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Gara (raga)
Gara is a Hindustani classical ''raga'' belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore the Jati of the raga is ''Shaadav-Sampurna''. While some say that seven svaras are played in the ascent and seven in the descent. Therefore the Jati then becomes ''Sampurna-Sampurna''. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khamaj Thaat
Khamaj () is one of the ten thaats (parent scales) of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. The Khamaj thaat can be obtained by replacing the Shuddha Nishad of Bilaval by Komal Nishad. The ragas of this thaat are full of Shringara Rasa (romantic) hence this raga is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raga Khamaj is considered to be a 'flirtatious' raag. There is a theory which assumes that in the past, the Khamaj scale found its way in the Ch'in music of late medieval China. Description The parent-scale or Thaat of Khamaj, notated in sargam notation, has the following structure: Sa Re Ga Ma Pa Dha Sa'. In Western terms, assuming the tonic (Sa) to be at C, the scale would be: C D E F G A B-flat C. Khamaj thaat is thus equivalent to the mixolydian mode in Western classical music. The Carna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thumri
Thumri () is a vocal genre or style of Indian music. The term "thumri" is derived from the Hindi verb ''thumuknaa'', which means "to walk with a dancing gait in such a way that the ankle-bells tinkle." The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations. The text is romantic or devotional in nature, the lyrics are usually in Uttar Pradesh dialects of Hindi called Awadhi and Brij Bhasha. Thumree is characterized by its sensuality, and by a greater flexibility with the ''raga''. ''Thumri'' is also used as a generic name for some other, even lighter, forms such as Dadra, Hori, Kajari, Sawani, Jhoola, and Chaiti, even though each of them have their own structure and content — either lyrical or musical or both—and so the exposition of these forms vary. Like Indian classical music itself, some of these forms have their origin in folk literature and m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vasant Desai
Vasant Desai (1912–1975) was an Indian film music composer, most remembered for his score in V. Shantaram films like ''Jhanak Jhanak Payal Baaje'' (1955), ''Do Aankhen Barah Haath'' (1957), Vijay Bhatt's ''Goonj Uthi Shehnai'' (1959), ''Sampoorna Ramayan'' (1961), ''Ashirwad'' (1968) and Hrishikesh Mukherjee's '' Guddi'' (1971). Early life Desai was born in 1912 into a wealthy family in Sonawade village, Savantwadi state, ruled by the Bhonsale clan, and grew up in Kudal area, also in Konkan belt, Sindhudurg district, Maharashtra in western India. Career Desai was with the famous Prabhat Film Company since it started making talkies. He acted, sang, and sometimes composed songs in Prabhat's films like ''Dharmatma'' and ''Sant Dnyaneshwar''. After learning the craft of music composition, he stuck solely to it since the 1940s. Desai scored music for a majority of V. Shantaram's films when the latter broke away from Prabhat to form his own film studio. Their relations soured in late ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gunj Uthi Shehnai
''Goonj Uthi Shehnai'' () is a 1959 Hindi film directed by Vijay Bhatt, with Rajendra Kumar, Ameeta, Anita Guha and I. S. Johar as leads. The film has music by Vasant Desai and lyrics by Bharat Vyas, and the duo created numerous hits such as "Jivan Men Piya Tera Sath Rahe" sung by Lata Mangeshkar and Mohd. Rafi, and Lata's "Tere Sur Aur Mere Geet" and "Dil Ka Khilona Hai Toot Gaya". The film narrates the story of a Shehnai player, and features a shehnai recitals by maestro Ustad Bismillah Khan throughout the film. There is also Jugalbandi between him and Sitar player, Abdul Halim Jaffar Khan. The film was the fifth highest grosser of the year and was declared a "Hit" at Box Office India and became the first big hit of actor Rajendra Kumar, who was soon giving dates four years from the day of signing. Cast * Rajendra Kumar - Kishan * Ameeta - Gopi * Anita Guha - Ramkali (Rami) * I. S. Johar - Kanhaiya * Ulhas as Raghunath Maharaj * Manmohan Krishna - Gangaram * Leela Mishra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asha Bhosle
Asha Bhosle (; Mangeshkar; born 8 September 1933) is an Indian playback singer, entrepreneur and occasional actress and television personality who predominantly works in Indian Cinema. Known for her versatility, she has been described in the media as one of the most influential and successful singers in Hindi Cinema. In her career spanning over eight decades she has recorded songs for films and albums in various Indian languages and received several accolades including two National Film Awards, four BFJA Awards, eighteen Maharashtra State Film Awards, nine Filmfare Awards including a Lifetime Achievement Award and a record seven Filmfare Awards for Best Female Playback Singer, in addition to two Grammy nominations. In 2000, she was honoured with the Dadasaheb Phalke Award, India's highest award in the field of cinema. In 2008, she was honoured by the Government of India with the Padma Vibhushan, the second-highest civilian honour of the country. Additionally she holds the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madan Mohan (music Director)
