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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. 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.
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.
Puriya Dhanashree is a raga in Hindustani classical music. It belongs to the Purvi thaat and has been derived from the defining raga of that thaat – Raga Purvi.
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.
Raga Bihag is a Hindustani classical raga belonging to the Bilawal thaat. It is a melodious Raga for beginners as well as experts. Raga Bihag uses all seven music swars. In Bihag, both the Madhyams are used. The Shuddha Madhyam is more prominent; TeevraMadhyama is only used with Panchama in the phrase PA MA' GA MA GA.
Brindavani Sarang or Brindabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridavani Sarang. This raga falls under the category of Sarang ragas.
Malkauns, known also as rag Malkosh, 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.
Marva or Marwa is a hexatonic Indian raga; Pa is omitted. Marva is the eponymous raga of the Marva thaat.
Yaman is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat.
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation.
Shankara is a raga in Hindustani classical music.
Hindol is a Hindustani classical raga from the Kalyan Thaat.
Bhinna Shadja is a raga of Hindustani classical music belonging to the Bilaval Thaat. It contains five Shuddha Swaras: Shadaja, Gandhar, Madhyama, Dhaivata, and Nishad. Rishabh and Pancham are omitted. In the form of notation it contains S,G,M,D and N.
Hamsanandi is a rāgam in Carnatic music. It is a hexatonic scale. It is a derived scale, as it does not have all the seven swaras. Hamsanandi is a janya rāgam of Gamanashrama, the 53rd Melakarta rāgam. It has only the invariant panchamam missing from its parent scale, Gamanashrama, like Shree ranjani.
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.
Nishada 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.
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.
References
- ↑ Daniélou, Alain (1968). The Rāgas of northern Indian music. Barrie and Rockliff, London. p. 334. ISBN 0-214-15689-3.
- ↑ "Raag Sohani - Indian Classical Music". Tanarang.com. Retrieved 25 August 2022.
- ↑ Parrikar, Rajan (18 February 2002). "The Marwa Matrix". The South Asian Women's Forum. Archived from the original on 29 March 2010. Retrieved 16 December 2009.
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