RAAG PAHADI TUTORIAL-Indian Classical Music



RAAG PAHADI TUTORIAL-Indian Classical Music:

This is a tutorial about “raag pahadi”. We will also discuss Raag Pahadi notes below.


RAAG PAHADI TUTORIAL-Indian Classical Music

It is believed that the origin of raag pahadi is Kashmir, kashmir is a land of mountains, so
perhaps this name has been taken keeping in mind the land of mountains and valleys. This raag
has been taken from Balawal thatt, its Arohi is (Sa Re Ga Pa Dha), and its Amrohi is
(Sa ne dha pa ma ga re sa), so you must have noticed that in Arohi there are only five notes
whereas in Amrohi there are all seven notes but it must be kept in mind that while taking
Amrohi we will slightly touch the notes (ne and ma) which means we will not stay longer
on these two notes. It’s wadi note is Pa, well you all must be knowing what is meant by wadi
note, the wadi note is the one which is used the most in this raag, its samwadi note(which
is used slightly less than the wadi note) is (sa). Its anowadi note (which means its is used
slightly less than the samwadi note) is (ga), while the amwadi (which is used the least or
not used altogether are (ne or ma). Many bollywood hit songs have been composed in the raag,
so I feel if the student can practice its Arohi and Amrohi perfectly then he would be able to play many
songs based on this raag. Its my suggestion to all that instead of only following the staff
notation (which is also important for the musicians) we must try to find the root of the
composition, that will certainly help in enhancing your musical knowledge about Indian
classical music. Mostly in this raag the note ma or F sharp is considered as the C note or
Sa note. I would suggest that this raag must be practiced in all three octaves to get the
more pleasant effect of the raag. There is one very famous song based on this raag which has
been sung by great singer Mohammad Rafi sahib (Chowdawin ka chand ho ya aftab ho). The
other famous hit song composed by great composer Naushad for film Dulari is (Suhani Raat
dhal chuki na jane tum kab aao gay) and another famous hit song (Chal ud ja re panchi) is
also based on this raag. One very old hit song (Agay bhe jane na tu pechay be jane na tu)
is based on this raag. So to get the exact and correct knowledge of this raag, the above
mentioned songs must be practiced and the formation of notes should be remembered.

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INDIAN CLASSICAL MUSIC-RAAG BHARON



INDIAN CLASSICAL MUSIC – RAAG BHARON

Indian Classical Music - raag bahron indian ragaas

Raag bharon is one of the most popular and sweet raag in Indian classical Music. The name of the thatt of this raag
is also known as Bahron thatt. Seven notes are used in this raag, but remember that note
Re and Dha are komal (black)notes in this raag. This raag is also know as the jhank raag
of Bharon Thatt. All seven notes are used in Arohi and Amrohi therefore its jati is
samporan which means all seven notes are used in ascending and descending order. The
wadi note of this raag is dhawat (dha) and the samwadi note is Re. The effect of this raag
is very deep and sad, so many sad songs are composed in this raag. Dhurpat, dhamar and
tarana are sung in this raag. Arohi is Sa Re(black) Ga Ma Pa Dha(black) Ne Sa. Sa ne
dha(black) pa ma ga Re(black) sa. The pakar of this raag is Sa Ga ma pa dha(black).
Sur Malika satai would be like this, Ga ma Dha(black) pa dha(black) pa ma Ga ma re sa. ne
sa ga ma pa dha ne sa dha(black) sa ne dha(black) pa ga ma dha(black) pa. There is one
very popular rachna based on the pure suwar malik, that is Jago Jago hua swera. The best
example of this raag can be found in old hit indian movies Baiju bawara, the song is
Mohe bhol gaye samwariya. You can remember this song to remember the mood of raag bharon
and there is one more song based on the raag, Albela sajan from the film Hum dil de chukay
sanam. In the forthcoming articles we shall discuss about finding the identity of raags,
we should all know that each raag has its own identity by which we can find the raag,
there are musical phrases by which the identity of raag becomes easy.

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Indian Raags

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Raag Dhurpat Nut Bilawali-Indian Music theory



Raag Dhurpat Nut Bilawali & Maloha-Indian Music theory

raag maloha

Raag Dhurpat Nut Bilawali originates from Bilawal thaat. Ma is the wadi note of this raag.

In purwang it resembles raag nut and a bit of raag gond.

In Amrohi it resembles Bilawal. It is very important to keep on stressing on Ma, because it resembles Bilawal therefore it becomes important to keep on revealing Ma over and over again.

The harmony of Re and Dha leaves pleasant music effect to the listeners.

Time to sing raag dhurpat nut bilawal is first part of the noon.

Arohi of this raag is as follows:

sa-sa-ga-ma-ga-ma-pa-ma-dha-ne-high octave sa

Amrohi:

high octave Sa-Ne-dha-ne-pa-ma-ga-ma-re-sa

Chaal of Nut Bilawali:

sa-ga-ga-ma-pama-ma-pa-pa-ma-ga-ga-ma-pa-pa-dha-pa-ma-ga-ma-re-sa.

indian music theory raga nut bilawali

sa-ga-ga-ma-ma-ma-pa-pa-ma-ga-ma-re-ma-ma-pa-ne-dha-pa-ma-ga-ma-re-pa-pa-ma-ga-re-sa

sa-ga-ga-ga-ma-pa-dha-pa-ma-ga-ma-re-sa-ga-ma-ne-dha-pa-ma-ga-ma-ga-ma-re-ga-ma-dha-ne-dha-pa-ne-dha-pa-ma-ga-ma-re-ga-ma-pa-ma-ga-re-sa

Raag Maloha:

Raag maloha is the khado-Sampuran raag of Bilawal thaat. In Arohi of this raag dha is not allowed whereas the Amrohi of this raag is sumpuran in fact this raag has been made with the combination of raag Kamod and raag Kidara. The time to sing this raag is the first part of the night. It has been mentioned in the previous articles that stress remains on Sa-Ma- and Pa in Kidara but in Maloha not much stress is given to these notes.

when it is sung in middle octave with fast rhythm it feels great to the listeners.

In this raag sa is wadi note and pa is sumwadi note. If this raag is sung with the harmony of Ne and Sa it separates this raag from Kidara.

Arohi:

(low octave ma-pa-ne)

sa-re-sa-ga-ma

(high octave pa-ne-sa)

Amrohi:

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

Chaal of Maloha:

Sa-(low octave ne-dha-pa-ma) – pa- (low octave ne)-sa-sa-re-(low octave ne)-(high octave sa)-(low octave pa-ne)-sa-ga-ma-re-sa-ga-ma-pa-ma-ga-ma-re-sa-re-ne-sa-ga-ma-dha-pa-ga-ma-re-re-sa

Relevant Indian Raag posts

Raag Shukla Bilawal-Indian Music Theory

Raag Nut bhairav-Indian Music Theory

indian music theory raga

Raag Sankra Bharan-Indian Music Theory



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.

Useful Relevant posts:

Raag Bilawal Thaat and notes-Indian Music Theory

Raag Jeet Kalyan & Chander Kanth-Indian Music Theory

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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