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Jhinjhoti
Jhinjhoti is a Hindustani classical raga from the Khamaj Thaat. This is a light and playful raga. Theory Aarohana Avaroha Pakad / Chalan Vadi Ga Samavadi Ni Raga description This is a light and playful Raga, apt for instrumental music. In this Raga mostly light mood Bandishs are rendered. Songs in this Raga A famous rendition of this raga is Abdul Karim Khan's Thumri "Piya Bin Nahi Aavat Chain" which Bhimsen Joshi had heard as a child and which left a lasting impression on him. ''Gulon mein rang bhare,'' a ghazal by Faiz Ahmad Faiz , sung by Mehdi Hassan Mehdi Hassan Khan ( ur, مہدی حسن خاں , translit=) 18 July 1927 – 13 June 2012) was a Pakistani ghazal singer and playback singer for Lollywood. Widely considered one of the greatest and most influential figures in the history of gh ..., is set to Jhinjhoti. References {{Reflist Hindustani ragas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abdul Karim Khan
Ustad Abdul Karim Khan (Devanagari: उस्ताद अब्दुल करीम ख़ान, Persian: ) (11 November 1872 – 27 October 1937)Profile of Ustad Abdul Karim Khan on veethi.com website Updated 19 February 2014. Retrieved 9 January 2022 was an singer and, along with his cousin , the founder of the Kairana gharana of classical music. Early life ...
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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] |
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] |
Bhimsen Joshi
Pandit Bhimsen Gururaj Joshi BR (; ; 4 February 1922 – 24 January 2011), also known by the honorific prefix Pandit, was one of the greatest Indian vocalists from Karnataka, in the Hindustani classical tradition. He is known for the '' khayal'' form of singing, as well as for his popular renditions of devotional music (''bhajans'' and '' abhangs''). Joshi belongs to the Kirana gharana tradition of Hindustani Classical Music. He is noted for his concerts, and between 1964 to 1982 Joshi toured Afghanistan, Italy, France, Canada and USA. He was the first musician from India whose concerts were advertised through posters in New York City. Joshi was instrumental in organising the Sawai Gandharva Music Festival annually, as homage to his guru, Sawai Gandharva. In 1998, he was awarded the Sangeet Natak Akademi Fellowship, the highest honour conferred by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama. Subsequently, he received the Bharat Ratna, India's hig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aarohana
Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner. Scale In Hindustani classical music, the ascending scale's notes are S R G M P D and N. Lower forms of notes are written in lower case, like r g m d n (S and P are fixed notes), while the first scale given above is that of higher form of the notes. The English notes C D E F G A and B correspond to S R G M P D and N, when C is taken as the tonal note (S is sung at C). In Carnatic music, the ascending scale's notes for the variant notes R G M D and N have a subscript number indicating the specific variant (see examples below). Examples In Multani, the aroha is 'N S g M P N S' (lowercase notes are the lower forms, while uppercase notes are the higher f ... [...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] |
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] |
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] |
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] |
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] |
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] |
