Visharad Pratham Theory - Swaranjali Music School...Swar vistaar (Swar Expansion) 1. gp rg ps,= 8 s...

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Visharad Pratham Theory 2006 Syllabus: Akhil Bharatiya Gandharva Mahavidyalay Mandal – India

www.abgmvm.org Theory: Written Exam Paper # 1: Chapter 1: Raga Information

Definitions for some new words used in this chapter:

Alpatva of Swar: Using the note (swar) in small quantity. Unimportant or weak note in a raaga

Bahutva of Swar: Using the note in large quantity. Important or strong (dominant) note in a raaga.

Abhyaas: Used in practice

Anabhyaas: Not used much practice

Langhan: Within limits

Alanghan: Limitless

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1. Raag Jayjayvanti : Classic (Academic) Introduction

Swar Two Nishaad, Two Gandhar; other notes shuddha Varjya swar None

Thaat Khamaaj Jaati Odav Sampoorna

Vaadi Rishabh (Re) Samay Second prahar of night

Saunvaadi Pancham (Pa)

This raag is recognized by several names in academic literature. Examples are: 1. ‘Jayjayvantee’ in a music treatise ‘Raag Tarangini’, 2. ‘Jyaavantee paramel praveshikaa’ in ‘Abhinav Raag Manjaree’, 3. ‘Jayaavantee Sukhapradaa’ in ‘Lakshya Sangeet Grantha (Lakshya Sangeet book or volume’). In Bengal state it is called ‘Jayjayvantee’. Since it is an ancient raag, it is natural that it has variety of names. It is common practice to call this raag ‘Jayjayvantee’. This raag is performed (vocal and on instruments) with two different methods (Anga). One is ‘Sorath anga’ and second is ‘Baageshree anga’. ‘Sorath anga’ is used more often. Raag Jayjayvantee’s origin is considered to be from Khamaaj thaat. This raag includes two Nishaad and two Gandhaar

swar, that is both komal and shuddha. Shuddha g,n is used in aaroha and komal f,b is used in avaroha. However,

shuddha Gandhar is also used in avaroha. Komal Gandhar is commonly only used in avaroha sandwiched between two shuddha Rishabh. This raag’s jaati is estimated to be ‘Sampoorna – Sampoorna’. Although in aaroha Dhaivat is seen to be varjya

“s,rgmpn` “ (Sorath anga), in expansion of this raag Dhaivat is used clearly in aaroha in this manner: ‘08r ‘,

‘pdbdp‘. Hence raag Jayjayvantee’s jaati is accepted as ‘Sampoorna – Sampoorna’.

Jayjayvantee’s vaadi swar is Rishabh and saunvaadi swar is Pancham. Since vaadi swar is Rishabh, this is a Poorvaanga Pradhaan raag. Although this raag’s expansion is done in all three octaves, it sounds much better in Mandra and Madhya saptak. Time for singing this raag is reasoned as the last hour of second prahar of night. As this raag uses komal Gandhar, it can also be called ‘Paramel praveshak raag’. The reason is, shuddha Gandhar is more important in Jayjayvantee. Therefore by using

komal Gandhar is small quantity, it sets the stage for the entry of raagas from thaats with f,nkomal that follow

Jayjayvantee in time sequence. This is why it is called ‘Paramel Praveshak raag’.

Artists who sing this raag with Sorath anga, use a ‘rgmpn`‘ chalan (usage) in aaroha and singers singing this

raag with Baageshree anga omit pancham and use ‘gmdb` ‘ in aaroha. Rest of the rules are identical for both styles. This

is a mixed raag and you can see Bilaaval and Gauda anga in this raag. In Baageshree anga Jayjayvantee aaroha includes shuddha Gandhar and shuddha Nishad and constructs aaroha

straight as Baageshree raag: ‘srgmdn` ‘ but avaroha has shades of raag Des. Example: ‘`bdpdmgr‘ and

after this ‘frs’ are added, which are Baageshree’s swar. In short, Baageshree anga in aaroha and Des anga in avaroha is

used, which is accepted as research or improvisation done by khyaal singers. in both styles of Jayjayvantee, low octave note

clusters are used at the end of aalaap. Such as: ‘rfrs,r90=,=r,rfrs,8s,09r’. This clearly

states the character of this raag. Raag Des has similar nature and characteristics as Raag Jayjayvantee. Aaroha avaroha – Des Anga (character or component)

Aaroha: s,rgmp,n`

Avaroha: `bdp,mg,rfrs

Pakad: s,8s,09r,rfrs,8s,09r

Aaroha avaroha – Baageshree Anga (character or component)

Aaroha: s,rgmd,n`

Avaroha: `bdp,mfr,frs,8s,09r

Pakad: rfrs,8s,s09r

Avirbhaav of original raag Jayjayvantee

“s,8s,09r,rfrs,8s,08r|”

Tirobhaav with swar from Raag Des


“1bdp,dmgr|”

Avirbhaav of original raag Jayjayvantee

“rfrs,90=,=Ttr,frs,8s,09r|”

Alpatva as well as Bahutva of Raag Jayjayvantee’s swar

Rishabh has ‘practical Bahutva’ in this raag.

