Raagas
Hamsadhwani raag -bright and auspicious.Kritis in Lord Ganesha abound in this raga.Its an Audava raga(5 notes-sa,re,ga,pa,ni).Created by Ramaswamy Dikshitar,father of Muthuswamy Dikshitar,brought to Hindustani classical by Ustad Aman Ali Khan of the Bhendibazaar gharana.'Ja tose Nahin Boloon'from Parivar(music Salil Choudhary),sung gloriously by Lata Mangeshkar and Manna Dey,is a sterling piece in Hamsadhvani.
Poorvikalyani:SRGMPDPS/SNDPMGRS.It is a vakra raaga,audava sampoorna in scale(having six notes in ascent and all the seven in descent).The notes present in Poorvikalyani apart from Shadaj and Pancham include Shudha Rishabh,Antara Gandhara,Prati Madhyama,Chatusruti Dhaivata,and Kakali Nishada.This raga is suited for singing after dusk and makes the mind calm and meditative.
Shree:Hoary and sombre,audava-sampoorna,gives wde berth to gandhara and dhaivat in its ascending movement while all the notes are used in the descent.Meend is employed profusely and the emphasis remains on the couping of komal,rishabh and pancham.The character of the raga comes out completely when the performer stays on komal rishabh while executing the descending movement.Vilambit khayal-"Main kahan guru dhoondhan jaoon".
Bihagda:variant of the more familiar Bihag;raga intimately assoc with Jaipur-Atrauli gharana.The introduction of komal nishad and the faint aroma of Khamaj are the two elements that distinguish this raga from its parent Bihag.In Bihagda too,the gandhar is very strong.traditional madhyalaya khayal,"Pyari pag haule","Aajko din shubh din";drut composition,"Raina bina kaise kate"
Pentatonic Jog:This raga with its delightful komal gandhar-shadaj meend,omits rishabh and dhaivat and has its roots in Tilang.
Jhinjhoti:a raga that blossoms in the mandra and mandya saptak,Jhinjhoti is considered by some as the principal raga of the Khamaj thaat.It is employed mainly for thumri and dadra.
Arabhi is an ancient Raga,audava sampoorna,a janya of Shankarabharanam.An auspicious raga it conveys Veer and bhakti rasas.Sarvakalika raga.Aaroh-Avaroh:SRMPDS/SNDPMGRS.Pakad:Shadaj,Chatusruti Rishabh,Suddha Madhyam,Pancam,Chatusruti Dhaivat,Kakali Nishad(descent only) and antara Gandhara(descent only).Devagandhari is an allied raga differing in the way in which these same notes are handled.In Devagandhari,the Gandhara is elongated & the raga is sung with richer curves and in slow tempo.Also the kaisiki nishad features as a bhasanga swara(foreign note)in phrases such as,"DN,DP".Sama is a raga close to Arabhi,the difference being the abscence of Nishad in descent too and the manner in which Gandhara note is dealt with.The Gandhara in Arabhi is not given imp while in Sama,Gandhara is a vital note.
Jhinjhoti:Widely regarded as a principal raga of the Khamaj thaat,it has a special charm bec of its vakra build and blossoms only in the mandra and madhya saptaks.Abdul Karim Khan's jhinjhoti thumri "Piya bin naahi aavat chain".As the story goes,10yr old Bhimsen Joshi left home after listening to a record of this thumri as he wanted to learn to sing like this.
Malkauns:Pentatonic character as it omits Rishabh and Pancham altogether.
Bageshree
Kanhda
Sitarkhani taal is a pleasant variant of the more common teen taal.
Shuddha Basant,a seldom heard Raga that employs Shuddha in place of komal variant of Dhaivat.Charukesi,a carnatic raga that has found wide acceptance in Hindustani system as well.Narsi Mehta bhajan “Vaishnava jan to tene kahineje”in Khamaj.
Poorvikalyani:SRGMPDPS/SNDPMGRS.It is a vakra raaga,audava sampoorna in scale(having six notes in ascent and all the seven in descent).The notes present in Poorvikalyani apart from Shadaj and Pancham include Shudha Rishabh,Antara Gandhara,Prati Madhyama,Chatusruti Dhaivata,and Kakali Nishada.This raga is suited for singing after dusk and makes the mind calm and meditative.
Shree:Hoary and sombre,audava-sampoorna,gives wde berth to gandhara and dhaivat in its ascending movement while all the notes are used in the descent.Meend is employed profusely and the emphasis remains on the couping of komal,rishabh and pancham.The character of the raga comes out completely when the performer stays on komal rishabh while executing the descending movement.Vilambit khayal-"Main kahan guru dhoondhan jaoon".
Bihagda:variant of the more familiar Bihag;raga intimately assoc with Jaipur-Atrauli gharana.The introduction of komal nishad and the faint aroma of Khamaj are the two elements that distinguish this raga from its parent Bihag.In Bihagda too,the gandhar is very strong.traditional madhyalaya khayal,"Pyari pag haule","Aajko din shubh din";drut composition,"Raina bina kaise kate"
Pentatonic Jog:This raga with its delightful komal gandhar-shadaj meend,omits rishabh and dhaivat and has its roots in Tilang.
Jhinjhoti:a raga that blossoms in the mandra and mandya saptak,Jhinjhoti is considered by some as the principal raga of the Khamaj thaat.It is employed mainly for thumri and dadra.
Arabhi is an ancient Raga,audava sampoorna,a janya of Shankarabharanam.An auspicious raga it conveys Veer and bhakti rasas.Sarvakalika raga.Aaroh-Avaroh:SRMPDS/SNDPMGRS.Pakad:Shadaj,Chatusruti Rishabh,Suddha Madhyam,Pancam,Chatusruti Dhaivat,Kakali Nishad(descent only) and antara Gandhara(descent only).Devagandhari is an allied raga differing in the way in which these same notes are handled.In Devagandhari,the Gandhara is elongated & the raga is sung with richer curves and in slow tempo.Also the kaisiki nishad features as a bhasanga swara(foreign note)in phrases such as,"DN,DP".Sama is a raga close to Arabhi,the difference being the abscence of Nishad in descent too and the manner in which Gandhara note is dealt with.The Gandhara in Arabhi is not given imp while in Sama,Gandhara is a vital note.
Jhinjhoti:Widely regarded as a principal raga of the Khamaj thaat,it has a special charm bec of its vakra build and blossoms only in the mandra and madhya saptaks.Abdul Karim Khan's jhinjhoti thumri "Piya bin naahi aavat chain".As the story goes,10yr old Bhimsen Joshi left home after listening to a record of this thumri as he wanted to learn to sing like this.
Malkauns:Pentatonic character as it omits Rishabh and Pancham altogether.
Bageshree
Kanhda
Sitarkhani taal is a pleasant variant of the more common teen taal.
Shuddha Basant,a seldom heard Raga that employs Shuddha in place of komal variant of Dhaivat.Charukesi,a carnatic raga that has found wide acceptance in Hindustani system as well.Narsi Mehta bhajan “Vaishnava jan to tene kahineje”in Khamaj.
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