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Kafi (thaat)
Kafi () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat. Description Kafi thaat makes use of the Komal Gāndhāra, Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj (thaat), Khamaj thaat. The Kafi (raga), Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime. Ragas Ragas in Kafi thaat include: * Abhogi * Bageshri * Bageshri-Ang Chandrakauns * Bahar (raga), Bahar * Barwa (raga), Barwa * Bhimpalasi * Brindavani Sarang * Dhani (raga), Dhani * Hanskinkini * Jog (raga), Jog * Kafi (raga), Kafi * Madhuranjani * Megh (raga), Megh * Malhar * Nayaki Kanada * Patdeep * Pilu (raga), Pilu * Jaijaiwanti * Ramdasi Malhar * Sahana (raga), Sahana * Surdasi Malhar * Ananda Sar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kafi Ragamala Painting
Kafi is a classical form of Sufi music in the Punjabi language, Punjabi and Sindhi language, Sindhi languages that originated from the Punjab and Sindh regions of South Asia. Some well-known Kafi poets are Baba Farid, Bulleh Shah, Shah Hussain, Shah Abdul Latif Bhittai, Sachal Sarmast and Khwaja Ghulam Farid. This poetry style has also lent itself to the Kafi genre of singing, popular throughout South Asia, especially Pakistan, Bangladesh and India. Over the years, both Kafi poetry and its rendition have experienced rapid growth phases as various poets and vocalists added their own influences to the form, Tribute: The legendary maestro by Shaikh Aziz, Dawn (newspaper), 05 Jul, 2009. creating a rich and varied poetic form, yet through it all it remained centered on the dialogue between the Soul and the Creator, symbolized by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barwa (raga)
Barwa is a Hindustani classical raga A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, fro .... It is similar to raga Desi (raga). It is also close to raga Sindhura, but distinguishes itself in how it approaches S R m in arohi (ascending) movements and komal gandhar (g) while descending. Barwa is particularly well-loved by the Agra gharana musicians, and several recordings of Barwa can be found by veteran as well as contemporary Agra vocalists. Thaat - kafi Jaati - Shadav - Sampurna Vadi Swar - रे (R ) Samvadi Swar- प (P) Time - Third half of the morning Aaroh - सा रे म प ध नि सां। S R M P D N Ṡ Avroh - सां नि॒ ध प म प ग॒रेग॒ सा। Ṡ Ṉ D P M P G̱ R G̱ S Pakad - ग रे � ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaijaiwanti
Jaijaivanti or Jaijaiwanti is a Hindustani classical ''raga'' belonging to Khamaj Thaat. According to the Guru Granth Sahib, this ''raga'' is a mixture of two others: Bilaval and Sorath. The ''raga'' appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This ''raga'' is not mentioned in any Indian classical scriptures on music nor in the '' Ragmala''. According to Guru Granth Sahib, Jaijaivanti (ਜੈਜਾਵੰਤੀ) expresses the feeling of happiness and satisfaction of achievement, while simultaneously conveying the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however, he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put duty first. The duality of the emotions of joy and sorrow prevents overreacting to good or bad news. Raga Jaijaiwanti bea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pilu (raga)
Pilu or Peelu is a ''raga'' of Hindustani classical music. It is mostly used in light-classical forms, like ''thumris''. Aaroh and Avaroh Aaroh 'P 'N S g m P N S''N S G m P N S'S g m P D S'S R m P N S' Avaroh S' N D P m G m P g R S 'N SS' N S' D n D P m G m P G P m g R S 'N S Some performances include shades of ' MA Vadi and Samvadi Ga as ''vadi'' Ni as ''samvadi'' Pakad or Chalan S g R g S R 'N S, G m n P g - S S g R S 'N S 'N - 'P 'd 'P 'N S - g R g 'N S Organization and relationships Related ''ragas'': Kirwani resembles an ancient kind of Pilu. Thaat: Bhatkhande classified Pilu in the Kafi ''thaat).'' ''Samay'' (time) Third part of the day Seasonality Often related to the monsoon season, this raag is popular in the occasion of Hindu festival "Holi" halguna (February - March) monthalso known as Raga of colours for its smpoorna jaati and blissful nature. http://www.tanarang.com/english/pilu_eng.htm-get more information about Raga PiluCAPTCHA ''Rasa'' Ch ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patdeep