“s,8s,09r,rfrs,90=,=r,rfrs,8s,09r” etc.

Komal Gandhar is used sparingly and has a fixed position. Only in avaroha:

“mgrfrs,8s,09r,rfrs”

In this raag komal Gandhar has non-crossing (alanghan) alpatva.

Suddha Gandhar has limitless (alanghan) bahutva in aaroha and avaroha in this raag.

s, 0 9 r, r g m p m g, r g m p d p m g, r f r s, 8 s, 0 9 r | c c c c c c c

Mostly, “mgmg” is repeated and then nyas is performed on Rishabh.

Madhyam also has limitless bahutva in this raag. Madhyam is used in aaroha as well as avaroha again and again,

however, singers do not linger (stop, stay or rest) on this note.

Pancham has practical bahutva in this raag. “rgmp,dmg,rgmpbdp,mpn`,bdp” etc.

Dhaivat has limited (langhan) alpatva in aaroha of this raag. Komal Nishaad has impractical (anabhyas) alpatva in

avaroha. “`bdp,bdp” etc.

Shuddha Nishad has alanghan bahutva only in aaroha. “mpn`,bdp,mpn`” etc.

While singing with Baageshree anga, shuddha Nishaad also maintains alanghan bahutva like this:

g m d n ̀, b d p m g m d n ̀ c c c c c c c c

Raag Jayjayvantee Swar vistaar (Swar Expansion) aalaap – Des anga

. . . . . .

1 s, n s, d b gr, r f r s, n s, d b

gr

. . . . . . .

2 s b d p, p gr, r g m g, r f r s, n s, d b

gr

. . .

3 r g m p, d m g, r g m p, b d p, d m r f r s n s, d b gr

| | || | | | | | . . .

4 m p n s, n s, d b gr, r f r s, s b d p, d m g m g r, r f r s, n s d b

gr

| | | | | | | | | | | | | | . . .

5 m p n s, n s, r f r s, r g m g, r f r s b d p, d m g m r f r s, n s, d b gr

Raag Jayjayvantee Taan – Des anga

. . . . . . . . .

1 n s, r f r s, n s r g m g r f r s, s b d p m p n s r f r s, n s r g m p m g m g r f r s

. . . | |

4 © Anjali Nandedkar, nandedkarproductions.com 2 n s r g m p d m g r g r s, n s r g m p b b d p m g r f r s, n s r g m p n s s b d p m g r f r s

|

3 m g m g r f r s, m p d p m g m g r f r s, m p n s b b d p m g r f r s,

| | | | | | | | | | | | | |

m p n s r f r s r g m g r f r s s b d p m m p d p m p b b d p m g r f r s

. . . | \ \ \

4 n s r g m p m g, n s r g m p d p m g, n s r g m p b b d p, m p d p m p n s p n s r s b d p m g r f r s

. . . . \

5 n s r g m p d p m g r f r s, n s r g m p, n s r g m p b b d p m g r f r s, n s r g m p n s

| \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

s n s b d p s r s n s b d p m p n s r f r s r g m g r f r s, s b d p m g m g r f r s

Raag Jayjayvantee Swar vistaar (Swar Expansion) aalaap – Baageshree anga

. . . . . . . . . . .

1 s, n s, d b gr, s b d p, m d n s, d b

gr

. . .

2 s, r g m, g m g r, f r s, r g m p, m g m g r f r s, n s, d b gr

c c c c

. . .

3 r g m p, p d m, m g, r g m p d m g, r f r s r g m b d p, d m, g m, r f r s, n s, d b gr

c c c c

| \ \ \ \ \ \ \ \ . . .

4 m d n s, r b d p, b d p d m g m m d n s, b s, d b r, r f r s, b d p, d m g m, r f r s, n s, d b gr

Raag Jayjayvantee Taan – Baageshree anga

. . . . . . . .

1 n s r f r s, s b d p m d n s r f r s, n s r g m g r f r s,

.

n s r g m p m g m g r g m p d p m g m d b d p m g p m g g m r f r s

. | |

2 n s r g m g r g m d n s s b d p p d b b d p m p d p m g m g r f r s,

| | | | | |

r g m p d p m g m d b s r f r s s b d p p d b d p m g b b d p m g r f r s

| \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

4 m g m g r f r s, m d n s r f r s s b d p m d b s r g m g r f r s r b d p b b d p d m g m g r f r s


Comparison study between Raag Jayjayvanti and Raag Des

Similarities:

1. Both ragas use two Nishads. Shuddha Nishad in aaroha and komal Nishad in avaroha. In both ragas, shuddha Gandhar is important.

