THAATASAVARI2. Thaat Asavari
Arohi: S R g m P d n S’ 
Amrohi: S’ n d P m g R S 
Thaat Asavari Songs
- Chale jana nahin naina milake - Film Badi Bahen
- Radha ke to ne bansri churai, Taala Sitarkhani - Film Beti Bete
Ragas of Thaat Asavari
1. Asavari
2. Darbari
3. Jaunpuri
Bandish of a given Raga
Bandish are the most dominating notes of a given raga. Each raga has its own bandish. Whenever a music director composes a song based upon a given raga, he makes sure that he uses the bandish of that raga. This is the precise reason why two songs composed on the same raga sound similar. In a way, bandish is a common factor within all the tunes composed on a given raga. A song based on a given raga can be composed in any one of 3 octaves. This sometimes makes it difficult to identify the raga of the song, although the progression of notes follows the same rules of raga in any octave. Once you memorize the bandish of ragas, you will be able to identify the raga of another tune that is based on same raga.
Each raga has its own bandish. Whenever a music director composes a song based upon a given raga, he makes sure that he uses the bandish of that raga. This is the precise reason why two songs composed on the same raga sound similar. In a way, bandish is a common factor within all the tunes composed on a given raga.
Actually, to understand the bandish of any raga, it is better to listen and grasp the instrumental film music played on a musical instrument. Since musical instruments do not utter words, the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune. Of course, if you are very well versed in raga based music, then you can easily recognize a raga with ease even if you are listening to a vocal piece. Hence, by remembering songs based on a particular raga, you will be able to identify the raga of another tune, if it is based on the same raga.
Variya Swar
While rendering a raga, one should be very careful of not using varjya swar. Varjya swar in a raga are the notes, those are strictly excluded in rendition. Varjya swar is the enemy of the raga. If a varjya swar is accidentally used during the rendition of a particular raga, it will spoil the atmosphere that a particular raga is supposed to create. So great artists do a lot of practice of a given raga, so that they will never make the mistake of using varjya swar.
1. Raga/Ragni Asavari Bandish Asavari is not a raga but ragni and ragni asavari is derived from thaat asavari (Parental scale). Still we can call it raga asavari to some extent. Its Vaadi (main note) is d and Samvaadi (second in importance) is g and important Anuvaadi is P. Its Jaati (class) is Audav-Sampoorn. Its time of performance is morning. Its Pakad is R-m-P-S'- (n) d-P -R-m-P-n-d-P. It is played from madh - taar saptak. Its bhaav is Shad-Madhyam. Ragni Asavari evokes the moods depicting yearning for love, anguish, and melancholy. Ragni Asavari is effective in eliminating the impurities of blood and related diseases.
There is considerable disagreement concerning the Re. Some musicologists view is that only shuddh Re is used. There is another school, which suggests that both shauddh and komal can be used and some are of the view that only the komal Re be used. However, it is recommended to use Shuddh R.
Asavari's counsel and influence have profoundly shaped the Indian musical imagination. This compendium explores that engaging melody as well as its derivative ragas, as I like to call them. Asavari is a very ancient ragni as is the allied Raga Gandhari; We will here train our sights on contemporary musical practice. Throughout this discussion, M=shuddh madhyam and m=tiver madhyam. The ragni, Asavari, itself comes in three flavours, each distinguished by the manner of rishab use. They are, respectively, the shuddh rishab-only (R) Asavari, the komal rishab-only (r) Asavari, and the third type employing both r and R. The swars of the R-only Asavari are aligned with the Asavari thaat proper whereas those of the r-only Asavari belong to the Bhairavi thaat.
Vadi: Komal Dhivat (d)
Samvadi: Komal Gandhar (g)
Jati: Audav-Sampooran
Pakad: R-m-P-S'-(n)d-P R-m-P-n-d-P
 |  |
Sa Re Ma Pa Dha Sa'
Sa' Ni Dha Pa Ma Ga Re Sa
Arohi: S-R-m-P-d-S'
Amrohi: S'-n-d-P-m-g-R-S
Songs of Raga Asavari
- Mujhe galese lagalo bahut udas hun main - Film Aaj aur Kaal
- Piya te kaha - Film Toofan aur Diya
- Chale jana nahi naina milake - Film Badi Bahen
- Tum zid to ker rehe ho – Mehdi Hassan
- Jadon holi jai lenda mera naa – Film Att khuda da wair, Noor Jehan
- Jab bhi chahen ik nai soorat saja lete hain log – Mehdi Hassan
- Sawan aya tum nehi aye, Pakistani Sonng
- Bereham asman meri manzil bataa – Talat Mehmood
- Na yeh chaand ho ga, Hemant Kumar - Film Shart
- Jhanak jhanak tori baje payal, Mana Dey - Film Mere Hazoor
- Tu ne hye mere zakham-e jigar ko choo lya - Film Nagina (old)
- Mujh ko awaz de tu kehan hai, Mehdi Hassan - Film Ghoongat
2. Raga Darbari
Raga Darbari is derived from Thaat Asavari (Parental scale). Its Vaadi (main note) is R and Samvaadi (second in importance) is P. Its Jati (class) is Sampoorn-Sampoorn; We do not count repeated notes while defining jati. Its time of performance is early night. Its Pakad is S-R-g, R-S-'d, 'n-R-S. Its bhaav is Shadj-Madham. Andolan is required on komal Ga and komal Dha, particularly in arohi.
