgives all your sins and heals all your diseases,

4. who redeems your life from the pit and crowns you with love and compassion

5. who satisfies your desires with good things so that your youth is renewed like the eagle's.

THANK YOU JESUS!

Ferd Sebastian

In this lesson, we will start with three Tamil consonants, ட் ப் ம், and their consonantal vowels, ட ப ம. We start with these letters simply because it is very easy to write them.

When we combine the vowel அ (which has the sound as in arrive, cut) with the consonants ட், ப் and ம், we get the consonantal vowels ட, ப, and ம respectively.

Pronunciation

Refer to the table below to learn about the pronunciation and examples. Click on each letter to hear it read out for you.

Letter Type Combination Equivalent English pronunciation

ட் Consonant - cut, put

ட Consonantal vowel ட் + அ tub, button

ப் Consonant - shop, cup

ப Consonantal vowel ப் + அ punch, power

ம் Consonant - mum, poom

ம Consonantal vowel ம் + அ mummy, much

Writing

Primarily, these letters are made up of staright lines. Just start from the top left, continue downwards and left to right. You should finish writing a letter without lifting the pen from the paper. Look at the animations below that shows you how to write each letter.

Exercises

You have learnt how to read and write your first six Tamil letters (ட் ப் ம் ட ப ம) in this lesson. Now, it is time to practice. Before proceeding to the next lesson, download the exercises given below for this lesson and practice.

Download Reading practice exercise

Download Writing practice exercise

Lesson 4: Read and Write ர ச க

music notation

Posted by quintustheresraj on March 18, 2013 at 2:25 AM

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Numbered musical notation

From Wikipedia, the free encyclopedia

The numbered musical notation, better known as jianpu (simplified Chinese: 简谱; traditional Chinese: 簡譜; pinyin: jiǎnpǔ; literally "simplified notation") in Chinese, is a musical notation system widely used among the Chinese people. Some people call it the numeric notation or numerical notation, but it is not to be confused with the integer notation. Its history goes back to the Gongche notation from the Tang Dynasty.

It is also known as Ziffersystem, meaning "number system" or "cipher system" in German. It should be noticed that some other unrelated musical notation systems are also called cipher notations.

The same system or very similar systems are used to some extent in some European countries, and are popular in some Asian countries. This article first describes the Chinese jianpu in some detail, then describes its possible variations.

Contents [hide]

1 Numbered notation described

1.1 Musical note

1.2 Octaves

1.3 Chords

1.4 Note length

1.5 Musical rest

1.6 Undetermined pitch

1.7 Bar lines

1.8 Accidentals and key signature

1.9 Time signature

1.10 Ties, slurs and tuplets

1.11 Expression marks and dynamics

1.12 Fingering and other instrument-specific marks

1.13 Glissandi

1.14 Grace notes

2 Variations of the numbered musical notation

3 Performing numbered music on keyboard

4 History and Usage

5 Examples

6 Software for printing numbered notation scores

7 See also

8 References

9 External links

[edit]Numbered notation described

[edit]Musical note

Numbers 1 to 7 represent the musical notes (more accurately the scale degrees). They always correspond to the diatonic major scale. For example, in the key of C, their relationship with the notes and the solfège is shown below:

Note: C D E F G A B

Solfège: do re mi fa so la si

Notation: 1 2 3 4 5 6 7

In G:

Note: G A B C D E F♯

solfège: do re mi fa so la si

Notation: 1 2 3 4 5 6 7

When the notes are read aloud or sung, they are called "do, re, mi, fa, sol, la, si" ("si" has been supplanted in the US by "ti," for the sake of having a different beginning consonant for each degree.)

[edit]Octaves

Dots above or below a musical note raise or lower it to other octaves. The number of dots equals the number of octaves. For example, "6" with a dot below is at an octave lower than "6". Musical scales can thus be written like this below:

major scale: 1 2 3 4 5 6 7 1

natural minor scale: 6 7 1 2 3 4 5 6

· ·

Where there is more than one dot above or below the number, the dots are vertically stacked.

Where there are note length lines (see below) underneath the numbers, any dots are placed below the lines. Thus the dots below numbers do not always vertically align with each other, since some of them may be moved slightly downward so as not to collide with the note length lines.

[edit]Chords

Chords can be transcribed by vertically stacking the notes, with the lowest note at the bottom as with Western notation. Each note has its own octave dots, but only the lowest note has the length lines (next section).

