Raag Jeet Kalyan & Chander Kanth-Indian Music Theory

Raag Jeet Kalyan & Chander Kanth-Indian Music Theory

Raag Jeet Kalyan is sung in two styles. According to one school of thought it is sung in Marwa Thaat whereas this Raag is also performed in Kalyan thaat, but according to both styles it is Awodo Raag (5 notes), Ma and Ne notes are not played in this Raag.

This main difference in both styles is that Re (D) note is black if it is sung in Marwa thaat but remian while if the performer is singing it in Kalyan Thaat.

Pa is wadi note in this raag and Re is Sumwadi. Infact in India, this Raag is sung in Kalyan thaat, but according to the author of Laksh Sangeet, it is appropriate to sing this raag in marwa thaat. By doing this the raag will be seperated from Deskar and Bhopali.

Arohi

Sa-re-ga-pa-dha-sa

Amrohi

Sa-dha-pa-ga-re-sa

The chaal of jeet kalyan is as follows:

sa-ga-pa-re-sa, sa-re-sa, sa-ga-pa, pa-pa-dha-ga-pa-dha-pa-re-sa-re-sa, sa-re-sa-dha-sa-re-sa-ga-pa-pa-dha-pa-re-sa, sa-sa-ga-pa-ga-pa-pa-dha-pa-re-sa-ga-pa-pa-ga-pa-pa-sa-re-sa, pa-sa-ga-pa-sa-pa-dha-ga-pa-dha-pa-re-sa

Raag Chander Kanth:

Raag chander kanth is the khado (6 notes) sampuran raag of kalyan thaat.
Ma is virgit (not allowed) in it’s Arohi while Amrohi is sampuran which means that all notes are played in it’s Amrohi.

Wadi note of this raag is ga and the time to sing this note is evening. More stress is given on purwang notes. The same principle applies for Aiman Kalyan and sud kalyan therefore it is hard to make it look separate from them.

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Aimani Bilawal Indian Ragas or raags-Indian Music Theory

Aimani Bilawal Indian Ragas or raags-Indian Music Theory

Aimani Bilawal is the sampuran raag of Kalyan Thaat. This is also a kind of Bilawal but the shade of Bilawal is very distinct in this raag.

raga sawani indian music theory

Both Ma notes (F and F sharp) are allowed in this raag. The time to sing Aemani Bilawal is early morning.

Sa is wadi whereas pa is sumwadi in Aemani Bilawal. While playing Arohi F sharp note or ma (komal) is used and that makes it distinct to show the color of Aiman.

the students must remember that in Bilawal Ne is vikar note which means Ne is not played in sequence. But in Aimani Bilawal Ne is not vikar but played in sequence.

Infact this Raagni is the combination of Raag Aiman and Raag Bilawal.

The Arohi and Amrohi of this Raagani is mentioned below:-

Arohi:

SA-RE-GA-MA-GA-MA-PA-DHA-NE-DHA-SA

Amrohi:

SA-NE-DHA-PA-MA-GA-MA-RE-SA

Taan is as under:-

SA-RE-GA, RE-SA,NE-SA,PA-DHA-NE-DA-GA-RE, GA-MA-PA, MA-GA-MA, RE-SA

Sawani Kalyan (raga sawani):

Sawani Kalyan is the khado (six notes) raag of Kalyan thaat. The ma (F) note is virgit (not allowed) neither in Arohi nor in Amrohi. Note Ne (B) is durbal (weak) in Arohi.

Sa is the wadi note whereas Pa is Samwadi note in this Raag. This is the most modern kind of Kalyan and it has been invented by the famous Muslim Ustads (teachers).

This raag becomes prominent in middle octave. Students must remember that Sawani Kalyan is sung on lower and middle octaves.

This raag is also accompanied by fast rhythm which separates from Aiman Kalyan and Bhopali. Arohi is below:-

Arohi:

SA-NE-DHA-NE-DHA-PA, SA-RE-SA-GA-PA-DHA-SA.