2. Both ragas belong to thaat Khamaaj. 3. Nyaas is performed on Rishabh in both ragas. 4. Both ragas use following swar samoohas (Swar clusters): ‘ mpnin` ‘ , ‘ `bdpmgri ‘

5. 6.

Differences:

1. In Jayjayvanti, along with shuddha Gandhar, komal gandhar is also important. ( rfrs8s09ri )

Usually aalaap end with komal gandhar. ( rgmpmgr, frs )

Des does not have komal Gandhar. Even so, sometimes it is used as a vivaadi in only taar saptak like this: ‘pn`1i,

`141`,19dp’

2. In Jayjayvanti, nyaas is performed on Rishabh in both aaroha and avaroha. ( s09ri – aarohi nyaas ),

( rgmpmgri – avarohi nyaas ).

In raag Des, generally, there is avarohi nyaas on Rishabh. ( pdmgri, 8srmgrietc.).

3. In avaroha of both ragas, `bdpmgr swar construction is common. However, swar samoohas at the end of

avaroha are different and hence these two ragas can be recognized by them.

Jayjayvanti’s avaroha: `bdpmgrirfrs

Des’s avaroha: `bdpmgrirg8s

4. Jayjayvanti’s vaadi saunvadi are ‘ r--p‘and Des’s vaadi saunvaadi are ‘ p--r‘


Characters of Jayjayvanti (Baageshree Anga)

Aaroha: srgmdn`

Avaroha: `bdpmgr, frs8s09r

Pakad: rfrss09r

Aalaap:

1. sr8s90=,=r,rfrs,s09ris

s r 8 s s0 9 r, g r g i r, f r s 8 s 0 9 r i s

c c

2.

8 s r g m g r, r g m p, r g m b d p, d d p m p d m g r,

c c c c c c c c c c c c c

r g m p i r m g r, r f m f r s, r9 s 0 9 r i s

c c c c c c c c

3.

s r g m d n ̀, 1n ̀ d b 1, 3 1 ̀, ̀ 1 n ̀ i b d p,

c c c c c c c c c c

p d n ̀ b d p d m g r, r g m p i r m g r, r g m f r s r8 s

c c c c c c c c c c c

4.

g m d n ̀ i b d p m g m d n ̀ i n ̀ `d b 1, 1 3 i 1,

c c c c c c c c c c c c

1 3 5 7 1 5 3 1, r g m p r m g r, r g m f r s 8 s 0 9 r s


Taan

1. 8srgmgrfrs8s,8srgmpmgmgrfrs8s,8srgmbdpmgrfrs9s

2. gmdb`bdpmgrfrs9s,gmdb`1`bdpmgrfrs8s,

gmdb`131`bdpmgrfrs9s,gmdb`1354141`bdpmgrfrs8s

3. srgm,rgmd,gmdb,mdn`,db`141`b,1`bd,`bdp,

bdpm,dpmg,pmgr,rfrs8s

4. srgmgr,rgmdpm,mdb`bd,db`1`b,b`141`,db`bdp,pdbdpm,

gmpmgr,rfrs8s

5. srgmddpm,gmdb``bd,db`141`b,dn11`bdp,pdbdpmgr,

rgmpdpmgrg,mgrfrs


2. Raag Gaud Saarang

Swar Two Madhyam, other notes shuddha Varjya swar None

Thaat Kalyaan Jaati Vakra Sampoorna

Vaadi Gandhar (Ga) Samay Afternoon (Do prahar)

Saunvaadi Dhaivat (Dha)

Pakad . . .

r n s d b gr i

Aaroha . |

n s g r m g, p k d k p s

Avaroha |

s n d p, k p m g m g r m g, p r s

Characteristics of Raag: 1. Poorvaanga pradhaan raag with quiet, pleasant nature. 2. Nyaas is performed on Gandhaar, Pancham and Shadja. 3. Shuddha Madhyam is used more often than Teevra Madhyam. 4. ‘Vakra Chalan’ or ‘Topsy tervy character’ is a specialty: grmg, pkdp, dn, pdkp etc.

5. This is one of the raagas from ‘Kalyan Panchak’ (Five raagaas resembling Kalyaan). Kalyaan raagaang (raag character) is seen

by use of swars like ‘ pr’ as well as‘pdkp`’.

6. Taar Shadja is approached in two ways: ‘ pdkp`’,’kpdn`’.

7. This is one type of Saarang, however swaras indicating ‘ rmr‘ are not used. Some scholars think while using

‘ pr‘ combination, Rishabh can be used with a ‘kanaswar’ (grace note) of Madhyam- ‘pmrs‘- and this arrangement

will resemble Raag Saarang.

