Raag Dev Gadi in terms of Indian Music Theory

Raag Dev Gadi in terms of Indian Music Theory

raag dev gadi indian music theory

Raag Dev Gadi is the Awodo – Sampuran Raag of Bilawal thaat. This can also be called a type of bilawal raag but it seems to have the style of Kalyan.

Wadi note in Dev Gadi is Sa and Samwadi is Pa. According to one school of thought Dha and Ga are not used in Amrohi. Some times the experienced performers also use black Ma or F sharp notes. There is one quality in Bilawal thaat raags that is Amrohi the shade of Bilawal is always prominent but if black Ma is used frequently in this raag, it becomes Aemni Bilawal.

In Raag Dev Gadi, black ne (komal) is used alongwith Dha then no doubt remains in the construction of Bilawal.

The experienced performer know the secret that the raag that are sung in the night have stress on Arohi whereas the raags that are performed in the day time have stress on the Amrohi notes. So we can say that in the first part of the night the stress is on purwang whereas stress shifts over to utarwang notes when Dawn is near or when morning is approaching.

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Raag Maand in Indian Music Theory

Raag Maand in Indian Music Theory

raag maand indian music theory

Raag Maand also known as mand is the sampuran raag of Bilawal thaat. In this Raag sa, ma and pa are strong notes, they are played with full force. Ne is weak in this Raag. In Arohi Re and Dha are used less. It’s Amrohi is Vikar (not played in sequence).

Some Pandits say it’s Arohi must also be vikar and this is according to the principle of music theory, therefore it is worth considering. Most of the time ma and dha notes are used frequently.

Arohi of Raag Maand:

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

Amrohi and Chaal:

sa-ga,re-sa,ma,pa-ga-ma, re-ga-re, sa,ma,pa,ne-dha-ma,pa-ga, re-sa, sa-ga,ma-pa-dha-ma,pa-ma-ga-ma-re-sa-re-ga, dha-dha-ne-pa, dha-ma-pa-ga-re-sa-ma-ma-re-ga-re-sa, re-ma, re-ma-pa-pa-dha-pa,ne-dha-pa,sa (high octave)-ne-dha-ma-pa-ga-re-sa.

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Raag Pahadi:

Raag Pahadi is one of the most popular raag in Indian music. Many famous compositions
have been made in Raag Pahadi. It is easy to sing even for a person with little knowledge of music.

raag pahadi indian music theory

Raag Pahadi is the raag of Bilawal thaat. This is the Awodo Raag (5 notes) Ma and Ne are not allowed in this raag.

The main quality of this raag is that it can be sugn anytime.

The lower octave and middle octave notes of this raag when played with fast rhythm, leave amazing musical magic in the mind of the listeners and their
heart beats become faster.

Sa is wadi whereas pa is sumwadi in this raag.

Dha leaves special effect when played in the lower octave. Raag Pahadi also resembles Bhopali at some stage, therefore the experienced performers slightly use Ma so that it’s structure may not sound like Bhopali. In Garanth one pahadi raag has been described in Bahroon thaat but that is not in use now-a-days and is almost a forgotten raag in Bahroon thaat. Notes can freely be used in pahadi raag therefore no special Chaal is being mentioned.

Arohi:

Sa-re-ga-pa-dha-sa(high octave)

Amrohi:

sa (high octave)-dha-pa-ga-re-sa-dha (low octave)

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Raag Deshkar-Indian Classical Music Theory

Raag Deshkar-Indian Classical Music Theory

Raag Deshkar-Indian Classical Music Theory

Raag Deshkar is the raag of Bilawal thaat. This is an awodo (5 notes) raag.

Dha is the wadi note whereas Re is the sumwadi note.

Raag Deshkar indian music theory

Ma and Ne are not allowed in this raag. This is the uttarwang raag, which means stress remains on the second part of the octave.

Raag Deshkar is the morning raag and must be sung in the morning.

