visharad poorna theory - swaranjali music school · 2020. 4. 1. · swar vistaar (swar expansion)...

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Visharad Poorna Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India

www.abgmvm.org Theory: Written Exam Paper # 1: Chapter 1: Raga Information

Definitions for some new words used in this chapter:

Alpatva of Swar: Using the note (swar) in small quantity. Unimportant or weak note in a raaga

Bahutva of Swar: Using the note in large quantity. Important or strong (dominant) note in a raaga.

Abhyaas: Used in practice

Anabhyaas: Not used much practice

Langhan: Within limits

Alanghan: Limitless

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1. Raag Malhaar (or Miyaan Malhaar)

Swar Gandhar Komal, Two Nishaad, other notes are shuddha or pure

Varjya swar Madhyam is varjya in aaroha, no swar is varjya in avaroha

Thaat Kaafee Jaati Shaadav Sampoorna

Vaadi Pancham (p) (or Ma)

Saunvaadi Shadja (s) Samay Midnight or any time in rainy season

Aaroha \

s m r p, b

d n s

Aaroha \ \

s s d

b m p, p d m p,

m f

m f, m p m m r

n s

c c c c

Pakad

s m r p,

m f

m f, m p m m r

n s

c c

Characteristics of Raag Malhaar: 1. Malhaar originates from thaat Kaafee and is performed from Kaafee ‘Anga (style)’.

2. Gandhaar is komal and both Nishaad are used. In aaroha, first komal and then shuddha Nishaad is used. |

m p b n s

3. There are differences of opinion about Vaadi, Saunvaadi and Jaati. (a) Vaadi – Saunvaadi: Some scholars consider Pa–Sa , some others Ma-Sa and also Sa-Pa as Vaadi – Saunvaadi. If you consider nyaas

swar, it will be appropriate to recognize Pa–Sa as Vaadi – Saunvaadi.

(b) Madhyam is varjya in aaroha, hence jaati is Shaadav – Sampoorna. Dhaivat is vakra in avaroha, hence Pandit Bhatkhande’s

lakshangeet says Malhaar’s jaati can be Sampoorna – Shaadav.

Reality is: Madhyam is used as ‘Kanaswar’ (grace note) in aaroha. (smrp). Dhaivat is used in vakra manner (``dbmp)

Avaroha is vakra sampoorna (see above).

Na. Mo.Khare ji’s lakshangeet says jaati is Sampoorna – Odav. (Chadhata sur sampoorana, Pratiloma Ma-Dha heen)

4. Performance time is midnight. However, it is a seasonal raag and hence can be performed any time during rainy season.

5. Malhaar is a serious and solemn raag and is useful for lyrics or emotions with sad tones, disunion, parting and romantic longing.

6. Raag Bahaar is proximal (close to) to raag Malhaar. To stay away from Bahaar, Malhaar should use swar clusters like: (pbdn`, `nbmp). Raag Darbaaree Kaanadaa is also close to Malhaar. However, Malhar’s Gandhar is a bit ascending (higher) and Darbaaree’s Gandhar is lower (descending). In addition, Malhaar uses both Nishaads in aaroha and avaroha and hence can be shown to be different than Darbaaree Kaanadaa.

7. Alpatva and Bahutva of Notes: - Sa and Pa have Abhyaas Bahutva: Nyaas is performed on Sa and and Pa some scholars consider Sa or Pa to be a Vaadi of Malhaar.

- Re has Anabhyaas Alpatva: Nyaas is not performed on Re. It is only used like this in aaroha and avaroha: mrp, 8srs, mp

mfimrs

- Ga has Alanghan Bahutva and vakra use in Avaroha: Ga is varjya in aaroha and is only used in Avaroha with a grace note oscillation

of Ma(pmfimfimrs )

- Ma has Langhan Alpatva in aaroha and Alanghan Alpatva in avaroha: (mrp,mpmfiimrs)

- Dha has Alanghan Bahutva in aaroha and Langhan Alpatva in avaroha:

Swar vistaar (Swar Expansion) 1.

. . . . . . . . . . . .

s , r n s n , b b m p , m p , p b i d n s ,

m f

m f , m p m m

m r s

c c c c c c

2.

. . . . . . .

. . . .

s s d

b m p , p b i d n s , r p

m f

m f m

m r s , n b d n s

c c

3.

s m r p ,

m p

m p d m p

m g , m p m m

m r , r p m p

m f m r s

c c c c c c

4.

\

s m r p , m p b

b m p , m p d n s

n p

m f , m p m m r s

c c c c c c c c

5.

\ \ \ \ \ \ \ \ \ \ m r p ,

p b i d n s , r n s n b i d n s , n r s , r r s n s d b m p

c c c c c c c c

6.

\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

m p d n s r i s , m r p

m f

m f m p m m

m r s , d n s r d

b m p , s

m f

m f m r s

c c c c c c c c c


2. Raag Multaanee

Swar (efa) Komal, (k) Teevra, Varjya swar (ea) varjya in aaroha

Thaat Todi Jaati Odav Sampoorna

Vaadi Pancham (p)

Saunvaadi Shadja (s) Samay Fourth prahar of day

Aaroha . \

n s f k p n s

Aaroha \

s n a k p

k f k f , k f e s

Pakad

k f k p f , a k p k f e s

Characteristics of Raag Multaanee: 1. Multaanee originates from Todi thaat and is sung by Todi anga (style)

2. It is performed in the fourth prahar of day and it is paramel praveshak raag (gives indication of next thaat that is about to arrive) Example: Multaanee has teevra madhyam and hence it gives indication that Kalyaan thaat is about to make an entrance.

3. Todi is close to Multaanee, however, Pancham is varjya in Todi and pancham is a vaadi swar in Multaanee and hence it is very strong.

