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Zeelaf
Zeelaf or Zilaf is a raga in Hindustani classical music. It is a pentatonic melody (i.e. containing only 5 svaras) is composed of the following svaras : Sa Ga Ma Pa Dha. It is performed very rarely. Zeelaf also employs the subtle GM -> S meend. It is from the Asavari Thaat. But it is played in the Bhairav aang also. Zeelaf has been used by Qawwals and Khayals. History Amir Khusru, the father of Qawwali, is said to have created about twelve new melodies or ragas A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a ..., among which is Zeelaf. References External links Blog on ragas Hindustani ragas {{music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical 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, wi ... [...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 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 and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Svara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or '' saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''niruk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sa (svara)
Shadja is the first svara out of the seven svaras of Hindustani music and Carnatic music. Shadja is the long form of the syllable सा. For simplicity in pronouncing while singing the syllable, Shadja is pronounced as Sa (notation - S). It is also called as षड्ज in the Devanagri script. Details The following is the information about Shadja and its importance in Indian classical music : * Shadja is the first svara in an octave or Saptak. * Shadja is also the first and the main svara in a raga. (Not always but mostly it is. ) * The svara that is played on the Tanpura for the singer is Shadja. It is played to know that one is singing on the right pitch and octave. * Shadja is the base or basic svara. It is a very fundamental svara in Classical music. * It is fascinating to know that after one raga is sung or played, and when one more raga is to be performed, then the svara Sa is played so that there is no confusion in mixing of svaras in both the ragas that are perform ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ga (svara)
Gandhar is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhar is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhar is pronounced as Ga (notation - G). It is also called as गान्धार or गंधार in the Devanagri script. Details The following is the information about Gandhar and its importance in Indian classical music : * Gandhar is the third svara in an octave or Saptak. * Gandhar is the immediate next svara of Rishabh (Re). * The svara of Gandhar is Komal and Shuddha. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Ga is formed from Shadja. * The frequ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ma (svara)
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma (notation - M). It is also called as मध्यम in the Devanagri script. Details The following is the information about Madhyam and its importance in Indian classical music : * Madhyam is the fourth svara in an octave or Saptak. * Ma is the immediate next svara of Gandhar (Ga). * The svara of Madhyam is and . In fact Madhyam is the only svara in the Saptak. * It is said that Shadja is the basic svara from which all the other six svaras are produced. Breaking the word Shadja yields Shad And Ja. It means that Shad is six and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other six notes of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pa (svara)
Pancham is the fifth svara from the seven svaras of Hindustani music and Carnatic music. Pancham is the long form of the syllable प. For simplicity in pronouncing while singing the syllable, Pancham is pronounced as Pa (notation - P). It is also called as पंचम in the Devanagri script. Details The following is the information about Panchama and its importance in Indian classical music : * Pancham is the fifth svara in an octave or Saptak. * Pancham is the immediate next svara of Madhyam (Ma). * The svara of Pancham is never or , it is always in any given raga just like the svara Shadja. * It is said that Shadja is the basic svara from which all the other 6 svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म. Therefore it collectively means giving birth to the other six notes of the music. So the svara Pa is forme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dha (svara)
Dhaivat is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivat is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivat is pronounced as Dha (notation - D). It is also called as धैवत in the Devanagri script. Details The following is the information about Dhaivat and its importance in Indian classical music : * Dhaivat is the sixth svara in an octave or Saptak. * Dhaivat is the immediate next svara of Pancham (Pa). * The svara of Dhaivat is and Shuddha. * It is said that Shadja is the basic svara from which all the other six svaras are produced. When we break the word Shadja then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi. So basically the translation is : षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Dha is formed from Shadja. * The frequency of Dhaivat is 400 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asavari Thaat
Asavari () 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 Adding a Komal Dhaivat to Kafi Thaat results in the Asavari thaat. Raga Asavari is full of ''tyag'', the mood of renunciation and sacrifice as well as pathos. It is best suited for late morning. However important evening/night raga-like Darbari and Adana also use notes of Asavari thaat with different styles, stress points and ornamentation. Ragas in Asavari Thaat: #Asavari #Desi #Darbari # Kaunsi Kanada #Adana Adana (; ; ) is a major city in southern Turkey. It is situated on the Seyhan River, inland from the Mediterranean Sea. The administrative seat of Adana province, it has a population of 2.26 million. Adana lies in the heart of Cilicia, wh ... # Jaunpuri # Devgandhar References {{reflist Hindustani music theory ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Qawwal
Qawwali (Punjabi: (Shahmukhi), (Gurmukhi); Urdu: ( Nasta'liq); Hindi: क़व्वाली (Devanagari); Bengali: কাওয়ালি (Bengali)) is a form of Sufi Islamic devotional singing, originating from the Indian subcontinent. It is popular mostly in the Punjab and Sindh regions of Pakistan; in Hyderabad, Delhi and other parts of India, especially North India; as well as the Dhaka and Chittagong Divisions of Bangladesh. Originally performed at Sufi shrines or dargahs throughout South Asia, it gained mainstream popularity and an international audience in late 20th century. Qawwali music received international exposure through the work of Nusrat Fateh Ali Khan, Aziz Mian and Sabri Brothers largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Other famous Qawwali singers include Fareed Ayyaz & Abu Muhammad, Rahat Fateh Ali Khan, Badar Miandad, Rizwan & Moazzam Duo, Qutbi Brothers, the late Amjad Sabri, Wa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khayal
Khyal or Khayal (ख़याल / خیال) is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour. Etymology (خیال) is an Urdu word of Arabic origin which means "imagination, thought, ideation, meditation, reflection". Hence khyal connotes the idea of a song that is imaginative and creative in either its nature or execution. The word entered India through the medium of the Persian language. Just as the word reflects ideas of imagination and imaginative composition, the musical form is imaginative in conception, artistic and decorative in execution and romantic in appeal.Francis Joseph Steingassخیال A Comprehensive Persian-English Dictionary Characteristics ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amir Khusru
Abu'l Hasan Yamīn ud-Dīn Khusrau (1253–1325 AD), better known as Amīr Khusrau was an Indo-Persian culture, Indo-Persian Sufi singer, musician, poet and scholar who lived under the Delhi Sultanate. He is an iconic figure in the cultural history of the Indian subcontinent. He was a mysticism, mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, India. He wrote poetry primarily in Persian language, Persian, but also in Hindustani language, Hindavi. A vocabulary in verse, the ''Ḳhāliq Bārī'', containing Arabic, Persian and Hindustani language, Hindavi terms is often attributed to him. Khusrau is sometimes referred to as the "voice of India" or "Parrot of India" (''Tuti-e-Hind''), and has been called the "father of Urdu literature." Khusrau is regarded as the "father of qawwali" (a devotional form of singing of the Sufis in the Indian subcontinent), and introduced the ghazal style of song into India, both of which still exist widely in India and Pakistan. Khusrau ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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