Patdeep or Patdip (पटदीप), is a Hindustani classical raga from the Kafi Thaat. Theory Aroha and Avaroha Notation: S r R g G M Ḿ P d D n N S Lower case indicates 'komal' or flat notes, " indicates higher (third) octave, ' indicates lower (first) octave *Aroha: N' S g m P N S' * Avaroha: S" N D P, m P g, m g R S The raag has Komal Ga. It is an Audava-Sampoorna raga, implying that it has 5 notes in Arohana and 7 in Avarohana. Raag Patdeep is formed when pure N is taken instead of komal n in Raag Bhimpalasi. Patdeep is essentially Gowrimanohari sans rishaba and dhaivata in ascent. Vadi and Samavadi * Vadi: Pa * Samavadi: Sa Pakad or Chalan * Pakad or Chalan: N' S g M P (M) g, M g R S, g M P N S" D P, M P g, M g R S. Film songs Language : Marathi Language : Hindi Language: Malayalam Language:Tamil Songs composed in Gourimanohari (Carnatic) which is equivalent to Patdeep Language : Telugu Below song is a traditional saint T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malhar
"Malhar" is a Hindustani classical raga. Malhar is associated with torrential rains. Besides the basic Shuddha Malhar, which was the original Malhar, several Malhar-related ragas use the Malhar signature phrase m (m)R (m)R P, including "Miyan ki Malhar", " Megh Malhar", "Ramdasi Malhar", " Gaud Malhar", "Sur Malhar", "Shuddha Malhar", "Desh Malhar", "Nat Malhar", "Dhulia Malhar", "Daivi Malhar" ( Dev Malhar ) and "Meera ki Malhar". This phrase, although it might seem similar and equivalent, is different from the swara phraseology employed in Raga " Brindavani Sarang". It can be determined that raga Malhar or rather Miyan ki Malhar is a mixture of ragas " Brindavani Sarang", raga " Kafi" and raga "Durga".This raga has a ''Vakra'' form (meaning that the swaras of a raga are not completely arranged in a particularly straightforward manner), and is classified as a Ghambir Prakruti raga (meaning that it is played slow with patience, and it is played in a serious tone/note). Lege ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Megh (raga)
Megh is a Hindustani classical raga. The meaning of ''megh'' in Sanskrit is 'cloud'. Hence this raga is mostly sung or played in the monsoon season. Another raga which describes rain is raga Malhar. These two ragas were merged and a new raga developed, raga Megh Malhar. The Carnatic music equivalent of this raga is Madhyamavati. Theory Arohana & Avarohana Arohana: Avarohana: Pakad Vadi & Samavadi In this raga vadi is Sa and samavadi is Pa – Re is used a lot but always sliding down from M, n always slides from P Organization & Relationships Related ragas: Ragas of Malhar family, namely Megh Malhar, Miyan ki Malhar, Gaud Malhar, Ramdasi Malhar, Dhuliya Malhar, etc. as well as Madhmad Sarang. Thaat: Kafi. Mixture The meaning of Megh in Sanskrit is 'Cloud'. This raga is usually sung or played in the Monsoon season. Another raga which describes rain is raga Malhar. Merging these two gives a new raga: Megh Malhar, which has elements of both these ragas. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhuranjani
Madhuranjani (मधुरंजनी) or Madhu Ranjani, is a Hindustani classical raga from the Kafi Thaat. It is an Audav-Audav raag, (means pentatonic in ascending and descending scale). Madhuranjani is equivalent to raag Shrotasvini or Udayaravichandrika of Carnatic music. Raag Madhuranjani is formed when shudh Ni is taken instead of komal ni and omitting Ri in Raag Dhani. Some musicians also use rag Madhuvanthi in ascending and rag Shivranjini in descending for this raag. It is also similar to Patdeep if Dha and Ri is omitted. It is said to have been adopted from Carnatic raga Srotaswini. There is another combination of swaras to sing this raga where Ni komal of Kafi is also added. Theory Aroha and Avaroha Notation: S g G m P N S Lower case indicates 'komal Swar' or flat notes, " indicates higher (third) octave, ' indicates lower (first) octave note *Aroha Aroha is a Māori language, Māori word meaning "love", cognate with the Hawaiian term ''aloha''. It ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jog (raga)