4. Todi uses ultra komal Gandhaar in an independent format. In Multaanee, Gandhaar is always used with kanaswar (grace note) of teevra madhyam.

5. These swar clusters indicate Raag Multaanee. d k p , k f k f , k f e s c c

6. Pancham and Nishaad are nyaas swar

7 Rishabh and Dhaivat are varjya in aaroha and they are weak in avaroha

8 (sefk, 8efk) are typical swar clusters used in Todi. They should never be used in Multaanee. It will cause ‘Raagahaanee’ (damage to the raag)

9 Multaanee is useful for depicting sad or romantic emotions.

7. Alpatva and Bahutva of Notes:

p is a vaadi in this raag, hence it has Abhyaas Bahutva

k has langhan and anabhyaas alpatva

‘ k f k p , k

p k f , e s ‘

c

e has langhan alpatva in aaroha : Example

.

‘ n s , k f , k f , e s ‘

c

e has Anabhyas alpatva in avaroha: Example

‘ p , k p k , k f , k f e s ‘

c

There is nyaas performed on f in avaroha

with kanaswar of k

.

‘ n s k f k p , k p k f , e s ‘

c

a has langhan alpatva in aaroha and anabhyas alpatva in

avaroha: Example

\

‘ f k p n a p , n s , n a p ‘

c

e has Anabhyas alpatva in this raag: Example \ \

‘ f k p n s , s n , a p , k p k f ‘

c

Swar vistaar (Swar Expansion) 1.

. . . . . . . . . .

s e s s n , n s n n s , n a p , p n

s n s , n s

k f

k f , k f e s

c c c

2.

s , k f k f ,

k f k p ,

k p

k p

k f k f , k f e s

3.

.

e n s k k f ,

k f k p , a k p

k f k f , k f e s

c c c c

4.

.

n s k f

k p , f k p n i a

k p , a k p

k f k a , s

k f

p k

a f k f , k f e s

c c

5.

.

f k p n i n i n , n a p a k

a p a k p ,

k f k f , f k p

k f e s

c c c c

6. \ \ \ \ \ \ \ \ \ \ p k f k p n ,

s n

s n s , p n s f e s , e n s n a k p , f k p s i n a

k p k f k f , s f k p

k f e s

c c c c c c c c c c c c


3. Raag Maaroo Bihaag

Swar Two Madhyam, other notes are shuddha or pure Varjya swar Rishabh and Dhaivat are varjya in aaroha, no swar is varjya in avaroha

Thaat Kalyaan Jaati Odav Sampoorna

Vaadi Pancham (p)

Saunvaadi Shadja (s) Samay Second prahar of night

Aaroha |

s m g, g k, p, p n s

Aaroha \ .

s n d p k g, k g r s, r n s

Pakad

s m g, g k p n d p, k g r s

Raag Maroo Bihaag is a modern raag. However, it is very popular at present. A singer or instrument player may or

may not understand Raag Bihaag, but they always have Maroo Bihaag on their minds. Scholars include this raag in

Kalyaan thaat. This is a mixed raag. It is a delightful mixture of Kalyaan and Bihaag. It uses both Madhyam. Teevra

Madhyam is used in aaroha and avaroha. Shuddha Madhyam is used only in aaroha as per Bihaag ‘anga’

(component). Sometimes shuddha Madhyam is also used like this: ‘ sm,mg ‘ and ‘sgmg ‘. This is

appropriate since Maroo Bihaag has a Bihaag component (anga). Raag Bihaag uses shuddha madhyam more than

teevra madhyam, therefore it is included in thaat Bilaaval. Same way, raag Maroo Bihaag is included in thaat Kalyaan

since it uses teevra madhyam more than shuddha madhyam. If shuddha madhyam is not used in Maroo Bihaag, it

will become another raag called ‘Marga Bihaag’. In Maroo Bihaag, Rishabh and Dhaivat are completely omitted in

aaroha and avaroha is sampoorna. Hence its jaati is Odav-Sampoorna.

There are differences of opinion about vaadi-saunvaadi of this raag. Some scholars think vaadi-saunvaadi of Maroo

Bihaag are Pancham-Shadja and others think they are Gandhar-Nishad. Majority of people consider Pa-Sa as vaadi-

Sauvaadi. Singing time is second prahar of night. You can immediately recognize this raag with a swar samooha

(note cluster) ‘ skg,kgsr,s‘ . Bihaag uses the ‘ np‘ combination more often than Maroo Bihaag. This

raag becomes different than Bihaag when it uses teevra madhyam in aaroha as well as avaroha. In this raag,

following swar samooha (note clusters) specify raag Bihaag: ‘ =9s, 9sg, sgmp, ndp ‘ and

Kalyaan anga is seen when following swar samooha is used in aaroha: ‘ gkp ‘ and following ones in avaroha:

‘ ndp,dpkgkg ‘. In Bihaag’s avaroha, Rishabh and Dhaivat are weak. However, in Marro Bihaag’s

avaroha, Rishabh and Dhaivat are very strong.

Since Maroo Bihaag has a Kalyan component, Rishabh is used in a prolonged manner. However, even though

Rishabh is prolonged and sounds pleasant, Rishabh does not have any special place in this raag. This is because

when Rishabh is used, Shadja is always used before it in full or as a kanaswar (grace note). Examples:

‘ gsrs‘,‘ grsris ‘ and ‘ kgsrs ‘. Sometimes Rishabh is also used without kanaswar :

‘ kgris ‘.

Singing raag Kalyan with a Bihaag component (anga) is the original source of performing Maroo Bihaag.


