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Asavari

30 Aug

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Raga Asavari

Raga/Ragini Asavari or Asawari is derived from thaat Asavari.  Asawari is a Janak raga of its thaat (Parental scale). Still we can call it raga asavari to some extent. Its Vaadi (main note) is Komal Dhaivta (flat sixth) and Samvaadi (second in importance) is Komal Gandhar (Flat Third). Its Jaati (class) is Audav-Sampoorn as Gandhar and Nishadha swaras are omitted in its Aroh and Avroh has all the seven notes. Time of performance is morning.

Its Pakad is R-m-P-S’- (n) d-P -R-m-P-n-d-P. It is played from madh – taar saptak. Its bhaav is Shad-Madhyam. Ragni Asavari evokes the moods depicting yearning for love, anguish, and melancholy. Ragni Asavari is effective in eliminating the impurities of blood and related diseases.

There is considerable disagreement concerning the Re. Some musicologists view is that only shuddh Re is used. There is another school, which suggests that both shauddh and komal can be used and some are of the view that only the komal Re be used. However, it is recommended to use Shuddh R.

Asavari’s counsel and influence have profoundly shaped the Indian musical imagination. This compendium explores that engaging melody as well as its derivative ragas, as I like to call them. Asavari is a very ancient ragni as is the allied Raga Gandhari; We will here train our sights on contemporary musical practice. Throughout this discussion, M=shuddh madhyam and m=tiver madhyam. The ragni, Asavari, itself comes in three flavours, each distinguished by the manner of rishab use. They are, respectively, the shuddh rishab-only (R) Asavari, the komal rishab-only (r) Asavari, and the third type employing both r and R. The swars of the R-only Asavari are aligned with the Asavari thaat proper whereas those of the r-only Asavari belong to the Bhairavi thaat.

Vadi:  Komal Dhivat (d)

Samvadi: Komal Gandhar (g)

Jati: Audav-Sampooran

Pakad: R-m-P-S’-(n)d-P  R-m-P-n-d-P

 
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Posted in Raga

 

Alhiya Bilawal

28 Aug

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Alhiya Bilawal is a main popular raga of  thaat Bilawal. All the notes in raga Bilawal are shudha/natural along with both of Nishadhas. This raga is going to become  more popular even than its major raga Bilawal. The artists of this era prefer to perform Alhiya-Bilawal than Bilawal.

This Raga has all shudha swaras along with Komal and Shudha Nishadh. Vadi swara is sixth note Dhaivta and Samvidi is third note /Gandhar. Where Dha-Ga is samvad, the same pair of notes is also used as an important swara combination. Other main swara combinations of the raga are GmRG P m G- R S -, G R G P D N S’ , S’ N D P D n D P, S’ D n D – P D-G and PD – G -, GmRG P m G  R S or GmRG P m G m R S. Komal Nishadha is mostly used in between two Dhaivtas.

It is generated from Bilawal thaat. Jati of the raga is Shadava-Sampuran as it has six number of swaras is its ascending order and seven notes in descending.  Madhyam swara is omitted in it’s aroh and all swaras remain present in avroh. Komal Nishadha is used in its descending order either along with shudha Nishadha or direct from taar Shadaja but after Dhaivta e.g. “S’ D n D P, D-G, GmRG P m G -  R S”. Vadi swara is Dhaivta as explained in above para and it’s Samvadi is Gandhar. Singing time of the raga is first prahar of the day i.e. 7-10 am. Tuning of musical drone is done on Shadaja-Pancham bhava.

In the present days this raga is at number one from its types (parkar). other types of this raga are known as Bilawal, Alhiya-Bilawal, Devgiri-Bilawal, Shukal-Bilawal, Yamani-Bilawal, Sarparda-Bilawal, Nat-Bilawal etc..

 
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Bilawal Raga

28 Aug

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Bilawal is basic raga and Janak raga of  thaat Bilawal. All the notes in raga Bilawal are shudha/natural. However this raga is going to become an unpopular/rare one. This raga is not performed in the present days. In Sikh-tradition this raga is used in Gurbani Kirtan.

This Raga has all shudha swaras. Vadi swara is sixth note Dhaivta and Samvidi is third note /Gandhar. Where Dha-Ga is samvad, the same pair of notes is also used as an important swara combination. Other main swara combinations of the raga are GmRG P m G- R S -, G P D N S’ and PD – G -, GmRG P m G  R S or GmRG P m G m R S.

It is generated from Bilawal thaat. Jati of the raga is Shadava-Sampuran as it has six number of swaras is its ascending order and seven notes in descending.  Madhyam swara is omitted in it’s aroh and all swaras remain present in avroh. Vadi swara is Dhaivta as explained in above para and it’s Samvadi is Gandhar. Singing time of the raga is first prahar of the day i.e. 7-10 am. Tuning of musical drone is done on Shadaja-Pancham bhava.

In the present days this raga has been entered in the list of rare ragas. Type of this raga known as Alhiya-Bilawal is top popular in the category. There are are good numbers of types of the raga Bilawal and some of them are listed here as Bilawal, Alhiya-Bilawal, Devgiri-Bilawal, Shukal-Bilawal, Yamani-Bilawal, Sarparda-Bilawal, Nat-Bilawal

 
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Patriotic Raga

24 Aug

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Question: Some friend reached at AGSAWorld.com in search of “Patriotic Raga”. Question arises that is there any raga specified as patriotic raga exists?it is totally non related topic.

Answer: There is no such raga as “Patriotic Raga”. The raga is not a patriotic but if patriotic thoughts or patriotic poetry is composed in a particular raga, the same raga becomes a patriotic raga.

Each and every raga may be patriotic raga if poetry composed in that raga is patriotic. The raga is not patriotic but the poetry with patriotic thoughts is patriotic.

 
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Varna

10 Aug

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hhajhgsjaVarna is system of movement of the musical notes (swaras) and Varna give us better entry into “Alankars”.  There are certain limitations to movement within the musical notes. These are called the types of movement form the different type of the ‘Varna’.  Before entering in to ‘Alankars’, we must go through the term “Varna”.

There are four types of ‘Varna’. Sthayee Varna, Arohi Varna, Avrohi Varna and Sanchari Varna. The detailed study of these four types is given below.

  1. Sathayee Varna: When the swara is used at one place only in a step or when the same swaras are repeated at a place and the same system is adopted in the other steps of an alankar is called ‘Sthayee Varna’. For example- SSS-, RRR-, GGG-, mmm- etc..
  2. Arohi Varna: In an Alankar, when the swaras are used in its ascending orders in a particular system is called ‘Arohi Varna’. For example-
    1. SR, RG, Gm, mP …………
    2. SRG, RGm, GmP, …………..
    3. SRGm, RGmP, GmPD, …………
  3. Avrohi Varna: When in an Alankar, the swaras used in its descending form systematically is called Avrohi Varna. All the steps follows the same rule in its progresive manner. For example-
    1. GRS, mGR, PmG, ………………………….
    2. mGRS, PmGR, DPmG, …………………..
  4. Sanchari Varna: When the mixed form of above three types are formed is cdalled ‘Sanchari Varna’. Other steps are to be developed according to first step. For examlpe:
    1. SRGR SSS, RGmG RRR, GmPm GGG, ………………
    2. SGRGSRSS, RGmGRGRR, GmPmGmGG, ………… 

 
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