RAAG POORIYA DHANASHRI

22/5/2014
PURIYA DHANASHRI
Dear Students !!!
Ramachary sir discussed about raag PURIYA DHANASHRI

Puriya Dhanashree is a rāga in Hindustani classical music. It belongs to the Poorvi Thaat and has been derived from the Janak raga.

Raga Poorvi, the "type-raga" of Purvi Thaat contains all seven notes (i.e. Sharaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from tivra to shuddh whereas the gandhar and the nishaad stay shudh throughout.

In Puriya Dhanashree, however, the aarohan or the ascent is as follows - N r G M d N S. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is tivra or sharp. The descent or theavarohan is as follows: S N d P M G M r G r s, the descent bears all seven notes with komal Dhaivat and Rishabh and a tivra Madhyam. The vadi of this raga is pancham and the samavadi is rishab. Raag Purvi's structure is very close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shudhha madhyam is often used in raga purvi unlike the tivra madhayam used in raga Puriya Dhanashree.

The gayan samay or the time of singing this raga is at dusk. Raag Puriya Dhanashree is sung at time of transition from the afternoon to the evening and thus it is known as a Sandhiprakash Raga.The pakad of this Raga or the catch phrase of this Raga under the Bhatkande system is N r G, M r G P, M d P, M G M r G d M G r S . While expounding the uttaranga part of this Raga the phrase M d N d S is used to move into the taara saptak (higher octave). The transition from the taara saptak Re to the Madhya Saptak Ni is commonly through the use of a meendh.

COMPOSITIONS IN RAAG PURIYA DHANASHRI

  HINDI

   tore jay jay kartar (film - baiju bawra)

   rukhja o banwaasi raam (film - sampoorn ramayan)

   nari jeevan bhi kya jeevan (film - raftaar)

   prem lagan man se banale (film - suraj aur dheeraj)

   mujhe tumse yeh vinati (film - sri krishna banwaari)

   o banwari jaise git jaise piya gaare (film - praardhana)

   ham kasam kase gamse (film - shabaab)

   hey shiv shankar hey (film - sur sangam)

   karuna shyam suno mori (film - meera)

   hey raam hamein yeh kya hua (film - rangeela)

   ruth aa gayi re ruth chaa gayi re (film - 1947 earth)

   kitni dinon ke baad aayi re (film - aayi milan ki raat)

   aaje teri bahon mein har shyam (film - vamsi)

   rang aur noor ki baaraat (film - ghazal)

   hal e dil (film - kinare kinare)

   hath chute bhi rishtey choot nahi sakte (film - pinjar)

   mere sason ko j mehak aa rahi (film - badaltey rishtey)

   mumtaz tujhe dekha jab taj mahal dekha (film - taj mahal)

   tum ne kya kya kiya hai (film - prem geet)

   naa kisi aankh ka nur hoon (film - lal qila)

   haal dekha (film - ghazal)

   

RAAG MADHUVANTHI

Madhuvanti is the name of a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into Carnatic music,^[1][2] and is structurally similar to Multani.

This Raag is based on Kalyan Thaat(Mode).It is a romantic raga based on the foundation, eternity and colors of love. Madhu literally means honey. It is a very sweet raga with a very simple philosophy of love and romance.

Madhuvanti's notes are S g M P N S' while ascending and all the swaras, S' N D P M g R S, in the descent. (notations M - tivra,g-komal gandhar). Madhuvanti belongs to thaatTodi.

TIME :-

Madhuvanti is played after 4 pm before 8 pm.

RASA :-

Madhuvanti expresses a gentle loving sentiment.

Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows:

• ārohaṇa: S G2 M2 P N3 S
• avarohaṇa: S N3 D2 P M2 G2 R2 S

The notes used are Chathusruthi Rishabham (R2), Sadharana Gandharam (G2), Prati Madhyamam (M2), Chathusruthi Dhaivatham (D2) and Kakali Nishadham (N3).Notations of Carnatic music and Hindustani music differ a little bit (see swaras in Carnatic music for details on above notation and terms). It is anaudava-sampurna raga (5 notes in ascending and all 7 notes in descending scale).