Arpeggiated chords are notated by writing the standard Western arpeggiation symbol to the left of the chord.

Chord symbols such as Cm may be used if the exact voicing is unimportant.

[edit]Note length

The plain number represents a quarter note (crotchet). Each underline halves the note length: One represents an eighth note (quaver), two represent a sixteenth note (semiquaver), and so on. Dashes after a note lengthen it, each dash by the length of a quarter note.

A dot after the plain or underlined note works increases its length by half, and two dots by three quarters.

The underline, along with its joining, are analogous to the number of flags and beaming in standard notation. So are dotted notes. But the analogue stops at notes worth 3 quarter notes and beyond, where dashes are used instead.

whole (semibreve): 1 - - - dotted whole: 1 - - - - - double dotted: 1 - - - - - -

half (minim): 1 - dotted half: 1 - - double dotted: 1 - - ·

quarter (crotchet): 1 dotted quarter: 1· double dotted: 1··

eighth (quaver): 1 dotted eighth: 1· double dotted: 1··

16th (semiquaver): 1

[edit]Musical rest

The number "0" represents the musical rest. The rules for length is similar to that of the note, except that it is customary to repeat "0" instead of adding dashes for rests longer than a quarter rest. Unlike the standard notation, there is no single symbol for the bar rest. The bar rest of 3/4 time is "| 0 0 0 |" and the bar rest of 4/4 time is "| 0 0 0 0 |". For brevity the multi-bar rest symbol used in standard notation may also be adopted.

[edit]Undetermined pitch

When notating rhythms without pitch, such as in many percussion instruments, the symbol "X" or "x" replace numerals. For example, a common clap pattern used in cheers can be written like this:

4/4 > >

Clap: | X X X X X | X X X X 0 X X ||

[edit]Bar lines

Bar lines, double bar lines, end bar lines, repeat signs, first- and second-endings look very similar to their counterparts in the standard notation. The ending numbers, though, is usually slightly less than half as big as the numerals representing notes.

When several lines of music are notated together to be sung or played in harmony, the bar lines usually extend through all the parts, except they do not cut across the lyrics if these are printed between the upper and lower parts. However, when notating music for a two-handed instrument (such as the guzheng), it is common for the bar lines of each hand to be drawn separately, but a score bracket to be drawn on the left of the page to "bind" the two hands together. This bracket is not the same as the bracket used on a Western piano staff; it's more like the bracket used to bind an orchestral section together in Western music. Sometimes the final double barline, and any barlines marked with repeat signs, also pass through both hands, but this is not consistent even in the same publication (see for example Xinbian Guzheng Jiaocheng ISBN 7-5359-2188-4 pages 108 and 138, where they do and do not pass through both hands respectively).

If a piece of music for a two-handed instrument has a passage where only one hand is notated, lines of numbered notation without score brackets at the left can be used for this passage. Hence a piece of music may shift between two-handed (with bracket) and one-handed (without bracket) layouts during the course of the piece.

Cadenza-like passages can have dotted barlines, or barlines can be omitted altogether.

It is possible to print a small fermata above a bar line; this represents a brief pause between the measures either side of the barline, as in Western notation.

[edit]Accidentals and key signature

The notation uses a movable Do(1) system. The key signature defines the pitch of "1". So "1=C" means "C major". Minor keys are based on the natural minor or the Aeolian mode, and the key signature defines the pitch of "6". So "6=C" means "C minor". Naturally, the Dorian mode of D should be marked as "2=D". Some people prefer to write "Key: C" or "Key: Cm" instead.

The same accidentals in the standard notation are used, and as in common practice, an accidental is placed before the notes "1 2 3 4 5 6 7" to raise or lower the pitch and placed after the note names "C D E F G A B", which are used for key signature and chord markings in the numbered system. But these accidentals are relative to the diatonic scale (1 2 3...) rather than the note names (C D E...). For example, even though the leading note for the harmonic C minor scale is "B natural", it is written as "♯5".

Key signature changes are marked above the line of music. They may be accompanied by symbols that represent the note's degrees at previous and present key signatures.

[edit]Time signature

The time signature is written as a fraction: 2/4, 3/4, 4/4, 6/8, etc. It is usually placed after the key signature. Change of time signature within the piece of music may be marked in-line or above the line of music. Some pieces that start with cadenza passages are not marked with time signatures until the end of that passage, even if the passage uses dotted barlines (in which case 4/4 time is usually implied).

