Tag Archives: teevr

Raag Hameer.

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

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Raag Kamod.

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

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Puriya Dhanashree.

Raag Puriya Dhanashree comes from” Poorvi ” Thaat.It is an evening Sandhi Prakash ARaag.Re and Dh are komal ¬†and Ma is Teevr in this raag.Poorvi raag uses both Teevr and Shudh Ma while Puriya Dhanashree only uses Teevr Ma.It contains … Continue reading

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Adharvdarshak Swar.

In Classical music,Madhyam swar plays an important role in deciding the time of singing raagas.it is known as Adharvdarshak swar.Morning raags have influence of Shudh Madhyam.Sandhi Prakash raagas having Komal “Re””Dh”and shudh Madhyam is known as Morning Sandhi Prakash raag.If … Continue reading

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Shruti.

Shruti comes from sanskrit word “Shru” which means listening.The smallest interval of pitch that human ear can detect.In a Saptak there are 22 Shrutis.They are as follows:Sa-4,Re-3,Ga-2,Ma-4,Pa-4,Dh-3 and Ni-2.From these 22 Shrutis,only 12 are selected to be 7 Shudh Swars … Continue reading

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Raag Multani

Raag Multani is avery melodious raag belonging to Todi Thaat.It is a Meend Pradhan Raag.Re Ga Dha and Ni are used as komal Sur.Ma sur is used as Teevr(one note above).In Aarohan Re and Dh sur are not used but … Continue reading

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