Raagkosh – Alphabetical list (S-Z)

Bilaval has the luster
of the blue lotus.
Arranging jewels
upon her body,
she makes secret signs
to her lover.
How can she forget
for one moment,
her chosen deity,
the God of Love?
Sangeet Darpan

Raag Bilaval is a Sampooran-sampooran Raag of Bilaval Thaat. All notes in this Raag are natural. Its Vadi note is Dhaivat so it is a morning Raag. In practice it sometimes sounds just like Kalyaan (Yaman) therefore, it is also known as morning’s Kalyaan.

Nishad (ni) and Gandhar (Ga) are Vakar (played by jumping one note).
There is another version of this Raag, which is called Alyhia Bilaval. Alyhia Bilaval is a chchadav-sampooran Raag (6-7). Madhyam is omitted in ascending. In addition, Alyhia Bilaval has both Nishads (Ni natural and komal).

Thaat: Bilaval
Jati: Sampooran-sampooran (7-7)
Vadi Svara: Dhaivat (Dha)
Samvadi Svara: Gandhar (Ga)
Vikrat Svaras: None (Nishad in Alyhia)
Virjit Svaras: None
Time: Morning

Lakshan Geet Raag Bilaval:

Here is the same composition in Staff Notation:

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raag Yaman

June 23, 2007 by Sangtar

Yaman is a beautiful Raag. It is a simple Raag, thus it is easy to learn and hard to break. It can be accepted as the asharya (first) Raag of Kaliaan thaat, as it is a Sampooran/Sampooran Raag. Yaman is found in two versions. The second version is called Yaman Kaliaan. Although Yaman Kalian should have some use of Komal Madhyam (Natural Fourth).

Thaat: Kalian
Jati: Sampooran-Sampooran (7-7)
Vadi Svara: Gandhar (Ga)
Samvadi Svara: Nishad (Ni)
Vikrat Svaras: Ma Tivar (Fourth Sharp)
Verjit Svaras: None
Time: Evening

Composition:

Here is the same Composition in Staff Notation

Sangtar’s music blog:: Melody Practice

Raag: Chaal, Bandish & Lakshan Geet

June 18, 2007 by Sangtar

Now it is the time to start posting Raags. I wrote a post about ‘properties of a Raag‘ a while ago. You may revise that post. As described in that post, each Raag will be posted with the following information:
1. Raag Name
2. Modern Thaat Association
3. Jati (7-6-5 notes etc.)
4. Vadi and Samvadi Notes
5. Vikrat and/or Verjit Notes
6. Time of performance
7. Aroh (Ascending) and
8. Avroh (Descending)

These elements are essential to learn ‘about’ a Raag. However, to perform a Raag, the following are also necessary:

Chaal (flow): Many Raags share notes. Every Raag has its unique flow of notes, however. I call this "essential phrases." One must know these phrases to perform a Raag properly. The first and the minimum requirement would be to know a Raag’s ‘Pakad’, the catch phrase of the Raag. I will start with the ‘Pakads’. Later on, we will get into detailed Chaals.

Bandish (composition): There is no better way to learn a Raag than learning a tune in it. It is easier to see the rules of a Raag illustrated in a composition. I will post at least one composition for each Raag.

Lakshan Geet: Many classical composers created songs about Raags and then composed them in that Raag. By learning the composition and the words, the Raag is fully revealed. These words explain the chaal, vadi/samvadi notes and other essential information about the Raag. Wherever possible, I will post a Lakshan Geet. Although, this may not have any value for those who don’t understand Hindi or Brij.

First, I will post the first Raag from each Thaat, also know as Ashirya Raag. Then the randomness will follow. Enjoy.

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Tag Archives: ragkosh

Raagkosh – Alphabetical list (S-Z)

Raagkosh – Alphabetical list (M-R)

Raagkosh – Alphabetical list (G-L)

Raag Bilaval

Raag Yaman

Raag: Chaal, Bandish & Lakshan Geet