Amrohi:

SA-NE-DHA-NE-DHA-PA-GA-RE-SA-DHA

Relevant posts

Malsiri Raag-Indian Music Theory

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

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Malsiri Raag-Indian Music Theory

Malsiri Raag-Indian Music Theory

Malsiri is the Awodo (5 notes) raag of Kalyan Thaat. Re and Dha are Virgit (not allowed) in this Raag. Now-a-days people usually sing this raag on only three notes that are, Sa, Ga and Pa. But according to Indian Music Theory ( Shaster) no Raag can compose of only three notes therefore two notes Ma and Ne have also been included in this raag because according to principles of Indian Music no Raag can be accepted if it has less then five notes. However stress is certainly given to the above mentioned three notes that are, Sa , Ga, and Pa to show the shade of Malsiri. Less stress is imparted on Ma and Ne.

Wadi note of this Raag is Pa and Sa is the Sumwadi note.

Malsiri raag indian music theory

The harmony and combination of Pa and Ga demonstrate that Raag Malsiri is being played. The time to sing this raag is after the noon till the start of evening. This raag has actually been formed by the combination of Dhanasiri, Dholsiri and Jeeta.

Arohi of malsiri is as under:
Sa-Ne-Pa-Ma-Ga-Sa

Learn how it must be played:
Pa-Pa-Ga-Sa-Sa-Ga-Pa-Ga-Pa-Ma-Ga-Sa.

Pa-Pa-Ne-Sa-Ga-Pa-Ga-Pa-Ga-Sa.

The compositions in Malsiri Raag leave special effect on the listeners. The Melodies in Malsiri touch the heights amusement and the listener is camoflaged in the surrounding of Magical notes.

Relevant Raag Posts

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

Raag Kamod & Raag chayanat Notes-Indian Music Theory

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Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

raag gaud sarang

This may be noted that in Raag Kamod Arohi must be played from Re to Pa, whereas in Chayanat Amrohi is played form Pa to Re. See below how it is to be played:

Sa-Re-Pa-Ga-Ma-Dha-Pa-Ga-Ma-Pa-Ga-Re-Sa, this is the Taan for Kamod.

Dha-pa-re-re-ga-pa-ma-ga-ma-re-sa is the Taan for Chayanat.

Simple Taans have been mentioned above so that every student may learn it with ease.

Remember the wadi note for kamod is pa whereas the wadi note for Chayanat is Re.

Kamod is the Raag that is played on poorwang (first part of octave) whereas chayanat is played on uttarwang that means (second part of octave).

gaud sarang:

gaud sarang is the sampuran raag (7 notes) of kalyan thaat. The notes are not played in sequence in this Raag therefore it is called vikar raag.

Both Madhams i.e.Ma (F and F sharp) are allowed in this Raag.

This Raag is to be sung in the afternoon. Ne must be played less in this Raag.

In Amrohi Ga is vikar in this Raag Dha is wadi and Ga is sumwadi in Gorsarang.

Suppose if we consider Ga as wadi note for this Raag, then it’s time must be evening not afternoon, according to the principle of Indian music theory.

Some pandits believe it to be the raag of Bilawal Thaat whereas some believe it to be the combination of Nutt, Kidara and Purbi.

The taan of gaud sarang is as follows:-

Ne-Sa-Ga-Re-Ma-Ga-Pa-Ma-Dha-Pa-Ne-Dha-Sa

Arohi:

Remember black Ma (F sharp) is not to be used in Arohi.

Sa-Re-Sa-Ga-Re-Ma-Ga-Pa-Ma-Dha-Pa-Ne-Dha-Sa.

Amrohi:

Sa-Dha-Ne-Pa-Dha-Ma-Pa-Ga-Ma-Re-Pa-Re-Sa

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Raag Kamod & Raag chayanat Notes-Indian Music Theory

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Raag Gaud Sarang Video

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Raag Kamod & Raag chayanat Notes-Indian Music Theory

Raag Kamod & Raag Chayanat Notes-Indian Music Theory

raag kamod notes

Raag Kamod:

Raag Kamod is the sampuran (7 notes) Raag of Kalyan Thatt. It is customery to use both Ma (F + F sharp) notes in this Raag, that is why some people think this raag has evolved from Kalyan Thaat while others think it has been extracted from Bilawal Thaat.

