Aditi Jha on Taan Aditi Jha on Taan suraj pal on Taan Yaman | Tony's… on Yaman
Category Archives: Raaga
Pakad of Tilak Kamod- Pa(lower octave) Ni Sa Re Ga Sa,Sa Re Ga Sa Ni,Re Ma Pa Dh Ma Pa Sa(higher octave). This Bhajan clearly shows the characteristics of Tilak Kamod.
Gaud Sarang is a daytime raaga,but gives effect of night melodies.The overall impact is identical to that in Raag Kedar or Raag Bihaag (they both are night raagas).Gaud Sarang has a Vakr build.Shuddha Madhyam is a prominent note but not … Continue reading
Raag Hameer is derived from Kalyan That.Both the Madhyams are used in this raag.It is a Veer-Rasa (ie it gives us feeling of enthusiasm and courage of warriors).In the Aarohan(ie ascending swars)all Shudh swars are used and Panchan is forbidden(Vajra).In … Continue reading
Raag Kamod comes from Kalyan that.It has shadows of Malhar,Hameer,Kalyan with a glimpse of Kedar and Chhayanat.Both the Madhyams are used in this raag.Teevr Madhyam is used in glimpse with Pancham in Aarohan(upward series).Gandhar is Vakr(just touched ) in Avrohan … Continue reading
Raag Jai Jaivanti comes from Khamaaj That.It is a Vakr Sampoorna Raag.This raag has Two Gandhar and Two Nishad.In Aarohan the Ga and Ni used are Shudh while in Avroh it is Komal.In Avroh phrase ‘ Re Ga(komal)Re Sa.This is … Continue reading
Shudh Kalyan raag is derived from Kalyan Thaat.According to Bhatkande school of classical music Ma and Ni are not taken in Aaroh but Avroh is Sampoorna (all swars taken) with Ma Teevr.But many school of music,don’t include Ma and Ni … Continue reading