Swar vistaar (Swar Expansion)

1.

s g r m g I, g, r g r m g I, m g m r s r s s, s 0 8 = = 0 = = s I, g r m g p r s

c c c c c c

2.

g r m g p I, p d p p m g r m g, s mg p i p, d k p m g r m g, g r m g p r s

3.

p n d n p d p p m g, r g r m g p i p, p d p p ̀ i ̀, k p d n ̀ d p d p p ̀ I, ̀ 3 1 5 3 1 ̀ 1 ̀ ̀

c c c

c c c c c c

4.

` n d p, d k p m g r m g, g r, m g, p r s


3. Raag Shankaraa

Swar All notes are shuddha, r is weak Varjya swar

r,m in Aaroha, m in Avaroha

Thaat Bilaaval Jaati Odav Shadav

Vaadi Gandhar (g) Samay Second prahar of night

Saunvaadi Nishad (n)

Pakad |

p n d s n, dp g p rg rs

Aaroha |

s pg p, n d s n

Avaroha |

s n dp, g p

rg rs

Characteristics of Raag: 1. Even though Gandhaar is a vaadi, this is a uttaraanga pradhaan raag. This raag has Heroic or brave warrior character., 2. Nyaas is performed on sgpn

3. In avaroha, Rishabh and Dhaivat are used as grace notes (Kana swar). However, their presence is important. It is mandatory

to use Dhaivat and Rishabh as grace notes in following manner: ‘ndp, gprgrs‘.


1.

g p rg

rs, = 8 s

pg p

rg

rs, s

pg p i p d p p g p

rg

rs

c c c c c

2.

s g s p I, = 8 s gp p, g p n

dp, g p

rg

rs

3.

g p n i n I, s g p, g p n, p n d ̀ n I, g p n ̀ i

4.

p n d ̀ i n, p n ̀ 3 1`, ̀ 1 ̀ ̀ n n d ̀ n

dp n i

dp g, g n

dp g, p g p

rg

rs

c c c c

Comparison study between Raag Shankaraa and Raag Bihaag

Similarities:

1. Both ragas originate from Bilaaval thaat. (‘Bilaaval thaat janya’.) 2. Vaadi is swar Gandhaar and saunvaadi is swar Nishaad for both ragas. 3. In both ragas nyaas is performed on Shadja, Gandhar, Pancham and Nishad. 4. In both ragas Rishabh is varjit in aaroha. 5. In avaroha of both ragas, it is necessary to use Dhaivat and Rishabh as ‘Kanaswar’. 6. ‘ =8sgrs’,’ ndp’,’ pn`I’ ‘ pn`31`’ are the swar samooha (note clusters) are used in both

ragas.

7. For both ragas, time for singing is second prahar of night. Differences:

1. In Shankaraa, Madhyam is fully omitted. Bihaag uses two Madhyams. Because of use of Madhyam, Bihaag shows completely different character than Shankaraa.

2. Shankara’s jaati (type) is odav-shaadav since Rishabh and Madhyam are varjya in Shankara’s aaroha (and Madhyam is

omitted in avaroha too). Bihaag’s aaroha avaroha has Madhyam and Bihaag’s jaati is Odav Sampoorna (rd are ommitted

in Bihaag’s aaroha). 3. Shankaraa is an uttaraanga pradhaan raag. Bihaag is performed in all three octaves. Bihaag has calm and peaceful

character. In Bihaag one can especially enjoy aalaap expansions. Shankaraa has an energetic or warrior character. Shankaraa is effective while singing taan, sargam and ‘layakaaree (tempo variations)’.


4. Raag Puriyaa Dhanaashree

Swar ea Komal, Teevra Madhyam- k,

other notes are shuddha Varjya swar None

Thaat Poorvee Jaati Sampoorna

Vaadi Pancham (p) Samay Evening (Evening ‘Sandhi prakaash raag’)

Saunvaadi Rishabh (e)

Pakad

k a i p, k g k e g

Aaroha

9 e g k p, k a p, k a n ̀

Avaroha ` n 1 n a p a p k g,

ke g,

ke s

c c c

Characteristics of Raag: 1. Originates from Poorvee Thaat (Janya) 2. Puriyaa Dhanaashree is considered to be an independent form of raga. 3. Another opinion is that this raga is a mixture of raga Dhanaashree (Poovee thaat janya) and raga Puriyaa 4. Distinct swar samooha (note combinations) are: keg,enap, Two ways to approach Taar Shadja (Top Sa)- ‘kans’

and ‘kas’

5. Gandhaar, Pancham and Shadja are nyaas swar. 6. This raag is effective is Madhya Saptak and Aalaap are predominant during expansion.


1.

.

8 e g I, k g k e g e s, e 8 - =, k - s, 8 e s

2.

8 e kg

kg p I, e g k a i p, p a, k p, g k,

ke g k e g e i s

3.

g k a i p, g k a n, a 2 n a i p, k a n ̀, n 2 s

4.

n 2 3, 6 2 3 2 i ̀, 2 n a i p, a k p k, g, k e g, e g k a i k g e s

c c c c


5. Raag Kaamod

Swar Two Madhyam, other notes shuddha Varjya swar

Gandhar and Nishad are varjya in aaroha. None in avaroha.