Madhuvanti is a popular raga. This raga has been used to compose many tukadas (short compositions sung towards end of Carnatic music concert).

It has also been used in Indian movie songs and music as it lends itself to lilting melodies.

COMPOSITIONS IN THIS RAAGA

  HINDI

   rasm-e-ulfhat (film - dil ki rahein)

   Ajahun Na Aye Balma (film - saanjh aur savera)

   bole mera malik (film - halaku)

   neele aasmaan me bhuj gaye (film - mr and mrs 55)

  TELUGU 

   sumam prati sumam sumam (film - maharshi)

   yugaalugaa nannu kori yundenu (film - nilichi yundenu nenu)

   hello my dear wrong number (film - manmadhaleela)

   kalalu kane kaalalu (film - 7g brindavan colony)

  TAMIL

   kana kanum kalangal (film - 7g rainbow colony)

   Ilancholai Poothathada(film - Unakkagave Vazhgiren)

   Ilakkanam Marudo (film - Nizhalgal Nijamagiradhu)

   nandhaa en nila (film - nandhaa en nila)

   vaada bin laada (film - mankatha) 

  OTHER COMPOSITIONS

   param jyothi swaroopa (composed by - Mutthu Swami Deekshitar )

   Ko Birahini Ko Dukh Jane (composed by - Meerabhai)

PLEASE POST COMPOSITIONS BASED ON THIS RAAGA

  

    

   

RAAG BASANT

The name Basant is from Sanskrit "vasant" meaning spring, and during that season of the year Basant may be performed at any time of the day or night. Otherwise, it is reserved for the night between 9 p.m. and midnight. The Ragmala gives Basant as a putra (son) of Hindol, also a spring raga. Today it belongs to the Purvi thata. But Guru ji used Sudh Basant, which is in Bilaval Thata. The only variant noted in the Holy Book is Basant-Hindol. Basant is a very old raga dating from the 8th century. Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar composed Shabads in this raga. Performed in slow tempo, this gentle melody depicts quiet joy. The descending scale is usually found at the beginning of a composition with the ascending form follows later.

AAROHANA :- S G2 M2 D1 N2 S'

AVAROHANA:- S' N2 D1 P M2 G2 R1 S

VADI SWARA :- S

SAMVADI SWARA :- M

 COMPOSITIONS IN THIS RAAGA :-

  HINDI

   basant hai aaya rangeela (film - sthree)

   kahen ched ched mohe gherwa (film - devdas)

   koyaliya (film - ghoonghat)

   ketki gulab juhe champak (film - basant bahar)

   jis raaz aaj tak saj kar (film - kavi kaalidaas)

   man bhavan sangeet suhavan (film - chandramukhi)

  OTHER COMPOSITIONS IN THIS RAAGA

   fagava brij dekhan ko - BANDISH - PT. Bhimsen Joshi

   is man ko basant - KEERTHAN - Bhai Balbir Singh

   naanak tina basant hai - BANDISH

PLEASE POST SONGS RELATED TO THIS RAAGA 

    

RAAG POORVI

RAAG PURVI or POORVI

16/5/2014
POORVI (PURVI RAAGA)
Dear Students !!!
Ramachary sir discussed about raag PURVI

Pūrvi, (पूर्वी in the Devanāgarī script) sometimes transliterated as Poorvi is a Thaat raga; that is, its notes represent the material of a whole family of North Indian ragas. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances today.

Arohana S R1 G2 M2  D1 N2 S

in Aroha S and P are often avoided, specially in fast taans.