Avirbhaav and Tirobhaav

Avirbhaav of original raag Maaroo Bihaag

8sg,kg,kgsrs,smg,kg,kg

srs

Tirobhaav with swar from raag Bihaag

8s,=8sg,smg


8sgk p,pk g,k gsrs

Tirobhaav with swar from raag Kalyaan

` ndp,k pdp,ndp


gk pndp,dk pk g,k gsrs

Raag Maaroo Bihaag – Swar vistaar or aalaap

. . . .

1 s, n s g, k g, sr, s, s r, s

sn, p n s g, k g, k g r i s

. . . . . .

2 s, n, p n s g, k g sr i s, r s n, k g r s r i s, p n, s, k g, r s

sr, s

c c c c

3 s m m g p, d k p, k g, k g sr i s, s g k p p k g, k g

sr, s

.

4 n s g k p g k p, g k p n, d p, k p pd

pd p k p, k g, k g

sr s

| | | | | | | | |

5 g k p n, s, p n s, p n s g, r s r i s s n, d p, k p d k p, k g, k g sr s

. | | | | || |

6 n s g m p n, d p, k p d k p k g, s m i g, g k p n s, n s k g sr s,

|

s n, d p, d k, p g, k g, k g sr s

Raag Maaroo Bihaag – Taan

. . . . . |

1 n s m g r s, p n s g r s, n s g k p k g k g r s, s g k p n d p k g k g r s, n s g k p n s n d p k g k g r s

. | | | . | | | | |

2 n s g k p n s r s n d p k g k g r s, n s g k p n s g g r s n d p k g k g r s,

. | | | | | | | \

n s g k p n s g k g k g r s n d p k g k g r s

. \ \ \ \ \ \ \ \ .

3 n s g k p n d p, g k p n s n d p, g k p n s r s n d p, g k p n s g r s n d p k g k g r s n

\ \ \ \ \ \ \ \

s g k p n s g k g k g r s n d p k g k g r s | | | \ \ \ \

4 k g k g r s, p k p k g k g r s, n n d p k g k g r s, s n s n d p k g k g r s, g g r s s n d p k g k g r s

\ \ \ \ \ \ \ \ \ \ \ \

5 g g r s n n d p g g r s n n d p k g k g r s, g k p n p n s r s n d p g k p n s g r s s n d p k g k g r s

. \ \ \ \ \ . \

6 n s g s g k g k p k p n p n s n s g r s n d p k g k g r s, n s g k s g k p g k p n k p n s

\ \ \ \ \ \

p n s r n s g r s n d p k g k g r s . . . . . . . . . . . . \ \ \ \

7 p n s p n s p n p s n s, n s g n s g n s n g r s, g k p g k p g k g p k p, p n s p n s p n p s n s, \ \ \ \ \

p n s g r s p n s n d p k g k g r s


4. Raag Puriyaa

Swar (e) Komal, (k) Teevra, Varjya swar (p) varjya

Thaat Maarvaa Jaati Shaadav

Vaadi Gandhaar (g)

Saunvaadi Nishaad (n) Samay Fourth prahar of day (Some people think it is second prahar of night)

Aaroha 8egkdgkg,knd`n2`

Avaroha `n1ndkdgkg,k8es Pakad gkdgkg,k8es

Characteristics of Raag Puriyaa: 1. N. M. Khare ji considered Puriyaa to be included in raag Marvaa ‘Raagaanga’. However, Puriyaa has its’ own strong character and hence it is

appropriate to consider Puriyaa itself as a ‘Raagaanga’.

2. This is a poorvaanga pradhaan raag and expansions are in Mandra and Madhya saptak (lower and middle octave).

3. (g-n) and (n-k) pairs are predominant

4. Singer must not linger on (d). Lingering on swar Dhaivat will cast a shadow of raag Maarvaa.

5. Puriyaa’s has ‘Vakra’ nature (twisted or zigzag nature). Example: nkdgkgk8es

6. Raag Maarvaa and Raag Sohani have similar characteristics as raag Puriyaa . (‘Samaprakrutik’ raagaas of raag Puriyaa). Both Maarvaa and Sohani have same swar (notes) as Puriyaa.

a. Raag Maarvaa has vaadi-saunvaadi (e-d), which is an exception to rule of harmony (if vaadi is komal, sanvaadi cannot be

shuddha). Puriyaa has (n-k) combination and Marvaa has (d-e).

b. Raag Sohani has vaadi-saunvaadi (d-g). Sohani is an uttraanga pradhaan raag.

7. (kd`, n1`) are typical swar clusters used in raag puriyaa.

8. Poorvaanga of Puriyaa has a shadow of Puriyaa Dhanaashree

9. Puriyaa has shades of raag Maarvaa, Sohani, Poorvee and Puriyaa Dhanaashree.

10. Puriyaa with komal dhaivat is called ‘Din kaa Puriyaa’. Singing time for ‘Din kaa Puriyaa’ is evening time. In older compositions, where there is komal dhaivat, it is expected to change it to shuddha dhaivat while singing raag Puriyaa.


s is a vaadi in this raag, and it has Abhyaas Bahutva . . . .

‘ g , e s n d n e g , g e s , n e g , n k g , g , e s ‘

n is a saunvaadi in this raag, and it also has Abhyaas Bahutva

e has anabhyaas alpatva: Example .

‘ n e g , g e s ,

s has langhan alpatva in aaroha and avaroha : Example

. .

‘ n e g and g n , g e n e s ‘

k has Alanghan Bahutva: Example

This is because k is never omitted in aalaap

. . . . . . . .

‘ n d n , k , d n , n e g k n k g , g e s ‘

d has anabhyas alpatva : Example

‘ k d n k g ‘

d also has Langhan Alpatva in this raag: Example

‘ n k g ‘


Swar vistaar (Swar Expansion) Raag Puriyaa 1.

