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Ragavardhini has two separate meanings in Indian classical music:
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.
Raga Malgunji is a Hindustani classical raga from the Khamaj Thaat. Some say it is a part of the Kafi Thaat too.
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.
Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.
Bibhas is a Hindustani classical raga.
Brindaavani Sarang or Brindaabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridaavani Sarang. This raga falls under the category of Sarang ragas.
'Madhukali' is a Hindustani classical raga.
Jog is a Raga in Hindustani classical music. It is one of the more popular ragas appearing often in films. Sometimes, experts assign this raga to be a member of Kafi thaat.
Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.
Ratnangi is a rāgam in Carnatic music. It is the 2nd melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Phenadhyuti in Muthuswami Dikshitar school of Carnatic music.
Sriranjani is a ragam in Carnatic music. It is a hexatonic scale. It is a derived scale, as it does not have all the seven swaras. It is also written as Shri ranjani or Shree Ranjani. It also exist in Hindustani music, with a different scale. Aroh: Sa, komal Ga, Ma, Dha, komal Ni, Sa; Avroh: Sa, komal Ni, Dha, Ma, komal Ga, Ré, Sa.
Tilak Kamod is a Hindustani classical raga.
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.
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.
References
- ↑ Nagarkar, Samarth (27 August 2015). Raga Sangeet: Understanding Hindustani Classical Vocal Music. ISBN 978-1619273672.
- ↑ Katte, Trupti (10 June 2013). "Multiple Techniques for Raga Identification in Indian" (PDF). International Journal of Electronics Communication and Computer Engineering. 4 (6). Retrieved 17 July 2017.
- 1 2 Rao, B.Subba (1996). Raganidhi: A Comparative Study Of Hindustani And Karnatak Ragas. Volume Two (D to J). Madras: The Music Academy. pp. 6–7.
- ↑ Mathur, Avantika; Vijayakumar, Suhas; Chakravarti, Bhismadev; Singh, Nandini (30 April 2015). "Emotional responses to Hindustani raga music: the role of musical structure". Frontiers in Psychology. 6: 513. doi: 10.3389/fpsyg.2015.00513 . PMC 4415143 . PMID 25983702.