Avarohana S N2 D1 P M2 G2 M1 R1 M1 G2 R1 S

 THE VADI SWARA :- 

  Ga 

  THE SAMVADI SWARA :-

   Ni

THE PAKAD or CHALAN :-

N S R G R G R M G M G R S

SAMAY or TIME :- 

Sunset

RELATED RAGAS :-

Puriya Dhanashree

RASA :-

Raga-Kalpadruma: Charming and beautiful, scantily dressed, lotus-eyed Puravi appears at the end of the day. Idle and sleepy, she suffers from the pangs of separation and dreams only of her lover.

Cattvarimsacchata-Raga-Nirupanam:Master of archery, seated on an elephant and dressed in white, Purvika has a splendid body and is served by all the different varnas
Raga-Sagara:I remember Purvika dressed in a garment woven with threads of gold. Fair and charming like the moon, she holds a cup of wine and a parrot in her hands and she is served by woman who are graceful and lively like the young deer. The head of her lover rests in her lap.

HISTORY OF RAGAS :-

Poorvi is an old traditional raga, which originated in the eastern part of India. Its ancient precursor Purvagauda had a similar scale to modern Bhairav (S R G M P D N). Poorvi itself does not appear in the literature before the 16th century.

COMPOSITIONS IN THIS RAAGA

 HINDI

  karuna suno shyam mori (film - meera)

  tere pyar ka asra chahta hun (film - dhool ka phool)

  mein hu tere samne (film - nastik)

  mera pyar woh hai ki maar kar bhi (film - yah raat phir na aayegi)

  bahut shukriya badi meharbani (film - ek musafir ek hasina)

  tumhe pake hamne jahan (film - gehra daat)

  tore jayjay kartar (film - baiju bawra)

  rukhja o vanwasi ram (film - sampoorna ramayan)

  nari jivan bhi kya jivan hai (film - raftaar)

  prem lagan mein basale (film - suraj aur dheeraj)

  mujhse tum se yah vinati (film - sai krishna bhakti)

  o banwari jaye git kaise piya gare (film - praardhana)

  ham kasm kaise gam se guzar (film - shabab)

  hey shiv shankar (film - sur sangam)

  hey ram hamein yah kya hua (film - rangeela)

  ruth aa gayi re (film - 1947 ;earth)

  kitne dinon ki baad ayi hai (film - aayi milan ki raat)

  ake tere bahon mein har shyam (film - vamsi)

  rang aur nur ki barat kise pesh karun (film - ghazal)

  hal e dil  (film - kinare kinare)

  hath chute bhi rishtey chut nahin (film - pinjar)

  meri sason ko jo mehak (film - badalte rishtey)

  mumtaj tujhe dekha jab taj mahal dekha (film - taj mahal)

  tum ne kya kya kiya hai (film - prem geet)

  yah kaun mujhe yaad aya hai (film - taj mahal)

  na kisiki ankh ka nur hun (film - lal qila)

  karoge yad to har bat yaad ayegi (film - bazar)

  prabhu dware cali prabhu ki dasi (film - sheroo)

 OTHER SONGS

  YENKI PAATALU

    poola boorenu vedi gaalilo nimpi

    i rethi rokka thevu yemi vacchinave 

  GHAZALS

    mujhse pahli si mahobbat

  PLEASE POST SONGS RELATED TO THIS RAAGA

    

  

  

RAAG SOHNI or HAMSANANDI

12/5/2014
SOHNI (HAMSANANDI RAAGA)
Dear Students !!!
Ramachary sir discussed about raag SOHNI

Sohni is a raga in Hindustani classical music in the Marwa thaat. Alternate transliterations include Sohani and Sohini. Like Bahar, it is a small raga, with not much space for elaboration. It emotes the feel of longing, of passive sensuousness.

The raga is of audav-shadav nature, i.e, it has five swaras (notes) in the arohana (ascent) and six in the avarohana. Rishabh (Re)is komal and Madhyam (Ma) is Tivra (denoted below by Re# and Ma#), while all other swaras are shuddha. Pancham (Pa) is not used.

Arohana :- S G2 M2 D2 N2 S.

Avarohana :- S N2 D2, G2 M2 D2 G2 M2 G2 R1 S.