Thaat Kalyaan Jaati Odav Sampoorna (Some scholars think the jatti of Kaamod is Vakra Sampoorna)

Vaadi Pancham (p) Samay First prahar of night

Saunvaadi Rishabh (r)

Pakad

r p, k p, d p, g m r s

Aaroha |

s mr p, d p s

Avaroha |

s sd

kp,

mr p, g m p g m r s

Characteristics of Raag: 1. This raag is sung in ‘Madhya Saptak’ (middle octave), 2. Main characteristic of this raga is, in Aaroha, Rishabh is used with a grace note of Madhyam ( smrmrp),

3. This is one of the ragas from ‘Kalyan Panchak’ (Five ragas resembling raga Kalyaan). ‘dkp’ and ‘pdkps’ denote

‘Kalyaan anga’ or Kalyaan characteristics. 4. Shadja and Pancham are nyaas swar. 5. In this raag, there is very little use of Nishaad. Examples: : ’pdpps nrs’ and ‘snd p’

6. Kaamod can be sung by omitting Gandhaar In Avaroha, such as: ‘ dkp,mrs ‘

7. . Some scholars use Gandhaar in following manner: ‘ p,gmrs ‘, ‘ gmp,gmrs ‘


1.

mr

mr p, p d p p g m

sr s, r s 0 =, = s s r s, g m

sr s

2.

s mr

mr pi, p d i p, p d k p g m r p p I, p ̀ d p, k p d k p, g m p, g m r s

c c c c c c c c c c

3.

mr

mr p i d i p, p d k p ̀ i ̀, ̀ d p d p p ̀, p ̀ n 1 s, ̀ 3 5 ̀ 1 ̀, ̀ 1 7 3 5 1 ̀,

c c c

c c c c

` 1 n ̀ d d k p, g m p g m r s

c c c c c c c


6. Raag Hameer

Swar Two madhyam, other notes are shuddha or pure Varjya swar None

Thaat Kalyaan Jaati Sampoorna

Vaadi Dhaivat

Saunvaadi Gandhaar Samay First prahar of night

Pakad

g m nd

nd p, k p g m r s

Aaroha |

s r g m nd n s

Avaroha |

s n d p k p g m r s

Characteristics of Raag Hameer: 1. This is an “Uttaraanga pradhaan” raag.

2. This raag is vigorous in nature and is considered to have brave spirit. Raag is more effective in madhya or drut laya (medium or fast tempo).

3. Nyaas is performed on Shadja, Pancham and Dhaivat swar.

4. Even though both madhyam are used in this raag, shuddha madhyam is used more often as compared to teevra madhyam.

5. This is one of the raagas from ‘Kalyaan Panchak’ (five main raagas from Kalyaan thaat). ‘ dkp‘ and ‘ pdpps‘ phrases like Kalyaan raag are seen in this raag. Also a phrase ‘ gmrs ‘ observed in most raagas from Kalyaan Panchak is also seen in Hameer.

6. Taar Shadja is approached in three ways: | | |

g m d n s p d k p s k p d n s

Swar vistaar (Swar Expansion) 1.

. . . . .

g m nd nd p, d k p g m r s, s r g m p i g m r s, s d i p d p p s, p g m r s

c c c c c c c c

2.

| |

s r g m p I, g m nd nd

nk p, k p d k p g m

nd I, s r g m

nd I, d n

dp, p d p p s s

c c c c c c c c

3.

| | | | | | | | | | | |

s i p d p p s, g m d n s i s, d n s r s I, s g m r s

c c c c

4.

|

k p d n s n d n k p, g m nd p g m r s

c c c c


7. Raag Maaroo Bihaag

Swar Two Madhyam, other notes are shuddha or pure Varjya swar Rishabh and Dhaivat are varjya in aaroha, no swar is varjya in avaroha

Thaat Kalyaan Jaati Odav Sampoorna

Vaadi Pancham (p)

Saunvaadi Shadja (s) Samay Second prahar of night

Aaroha |

s m g, g k, p, p n s

Aaroha \ .

s n d p k g, k g r s, r n s

Pakad

s m g, g k p n d p, k g r s

Raag Maroo Bihaag is a modern raag. However, it is very popular at present. A singer or instrument player may or

may not understand Raag Bihaag, but they always have Maroo Bihaag on their minds. Scholars include this raag in

Kalyaan thaat. This is a mixed raag. It is a delightful mixture of Kalyaan and Bihaag. It uses both Madhyam. Teevra

Madhyam is used in aaroha and avaroha. Shuddha Madhyam is used only in aaroha as per Bihaag ‘anga’

(component). Sometimes shuddha Madhyam is also used like this: ‘ sm,mg ‘ and ‘sgmg ‘. This is

appropriate since Maroo Bihaag has a Bihaag component (anga). Raag Bihaag uses shuddha madhyam more than

teevra madhyam, therefore it is included in thaat Bilaaval. Same way, raag Maroo Bihaag is included in thaat Kalyaan

since it uses teevra madhyam more than shuddha madhyam. If shuddha madhyam is not used in Maroo Bihaag, it

will become another raag called ‘Marga Bihaag’. In Maroo Bihaag, Rishabh and Dhaivat are completely omitted and

avaroha is sampoorna. Hence its jaati is Odav-Sampoorna.