. . . . . . . . .

s , n e s , n e n

d k

n d s , n e s , g ,

k n e s

2.

. . . . . . . . . . .

d n e n , d k

n d n , d n e g n , e g ,

k n e s

c c c c

3.

. . . . .

d n e g , n e n g , k g k g , g k d g k g ,

k n e s

c c c

4.

. . .

n e g , n k g , g k n d n

d k

d g k g ,

k n k g e s

5.

\ \ \ \ \ \

g k d n d k

d g k g , k d n e n

d k

d g k g ,

d k

n d s n e s , s i n e n

d k

d g k g , g k d g , k g e s

c c c c c c c

6. . \ \ \ \ \ \ \ . . n e g k d n e n d k k

n d s n e s , d n e k g k g , k g e s n , n k g e s

c c c c c c c c c c c c c c

7. . . . \ \ \ \ \ \ \ \ \ \ \ . n e n n k g , d n d d n

d k g , k

n d

s n e s , d n e g , n k g ,

k n e s , e n d k k g , g k g g k g , k n e s

c c c c c c c c c c


5. Raag Shuddha Kalyaan

Swar (k) Teevra, Varjya swar (m,n) varjya in aaroha

Thaat Kalyaan Jaati Odav - Sampoorna

Vaadi Gandhaar (g)

Saunvaadi Dhaivat (d) Samay First prahar of night

Aaroha sgrgp`d`

Avaroha `ndpkgr,gpprs Pakad grs,80=,s,gpprs

Characteristics of Raag Shuddha Kalyaan: 1. Originates from Kalyaan thaat. It is performed with Kalyaan anga.

2. (m-n) Varjya in aaroha and they are used by performing Meend in avaroha

3. Chalan (the way the raag walks or is performed) of Shuddha Kalyaan is similar to raag Bhoopaalee and hence it is also called Bhoop-Kalyaan.

4. Older singers use raag Bhoopaalee’s swar and sing gprs at the end of aalaap. You see this trend in old traditional bandishes.

5. Nishaad is used in taan’s avaroha and raag Kalyaan’s shades are seen in taan’s avaroha. `ndp,ndp,1`ndpkgr,gpkgrs

6. gprs Note clsuters show Kalyaan anga (character). 7. Older bandishes sometimes altogether omit k.


s is a vaadi in this raag, and it has Abhyaas Bahutva . . . .

‘ g , e s n d n e g , g e s , n e g , n k g , g , e s

n is a saunvaadi in this raag, and it also has Abhyaas Bahutva

e has anabhyaas alpatva: Example .

‘ n e g , g e s ‘

s has langhan alpatva in aaroha and avaroha : Example

. .

‘ n e g and g n , g e n e s ‘

k has Alanghan Bahutva: Example

This is because k is never omitted in aalaap

. . . . . . . .

‘ n d n , k , d n , n e g k n k g , g e s

d has anabhyas alpatva : Example

‘ k d n k g ‘

d also has Langhan Alpatva in this raag: Example

‘ n k g ‘

Swar vistaar (Swar Expansion) Raag Shuddha Kalyaan 1.

. . . . . .

s n d

n d s , p

s d s , s r s ,

g r g , g

p r s

2.

.

d s r g , r g r p i k g , g d p

k g ,

p g p

p r s

c c c

3.

s r g p k g , r g d p

k g , r g r p

k g ,

p g

p r s

4.

s r g p n d

n d p

k g , g p d g

d p

k g , r g r p

k g ,

p r s

c c c c c

5.

\ \

g p g g p k g , p

s d s i n d p

k g , r g r r g r p r s

c c c c c c c c c c

6. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ p g p

k g ,

s d s

n d ,

r s r , g g r r g r , d g r , g

p r s , g r n s

n d p k g ,

p g p

n d

n d p

k g , r g r r g r ,

p g

prs

c c c c c c c c c c c c c

7. \ \ \ \ \ \ \ \ \ \ \ s n d p k g r g p d s

n r s , s

g r g , r s n d p k g , p d s ,

n d p

k g ,

g r g

p r s

c c c c c c c c c c c c c c c c c c


6. Raag Darbaaree Kaanadaa

Swar (fab) Komal, Other notes are shuddha Varjya swar Some people think (f,a) varjya in avaroha, but they

are used in vakra fashion

Thaat Aasaavaree Jaati Vakra Sampoorna, (Some people think Sampoorna Odav or Sampoorna Shaadav)

Vaadi Rishabh (r)

Saunvaadi Pancham (p) Samay Second prahar of night

Aaroha srmfmfmp,baba`b` ,

Avaroha

` b a b p , m p

m f m r s 9 s r s

c c c c Pakad 8srmfmrs,9srr-9=

Characteristics of Raag Darbaaree Kaanadaa: 1. Originates from Aasaavaree thaat. It is performed with Aasaavaree anga.

2. Darbaaree Kaanadaa has a serious, solemn nature (character).

3. Expansion is in Mandra and Madhya saptak.

4. There are special oscillations (‘aandolan’ or undulations) on (f-b). This increases the seriousness and sweetness of the raag.

In aaroha, ‘aandolan’ is done on (rf)with r as kanaswar (grace note). Hence it is said Gandhaar is ‘descended’ in Darbaaree Kaanadaa.

5. To protect from Aasaavaree, avaroha is performed in vakra fashion (`abpmpfmrs), instead of straight manner (`bapmfrs)

6. While singing plain, straight taan, there is a shadow of raag Saarang. Examples: (`bpmrs8s, bbpmrs8s) If you remove Gandhaar and Dhaivat from avaroha, it sounds more like Saarang.