Pakad :-  S N D G M D G M G

             S N D N D G M

             G M G R S.

The vadi swara is Dha

The samvadi swara is Ga.

The rishabh is weak, but Gandhar (Ga) is strong, unlike Marwa. It is an Uttaranga pradhan raga, with the higher notes on the saptak (octave) being used more frequently.

SAMAY :- Raga Sohni is associated with very late night / pre-dawn, the last or eighth period of day, roughly from 3-6AM.

It is somewhat similar to Marwa and Puriya ragas in the same thaat,^[2] and also to Basant in the Poorvi thaat.

COMPOSITIONS IN THIS RAAGA

  HINDI

   jhoomti chali hawa (film - sangeet samrat tansen)

   jeevan jyot chale (film - grahasthi)

   kanha re kanha (film - truck driver)

   kuhu kuhu bole koyaliya (film - suvarna sundari)

   prem jogan banke (film - mughal-e-azam )

   payal jham jham baaje (film - basant)

   saathi re bhool na jaana mera pyaar (film - kotwal saheb)

   payaliya bawari (film - saaz aur awaaz)

   saanjh bhayi ghar aa jaa (film - aangan ki kali)

   maain mein kaise kahoon (film - dastak)

   mera pardesi naa aaya(film - mera hamsafar)

   ek to main ek to giridhar (film - jai radhe krishna)

   sab yeh jagat ka ek rakhwala (film - nastik)

   tum ne kya kya kiya hai (film - prem geet)

   saanjh dale gagan tale (film - utsav)

   bandhan tute naa (film - moohm ki goodiyan)

   mere priya maine (film - tere mere sapne)

   mera solah raat bhar (film - chamak chandni)

   kahi deep jale kabhi dil (film - bees saal baad)

   yah shyam sundar ras ka manmohan (film - artha satya)

  TELUGU

   himagiri mandira (film - mallamma katha)

   maa vela leni mugdha sukumara (film - jeevitha mella)

   baala bhaanuni bolu (film - kunthi vilapamu)

   vedham anuvanuvuna (film - saagara sangamam)

   muddabanti puchenule (film - dalapathi)

   jaali gundela meghamala (film - malliswari)

   haayi haayiga aamani saage (film - suvarna sundari)

   telugu padaniki janma dinam (film - annamayya)

   cherave mohini dari cherave (film - swarna manjari)

   che gonavayya mamsamunu (film - shri kalahasthi mahatmyam)

   o yadavulara ganuchu (film - shri krishna tulabhaaram)

   kshatriya rudiraamame (film - bhakta jayadeva)

   kila kila kila kila paduchu kokila (film - pelli sandadi)

   swaami ayyappa (film - om swami sharanamide)

   naada rupa gaanamunaku (film - amara gaanam)

   naari rasa madhuri laahiri (film - prathikaaram)

   om jeevana vaahini paavani (film - gangothri)

   jagathiki praanamu nene (film - rendu kutumbala katha)

   dayi dayi dayi dakshayinee (film - raaja simha)

   endalo needalo needalo (film - o premakatha)

   PLEASE POST SONGS RELATED TO THIS RAAGA

    http://youtu.be/JVmiwIt0JAw

raag lalit or lalitha

12/5/2014
LALIT (LALITHA RAAGA)
Dear Students !!!
Ramachary sir discussed about raag LALIT

Lalit is a raga in Hindustani classical music. It is commonly described as serene and devotional and is performed at dawn.

AROHANA - S R1 G3 M1 D1 N3 S  
AVAROHANA - S N3 D1 M1 G3 R1 S 

The swara (notes of the Indian musical scale) of Lalit put emphasis on the minor second (Re) and minor sixth (Dha), and include natural and sharp fourth (Ma), but omit the commonly used perfect fifth (Pa).^[2] Author Peter Lavezzoli stated the raga was difficult to play for Western classical musicians because of its scale.^[2] Jairazbhoy argued the use of both forms of Ma was an apparentchromaticism, but that one of the Ma notes was a diminished Pa.^[3] Lalit with a different scale was identified in the 16th century, and a raga Lalita existed before.^[1]

Pakad - Chalan of Lalit: Re#(komal), Ma-Ma#-Ma Ga Ma, Ma#Ni, Sa

As can be seen from above, the raga uses both the flat and the upper Ma and that makes this raga very distinct from other ragas. Deliberate oscillation on the cusp formed between Ma-Ma# and Ni is commonly heard.

