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Showing posts with label raga. Show all posts
Showing posts with label raga. Show all posts
Sunday, 13 September 2015
Wednesday, 9 September 2015
Monday, 25 August 2014
Raag
Raag, Sanskrit dictionary, "coloring or dyeing work is defined as" (the mind) and "any emotion or passion in particular overpower the love, affection, sympathy, desire, interest, pleasure or delight"? Music, both artist and listeners melodic sounds on the impressions of these descriptions apply a raag required and optional melodic movements within a performance notes are rules governing the manner in which the rules of a raag notes, That are used can be defined by emphasizing ornamenting notes or specific way.-Ed-the credence they ascended or descended from alternate or musical scale required manner, which shows these phrases and/or combine them to emphasize relative pacing between the octave notes or frequency range for the day and/or raag can be performed at the time of the season the phrase as feelings of Raag for maximum effect on the emotional state and the artist and the listener.
Importance Of Vadi Swar
According to traditional books of Indian Classical Music designation of vadi swar in a raag is like a king in a kingdom. Usage of vadi swar is more then any other swar in a raag. Speciality of any raag is depend on vadi swar because of this vadi swar is also called as ‘Jeev swar ‘or ‘ansh swar’. A good artist uses vadi swar in different ways like singing vadi swar again and again, sarting a raag with vadi swar, to end a raag with vadi swar, singing vadi swar many times in important places with different-different swaras or sometime singing vadi swar for longer time in one breath.
Vaid swar is also helpful to identify the time of singing or playing a raag. If vadi swar of a raag is from purvang part of saptak i.e. “Sa Re Ga Ma”, then it is called as purvang vadi raag and usually time for singing or playing purvang vadi raagas are from 12 pm to 12 am for example raagas like Bhimpalasi, Pilu, Purvi, Marwa, Yaman, Bhoopal, and Bageshree etc. have purvang vadi swar and so the time for singing and playing these raagas is between 12 pm to 12 am.
In the same way if vadi swar of a raag is from utrang part of spatak i.e. “Pa Dha Ni” then it is called as utrang vadi raag and time for singing or playing utrang vadi raagas is from 12 am to 12 pm. For example raagas like Bhairav, Bhairavi, Bilawal, Kalingada, Sohini, and Asavari etc. have utrang vadi swar and so the time for singing or playing these raagas is between 12 am to 12 pm.
Vadi swar has one more significance that if only vadi swar is changed in a raag then it also changes a raag weather the swaras of raagas are almost same. For example raag Bhimpalasi, and raag Dhanashree, these two raagas come from the same thaat i.e. thaat kafi, and in both the raagas komal “Ga-Ni” are used but when raag bhimpalasi is sung or played then swar Ma is shown many times because it is a vadi swar of raag Bhimpalasi and when raag Dhanashree is sung or played swar Pa is seen more because swar Pa is vadi swar of raag Dhanashree. Thus it is concluded that if only vadi swar is changed in a raag then raag is also changed.
Vaid swar is also helpful to identify the time of singing or playing a raag. If vadi swar of a raag is from purvang part of saptak i.e. “Sa Re Ga Ma”, then it is called as purvang vadi raag and usually time for singing or playing purvang vadi raagas are from 12 pm to 12 am for example raagas like Bhimpalasi, Pilu, Purvi, Marwa, Yaman, Bhoopal, and Bageshree etc. have purvang vadi swar and so the time for singing and playing these raagas is between 12 pm to 12 am.
In the same way if vadi swar of a raag is from utrang part of spatak i.e. “Pa Dha Ni” then it is called as utrang vadi raag and time for singing or playing utrang vadi raagas is from 12 am to 12 pm. For example raagas like Bhairav, Bhairavi, Bilawal, Kalingada, Sohini, and Asavari etc. have utrang vadi swar and so the time for singing or playing these raagas is between 12 am to 12 pm.
Vadi swar has one more significance that if only vadi swar is changed in a raag then it also changes a raag weather the swaras of raagas are almost same. For example raag Bhimpalasi, and raag Dhanashree, these two raagas come from the same thaat i.e. thaat kafi, and in both the raagas komal “Ga-Ni” are used but when raag bhimpalasi is sung or played then swar Ma is shown many times because it is a vadi swar of raag Bhimpalasi and when raag Dhanashree is sung or played swar Pa is seen more because swar Pa is vadi swar of raag Dhanashree. Thus it is concluded that if only vadi swar is changed in a raag then raag is also changed.
Drut Khayal
Hindustani classical music compositions composed three types, slow, medium composition, and composition are raagas. Melody of fast composition is called as drut khyal.
Ashray Raag
Thaat in Hindustani classical music are born a thaats particular name that started with raagas. It is said that special chord melody shelter, thaat has been based on the chord name.
For example, Ni Sa Re Ga Ma Pa Dha. By combining the tone that we can conclude this Bhairav thaat.
Thaat the popular Raga Bhairav thaat Bhairav these swaras and construction came from the same given name. Raga Bhairav thaat shelter is similar in Raga Bhairav. Thaat-vachak shelter melody also known as passion. In the history of North Indian classical music raagas are ten shelter.
For example, Ni Sa Re Ga Ma Pa Dha. By combining the tone that we can conclude this Bhairav thaat.
Thaat the popular Raga Bhairav thaat Bhairav these swaras and construction came from the same given name. Raga Bhairav thaat shelter is similar in Raga Bhairav. Thaat-vachak shelter melody also known as passion. In the history of North Indian classical music raagas are ten shelter.
Sunday, 24 August 2014
Avroh
Avroh in their descending order of swaras describes how the raag moves. It is also called as avrohi or avrohan.
Wednesday, 16 July 2014
Jaati Of Raga
Categories of Ragas (Jati" of a Raga)
The following are the three most
common categories of Ragas :
1. Sampurna has seven notes ascending and
descending.
2. Shadava has six notes ascending and
descending.
3. Odava has five notes in the same Swaras,
both ascending & descending.
Categories of Ragas
Raga
RAGAS
A Raga is
a combination of sounds or swaras having qualities that give pleasure to the listener. Every Raga has a peculiar quality of its own. To be acquainted with Ragas, a musician should bear in mind the following points :
1. Ragas must belong to a Thaat.
2. At least five notes are essential
for a Raga.
3. In a Raga the melody is very essential.
4.
A Raga must
have its own ascent, descent (Aroha and avaroha) and fixed notes (Nadi
& Sammdi).
5. The Sa Swara (C note) is the same note (fixed) in every Raga, and both Ma & Pa are not to be
omitted at the same time.
Parts of combination of a raga
There are 4 distinguished parts of a raga/composition/ song.
1.
Sthayi First part (face) or introduction.
2.
Antara Second part or
body.
3.
Sanchari Combination of notes of sthayi & Antra
4.
Abhog Some notes of the combination
played in the upper octave.
played in the upper octave.
Tuesday, 19 February 2013
Tuesday, 29 January 2013
Saturday, 19 January 2013
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