 | This article needs additional citations for verification .(April 2012) |
| Arohana | Sa Re Ga Pa dha Sa‘ |
|---|---|
| Avarohana | Sa‘dha Pa Ga Re Sa |
| Synonym | Bhoopkali |
| Similar | Bhoopali |
Raga Bhoopeshwari is a Hindustani classical raga.
| | This article needs additional citations for verification .(April 2012) |
| Arohana | Sa Re Ga Pa dha Sa‘ |
|---|---|
| Avarohana | Sa‘dha Pa Ga Re Sa |
| Synonym | Bhoopkali |
| Similar | Bhoopali |
Raga Bhoopeshwari is a Hindustani classical raga.
The Bhoopeshwari raga is not a traditional raga.
It is generally accepted that it was created between the 1990s and 2000s. It may have been created by Ustad Alladiya Khan of the Jaipur-Atrauli Gharana, although it emerged only after his death. It is also credited to Pt. Mani Prasad of the Kirana Gharana.
An audav raga allows significant ambiguity. Since the remaining notes/ swaras are unknown, it is quite difficult to determine its parent raga or scale. This raga does not fit into any of Bhatkhande's thaats . It may be linked to the Melakarta Chakravam, Melakart Mararanjani, Melakarta Charukesi and Melakarta Sarasangi. [1]
The name 'Bhoopeshwari' took inspiration from the Raga Bhopali. However, this raga has various names across India. Pt. Hariprasad Chaurasia, the legendary flutist, prefers the name Raga Bhoopkali, while most of the Jaipur-Atrauli Gharana musicians use Raga Prateeksha. Other variations such as Bhoopeshri, Bhoopshri, etc. are also present. In Carnatic Music, the raga is called Raga Vaasanthi.
Despite its complex origin and nomenclature, this raga is not difficult to sing. It has the same notes as Raga Bhopali/Deshkar, but instead of the Shuddha Dha, uses a Komal Dha.
The Raga Bhoopeshwari is a morning raga. Its designated time is the second prahar of the morning, from 6-9 a.m.
Possibly due to its recent creation, this raga is not widely performed. However, it has appeared in film music, light classical music and ghazals. Notable performances of Raga Bhoopeshwari include:
| Song | Movie | Composer | Singer |
|---|---|---|---|
| Tadap Tadap | Hum Dil De Chuke Sanam | Ismail Darbar | K.K Dominique Cerejo |
A thaat is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic 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 (Sanskrit: स्वर is a 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 saptaka. More comprehensively, it is the ancient Indian concept of 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. sa, 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 a Hindustani 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.
Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
Darbari Kanada, or simply Raga Darbari, is a raga in Carnatic music. It is a janya ragam of 20th Melakarta raga Natabhairavi. Being an ancient raga, its original name is unknown. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in emperor Akbar's court. It belongs to the Kanada family. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance. It is also sometimes written as Durbari and Durbarikanada.
Bhoopali, also known as Bhoop, Bhopali, or Bhupali, is a Hindustani classical raga. Bhupālī, is a raag in Kalyan Thaat. It is a pentatonic scale. Most of the songs in this raga are based on Bhakti rasa. Since it uses 5 notes, belongs to the "Audav jaati" of ragas.
Bibhas is a Hindustani classical raga.
The Jaipur-Atrauli Gharana is a Hindustani music apprenticeship fraternity (gharana), founded by Alladiya Khan in the late-19th century. Evolved from the dhrupad tradition of the Atrauli and Dagarbani lineages, but known for khayal, this gharana is known for producing acclaimed musicians like Kishori Amonkar, Kesarbai Kerkar, Laxmibai Jadhav, Mogubai Kurdikar, Mallikarjun Mansur, Shruti Sadolikar, Dhondutai Kulkarni, and Ashwini Bhide-Deshpande. Consequently, this gharana developed a reputation for its distinctive vocal aesthetics, raga repertoire, and technical aptitude.
Miyan ki Todi, often simply referred to as Todi or Darbari Todi, is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga include Todi itself, Bilaskhani Todi, Gujari Todi, Desi Todi, Hussaini Todi, Asavari Todi, and Bahaduri Todi.
Yaman is a heptatonic (sampurna) Indian classical raga of Kalyan Thaat.
Hindol is a Hindustani classical raga from the Kalyan Thaat.
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 Sikh 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.
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.
Khamaj is one of the ten thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Rishabha is the second svara out of the seven svaras of Hindustani music and Carnatic music. Rishabha is the long form of the syllable रे for simplicity while singing the syllable. Rishabha is pronounced as Re and Ri.
Gandhara is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhara is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhara is pronounced as Ga.
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.
Nishada is the seventh and last svara in 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.
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma. It is also called as मध्यम in the Devanagri script.