HI ALL, YES, THIS RAAG WAS ALWAYS POPULAR. HANSDHWANI IS A RAAG, THAT IS SAME IN BOTH -HINDUSTANI AND CARNATIC . ITS A VERY MELODIOUS RAAG AND A COMPOSERS DELIGHT. PEOPLE LOVE PLAYING AS WELL AS LISTENING TO IT.
NILIMA On Fri, 05 Sep 2008 Mahima Sengupta wrote : >Was not hamsadvani a popular raga always?.... In general ragas from carnatic >music are being borrowed now as in earlier times and now in carnatic music >ragas like Hamir Kalyani, Behark etc are used > >--- On Fri, 9/5/08, jibandevta <[EMAIL PROTECTED]> wrote: > From: jibandevta <[EMAIL PROTECTED]> >Subject: [arr] Re: Dr. L Subramaniamâs special session at A.R. Rahmanâs >K.M. Music Conservatory >To: [email protected] >Date: Friday, September 5, 2008, 10:10 AM > > > > > > > > > > > > Great piece of news..I was expecting such nice discourses kind of > >things would happen in KM.. > >One point to note: Raga Hansdhwani is getting very much popular these > >days..It's being played by many great Performers like Ustad Zakir > >Hussain and Amjad ali Khan sahab.. > > > >Regards > >Jiban > > > >--- In arrahmanfans@ yahoogroups. com, Vithur <[EMAIL PROTECTED] > wrote: > > > > > > http://www.hindu. com/fr/2008/ 09/05/stories/ 2008090551120400 .htm > > > > > > Dr. L Subramaniam' s special session at A.R. Rahman's K.M. Music > > > Conservatory, brought into focus the importance of the nadha or > >sound which > > > is the very process of creation and is the only medium to a state > >of > > > consciousness. He ascribed t he development of Indian music to > >Vedic chants > > > taken in monotone, with emphasis on the words, making it a free > >note chant. > > > > > > Dr. Subramaniam explained how this concept of seven notes can be > >derived > > > from Sama Veda and it was around the 12th century that the two > >strong > > > classical systems Hindustani and Carnatic developed. These seven > >basic notes > > > are also present in western classical. During the 18th century, it > >was > > > Venkatamaki who determined the 72 parent scales that have seven > >notes each. > > > > > > Vajra ragas > > > > > > The ragas which are created by omitting notes are called the Vajra > >ragas. > > > Muthuswami Dikshitar's "Vathapi Ganapatim" in Hamsadhwani is a > >case in > > > point. It has pentatonic scale. In the second category are the > >Vakra ragas, > > > which indicate a break of continuity or regularity in the accepted > >order of > > > notes. > > > > > > There's yet another category which is a combination of the Vakra > >and Vajra > > > called the Bhashanga ragas. These are ragas with foreign notes > > > (accidentals) ; Bhashanga are the 'derived scale ragas,' which grow > >out of a > > > major scale by the inclusion of a minor komal swara. Anand > >Bhairavi, Piloo > > > and Bhairavi and Hindolam are some examples presenting the Vajra > >Bhashanga > > > combinations. There are innumerable opportunities in Vakra > >Bhashanga; on > > > taking one parent scale many explorations are possible. Dr. > >Subramaniam > > > pointed out the importance of the primary and the secondary notes > >that is > > > Vadi and Samvadi in a raga. The key phrase of the raga would > >express the > > > primary note. Similarly, on improvising, the ornamentation of the > >primary > > > and secondary notes would give a clear picture to the raga. Raga > >does not > > > emerge simply out of going up and down the scale; it is the > >ornamentation > > > relevant to a particular raga which gives the right emotion, the > >right > > > flavour and comes close to being a raga which is the exposition of > >colour > > > emotion and feeling, he said. > > > > > > Dr. Subramaniam spoke about the seven basic talas,108 variable > >talas and the > > > Chapu Talas. > > > > > > Dr. Subramaniam' s inter-active exhaustive talk on the basics of the > > > raga-tala system was a fitting introduction to the first batch of > >the > > > Foundation Programme and to the faculty drawn from different parts > >of the > > > world at the KM Music Conservatory. > > > > > > > > > -- > > > regards, > > > Vithur > > > > > > ARR -- The Sweet Cube always > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