 The Raga Lalit belongs to Poorvi That. Other well known Ragas from the Poorvi Thhaat are Paraj, Poorvi, Puriya Dhanashree, Shree etc. So clearly there could be Ragas from the same thhaat but meant for different times of the day. While Paraj and Lalit are morning Ragas, we find Ragas like Poorvi and Shree which are sung at dusk, but from the same Poorvi Thhaat.  Think of the Thhaat as the Head of the household and Ragas as the different children who all are related to each other by a clear visible bond of shared ancestory.  Lalit evokes the mood of prayer and a certain sense of calm. I believe that the easiest way to befriend the notes of a Raga is to listen to it being used in film music. I find it useful to grasp the essence of the Raga by listening to a classical performance by one of the maestros and then listen to it in the form of a film song. The difference is the same as learning Math from the Professor of Mathematics and asking a friend to help you grasp the subtle nuances of Math.

COMPOSITIONS IN RAAG LALIT

  HINDI

sai baba bolo (film - shirdi ke sai baba)

badi dheere jali (film - ishquiyaan)

ek shehan shah ne banvaayi (film - leader)

pritam dars dikhao (film - chacha zindabad)

tu hai meri prem devata (film - kalpana)

Rain Ka Sapna (film - lalat) Ye Kaun Aaj (film - nartaki) Duniya Na Bhaye (film - basant bahar) Jago Bansi Vare (film - meera) Ghat Ghat Mein Ram (film - bhumika) Bhor Bhaye Panghat (film - satyam shivam sundaram) Bhor Bhaye Panchi (film - aanchal) Aey Ishq Teri Talaash (film - cha cha cha) Teri Jaat Pak Hai (film - main hoon alladin) Ye pyar tha ya (film - prem rog) Main To Kab Se Teri Sharan (film - ram nagari) Jogiya More Ghar Aaye (film - raagini) Mast Mayura Nache (film - dil ki rahein) Vo Jo Milte The Kabhi (film - akeli mat jaiyo) manzilein apni jahaan (film - sharabi) tu nahi to mere liye (film - tum yaad aaye) karuna sun shyam tum mero (film - bhakti geet) TELUGU dochukovayya nee sampadalu (film - annamayya) lalitha priya kamalam (film - rudraveena) naadavinodamu naatyavilasamu (film - saagara sangamam)               second charanam from 'bharatamaina naatyam' nitala lochana (film - rahasyam) ammante telusuko (film - maamidaakulu) lalitha lavanga lata (film - krishnam vande jagadgurum) aata patrambu bhangi(film - kunthi kumari) ANNAMAYYA KRITIS shodasa kalanidhiki (composed by - G.BALAKRISHNA PRASAD) jayalakshmi varalakshmi(composed by- G.BALAKRISHNA PRASAD) jaatulanniyu vrudhaa vrudhaa(composed by - M.CHITTARANJAN)

OTHER COMPOSITIONS 

koi paas aaye savere savere (sung by - JAGJIT SINGH)

PLEASE POST SONGS RELATED TO THIS RAAGA

RAAG AHIR BHAIRAV

12/5/2014
AHIR BHAIRAV (CHAKRAVAKAM RAAGA)
Dear Students !!!
Ramachary sir discussed about raag AHIR BHAIRAV

Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient but now rare raga Ahiri or Abhiri,[1] or perhaps a mixture of Bhairav and Kafi.