Sometimes a piece is written with multiple time signatures simultaneously. For example it might specify 4/4 2/4 3/4 5/4, meaning that the length of measures is irregular and can be 4, 2, 3 or 5 quarter-notes. The time signature of the first measure is always specified first, and the others are placed in increasing order of length.

Usually, the time signature is formatted as two numbers placed vertically on top of each other, with a horizontal line separating them. This is slightly different from the formatting illustrated in the text above, due to technical restrictions.

A metronome mark may be placed immediately after the time signature if the time signature is part-way through the music, or below it if the time signature is at the beginning. If present, this will be identical to the metronome marks used in Western music (this is the only place in numbered notation where Western symbols for note values such as quarter-notes and eighth-notes are used).

[edit]Ties, slurs and tuplets

Ties and slurs are curves resembling that in the standard notation, although they are always written above the music line in numbered notation. Ties are much flatter than slurs; usually only the ends of a tie are curved, whereas slurs are curved throughout. Chinese music books often draw ties and slurs with a single thin line, in contrast with the Western practice of making the line thicker in the middle.

In music for two hands, it is possible to write a slur that begins in one hand and ends in the other; this is usually done when the first hand has nothing more to play in that measure and hence there is room to draw the slur in the space which would normally have been used to draw further notes. This is similar to some Western keyboard music where slurs between the staves are possible.

A slur with a small arrowhead on its right-hand end indicates a pitch bend between the notes under the slur, which is possible on some instruments.

Tuplets (such as triplets, quintuplets, etc.) are notated by writing a slur-like symbol over the notes and printing a small digit (3 or 5 or whatever is appropriate) in the center of this symbol, so that the line passes through the digit.

[edit]Expression marks and dynamics

Expression marks (including fermatas) are also written above the music line. Special attention has to be paid on the staccato dot since it looks like the octave changer. It is either represented by a bolder dot further away from the music line or by the staccatissimo sign instead, which is an inverted triangle.

Dynamics (p, f, mf, etc.) and hairline crescendos and diminuendos are written below the line of music to which they apply, as in Western notation. The font of the dynamics is usually lighter than the font used in Western notation, so as not to be as heavy as the font for the numbers.

[edit]Fingering and other instrument-specific marks

Instrument-specific symbols can be written above notes as well. For example in music for stringed instruments it is common to see wavy lines representing rolls. Fingering can be marked using four different kinds of finger symbol, respectively appearing like a lightning strike, the top half of a semicircle, a backslash, and the bottom left corner of a square.

Other instrument-specific symbols that are sometimes used include one resembling three slashes progressing diagonally downward, placed to the lower right of the numeral. This represents a tremolo. Another symbol is formed of a line proceeding from slightly to the right of the top right corner of the numeral and curving upwards, ending with the left half of an arrowhead. The meaning of this symbol is unclear.

If there are slurs or ties and also fingering symbols, then the fingering symbols are written above the slurs or ties. Rolls (wavy lines) and tuplets are usually written below the slurs or ties. However, if a one-off chord results in many digits being stacked on top of each other and also has a roll symbol, it is possible to place that roll symbol above any slur or tie line to save space (to avoid moving the slur or tie any higher than the chord has already needed to move it).

[edit]Glissandi

Glissandi are represented by diagonal wavy lines with arrowheads at the end. The glissando symbol proceeds from bottom left to top right for an upward glissando, or from top left to bottom right for a downward glissando. It is used in place of a numeral. For stringed instruments, it usually indicates playing all the notes of the scale in rapid succession, i.e. for a downward glissando,

1 6 5 3 2 1

and for an upward glissando,

1 2 3 5 6 1

Note that a pentatonic scale is normally used in Traditional Chinese music, so "all the notes of the scale" in this case are 1, 2, 3, 5 and 6.

Extended glissandi (over several octaves) are also possible, usually written with a longer diagonal wavy line that is nearly touching the numbers on either side of it. In this case the numbers on either side determine the starting and ending pitches for the glissando.

[edit]Grace notes

Grace notes are notated like normal notes but are written in a small (about half-size) script on the line just above. They are written with octave dots and note-length lines, and they are connected to the main note with a slur that proceeds vertically downward from the center of the note-length line of the grace notes and points toward the main note. Grace notes may be placed either before or after the main note, indicating that they are to be played very rapidly either before the start of the main note or after the end.