There are differences of opinion about vaadi-saunvaadi of this raag. Some scholars think vaadi-saunvaadi of Maroo

Bihaag are Pancham-Shadja and others think they are Gandhar-Nishad. Majority of people consider Pa-Sa as vaadi-

Sauvaadi. Singing time is second prahar of night. You can immediately recognize this raag with a swar samooha

(note cluster) ‘ skg,kgsr,s‘ . Bihaag uses the ‘ np‘ combination more often than Maroo Bihaag. This

raag becomes different than Bihaag when it uses teevra madhyam in aaroha as well as avaroha. In this raag,

following swar samooha (note clusters) specify raag Bihaag: ‘ =9s, 9sg, sgmp, ndp ‘ and

Kalyaan anga is seen when following swar samooha is used in aaroha: ‘ gkp ‘ and following ones in avaroha:

‘ ndp,dpkgkg ‘. In Bihaag’s avaroha, Rishabh and Dhaivat are weak. However, in Marro Bihaag’s

avaroha, Rishabh and Dhaivat are very strong.

Since Maroo Bihaag has a Kalyan component, Rishabh is used in a prolonged manner. However, even though

Rishabh is prolonged and sounds pleasant, Rishabh does not have any special place in this raag. This is because

when Rishabh is used, Shadja is always used before it in full or as a kanaswar (grace note). Examples:

‘ gsrs‘,‘ grsris ‘ and ‘ kgsrs ‘. Sometimes Rishabh is also used without kanaswar :

‘ kgris ‘.

Singing raag Kalyan with a Bihaag component (anga) is the original source of performing Maroo Bihaag.


Avirbhaav and Tirobhaav

Avirbhaav of original raag Maaroo Bihaag

8sg,kg,kgsrs,smg,kg,kg

srs

Tirobhaav with swar from raag Bihaag

8s,=8sg,smg


8sgk p,pk g,k gsrs

Tirobhaav with swar from raag Kalyaan

` ndp,k pdp,ndp


gk pndp,dk pk g,k gsrs

Raag Maaroo Bihaag – Swar vistaar or aalaap

. . . .

1 s, n s g, k g, sr, s, s r, s

sn, p n s g, k g, k g r i s

. . . . . .

2 s, n, p n s g, k g sr i s, r s n, k g r s r i s, p n, s, k g, r s

sr, s

c c c c

3 s m m g p, d k p, k g, k g sr i s, s g k p p k g, k g

sr, s

.

4 n s g k p g k p, g k p n, d p, k p pd

pd p k p, k g, k g

sr s

| | | | | | | | |

5 g k p n, s, p n s, p n s g, r s r i s s n, d p, k p d k p, k g, k g sr s

. | | | | || |

6 n s g m p n, d p, k p d k p k g, s m i g, g k p n s, n s k g sr s,

|

s n, d p, d k, p g, k g, k g sr s

Raag Maaroo Bihaag – Taan

. . . . . |

1 n s m g r s, p n s g r s, n s g k p k g k g r s, s g k p n d p k g k g r s, n s g k p n s n d p k g k g r s

. | | | . | | | | |

2 n s g k p n s r s n d p k g k g r s, n s g k p n s g g r s n d p k g k g r s,

. | | | | | | | \

n s g k p n s g k g k g r s n d p k g k g r s

. \ \ \ \ \ \ \ \ .

3 n s g k p n d p, g k p n s n d p, g k p n s r s n d p, g k p n s g r s n d p k g k g r s n

\ \ \ \ \ \ \ \

s g k p n s g k g k g r s n d p k g k g r s | | | \ \ \ \

4 k g k g r s, p k p k g k g r s, n n d p k g k g r s, s n s n d p k g k g r s, g g r s s n d p k g k g r s

\ \ \ \ \ \ \ \ \ \ \ \

5 g g r s n n d p g g r s n n d p k g k g r s, g k p n p n s r s n d p g k p n s g r s s n d p k g k g r s

. \ \ \ \ \ . \

6 n s g s g k g k p k p n p n s n s g r s n d p k g k g r s, n s g k s g k p g k p n k p n s