Chaal of Deshkar:

Dha-Dha-pa-ga-pa-dha-pa-ga-re-sa-sa-re-ga-pa-dha-dha-ga-pa-dha-dha-pa-dha-dha-ga-pa-dha-dha-pa-ga-re-sa. Sa-dha (low octave)-sa–ga-pa-dha-pa-sa (high octave)-dha-pa-ga-dha-pa-ga-pa-ga-re-sa

Pa-ga-pa-dha-dha-dha-pa-dha-sa (high octave)-dha-pa-dha-re (high octave)-sa (high octave)-dha-pa-ga-re-sa

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Raag Sankra Bharan


Essential elements of Indian music theory

Raag Sankra Bharan indian music theory

Raag Sankra Bharan is the raag of Bilawal Thaat. According to one school of thought it is the Khado (six notes) Raag where Ma is virgit that means Ma is not allowed in this Raag. Some people believe that it is an Awodo Raag (five notes) and Re and Ma are not allowed.

time to sing this raag is Afternoon and early evening. This raag resembles with Raag Bahag.

Some people believe Ga is the wadi note of this raag whereas some are of the opinion that Sa is the the wadi note of this raag. In this raag the utarwang notes look fabulous when played, therefore some believe it’s time to sing is morning.

Now-a-days it is not in practice, if you sing this raag on the pattern of Awodo (5 notes) then it will resemble Malsiri but remember Dha is not played in Malsiri but in Sankra Bharan Dha is imminently used thus to separate it from the above mentioned Raag Malsiri.

Arohi of Raag Sankra Bharan:

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

Amrohi:

Sa-ne-dha-pa-ga-ne-dha-pa-ga-ne-dha-pa-ga-re-sa

Chaal of Sankara Bharan:

Ne-Sa-pa-ga-sa-ne-sa-pa-ne-sa-ga-sa-ga-pa-ne-ne-pa-ga-pa-ga-pa-ga-sa

sa-ga-pa-ga-pa-ne-pa-ga-pa-ne-dha-pa-ga-pa-ne-ne-ga-pa-ga-sa

sa,ga,pa-ga,sa-ga-pa-sa,ne-pa, ne-ne-ga-pa-ne-dha-pa-sa-ne-dha-pa-ga-pa-ga-sa-pa-pa-sa-sa-ga-pa-ga-sa-sa-ne-pa-ne-dha-sa-ga-ga-ne-ne-dha-pa-ga-pa-ga-sa.

This raag is easy to learn as all the white notes are being used in its formation. Therefore with little effort the students can know the melody of this raag. The composition of this raag is easy to perform.

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Raag Bilawal Thaat and notes-Indian Music Theory

indian-music-theory-bilawal-raag-notes

The second name of Bilawal thaat is shankra Bharan and Raag Bilawal evolves from this thaat. According to one school of thought ‘Sa’ is the wadi note of Raag Bilawal and according to second school of thought Dha is the wadi note. However these both theories are considered to be appropriate.

Raag Bilawal is Sampuran Raag, in it’s Arohi Ma must not be used frequently but with less stress. This is the warwang raag (which means stress remains on second part of octave). The time to sing this raag is morning therefore it is also called Subha Ka Kalyan (Kalyan of morning). In Bilawal note Ga is weak and this factor isolates it from kalyan. The main difference between these two Raags is that of Ma.

bilawal thaat

In this Raag the sangat or the harmony of Dha and Ma looks marvelous in combination. Usually in raag bilawal ma is played as vikar note (note played in sequence).

This is a warwang raag therefore the complete picture reveals in the second part of octave. There are many kinds of Bilawal but we would mention here the prevailing kind and style of bilawal.

Arohi:

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

Amrohi:

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

The chaal of sud Bilawal is as under:-

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

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

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

This raag is very light and can easily be learnt if the students pay attention to the chaal mentioned above.

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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

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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.

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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 Gaud Sarang Video

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