Jog is a Raga in Hindustani classical music. It is one of the more popular ragas appearing often in films. Sometimes, experts assign this raga to be a member of Kafi thaat. Structure Raga Jog omits the second and the sixth intervals, Ri and Dha, making it pentatonic, or Audav in nature. In ascending, it uses Shuddha Ga, and in descending, it uses Komal Ga. It takes Raga Tilang for its base which itself is derived from Khamaj Tilang, thaat. The Arohana is: Sa Ga Ma Pa ni(komal) Sa' The Avarohana is: Sa' ni(komal) Pa Ma Ga(shuddha) Ma ga(komal) Sa In the notes of the Western scale in the key of C, these roughly correspond to C, E, F, G, B, C; C, B, G, F, E, F, E, C. Time of the day The raga is played during the late evening (9 PM – 12 night): 2nd Prahar of the night, Ratri ka Dwitiya Prahar Notable recordings in raga Jog *Pramadhavanam by Raveendran Master in the 1990 Sibi Malayil film His Highness Abdullah, *Ravi Shankar on his 1956 album Three Ragas, *Hariprasad Chaura ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhani (raga)
Dhani is a pentatonic raga in Hindustani classical music. It is a sprightly raga often described as Bhimpalasi sans the notes, Dha and Re. It however has its own distinct character. Dhani is frequently heard in popular music. This raga is also known as the romantic version of Raag Malkauns. It is similar to Malkauns, except that in the Aaroh and Avroh, Komal ''Dha'' is replaced by ''Pa'' in this raga Popular Compositions (Bandishes) ''Hey Manwa Tum Na Jane'' by Pt C R Vyas is a popular Bandish in this raag. Indian Film songs in Dhani (raga) Language: Hindi Indian Film songs (Tamil, Telugu, Malayalam, Kannada) Note that the following songs are composed in Suddha Dhanyasi, the equivalent of raga Dhani in Carnatic music. Language: Tamil Non Film / Album Language: Malayalam Language: Kannada Kannada () is a Dravidian language spoken predominantly in the state of Karnataka in southwestern India, and spoken by a minority of the population in a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brindavani Sarang
Brindaavani Sarang or Brindaabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridaavani Sarang. This raga falls under the category of Sarang ragas. Theory Brindabani Sarang is a Kafi thaat raga. It was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. One of the famous Ragas for the Sarang , it is a popular of this family, together with Shuddha Sarang, and Madhyamad Sarang. The name Brindavani Sarang is a testament to its popularity in the region around Mathura. The notes ''Ga'' and ''Dha'' are not used in this raga. A characteristic of all Sarang is the way ''Rishab'' (Re) is sung. The Rishabh is not accorded embellishments, so it is sung without any ''meenḍ'' of adjacent ''swara''s neither with any ''andolan''. This preeminence of Re makes the ''swar'' the ''vadi'' of this Raga as also for all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhimpalasi
Bhimpalasi or Bheempalasi (also known as Bhimpalas or Bheempalas) is a Hindustani classical raga. The Carnatic Music equivalent of this raga is Abheri. Raga Bhimpalasi belongs to the Kafi Thaat. Theory * Aaroha: * Avaroha: The raga has komal Ni and Ga. ''Rishabh'' ((re)second) and ''dhaivat'' ((Dha)sixth) are skipped in ''āroha'' (ascending) passages, but are given due importance when descending (''avroha''). Since the scale has 5 notes ascending and all 7 descending, the resulting ''jāti'' is ''Audav–Sampūrṇa''. It is performed in the early afternoon, from 12:00 P.M. to 3:00 P.M. (the third ''prahar'' of the day). Use of ''dhaivat(dha)'' and ''rishabh(ray)'' is symmetrical in that both are approached via the succeeding notes (D from Ṉ, and R from ). is sung with a ''kaṇ-svara'' (grace note) of M. Similarly, Ṉ is sung with a ''kaṇ-svara'' from S. * Vadi Swar: * Samavadi Swar: *Thaat: Kafi * Pakad or Chalan: Bandish Examples A bandish is a compositi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