\ \ \ \ \ \

p n s r n s g r s n d p k g k g r s . . . . . . . . . . . . \ \ \ \

7 p n s p n s p n p s n s, n s g n s g n s n g r s, g k p g k p g k g p k p, p n s p n s p n p s n s, \ \ \ \ \

p n s g r s p n s n d p k g k g r s


8. Raag Malhaar (or Miyaan Malhaar)

Swar Gandhar Komal, Two Nishaad, other notes are shuddha or pure

Varjya swar Madhyam is varjya in aaroha, no swar is varjya in avaroha

Thaat Kaafee Jaati Shaadav Sampoorna

Vaadi Pancham (p) (or Ma)

Saunvaadi Shadja (s) Samay Midnight or any time in rainy season

Aaroha \

s m r p, b

d n s

Aaroha \ \

s s d

b m p, p d m p,

m f

m f, m p m m r

n s

c c c c

Pakad

s m r p,

m f

m f, m p m m r

n s

c c

Characteristics of Raag Malhaar: 1. Malhaar originates from thaat Kaafee and is performed from Kaafee ‘Anga (style)’.

2. Gandhaar is komal and both Nishaad are used. In aaroha, first komal and then shuddha Nishaad is used. |

m p b n s

3. There are differences of opinion about Vaadi, Saunvaadi and Jaati. (a) Vaadi – Saunvaadi: Some scholars consider Pa–Sa , some others Ma-Sa and also Sa-Pa as Vaadi – Saunvaadi. If you consider nyaas

swar, it will be appropriate to recognize Pa–Sa as Vaadi – Saunvaadi.

(b) Madhyam is varjya in aaroha, hence jaati is Shaadav – Sampoorna. Dhaivat is vakra in avaroha, hence Pandit Bhatkhande’s

lakshangeet says Malhaar’s jaati can be Sampoorna – Shaadav.

Reality is: Madhyam is used as ‘Kanaswar’ (grace note) in aaroha. (smrp). Dhaivat is used in vakra manner (``dbmp)

Avaroha is vakra sampoorna (see above).

Na. Mo.Khare ji’s lakshangeet says jaati is Sampoorna – Odav. (Chadhata sur sampoorana, Pratiloma Ma-Dha heen)

4. Performance time is midnight. However, it is a seasonal raag and hence can be performed any time during rainy season.

5. Malhaar is a serious and solemn raag and is useful for lyrics or emotions with sad tones, disunion, parting and romantic longing.

6. Raag Bahaar is proximal (close to) to raag Malhaar. To stay away from Bahaar, Malhaar should use swar clusters like: (pbdn`, `nbmp). Raag Darbaaree Kaanadaa is also close to Malhaar. However, Malhar’s Gandhar is a bit ascending (higher) and Darbaaree’s Gandhar is lower (descending). In addition, Malhaar uses both Nishaads in aaroha and avaroha and hence can be shown to be different than Darbaaree Kaanadaa.

7. Alpatva and Bahutva of Notes: - Sa and Pa have Abhyaas Bahutva: Nyaas is performed on Sa and and Pa some scholars consider Sa or Pa to be a Vaadi of Malhaar.

- Re has Anabhyaas Alpatva: Nyaas is not performed on Re. It is only used like this in aaroha and avaroha: mrp, 8srs, mp

mfimrs

- Ga has Alanghan Bahutva and vakra use in Avaroha: Ga is varjya in aaroha and is only used in Avaroha with a grace note oscillation

of Ma(pmfimfimrs )

- Ma has Langhan Alpatva in aaroha and Alanghan Alpatva in avaroha: (mrp,mpmfiimrs)

- Dha has Alanghan Bahutva in aaroha and Langhan Alpatva in avaroha:


. . . . . . . . . . . .

s , r n s n , b b m p , m p , p b i d n s ,

m f

m f , m p m m

m r s

c c c c c c

2.

. . . . . . .

. . . .

s s d

b m p , p b i d n s , r p

m f

m f m

m r s , n b d n s

c c

3.

s m r p ,

m p

m p d m p

m g , m p m m

m r , r p m p

m f m r s

c c c c c c

4.

\

s m r p , m p b

b m p , m p d n s

n p

m f , m p m m r s

c c c c c c c c

5.

\ \ \ \ \ \ \ \ \ \ m r p ,

p b i d n s , r n s n b i d n s , n r s , r r s n s d b m p

c c c c c c c c

6.

\ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \

m p d n s r i s , m r p

m f

m f m p m m

m r s , d n s r d

b m p , s

m f

m f m r s

c c c c c c c c c


9. Raag Multaanee

Swar (efa) Komal, (k) Teevra, Varjya swar (ea) varjya in aaroha

Thaat Todi Jaati Odav Sampoorna

Vaadi Pancham (p)

Saunvaadi Shadja (s) Samay Fourth prahar of day

Aaroha . \

n s f k p n s

Aaroha \

s n a k p

k f k f , k f e s

Pakad

k f k p f , a k p k f e s

Characteristics of Raag Multaanee: 1. Multaanee originates from Todi thaat and is sung by Todi anga (style)

2. It is performed in the fourth prahar of day and it is paramel praveshak raag (gives indication of next thaat that is about to arrive) Example: Multaanee has teevra madhyam and hence it gives indication that Kalyaan thaat is about to make an entrance.

