Tag Archives: Samvadi

Gaud Sarang.

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

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Jai Jaivanti

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

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Shudh Kalyan.

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

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Raag Malkauns.

Raag Malkauns is a very popular Hindustani classical Raaga.In South it is known as Hindolam.The raag has a strong public appeal.Rishabh and Pancham swars are Varjit ie not included in this raag and thus make it a pentatonic raag.Ga ,Dh,Ni … Continue reading

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Grah,Ansh and Nyaas

In old books of hindustani classical music,in discription of raag -Grah,Ansh and Nyaas Swars played an important role.But nowadays,these swars have lost their importance and are replaced by Vadi and Samvadi Swars.The Swar from which a song starts is known … Continue reading

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Raag Bhairavi.

Raag Bhairavi is the main representative of Bhairavi That.It has traditionally been performed in morning.But nowadays it is performed at any time provided it is the concluding piece.There are two approaches of singing it,Shudh Bhairavi and Sindhu Bhairavi.In Sindhu Bhiravi … Continue reading

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Raag Asavari

Raag Asavari or Shudh Re Asavari is a fundamental raag in Asavari that.It is very similar to raag Jaunpuri only diiference being Komal Ni being taken in Aarohan .There is a considerable disagreement considering Re.The predominent view being shudh Re … Continue reading

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