7. Straight or fast taan is not performed very often.

8. (s,r,f,p) are nyaas swar.

9. Many times, an artist will sing badaa khyaal in Darbaaree Kaanadaa and cchotaa khyaal in raag Adaanaa, since Adaanaa is a taanpradhaan raag (Taans are prominent in raag Adaanaa).


r is a vaadi in this raag, and nyaas is performed on r.

Hence it has Abhyaas Bahutva

. . . .

‘ a b r , s r f m i r s r , s a i b r , s ‘

c c

p also has Abhyaas Bahutva in this raag since both in aaroha

and avaroha, there is independent nyaas on p

‘ m f m g m p ,

b a

b a b i p ‘

f,a should also have abhyaas bahutva and Alanghan

Bahutva in this raag since they important swar in this raag,

although there is no nyaas on f,a. Reason is: There is

always aandolan on f with r,m kanaswar and aandolan

on a with b . But f,a are used in profusion.

‘ s r , r r f i m p

m f ,

m f , m r s

s r s ‘

c c

\

‘ m p , b a

b a , b

p ‘ ‘ s

b a ,

b a , b p ‘

m has anabhyas alpatva in aaroha and avaroha : Example

‘ s r f i m p , m f i m , r s

s r s ‘

c c

b also has anabhyas alpatva like m : Example

‘ m p , b a ,

b a , b p ‘

Swar vistaar (Swar Expansion) Raag Darbaaree Kaanadaa 1.

. . . . . . . . . . . . .

s , r b

r s

r a

b a

b a ,

s b

s b s , a b s r r s r

r a

s b

s b s

c c c c

2.

. . . .

a b s r b s r , r s r m f

m f m

m r s , r s b s r s

c c c c c c c c c c c

3.

. . r b

r s r , s r

m f

m f m p , p

m f

m f m p , p

m f

m f m r s b s r s

c c c c

4.

s r m f

m f m p , m p m p m p b i

m f

m f m , s r s

c c

5.

s r m f

m f , m p

b a

b a b i p , b i f , f m p f m

m r s

6. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ . m p

b a

b a b p ,

b a

s b s , s b r , s r

m f

m f m r s , r r s b s

r a b p , b b p m p b i f , m r s b s r s

c c c c c c c c c c c c


7. Raag Bibhaas

Swar (ea) Komal, Other notes are shuddha Varjya swar (m,n) varjya

Thaat Bhairav Jaati Odav

Vaadi Dhaivat (a)

Saunvaadi Rishabh (e) Samay Early morning

Aaroha segpa` ,

Avaroha

` a p g e s

Pakad paap,pgp,ap,àp

Characteristics of Raag Bibhaas: 1. Sing Bibhaas from Bhairav anga (style), however, there is no undulation on Rishabh.

2. g-p Combination is very pleasing: ’sgpgp,pap,gapgp,àpgpges’

3. There is nyaas on Pancham at the end of taan: ’papp,gpap,aààp,aapp’

4. A form of Bibhaas can also originate from Maarvaa and Poorvee thaats, however, Bibhaas from Bhairav thaat is more popular

5. Bibhaas is primarily used for spiritual, devotional compositions. It is serious, solemn by nature.

6. Raag ‘Revaa’ from Poorvee thaat is close to Bibhaas (same swar). Revaa is poorvaanga pradhaan and Bibhaas is Uttaraanga pradhaan. Revaa and Bibhaas balance each other as in question and answer.


a is a vaadi in this raag, Hence it has Abhyaas Bahutva | \ \ \ \

p a a p , a g p a , a s , s a a , a e e s a p , a g p

e has Langhan Alpatva in Aaroha and

Nyaas Bahutva in Avaroha.

g Has Anabhyaas Alpatva in Bibhaas

s e e s , s g p , p g e , e s

Swar vistaar (Swar Expansion) Raag Bibhaas (Bhatkhande notation) 1.

S - F - U F S -

s - f - u f s -

2.

S R - R G R S -

s r - r g r s -

3.

GP D P G P G R S

gp d p g p g r s

ZC

4.

S R G P G R - - G P G D - - P G R - - - P G R S

s r g p g r - - g p g d - - p g r - - - p g r s

5.

G P D A D - P - G P G D P G R - - - P G R - S -

g p d a d - p - g p g d p g r - - - p g r - s -


8. Raag Lalit

Swar (ea) Komal, (mk) Two madhyam are used

Other notes are shuddha Varjya swar (p) varjya

Thaat Poorvee Jaati Shaadav

Vaadi Madhyam (m)

Saunvaadi Shadja (s) Samay Last prahar of night

Aaroha 8egkan` ,

Avaroha

` n 2 n a k k g m i g e , k g e s

Pakad 8egm,kmg,kges

Characteristics of Raag Lalit: 1. Raag Lalit is a very old raag, hence many scholars have varied opinions about its characteristics. 1. Some sing it with shuddha dhaivat. 2. Bhatkhande ji

used shuddha dhaivat in Raag Lalit and included it in ‘Maarvaa’ thaat. 3. Dhrupad singers use shuddha dhaivat. 4. According to N. M. Khare ji, Lalit is a Raagaanga raag.

2. (k) is used in aaroha and both madhyam (km) are used in avaroha

3. Madhyam is vaadi, but gandhaar is also very important in this raag and nyaas is performed on Gandhaar

4. (a) Komal Dhaivat is useful in showing devotion and pathos in compositions

5. Uttaraanga pradhaan


m is a vaadi in this raag, It is a very life force of Lalit.

Hence it has Abhyaas Bahutva

.

‘ n e g m , g m k m g i e g m ‘

(k) Teevra madhyam has Alanghan Bahutva. In aaroha and avaroha ,

(k) is always in use.

