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Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas.
A Thaat is a "Parent scale" in North Indian or Hindustani music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
Svara or swara is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or saptak. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a svara is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven svaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as saptak or saptaka. It is one of the reasons why svara is considered a symbolic expression for the number seven.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Bhairav is an Indian classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat.
Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Kafi.
Malkauns is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.
Tilang is a raga in Indian classical music, that belongs to the Khamaj Thaat.
Tilak Kamod is a Hindustani classical raga.
Desh or Des is a Hindustani classical music raga which belongs to the Khamaj thaat. This is raga is very similar to raga Khamaj.
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.
Swaralipi is any system used in sheet music in order to represent aurally perceived music through the use of written notes for Indian classical music.
Jogiya, or Jogia, is a raga in Hindustani classical music. It is based on Bhairav Thaat. It is played at the 1st Prahar of the day, dawn time. The name Jogiya came from Jogi, a corruption of yogi.
Nat Bhairav is a Hindustani classical heptatonic (Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga.
Bhairav is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. But there is no connection in the similarity between in the names of the thaat and the raga.
Ṣaḍja/Shadja/Sadja is the first svara from the seven svaras of Hindustani music and Carnatic music. Sadja is the long form of the syllable सा. For simplicity in pronouncing while singing the syllable, Sadja is pronounced as Sa. It is also called as षड्ज in the Devanagri script.
Ṛiṣabha/Risabha/Rishabh is the second svara from the seven pronouncing while singing the syllable, Risabha is pronounced as Re and Ri. It is also called as ऋषभ in the Devanagri script.
Panchama/Pancham is the fifth svara from the seven svaras of Hindustani music and Carnatic music. Panchama is the long form of the syllable प. For simplicity in pronouncing while singing the syllable, Panchama is pronounced as Pa. It is also called as पंचम in the Devanagri script.
Dhaivat/Dhaivata is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivata is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivata is pronounced as Dha. It is also called as धैवत in the Devanagri script.
Niṣāda, also known as Nishada or Nishad, is the seventh svara from the seven svaras of Hindustani music and Carnatic music. Nishada is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishada is pronounced as Ni. It is also called as निषाद in the Devanagri script.
References
- ↑ Peter Lavezzoli (24 April 2006). The Dawn of Indian Music in the West. A&C Black. p. 229. ISBN 978-0-8264-1815-9.
- ↑ Chib, S.K.S.; Khan, A.A. (2004). Companion to North Indian Classical Music. Munshiram Manoharlal Publishers. p. 337. ISBN 978-81-215-1090-5 . Retrieved 26 May 2021.
