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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