The wadi note of this raag is Pa (G) whereas it’s samwadi note is Re (D) note and Ga (E) as vikar (not played in sequence). Remember black Ma (F sharp) is barely used.

indianmusictheory

This raag can easily be recognized due to the harmony of Re and Pa. This Raag is to be sung before evening. Some pandits believe this raag is the combination of raag Gonda and Hameer.

According to present day music theory, the notes of Ga-Ma and Ne are not to be played in Arohi but they must be played in Amrohi but not in sequence. So it must be played as under:-

Arohi:

Sa-Re-Pa-Pa, Dha-Pa-Ga, Ma-Dha-Pa, Ga-Ma-Pa-Ga, Sa-Re-Sa

Amrohi:
Sa-Ne-Dha-Ga-Ma-Ga, Ma-Pa-Ga-Ma,Re-Sa-Re.

Raag Kamod is very popular and the musical composition in this raag are very easy to sing. Even the person of average ability can sing easily in this raag.

Raag Kamod is very demanding for the composition of commercials and light singing.

Raag Chayanat

raag-chayanat

raag chayanat is also a sampuran Raag of Kalyan Thaat. In this Raag, Re (D) is the wadi note whereas Pa (G) is the samwadi note. Samwadi means next important note to wadi. Most of the Pandits believe that this raag must be started from Dha (A) and it must finish on Sa (C) or Pa (G). In this Raag Ga (E) is also vikar (not played in sequence).

Some Pandits say this Raag is the mixture of Kalyan, Gond, Hameer and Nutt.

Remember Raag Kamod and Chayanat are very close in resemblance, therefore it must be kept in mind that notes Arohi of Kamod will never play (Ga-Na-Pa)

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Raag Kedar Notes and Notation-Indian Music Theory

Raag Hameer-Indian Music theory tips for vocalists

Sud Kalyan Bhoop Kalyan-Indian Music Theory

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Raag Kedar Notes and Notation-Indian Music Theory

Raag Kedar Notes and Notation-Indian Music Theory

raag kedar notes notation

Kedara (actual name of kedar):

Kedara is one of the Raags found in Kalyan Thatt. Some Indian Ustads (teachers) have also mentioned it in Bilawal Thatt. Both Madham notes (F notes) are allowed to be played in this Raag but Black F note is used very occasionally in Kedara, however while Ma (F note) is the wadi note of Kedara Raag. It is very prominent in this Raag and used numerous times while playing Kedara.

Some Pandits (Hindu Holy Priests) leave Re (D note) and Ga (E note) while playing up in Poorwang and leave Nee (B) and Dha (A) note whole playing downwards (utarwaang) Arohi and Amrohi of Kedara is as follows:

Sa-ma-pa-dha-sa (means note c of higher octave)

Sa-nee-dha-pa-ma-pa-dha-pa-ma-ga-re-sa

Raag Hindol:

Raag Hindol is the Awdo (5 notes) raag of kalyan thatt. It has 5 notes. Note Re (D) and Pa (G) are exempted. It’s time to sing is morning. According to some teachers its wadi (main) note is Dha (A) whereas some believe that Ga (Note E) is the wadi note of this Raag. So most of the Pandits believe the Dha (A) is the wadi note of this Raag. According to some Pandits the note ne (B) must not be played while playing up but they believe that the note ne (B) can be played in Amrohi (while playing down).

This Raag has become quite controversial as some experts have written it in Bahron Thaat and some have written it in Asawari Thaat.

A simple arohi amrohi is being mentioned as under for the students:

sa-ga-ma-dha-nee-dha-sa (upper octave).

Amrohi:

sa-ne-dha-ma-ga-sa

This raag is very light and easy to sing in it’s composition.

Relevant posts:

Raag Hameer-Indian Music theory tips for vocalists

Sud Kalyan Bhoop Kalyan-Indian Music Theory

Raag Aiman-Understanding the basics of Indian Music Theory

you can read our previous posts to get better idea about raags and indian music theory. All the best!

Raag Hameer-Indian Music theory tips for vocalists

Raag Hameer importance in Indian Music theory and special tips for vocalists

indian-music-theory-raag-hameer

Raag Hameer:

 

Kalyan Thaat has many sweet Raags and Raag Hameer is one of them. This is the Sampuran Raag (7 notes) of Kalyan Thaat. Its wadi note is Pa(G) but some pandits believe that Daywat (note A) is the wadi note of this Raag, infact more stress is given on this note while playing.

