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Poorvi Thaat
Pooja or pooja () is Pū of the eleven basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. Description Poorvi thaat adds a Komal Dhaivat to Marva thaat. These thaat ragas usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which distinguishes evening from the morning ragas (dawn and sunset). The thaat raga Poorvi is deeply serious, quiet and mysterious in character and is performed at the time of sunset. Pictorial depictions in early texts, often mention the poise, grace, and charm of Poorvi. Ragas Ragas in Poorvi thaat include: * Poorvi Purvi or Poorvi () is a raga in Hindustani classical music that exemplifies its own thaat, the Poorvi thaat. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances nowadays. Aroha & Avaroha Aroh ... * Puriya Dhanashree * Gauri * Shree * Paraj * Basant * Lalit References ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist in the field o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Subcontinent
The Indian subcontinent is a list of the physiographic regions of the world, physiographical region in United Nations geoscheme for Asia#Southern Asia, Southern Asia. It is situated on the Indian Plate, projecting southwards into the Indian Ocean from the Himalayas. Geopolitically, it includes the countries of Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan, and Sri Lanka."Indian subcontinent". ''Oxford Dictionary of English, New Oxford Dictionary of English'' () New York: Oxford University Press, 2001; p. 929: "the part of Asia south of the Himalayas which forms a peninsula extending into the Indian Ocean, between the Arabian Sea and the Bay of Bengal. Historically forming the whole territory of Greater India, the region is now divided into three countries named Bangladesh, India and Pakistan." The terms ''Indian subcontinent'' and ''South Asia'' are often used interchangeably to denote the region, although the geopolitical term of South Asia frequently includes Afghanist ... [...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] |
Marva (thaat)
Marva or Marwa () is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. Description Marva thaat is obtained by adding a komal Rishabh to the Kalyan thaat. The mood of the Marva family of ragas is strongly and easily recognisable. Ragas Other ragas in Marva thaat: *Marva *Puriya * Sohni * Lalit (although it is sometimes placed in Purvi thaat) *Bibhas (two other types of Bibhas are placed in Bhairav thaat or Purvi thaat) * Pancham (Hindol Pancham) * Maligaura * Purba (Purbya) * Purvakalyan * Jait (Jayat) (not to be confused with Jait Kalyan * Varati (raga) * Bhatiyar * Bhankar *Lalita Gauri (sometimes placed in Purvi thaat) * Sazgiri According to O. Thakur Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha treats Bhaṭiya as a mixture of Marwa and Maand Mand or Maand ( hi, मांड गायकी) is a style of singing in Rajasthan, used in folk songs. It is similar to t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Poorvi
Purvi or Poorvi () is a raga in Hindustani classical music that exemplifies its own thaat, the Poorvi thaat. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances nowadays. Aroha & Avaroha Arohana: Thus: C D-flat E F-sharp G A-flat B C+ In German: C Des E Fis G Aes H C+ In ''Arohana'', S and P are often avoided, specially in fast taans. Avarohana: Vadi & Samavadi Vadi : Ga Samvadi : Ni Pakad or Chalan Organization & Relationships Thaat: Purvi is the main raga of Purvi Thaat. Samay (Time) 4th Prahar of the day (3pm-6pm) Film Songs Language: Tamil Related Ragas Puriya Dhanashree Rasa Raga-Kalpadruma: Charming and beautiful, scantily dressed, lotus-eyed Puravi appears at the end of the day. Idle and sleepy, she suffers from the pangs of separation and dreams only of her lover.Kaufmann 1968 Cattvarimsacchata-Raga-Nirupanam: Master of archery, seated on an elephant and dressed in white, Purvika has a spl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Puriya Dhanashree
Puriya Dhanashree is a rāga in Hindustani classical music. It belongs to the Poorvi Thaat and has been derived from the Janak raga. Raga Puriya Dhanashree Raga Purvi, the "type-raga" of Purvi Thaat contains all seven notes (i.e. Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from teevra to shuddh whereas the gandhar and the nishaad stay shuddh throughout. In Puriya Dhanashree, however, the aarohan or the ascent is as follows - -N r G M d N S+. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is teevra or sharp. The descent or the avarohan is as follows: S+ N d P M G M r G r S, the descent bears all seven notes with komal Dhaivat and Shadaj and a teevra Madhyam. The vadi of this raga is pancham and the sam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gauri (raga)
Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga first appear on ang (page) no. 151. Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This theref ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shree (Hindustani Raga)
Shree is a very old North Indian raga of the Purvi thaat, and has traditionally been associated with Shiva. It also appears in the Sikh tradition from northern India, and is a part of the ''Guru Granth Sahib'', the holy text of the Sikhs. The Guru Granth Sahib composition comprises 31 ragas where Shree is the first raga to appear. The raga appears first on 14th page of the composition. The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought-provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge. Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan have composed sacred hymns ( Shabads) to be accompanied with this raga. It accompanies about 142 Shabads. According to I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basant (raga)
Basant or Vasant is a Hindustani classical music, Hindustani classical raga. Raga Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib Ji, there are a total of 60 raga compositions and this raga is the forty-ninth raga to appear in the series. The composition in this raga appear on a total of 29 pages from page numbers (Ang) 1168 to 1170. Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change. Origin Vasant is a Sanskrit word for "spring". ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lalit (raga)
Lalit is a prominent raga in Hindustani classical music. It is commonly described as serene and devotional and is performed at dawn time of the day. The swara (notes of the Indian musical scale) of Lalit put emphasis on the minor second (Re) and minor sixth (Dha), and include natural and sharp fourth (Ma), but omit the commonly used perfect fifth (Pa). Author Peter Lavezzoli stated the raga was difficult to play for Western classical musicians because of its scale. Jairazbhoy argued the use of both forms of Ma was an apparent chromaticism, but that one of the Ma notes was a diminished Pa.Jairazbhoy 1995, p. 49 Lalit with a different scale was identified in the 16th century, and a raga Lalita existed before. Pakad - Chalan of Lalit: Re♭, Ma-Ma#-Ma Ga Ma, Ma#Ni, Sa As can be seen from above, the raga uses both the flat and the upper Ma and that makes this raga very distinct from other ragas. Deliberate oscillation on the cusp formed between Ma-Ma# and Ni is commonly heard. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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