*Raagas occupy a very dominant position in Indian Classical
Music<http://www.musicalescapades.com/indian-classical-music.htm>,
and are widely recognised.  Many different ragas are played and sung in a
their purely classical form as well as in a semi classical format as well.
Each raga has its own mood and specific identity that defines it.* *What is
a Raaga - Raga?*
*

Definitions of a Raaga - Raga

   -

   "Swaro Ki Wah Anupam Rachna Jise Sunkar Anand Ki Prapti Ho, Raag Kahlati
   Hai"
   -

   "A Raag is a beautiful combination of musical notes that is pleasing to
   the ears when sung or played on a musical instrument".

Based on the rules of Indian Classical Music, to qualify as a Raga, the
combination of notes must have the following features -

* Notes ( swaras) - There must be atleast 5 notes or a maximum of 7 notes
(swaras) in a Raag.

* Aaroh & Avroh - Every Raga must have an “Aaroh” - ascending notes & an
“Avroh” - descending movement of notes.

* Vadi & Samvadi - Every raag must have “Vadi” - most prominent & dominating
notes and “Samvadi” notes - notes that complement the dominating notes.

* Melodious - A raag must be pleasant sounding and must be able to enchant
the listener with its melody.

* Key Note - The key not can never be missing in a Raag - ie, “C” note or
“Shadaj”.

In Indian Classical Music, many different ragas are recognised and played.
Each ragas has its own mood and specific identity that defines it.
*
http://www.musicalescapades.com/ragas/raag.htm<http://www.musicalescapades.com/ragas/raag.htm>

 *Timings of a Raga*
*

What is special about Hindustani Raagas is that there is a fixed time
(’Samay’) for singing as well as playing each raag. It is believed that any
raag will sound more attractive and melodious when it is played during that
fixed time. Moreover, there are different raagas for different seasons too!

Songs which are based on raagas are not only sung and played during specific
seasons, but also during the specific hours / parts (’prahar’) of the day
and night. (Days and nights have been divided into different parts and
Indian Classical Ragas are played /practiced during this time).

For eg., Raag Malhar is sung during the Rainy Season and Raag Bahaar is sung
during spring. These raagas when played during these specific seasons have
the power of rejuvenating the spirits and creating an atmosphere of absolute
bliss.

It is even believed that Great Classical Indian artists like Tansen were
able to change the course of nature through their powerful performances and
heat warming alaaps.

Call it wishful thinking if you like but it is believed that ragas have the
latent power to alter the course of nature, summon rains, and even start a
fire.

Indian Classical Raagas - Timings of a Raga

 Every raag is based on a particular mood / feel (’ras’) and when played or
sung, it has the power to induce the same feelings in the listener.

Here is a list of Raagas - Nature & Timing

1. Raag Bilawal

Nature of the Raga - ‘Shant’ - Serene, Quiet, Peaceful

Timing - Early hours of the morning

2. Raag Bhairav

Nature of the Raga - ‘Shant’ - Serene, Quiet, Peaceful

Timing - Morning

3. Raag Bhairavi

Nature of the Raga - ‘Gambhir’ - Serious

Timing - Evening
4. Raag Bhupali

Nature of the Raga - ‘Shant’ - Serene, Quiet, Peaceful

Timing - Early hours of the night

5. Raag Vihag

Nature of the Raga - ‘Karun’ - Sad, Compassionate

Timing - Second half of the night

6. Raag Desh

Nature of the Raga - ‘Karun’ - Sad, Compassionate Timing - Second half of
the night

7. Raag Bhim Palasi

Nature of the Raga - ‘Shant’ - Serene, Quiet, Peaceful Timing - Third half
of the day

8. Raag Peelu

Nature of the Raga - ‘Karun’ - Sad, Compassionate Timing - Third half of the
day

9. Raag Tilak Kamud

Nature of the Raga - ‘Chanchal’

Timing - Second half of the night

10. Raag Bageshri

Nature of the Raga - ‘Gambhir’ - Serious

Timing - Afternoon

11. Raag Purvi

Nature of the Raga - ‘Gambhir’ - Serious

Timing - Evening

12. Raag Vrindavani Sarang

Nature of the Raga - ‘Chanchal’

Timing - Afternoon


Enjoy!!


Vithal

 *

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