In Arohi of this Raag, note Nee (B) is weak or less used whereas in its Amrohi note E (Ga) is weak or less used. The style of this Raag is Vikar (which means not in sequence) the notes are not played in sequence, as mentioned below:-

Sa-Ne-Dha-Paa-Ga-Ma-Re

Remember if we play all notes in sequence it will become Raag Aiman or Bilawal. The special melody or Taan of this Raag is Ga-Ma-Dha.

Some Music Scholars say, this Raag is combination of Kalyan, Aiman and Kidara.

Note “D” (Re) is Vikar (not played in sequence).

In Amrohi of this Raag, the constant combination of notes Ma (F) and Dha (A) looks marvellous and leave magical effect on the listeners.

For the knowledge of students, a simple formation or melody is being mentioned below:-

Sa-Ga-Ma-Dha, Ne-Dha-Pa, Ga-Ma-Dha-Pa-Ga-Sa-Re-Ga-Ma-Dha-Dha-Pa

All students that are learning Indian music must know the importance of Raags and Rhythms. Unless the student grasps enough knowledge to know about the notes of Raags, he can never be a good vocalist. Similar Rhythm is most important and it must be known by every vocalist that no Indian melody can be presented or composed without Rhythm. We will surely discuss about Rhythms in our next few articles.

Our main ambition and wish is to equit every student with all the basic techniques to be a better performer.

Sud Kalyan Bhoop Kalyan-Indian Music Theory

Sud Kalyan Bhoop Kalyan-Indian Music Theory:-

kalyan-music-indian-theory

Sud Kalyan:

Sud Kalyan is the Awdo-Sampuran Raag. Awdo means (5 notes) – Saupran means (seven notes). So Awdo -Saupran means 5 notes in Amrohi which mean while ging up, and saupran mean 7 notes while returning.

In Sud Kalyan the note of Ma (F) and Nee (B) are exempted while playing up. Ga (E) in the wadi note (Main note). This note must be played over and over again. This Raag looks good in lower and Middle octaves, it is very soothing to listen this raag in fast rhythm.

This raag is to be sung before Aiman Kalyan. Two Raags i.e. Bhopali and Aiman Kalyan look alike but there a difference of two notes i.e. Ma (F) and Nee (B). In Bhopali these two notes are played neither while going up or playing down.

Bhoop Kalyan:

Bhoop Kalyan is also known as Bhopali the notes of Ma and nee are not allowed. Wadi (main note) of Bhopali is Ga (E) and Saumwait (second to main note) is Nikhat or (B note).

This Raag looks similar to Sud Kalyan but I have explained you the difference in the previous paragraphs. The Amrohi of Sud Kalyan has seven notes that is why it is different from Bhopali. The playing of Gandhar and pancham notes leaves great effect on listeners.

Now let me mention melody of Bhopali as under:-

sa-re-sa-dha
means lower octave

ga-re-ga-re-sa-dha-sa-re-ga-re-sa
lower octave
sa-dha-re-sa

Very simple formations are being mentioned so that every student may learn them quickly. Our main purpose is to impart knowledge about Raags and the notes used in their formations. I am sure that students will certainly be benefited if they keep in mind what is being taught to them in the simplest way.

Otherwise learning about classical music and Raags is an extremely tiresome task.

This point must be kept in mind that some students learn the techniques faster then the others. But you need not to worry at all.

Our method is the simplest and any student who has average ability can grasp the musical knowledge but key to success is practice. Only theory is not enough practical exercise is of great importance and we encourage you not to give up at all.

 

Raag Aiman-Understanding the basics of Indian Music Theory

Raag Aiman-Understanding the basics of Indian Music Theory:

raag-aiman-indian-music-theory

Aiman is the first Raag of Kalyan Thaat. Its time to sing is evening, which means it leaves its maximum effect when sung in the evening.

Some Pandits (Hindu Priests) say this raags’ origin is Persia (Iran). It came into sub-continent of India from Iran.