.

‘ n e g m k m g , k a n a , k m, m g , e g k g e s ‘

g also has Abhyaas Bahutva in this raag in aaroha and has

Alanghan Bahutva in avaroha.

In this manner, there is apanyas on Gandhaar g and then full

nyaas on Shadja sat the end.

. . . .

‘ n e g , e s , d n e s , n e g i m ‘

‘ k a k m g , e g k a n k a k m g , e g k g ‘

Dhaivat has Nyaas Bahutvak in uttaraanga.

\ \

‘ s n a k a n a e n a , k a n a k a s ‘

Nishaad has Langhan Alpatva in aaroha and Anabhyaas Alpatva in avaroha

\ \

‘ k a n a s ‘ ‘ e n a k a k m ‘

(e) Rishabh has Alanghan Bahutva in Raag Lalit. Both in aaroha and

avaroha, (e) Rishabh is always used, it is never skipped.

. .

‘ n e g , e s , n e g m , k m g , e g e s ‘

Swar vistaar (Swar Expansion) Raag Lalit 1.

. . . . . . . .

S , N E S , N E N , K A N S , N E S , N E G M , K M G I E , K G E S

s , n e s , n e n , k a n s , n e s , n e g m , k m g i e , k g e s

2.

. .

A N E G , E K M G , E G , E G , E G K A I K M G , I E , K G E S

a n e g , e k m g , e g , e g , e g k a i k m g , i e , k g e s

C C C C

3.

. . .

N A N E G M K M , K A K M G , E G K E K G E S

n a n e g m k m , k a k m g , e g k e k g e s

4.

.

N E G K A K A K M , G K A K A N N A , N A K M G I E K G E S

n e g k a k a k m , g k a k a n n a , n a k m g i e k g e s

5.

\ \ \ \

G K A N K A

K N A K M , K A N A K A K M G , K A K D N S , S N E S

g k a n k a

k n a k m , k a n a k a k m g , k a k d n s , s n e s

6. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ S , N E S , N E G I E K G E S , N E G E S , N E N A K A K M I G , K A S

s , n e s , n e g i e k g e s , n e g e s , n e n a k a k m i g , k a s


9. Raag Todi

Characteristics of Raag Todi: 1. Aashray (shelter) raag for Todi thaat.

2. Pancham is twisted (not straight down) and weak in avaroha.

3. Gandhaar is ‘ati komal’ (super soft) and independent. (Gandhaar does not have a shadow or touch of any other swar)

4. Mulataanee is a closest raag to Todi, however, Mulataanee has strong Pancham. Example: (8skfkp). Todi must not use this swar combination. Comparison of Gandhaar in Mulataanee and Todi also sets the two raagaas apart.

Mulataanee’s Gandhaar is elevated (it uses kanaswar or gracenote k ). Todi’s Gandhar is lowered.

5. Todi is suitable for devotional compositions. It has serious character.

6. Todi is rather difficult to sing for new students.


a,f are vaadi and sauvaadi in this raag and nyaas is often

performed on a,f . They both have Abhyaas Bahutva

‘ A K F E F , N A

N K

N A , K A N A K F ‘

a k f e f , n a

n k

n a , k a n a k f

Teevra Madhyam and komal Rishabh (k,e) have Alanghan Bahutva in Todi. They are never skipped in aaroha-

avaroha, but there is no nyaas performed on them.

‘ S E F K A , K A N A P K A , A K F E ‘

s e f k a , k a n a p k a , a k f e ‘

Pancham has Langhan Alpatva in Aaroha (it is varjya in aaroha). You can say Pancham has Alanghan Bahutva in avaroha, since

you may not skip it, but cannot perfrom nyaas on it.

‘ K A N A P K A ‘

‘ k a n a p k a ‘

Nishaad has Anabhyaas Alpatva in aaroha and Alanghan Alpatva in avaroha

Swar vistaar (Swar Expansion) Raag Todi 1.

. . . . . . . . . . .

S , N A

N K

N A S, N S E S

N A , A N S E

F E

F E S

s , n a

n k

n a s, n s e s

n a , a n s e

f e

f e s

C C C C

2.

. . . . .

S , E N S

N A N S E ,

F E

F E F , E F K E , F E N S

s , e n s

n a n s e ,

f e

f e f , e f k e , f e n s

3.

. .

A N S E F E

F E F , F K

K A ,

N A P K A , A K F E ,

F E

F E S

a n s e f e

f e f , f k

k a ,

n a p k a , a k f e ,

f e

f e s

C C C

4.

. . . . . .

S E F K A , K A N A P K A , A K F E , F E N A N K

N A S

s e f k a , k a n a p k a , a k f e , f e n a n k

n a s

5.

| | | |

F K A N A , N K

N A S , N S E S

N A ,

N A

N A P K A , A K F E , F E S

f k a n a , n k

n a s , n s e s

n a ,

n a

n a p k a , a k f e , f e s

6. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ A K F E F K A N S ,

N A

N K

N A S , A N S E , F E N A , N A , A F

K E F E S , N S E S

N A , K A N A K F ,

K ES

a k f e f k a n s , n a

n k

n a s , a n s e , f e n a , n a , a f

k e f e s , n s e s

n a , k a n a k f ,

k es

Swar (efa) Komal, (k) Teevra,

Other notes are shuddha Varjya swar (p) varjya in avaroha

Thaat Todi Jaati Shaadav - Sampoorna

Vaadi Dhaivat (a)

Saunvaadi Gandhar (f) Samay Second prahar of day

Aaroha 8efkan` ,

Avaroha ` n a p k a k f , k f e s

Pakad 8-8se,f,kef,kes


10. Raag Basant

Swar (ea) Komal, (km) Two Madhyams are used

Other notes are shuddha Varjya swar (r,p) varjya in aaroha

Thaat Poorvee Jaati Odav Sampoorna,

Vaadi Taar Shadja (`)

Saunvaadi Pancham (p) Samay Last prahar of night, Any time in spring season

Aaroha sg,kan` ,

Avaroha

` na p k g k g , k g e s c c

Pakad

` na p k g k g c c

Characteristics of Raag Basant: 1. This is a seasonal raag. Spring season is pleasantly described in compositions/lyrics in Raag Basant.