[edit]Variations of the numbered musical notation

In some versions of the numbered musical notation, underlines indicating note length are written above the note instead. Ties and slurs may be written below the music line.

In some versions, octave change is represented in a different way. Instead of dots above or below the numbers, a horizontal line is drawn and the number is written on, above, or below the line.

Another variation is to put octave bar "|" on the side of the number. An octave bar on the left is equivalent to a dot at the bottom. An octave bar on the right is equivalent to a dot on top. This is used in Digital Common Notation. Digital Common Notation attempts to combine the benefits of the standard notation and numbered musical notation and is targeted for keyboard performing.

[edit]Performing numbered music on keyboard

It is possible to perform music in numbered musical notation in the tradition way. The player first locates the root note of the key on the keyboard and then mentally map the number to the keys on the keyboard. This should not be difficult for someone who can play the scales with traditional piano training.

A simple way is to transpose the root note to where the middle C is. The music can then be performed with the same fingering as in C Major. This approach actually reduces the 12 sets of fingering down to one. The method is described in MRN Method (Middle Root Note Method).

[edit]History and Usage

A similar invention was presented by Jean-Jacques Rousseau in his work presented to the French Academy of Sciences in 1742. Due to its straightforward correspondence to the standard notation, it is possible that many other claims of independent invention are also true. Grove's credits Emile J.M. Chevé.[1]

Although the system is used to some extent in Germany, France, and the Netherlands, and more by the Mennonites in Russia, it has never become popular in the Western world. See the external links for more information.

The system is very popular among some Asian people, making conventions to encode and decode music more accessible than in the West, as more Chinese can sight read jianpu than standard notation. Most Chinese traditional music scores and popular song books are published in jianpu, and jianpu notation is often included in vocal music with staff notation.

Indexing with numbered notation makes it possible to search a piece of music by melody rather than by title. An actual example can be found in the Chinese New Hymnal. Parson's code on the other hand contains information on rise and fall in pitch only but precise pitches can be decoded from numbered notation. This way, a children's song book be indexed like this:

|1· 1· |1 23· | Row, row, row your boat

|1 1 5 5 |6 6 5 - | Twinkle, twinkle little star

|1 2 3 1 |1 2 3 1 | Frere Jacques

A reason for its popularity among Chinese is that jianpu fits in with the Chinese music tradition. It is a natural extension and unification of the gongche notation widely used in ancient China for recording music. Gongche uses a number of characters to indicate the musical notes, and jianpu can be seen as using numbers to replace those characters. The monophonic nature of music in Chinese tradition also contributes to widespread use because so few elements are needed for monophonic music that music can be notated with little more than a typewriter.

Compared with the standard notation, the numbered notation is very compact for just the melody line or monophonic parts. It is even possible to transcribe music in between the lines of text. Transcribing harmony can be done by vertically stacking the notes, but this advantage diminishes as the harmony becomes more complex (or polyphonicity increases). The standard notation, with its graphical notation, is better in representing the duration and timing among multiple notes.

[edit]Examples

The two images below illustrate how the same piece of music is written using the standard notation and the numbered notation.

The hymn "Amazing Grace" written in standard notation.

The hymn "Amazing Grace" written in numbered musical notation.

[edit]Software for printing numbered notation scores

A number of Chinese-language Microsoft Windows applications are available for the WYSIWYG editing of scores (optionally with lyrics) in numbered musical notation.[2][3][4][5][6] Typically these support only the numbered notation, i.e. it is not possible to mix the numbered notation with a Western-style score in the same file, but it is also possible to add numbered notation to Sibelius scores via a Chinese-language third-party plugin.[7] English-language applications for working with numbered-notation scores are relatively rare, but there have been some developments.[8][9] There are technical methods of printing numbered notation (in various forms) with GNU LilyPond.[10][11][12]

[edit]See also

Musical notation

Staff (music)

Frequencies for musical Notes

[edit]References

^ Grove Music Online (subscription required but many public libraries are subscribed; URLs vary). China, §II: History and theory. Alan R. Thrasher, et al.