Madan Mohan Kohli (25 June 1924 – 14 July 1975), better known as Madan Mohan, was an Indian music director of the 1950s, 1960s and the 1970s. He is considered one of the most melodious and skilled music directors of the Hindi film industry. He is particularly remembered for the immortal ghazals he composed for Hindi films. Some of his best works are with singers Lata Mangeshkar, Mohammed Rafi and Talat Mahmood.Arunachalam, Param (21 June 2015)Bollywood Retrospect: The musical legacy of composer Madan Mohan in 5 songs ''DNA India''. Retrieved 9 November 2018. Early years Born on 25 June 1924, at Baghdad where his father Rai Bahadur Chunilal Kohli was working as an Accountant General with the Iraqi Police forces, Madan Mohan spent the early years of his life in the Middle East. After 1932, his family returned to their home town of Chakwal, then in Jhelum district of Punjab, British India. He was left in the care of a grandparent while his father went to Bombay to seek bu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mohd
Muhammad (), also spelled Muhammed or Muhamad or Mohammad or Mohammed or Mohamed or in a variety of other ways, is an Arabic given male name literally meaning 'Praiseworthy'. The name comes from the passive participle of the Arabic verb (حَمَّدَ), meaning 'to praise', which itself comes from the triconsonantal Semitic root Ḥ-M-D. Believed to be the most popular name in the world, by 2014 it was estimated to have been given to 150 million men and boys. The name is banned for newborn children, in the Xinjiang region of China since 2017, as well as for the Ahmadi community in Pakistan. Lexicology The name ' is the standard, primary transliteration of the Arabic given name, , that comes from the Arabic passive participle of ''ḥammada'' (), ''praise'', and further from triconsonantal Semitic root Ḥ-M-D (''praise''); hence ''praised, or praiseworthy''. However, its actual pronunciation differs colloquially, for example, in Egyptian Arabic: , while in exclusively religio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitc ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termino ... [...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 It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. The specialty of any raaga depends on vadi swara and because of this, the vadi swara is also called the ''Jeeva swara'' or the ''Ansha swara''. A good artist uses vadi swara in different ways like singing vaadi swara again and again, starting a raga with vadi swara, to end a raaga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath. ''Vadi'' swara is al ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chalan (music)
In Hindustani music, a Chalan is an extensive series of note patterns which summarises the development of a particular raga. It discloses the basic grammar of the raga and provides a treatment and melodic context of each tone. Chalan is the movement of a raga or development of a raga while performing Alap. It may also refer to a Pakad of a raga. (Note: Chalan is mostly similar to the Pakad of a raga) For example, the Chalan of the Kedar (raga) is () , Beneath are some Chalans of different ragas for better understanding: * Bridabani Sarang - Ni Sa Re Ma Re Pa Ma Re Ni Sa * Sohni - Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga * Ahir Bhairav - S r G M G M r ṇ Ḍ ṇ r S See also * Pakad In Hindustani music, a ''pakad'' (Hindi: पकड़) is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the paka ... References Hindustani music theory Hindustani ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pakad
In Hindustani music, a ''pakad'' (Hindi: पकड़) is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the pakad a person who knows the raga is usually able to identify it. In many cases, the ragas contain the same swaras (notes), then the pakad also contains information about gayaki or chalan (the way the notes are to be ordered and played/sung). Usually, the pakad is formed from short convolutions of the arohana and avarohana, while in some cases it is quite different from them. The pakad for a particular raga need not be unique, its sole purpose is to clarify what raga it is. For example, here is a pakad for raga Yaman, a prominent raga from Hindustani music Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avaroha
An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch from the upper tonic (taar shadja or Sa) down to the lower tonic, possibly in a crooked (vakra) manner. Examples In raga Darbari, an Asavari-thaat raga with vadi-samvadi R-P, the avroha is R' n S' d~ n P, m P g~ m R S, with andolan on the dhaivat and gandhar. In Malahari, which is ''janya'' raga of 15th ''melakarta'' Mayamalavagowla, the avarohana is ''S D1 P M1 G2 R1 S''. See swaras in Carnatic music for description of this notation. In Sahana, a ''janya'' raga of 28th ''melakarta'' Harikambhoji Harikambhoji (pronounced harikāmbhōji) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 28th ''Melakarta'' rāgam (parent scale) in the 72 ''melakarta'' rāgam system. One of the first scales em ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