2. Uttaraanga pradhaan raag. Taar Shadja shines in this raag.

3. Raag Paraj is close. By omitting Pancham in aaroha of Basant, it is kept away from becoming Paraj. Also, as compared to Paraj, Basant is more serious and slow paced.

4. Shuddha Madhyam decorates Basant especially well. But like Raag Lalit, there is also a custom to use both Madhyams in Basant to create happy atmosphere.

5. Raag Sohani-Lalit-Paraj are close to raag Basant. When Basant is developed in Mandra saptak, it resembles raag Puriyaa. Puriyaa has shuddha Dhaivat. Even so, it is more appropriate to perform Basant in Madhya or Taar Saptak. Examples: (`nap, kgkg)

6. Shuddha Madhyam is used like this: (smig)


g has Abhyaas Bahutva in Avaroha and Alanghan Bahutva in

aaroha.

‘ s g , k g k a p , p k g k i g ‘

c c

m Shuddha Madhyam is not a necessary note in this raag.

Sometimes it is used like this (smkmg) in Lalit raag style

‘ s m i g ‘

r has Langhan Alpatva in aaroha and Anabhyaas Alpatva in

avaroha.

.

‘ n s g ‘ ‘ g , e s ‘

Swar vistaar (Swar Expansion) Raag Basant 1.

.

S N E S , S G , G K G , K G , K G E S

s n e s , s g , g k g , k g , k g e s

2.

.

S N E S , S G , G K G , P A K P K G K G , K G E S

s n e s , s g , g k g , p a k p k g k g , k g e s

C C C C C

3.

S G , K A N A K P , P K G K G , K G E S

s g , k a n a k p , p k g k g , k g e s

C C

4.

\ \

S M G , G K A N S , A N S N A K P , A K P K G K I G , K G , K G E S

s m g , g k a n s , a n s n a k p , a k p k g k i g , k g , k g e s

C C C C C C C C C C

5.

\ \ \ \ \ \ \ \

G K A N S , S N E S , E E S N S N A K P , K

A N A

K P , A K P K G K G , K G E S

g k a n s , s n e s , e e s n s n a k p , k

a n a

k p , a k p k g k g , k g e s

C C C C C C C C C C


11. Raag Sohani

Swar (e) Komal, (k) Teevra,

Other notes are shuddha Varjya swar Pancham p


Vaadi Dhaivat (d)

Saunvaadi Gandhar (g) Samay Last prahar of night

Aaroha sg,kdn`2` ,

Avaroha

` n d k g , k g e s

Pakad `ndndkg,kdn`2`

Characteristics of Raag Sohani: 1. Rishabh is weak in aaroha. Hence jaati is also considered to be Odav-Shaadav.

2. Sohani is an Uttaraanga pradhaan raag. Taar shadja is very important and it shines everywhere during performance.

3. Evening raag Puriyaa is similar to raag Sohani in character, however, Puriyaa is a poorvaanga vaadi raag. Raag Basant, Hindol, Paraj are also close to Sohani, but all of them have their own special characters that are different than Sohani.

4. Sohani’s aalaap expansion is more powerful in Madhyalay (medium tempo).


d is a vaadi in this raag. Hence it has Anshik Abhyaas Bahutva \ \ \ \ \ \ \

‘ s n d k d , n s r s ‘ ‘ r s d n s n d ‘

`,1 also have Abhyaas Bahutva in this raag.

r is varjya in aaroha, hence r has langhan alpatva in aaroha.

\ \ \ \ \ \ \ \ \ \ \

‘ k d n s , d n s r , s , s r s r n i s , s n d k g , k d n s ‘

g has nyaas bahutva in avaroha. \

‘ s n d n d k g , k d n d , g k g ‘

k has Alanghan Bahutva.

It has equal use in aaroha and avaroha.

\

‘ g k d n s n d k g ‘

n also has Nyaas Bahutva.

It supports and decorates taar Shadja.

\ \ \ \

‘ d n s r s , k d k d n i s ‘

Swar vistaar (Swar Expansion) Raag Sohani 1.

.

S G , K G E S , N S G , K G , D K G , K G E S

s g , k g e s , n s g , k g , d k g , k g e s

2.

.

N S G , G K D N D , N D K G , N D K

D G K G E S

n s g , g k d n d , n d k g , n d k

d g k g e s

C C C

3.

\ \ \ \ \ \ \ \ \

K G , K D N S , S R S , N E S E N S , N D , N D K G M D N S N D , N D K G , K G E S

k g , k d n s , s r s , n e s e n s , n d , n d k g m d n s n d , n d k g , k g e s

C C C C C C C C C C

4.

. \ \ \

S R N S K G , K D N D , K D N S N D , N D K G , K D N S , S N D K G , K G E S

s r n s k g , k d n d , k d n s n d , n d k g , k d n s , s n d k g , k g e s

C C C C C C C C C C C C C C C

5.

\ \ \ \ \ \ \

S G , G D , D K G , K D N S , S E S , E S N D K G , G K D N S

s g , g d , d k g , k d n s , s e s , e s n d k g , g k d n s

6.