^ MeiDeLi JianPu

^ 作曲大师简 (Music Master)

^ QuickMake Jianpu software (QuickMake简谱软件)

^ 简谱乐章 (Jianpu Yuezhang), apparently no longer distributed by its author but a limited freeware version (免费版) is available at various Chinese file-sharing sites

^ TTComposer (TT作曲家) published by 打本公司 1999-2001

^ [1]

^ S-Music (free software; requires Microsoft Windows)

^ SimpErhu, a freely-available TrueType font with a set of Microsoft Word macros for adding numbered notation to documents

^ LilyPond documentation: Ez_numbers_engraver

^ lilypond-user discussion archives: jianpu-ly

^ lilypond-user discussion archives: numbered notation using \markup and TeX

[edit]External links

A page in The Life and Work of Jean-Jacques Rousseau shows his published work.

Ziffersystem (Numerical Musical Notation) in the Global Anabaptist Mennonite Encyclopedia Online.

Can You Shake It? The Angklung of Southeast Asia has examples of cipher notation used in South Asian music.

A variation of numbered notation for keyboard performing Digital Common Notation

A method for performing numbered notation on keyboard MRN Method (Middle Root Note Method)

Explanation by Matt Springer for musicians trained on western sheet music (website moved and URL updated by Matt Springer, 12/2011).

Chinese-flute.com - transcribe from numbered to western musical notation - a transcription script written for Chinese flute (dizi) music.

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classicalmusic 2

Posted by quintustheresraj on March 18, 2013 at 2:25 AM

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Western Notations Guide to Convert Classical Indian Carnatic Notations

The notes used in this site are in classical indian carnatic notation i.e. saregama.

Below is a mapping of keys between classical Indian and Western notations for the benefit of those visitors who can only understand the western notations.

Indian Notation Western Equivalent Keyboard key

s C First key in an octave

r1 C# (C Sharp) Second key in an octave

r2 / g1 D Third key in an octave

r3 / g2 D# (D Sharp) Fourth key in an octave

g3 E Fifth key in an octave

m1 F Sixth key in an octave

m2 F# (F Sharp) Seventh key in an octave

p G Eighth key in an octave

d1 G# (G Sharp) Ninth key in an octave

d2 / n1 A Tenth key in an octave

d3 / n2 A# (A Sharp) Eleventh key in an octave

n3 B Twelveth key in an octave

The above notations refer to middle octave of the keyboard.

Higher octave notations will also be the same as above except that they will be in capital letters.

For instance: n3 in higher octave shall be written as N3

Lower octave notations will also be same as above except that they will be underlined.

For instance: n3 in lower octave shall be written as n3

classicalmusic

Posted by quintustheresraj on March 18, 2013 at 2:25 AM

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Intricacies of Indian Classical Music

Indian music of all types, in general and classical music, in particular, is based on raga (melody) and tala (rhythmic cycles). Musical notes of different series in their consecutive order of pitch within an octave form the basis of a raga. The Raga is a framework encompassing a set of rules prescribed for the melody, for the movements up and down the scale, for which notes are to be prominent, which notes or phrases are to be avoided, and so on. The framework also allows for endless variations within the set of notes. Thus, a raga is a particular arrangement of notes and melodic movements. However, it should be noted that as ragas were transmitted orally from teacher to student, some ragas vary across regions, traditions and styles.

In the Hindustani Classical Music sphere, ragas are many and each has its distinctive qualities. The essential feature of a raga is its power of evoking an emotion that enthralls listeners – that is, a Raga should 'colour' or please the minds of the listeners. There is also a broad time cycle that is followed while rendering a Raga. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian (Carnatic music) ragas, which do not come with any particular time associated with them. The result of these various influences is that there is increasing flexibility as to when ragas may be performed.

A raga is more than a scale. Many ragas share the same scale. The underlying scale may have five, six or seven swaras. Ragas that have five swaras are called audav ragas; those with six, shaadav; and with seven, sampoorna . Those ragas that do not follow the strict ascending or descending order of swaras are called vakra (nonlinear) ragas. Ragas are differentiated from each other by the prominence of certain fixed notes, and by the sequence of a particular note or distinctive phrases. According to Bhatkhande, each one of the several traditional ragas is based on, or is a variation of, ten basic musical scales or frameworks or thaats.

Learn more about the Thaat

Distinguishing between Similar Ragas

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Thomas the Apostle

History of computers

All Keyboards

sslc model paper karanataka-english,maths,social ,hindi 2012

Electric cars: Can they win any road space in India?

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mother teresa

music notation

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