It is worth for Alaap (as we described earlier sing meaningless words or to be humming). All seven notes are used in this Raag, so no problem is encountered while singing this raag. Its composition in faster rhythms makes the listeners enjoy its soft effect. Its specific Taan is (Ma-Re-Ga-Re-Sa). By now you have known these notes Ma (F) – Re (D) – Ga (E) – Re (D) – Sa (G).

This Taan will not be played in any other raag.

The raags that evolve from this Thaat are of three kinds. In first kind the Madham (F) not is not used, in second kind only one F note (white) is used whereas in third kind both F notes i.e. Major and (F sharp note) are used. In the 3rd kind the listeners feel as it has the shade of Bilawal, but this part remains mostly hidden.

In Kalyan Thaat the raags that are sung in the evening or early part of night have stress on Poorwang (First four notes) whereas in the later part of the night the stress is on the “Utarwang” or the second part of the octave i.e. Pa-Dha-Nee Gr G-A-B notes.

It is a simple method that the notes of Gandhar (E note) and —- (B note) become Komal (Black) at midnight, gradually these black notes vanish as the morning (dawn approaches). At dawn the note of F or Madham also become weaker or used less.

For the International students, I have mentioned below a simple melody of Raag Aiman, which they can play and learn for their knowledge. I have used Indian names of notes, which of course the students must have learnt by now:-

Sa-Re-Sa, Sa-Re-Ga, Re-ga, Nee-Re-ga, Re-sa

 

 

Thaat Music to explain Indian Music Theory

Thaat Music to explain Indian Music Theory:

thaat-music-kalyan-bilawal1

Comprehensive description of thaats:

First the names of all thaats have been mentioned here for the memory of students.

  1. Kalyan Thaat
  2. Bilawal Thaat
  3. Khamach Thaat
  4. Behroon Thaat
  5. Bharween Thaat
  6. Asawari Thaat
  7. Todi Thaat
  8. Purvi Thaat
  9. Marwa Thaat
  10. Kafi Thaat

Now we shall grasp the knowledge of Raags and Raagnis the are formed in different Thaats.

Kalyan Thaat:

The following are in Kalyan Thaat

  1. Aeman
  2. Sud Kalyan
  3. Bhoop Kalyan or Bhoopali
  4. Hameer
  5. Kedara
  6. Chayanet
  7. Kamod
  8. Sham Kalyan
  9. Handole
  10. Gord Sarang
  11. Malsiri
  12. Aemni Bilawal
  13. Chardor Kant
  14. Sawani Kalyan
  15. Jeet Kalyan

Bilawal Thaat:

  1. Bilawal
  2. Bhaag
  3. Bhagra
  4. Deskar
  5. Pahari
  6. Kabka
  7. Shankara
  8. Nutt
  9. Maand
  10. Sarparda
  11. Aliya
  12. Gunkali
  13. Sikal
  14. Nutt Bilawali
  15. Hans Dhan
  16. Lachasak
  17. Haime
  18. Durga
  19. Norochaka
  20. Malohe Kedara
  21. Devgari
  22. Jaldhar Kedara
  23. Pat Maujri

Khamag Thaat:

  1. Khamag
  2. Jhanjoti
  3. Surath
  4. Dais
  5. Kambwati
  6. Talang
  7. Durga
  8. Rageshri
  9. Jajewanti
  10. Gordmala
  11. Natt Malar
  12. Tilak Kamod
  13. Budhause
  14. Ghera
  15. Naraiyni
  16. Partaab
  17. Naag Surawali

Bahroon Thaat:

  1. Bahroon
  2. Kangara
  3. Maig Rangni
  4. Surashister
  5. Jogia
  6. RamKali
  7. Parbhat
  8. Bhaas
  9. Gori Lalat Pancham
  10. Sawayri
  11. Bangal Bahroon
  12. Shelumat Bahroon
  13. Anand Bahroon
  14. Gun kali
  15. Aheer bahroon
  16. Zailef
  17. Des Gonda

Baharween Thaat:

  1. Baharween
  2. Malkonce
  3. Asawari
  4. Dhanasiri
  5. Bhopaal
  6. Zangola
  7. Motaki
  8. Sud Sawand
  9. Basant Mukhari
  10. Balas Khan Todi