12. Raag Hindol

Swar (k) Teevra, Other notes are shuddha Varjya swar r,p

Thaat Kalyaan Jaati Odav

Vaadi Dhaivat (d)

Saunvaadi Gandhar (g) Samay After midnight, beginning of early morning

Aaroha sgkdnkd` ,

Avaroha

` n d k g , k g s

Pakad ddnkd`ndkg

Characteristics of Raag Hindol: 1. Uttaraanga pradhaan raag.

2. Nishaad is very weak. It is always only used as a kanaswar. In aaroha, with Madhyam and in avaroha with Dhaivat in the form of Meend. Example: sgkdnkd, `indkg (Increasing use of Nishaad can distort character Hindol and make it sound like more like Sohanee)

3. Raag Hindol makes use of Gamak exrensively.


s,g have Abhyaas Bahutva \

‘ s g , k k g , k d s , g , k g i s ‘

k has strong Bahutva in this raag \

‘ s g , k k g , k d s , k k g ‘

d is a vaadi swar and it has Abhyaas Bahutva \

‘ s g k d , n d , k d s i d ‘ c

Swar vistaar (Swar Expansion) Raag Hindol 1.

. . . .

S S D

N D S , D S G , S G K K G , K G

K S

s s d

n d s , d s g , s g k k g , k g

k s

2.

. .

D S , D S G , G S

K G K G , S K G , D K G ,

G S

d s , d s g , g s

k g k g , s k g , d k g ,

g s

3.

S G K G , S K G

D K D ,

N K D , D I K G , K G S

s g k g , s k g

d k g ,

n k d , d I k g , k g s

4.

. .

D S G K , S G K D , D I D , N K D K G , K G , K I S

d s g k , s g k d , d i d , n k d k g , k g , k i s

C C C C C C

5.

\

S K G

D K D ,

N D

N K

N D K G , S I

N D

N K D S

s k g

d k d ,

n d

n k

n d k g , s i

n d

n k d s

6. \ \ G K D S I

N D K G , S

K G

D K D ,

N D

N K

N D S

g k d s i n d k g , s

k g

d k d ,

n d

n k

n d s

C C C


13. Raag Maarvaa

Swar (ek) Vakra, Other notes are shuddha Varjya swar p


Vaadi Rishabh (e)

Saunvaadi Pancham (d) Samay Last prahar of day

Aaroha 8egkdn1 ,

Avaroha

1 n d k g k e , 8 e s

Pakad egkd,dkge

Characteristics of Raag Maarvaa: 1. This is a shelter (Aashray) raag of Maarvaa thaat.

2. Poorvaanga pradhaan raag. Dhaivat shines in Uttaraanga.

3. Rishabh is very important in expansion of Maarvaa.

4. Straight, strong redition of notes (swar) is a specialty of raag Maarvaa. Soft aalaap are not performed. Very little meend is used.

5. Puriyaa is close to Maarvaa, however, Puriyaa’s vaadi saunvaadi are g,n and nyaas swar are also different. Puriyaa has more gkn combinations, and Maarvaa has strong ed combination. Maarvaa is performed like this: ‘dkge,gkge’ . If Gandhar is used more often, Maarvaa may start resembling Puriyaa.

6. Nyaas on Rishabh if performed in poorvaanga of Maarvaa. Examples: (8ege,gkge,kge,8es), Dhaivat is strong in Uttaraanga of Maarvaa. Examples: (gkd,kd,d,dk,dkgnd)

7. After singing Maarvaa in the last prahar of day, raagas from Kalyaan thaat are performed, hence Maarvaa is a ‘Paramel Praveshak Raag’.

8. These days Maarvaa is considered to be a Poorvaanga Pradhaan raag, but in older days, Puriyaa was known as Poorvaanga pradhaan raag and Maarvaa as Uttaraanga pradhaan raag.

9. ed, de Combinations are strong indicators of this raag.


e,d are vaadi-saunvaadi. They have Abhyaas Bahutva . . . . . . .

‘ n e , n d , d n e , s , n e g e , n e , s ‘

ed, de Combinations are strong indicators of this raag.

g,k Have Alanghan Bahutva in Maarvaa. (They are used

everywhere but nyaas is not performed on them. Nyaas on Gandhar will turn Maarvaa into Puriyaa).

Swar vistaar (Swar Expansion) Raag Maarvaa 1.

. . . . . . . . .

S N E , N D , K D N E , D N E , G E , D E , S

s n e , n d , k d n e , d n e , g e , d e , s

2.

. . . . . .

D N E , G E , K G E , D N D E , E K G E , E G K D K

D K G

K E , N E S

d n e , g e , k g e , d n d e , e k g e , e g k d k

d k g

k e , n e s

3.

. . . . . . . .

E G E , K G E , D N E , K E , D D K G E , N E D N D E , K E G E D N E , E S

e g e , k g e , d n e , k e , d d k g e , n e d n d e , k e g e d n e , e s

C C C C

4.

. . . . . .

D D K G E , N E G K D , D K G E N D , D , K D K G E , N E G K E , K E N E D E

d d k g e , n e g k d , d k g e n d , d , k d k g e , n e g k e , k e n e d e

C C C C C C C C

5.

. |

N E G K E , E G K D E , N D K D , D K G E , N N D , D D K G E , K D S

n e g k e , e g k d e , n d k d , d k g e , n n d , d d k g e , k d s

C C C C C C C C C C C C

6. | \ \ \ \ \ G K D N E N D , K D , S , N E S , S N E I N D , K D K K G

g k d n e n d , k d , s , n e s , s n e i n d , k d k k g

C C C C C C C

visharad poorna theory - swaranjali music school · 2020. 4. 1. · swar vistaar (swar expansion)...

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