Arohi: S-R-g, m-P-d, n-S’
Amrohi: S’-d-n-m-P, m-P-n-g-m-R-S
Songs of Raga Darbari
- Ye Hawa Ye Raat Ye Chaandni - Film Sangdil
- Mujhe tum se kuchh bhi na chahiye - Film Kanhaiya
- Bahon Ke Darmiyan - Film Khamoshi
- Ku-ba-ku fail gai baat shanaasai ki, Mehdi Hassan
- Daiya re daiya, laaj mohe lage, Taal Kehrva - Film: Leader
- Dil jalta hai to jalne de, Taal Kehrva - Film Pehli Nazar
- Jo chala gia ose bhool ja - Film Saathi
- Chandi ki dewar na todi, Mukesh - Film Vishwas
- Suhaanee chaandanee raaten hame sone, Mukesh - Film Mukti
- Tora man darpan kahlaaye, Taal kehrva - Film Kaajal
- Teri duniya mein dil lagta nahi, Taal kehrva - Film Bawre Nain
- Hum tujh se muhabat ker ke sanam - Film Awara
- Mujhe tum se kuch bhi na chahiye - Film Kanhaiya
- Oh duniya ke rakhwale sun dard bhare mere naale - Film Baiju Bawra
- Tu pyarka sagar hai - Film, Seema
- Tuthe hue khvabonne - Film Madhumati
- Basti basti parabat parabat - FilmBaadal
- Muhabbat ki jhuthi kahani pe roye - Film Mugal-e-azam
- Guzre hai aaj ishqmen - Film Dil Diya Dard Liya
- Raha gardishonmen haradam - Film Do Badan
- E dil mujhe aisi jagah le chal - Film Arzoo (old)
- Hum tum se juda ho ke - Film Ek Sapera Ek Lutera
- Aap ki nazaron ne samajha - Film Anpadh
- Koi matwala ayaa more dware - Film Love In Tokyo
- Pag ghoongroo bandh meera naachi thi - Film Namak Halal
- Yaad mein teri jaag jaag ke hum - Film Mere Mehboob
3. Raga Jaunpuri
Raga Jaunpuri is derived from Thaat Asavari (Parental scale). It can be played in daytime. Its Vaadi (main note) is S and Samvaadi (second in importance) is P. Its Jati (class) is Shadav-Sampoorn; Its time of performance is morning till noon. Its Pakad is dm, PdnS’-d-P, and d-m-P, R-m-P. Its bhaav is Shadj-Pancham. Is is played in madh - tar saptk. Important annuvaadi is n.
Arohi: S-R-m-P, dm, PdnS'
Amrohi: S'-n-d-P, d-m-P,g-R-S
Arohi: S-R-m-P, dm, PdnS'
Amrohi: S'-n-d-P, d-m-P,g-R-S
Songs of Raga Jaunpuri
- Jaye to jayen kahan samjhe ga kaun yahan, Taal kehrva - Film Taxi Driver
- Meri yadmen tum na ansu bahana, Taal kehrva - Film Madhosh
- Dil ched koi aisa nagma, Taal kehrva - Film Inspector
- Ghunghat ke pat khol, (Kabir Bhajan) Taal kehrva - Film Jogan
- Muhabbat ki jhoothi kahani pe roye, Taal kehrva - Film Mughal-E-Azam
- Jab dilko sataye gam tu uuu ched sakhi sargam - Film Sargam (Old)
- We lagiyan di laj rakh lai kadi bhul na jai anjana - Film Chor Nale Chitar
- Husan ko ishaq ka pegam aya hai - Film Taj Mahal (Pakistani)
No comments:
Post a Comment