Arohana
S R1 G2 M1 P D2 N1 S

Avarohana
S N1 D2 P M1 G2 R1 S

Vadi swara
MA
Samvadi swara
SA

Pakad or Chalan
S, R G M  G M R  N Ḍ N R S
 is the most characteristic run, where the Ni and Dha belong to the lower octave and the Re and Sa are from the middle octave. There is typically some andolan/oscillation at the flattened second (komal Re).

Behavior
Ahir Bhairav is typical uttarang raga, which means emphasis is on the upper tetrachord.

Samay (Time)
The second Prahr of the morning, around 6 - 9 AM.

ABOUT CHAKRAVAKAM (AHIR BHAIRAV) ACCORDING TO CARNATIC MUSIC

Chakravakam or Chakravaham (pronounced chakravākam) is a rāgam in Carnatic music (musical scale in South Indian classical music). It is the 16th Melakarta rāgam (parent rāgam) in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is close to Raga Ahir bhairav in Hindustani music.

Chakravakam is a raga that is known to incite feelings of devotion, sympathy and compassion in the listeners.

It is the 4th melakarta in the 3rd chakra Agni. The mnemonic name is Agni-Bhu. The mnemonic phrase is sa ra gu ma pa dhi ni.[1] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows (see swaras in Carnatic music for details on below notation and terms):

ārohaṇa : S R1 G3 M1 P D2 N2 S
avarohaṇa : S N2 D2 P M1 G3 R1 S
The notes in this scale are shadjam, shuddha rishabham, anthara gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadham.

It is a sampoorna rāgam - rāgam having all 7 swarams.

COMPOSITIONS IN THIS RAAGA
 HINDI
  Aapne Jeevan Ki Uljhan Ko (Film - Uljhan)
  Albela Sajan Aayo Re(Film - Hum Dil De Chuke Sanam)
  Chalo Man Jayen Ghar Aapne(Film - Swami Vivekananda)
  Dhire Dhire Subah Hui He Jag Uthi Zindagi(Film - Haisiyat)
  Mai Ri Main, Kaise Jiyun Ri(Film - Dastak)
  Main To Kabse Teri Sharan Men Hun(Film - Ram Nagari)
  Man Anand Anand Chhayo(Film - Vijeta)
  Meri Vina Tum Bin Roye(Film - Dekh Kabira Roya)
  Puchho Na Kaise Maine Rain Bitai(Film - Meri Surat Teri Aankhen)
  Ram Teri Ganga Maili Ho Gayi(Film - Ram Teri Ganga Maili)
  Sola Baras Ki Baali Umar ko Salam(Film - Ek Duje Ke Liye)
  Waqt Karta Jo Wafa Aap Hamare Hote(Film - Dil Ne Pukara)
  Zindagi Ko Sanvarana Hoga(Film - Alaap)
  Ka Karoon Sajni(Film-Swami)
  Ab Tere Bin Jee Lenge Hum(Film-Aashiqui)
   
 TELUGU
  ee reyi nennolla(film-tasildaru)
  vidhi vanchithulai(film-pandava vanavasam)
  itulela chesennayya(film-muddubidda)
  edukondalavada venkata ramana(film-pelli chesi choodu)
  raadhaku neevera(film-shri krishna thulabhaaram)
  kanda gelichinti(film-bhakta kannappa)
  chikatilo kaaru chikatilo(film-manushulu maarali)
  veena lona teege lona (film-chakravakam)
  evarikevaru ee lokamlo(film-siri siri muvva)
  enta manchi manasu ee intidi(film-non film song)
  naadame vedamu(film-illu vaakili)
  swarmulu edayina raagalu enno(film-thoorpu padamara)
 
 OTHER COMPOSITIONS
  Etula Brotuvo teliya(Thyagaraja kriti)
  sugunamu le(thyagaraja kriti)
  Kānakkankoti vendum (Koteeswara Iyer)
  Gajānanayutham (Muthuswami Dikshitar kriti)
  pibare raama rasam(sada siva brahmendra)
 
PLEASE POST SONGS RELATED TO THIS RAAGA

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