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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] |
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] |
Dhanashree
Dhanasree is a raga. It prominently appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Raga Dhanashree appears in the Ragmala as a ragini of Malkauns and currently is a member of the Kafi thaat. It closely resembles Bhimpalasi in musical content but the vadis and moods are different (Described Below). Dhanashree is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 101 hymns. The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes: * Aroh: ni Sa ga Ma Pa ni Sa * Avroh: Sa ni Dha Pa Ma Pa ga Re Sa * Vadi: Sa * Samvadi: Pa * Jaati : Audava – sampurana * samay : Third pehar of the day * Thaat : Kafi This Raag is almost exactly the same as the Classical Raga Bhimpalasi, only that the Vadi/Samvadi are s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abheri
Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a ''Janya'' raga (derived scale), whose ''Melakarta'' raga (parent, also known as ''janaka'') is ''Kharaharapriya'', 22nd in the 72 ''Melakarta'' raga system. ''Bhimpalasi'' (or ''Bheempalas'') and ''Dhanashree'' of Hindustani music sounds close to ''Abheri''.''Ragas in Carnatic music'' by S. Bhagyalekshmy, Pub. 1990, CBH Publications''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras Structure and Lakshana Abheri is an ''audava-sampoorna'' Raga. Its structure (ascending and descending scale) is as follows (see '' swaras in Carnatic music'' for details on below notation and terms): * : * : The ''swaras'' in this scale are ''Chathusruthi Rishabham, Sadharana Gandharam, Suddha Madhyamam, Chathusruthi Dhaivatham'' and ''Kaisiki Nishadham''. There are some differing views on swaras in the scale of Abheri. It is considered a ''Bhashanga'' ra ... [...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] |
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] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep References Hindustani music theory Carnatic music Carnatic music terminology Hindustani music terminology {{Carnatic-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj thaat. The 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 * Barwa * Bhimpalasi * Brindavani Sarang * Dhani * Hanskinkini * Jog * Kafi * Madhuranjani * Megh * Malhar * Nayaki Kanada * Patdeep * Pilu * 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. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. Although there are stylistic differences, the basic elements of (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Teental
Teentaal (alternatively spelled tintal, teental, or tintaal, and also called trital; Hindi: तीन ताल) is the most common '' taal'' of Hindustani music, and is used for ''drut'' (fast tempo). It is symmetrical and presents a very simple rhythmic structure against which a performance can be laid. ''It is of 16 beats'' with 4/4/4/4/ pattern and 4 divisions.There are 3 claps(tali) and 1 gap(khali). Arrangement Teentaal has sixteen (16) beats in four equal divisions (Vibhag). The period between every two beats is equal. The first beat out of 16 beats is called ''sam'' and the 9th beat is called ''khali'' ('empty'). To count the Teentaal, the audience claps on the first beat, claps on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps (Hindi Modern Standard Hindi (, ), commonly referred to as Hindi, is the Standard language, standardised variety of the Hindustani language written in the Devanagari script. It is an of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