3. Todi is close to Multaanee, however, Pancham is varjya in Todi and pancham is a vaadi swar in Multaanee and hence it is very strong.

4. Todi uses ultra komal Gandhaar in an independent format. In Multaanee, Gandhaar is always used with kanaswar (grace note) of teevra madhyam.

5. These swar clusters indicate Raag Multaanee. d k p , k f k f , k f e s c c

6. Pancham and Nishaad are nyaas swar

7 Rishabh and Dhaivat are varjya in aaroha and they are weak in avaroha

8 (sefk, 8efk) are typical swar clusters used in Todi. They should never be used in Multaanee. It will cause ‘Raagahaanee’ (damage to the raag)

9 Multaanee is useful for depicting sad or romantic emotions.

7. Alpatva and Bahutva of Notes:

p is a vaadi in this raag, hence it has Abhyaas Bahutva

k has langhan and anabhyaas alpatva

‘ k f k p , k

p k f , e s ‘

c

e has langhan alpatva in aaroha : Example

.

‘ n s , k f , k f , e s ‘

c

e has Anabhyas alpatva in avaroha: Example

‘ p , k p k , k f , k f e s ‘

c

There is nyaas performed on f in avaroha

with kanaswar of k

.

‘ n s k f k p , k p k f , e s ‘

c

a has langhan alpatva in aaroha and anabhyas alpatva in

avaroha: Example

\

‘ f k p n a p , n s , n a p ‘

c

e has Anabhyas alpatva in this raag: Example \ \

‘ f k p n s , s n , a p , k p k f ‘

c


. . . . . . . . . .

s e s s n , n s n n s , n a p , p n

s n s , n s

k f

k f , k f e s

c c c

2.

s , k f k f ,

k f k p ,

k p

k p

k f k f , k f e s

3.

.

e n s k k f ,

k f k p , a k p

k f k f , k f e s

c c c c

4.

.

n s k f

k p , f k p n i a

k p , a k p

k f k a , s

k f

p k

a f k f , k f e s

c c

5.

.

f k p n i n i n , n a p a k

a p a k p ,

k f k f , f k p

k f e s

c c c c

6. \ \ \ \ \ \ \ \ \ \ p k f k p n ,

s n

s n s , p n s f e s , e n s n a k p , f k p s i n a

k p k f k f , s f k p

k f e s



10. Raag Puriyaa

Swar (e) Komal, (k) Teevra, Varjya swar (p) varjya

Thaat Maarvaa Jaati Shaadav

Vaadi Gandhaar (g)

Saunvaadi Nishaad (n) Samay Fourth prahar of day (Some people think it is second prahar of night)

Aaroha 8egkdgkg,knd`n2`

Avaroha `n1ndkdgkg,k8es Pakad gkdgkg,k8es

Characteristics of Raag Puriyaa: 1. N. M. Khare ji considered Puriyaa to be included in raag Marvaa ‘Raagaanga’. However, Puriyaa has its’ own strong character and hence it is

appropriate to consider Puriyaa itself as a ‘Raagaanga’.

2. This is a poorvaanga pradhaan raag and expansions are in Mandra and Madhya saptak (lower and middle octave).

3. (g-n) and (n-k) pairs are predominant

4. Singer must not linger on (d). Lingering on swar Dhaivat will cast a shadow of raag Maarvaa.

5. Puriyaa’s has ‘Vakra’ nature (twisted or zigzag nature). Example: nkdgkgk8es

6. Raag Maarvaa and Raag Sohani have similar characteristics as raag Puriyaa . (‘Samaprakrutik’ raagaas of raag Puriyaa). Both Maarvaa and Sohani have same swar (notes) as Puriyaa.

a. Raag Maarvaa has vaadi-saunvaadi (e-d), which is an exception to rule of harmony (if vaadi is komal, sanvaadi cannot be

shuddha). Puriyaa has (n-k) combination and Marvaa has (d-e).

b. Raag Sohani has vaadi-saunvaadi (d-g). Sohani is an uttraanga pradhaan raag.

7. (kd`, n1`) are typical swar clusters used in raag puriyaa.

8. Poorvaanga of Puriyaa has a shadow of Puriyaa Dhanaashree

9. Puriyaa has shades of raag Maarvaa, Sohani, Poorvee and Puriyaa Dhanaashree.

10. Puriyaa with komal dhaivat is called ‘Din kaa Puriyaa’. Singing time for ‘Din kaa Puriyaa’ is evening time. In older compositions, where there is komal dhaivat, it is expected to change it to shuddha dhaivat while singing raag Puriyaa.


s is a vaadi in this raag, and it has Abhyaas Bahutva . . . .

‘ g , e s n d n e g , g e s , n e g , n k g , g , e s ‘

n is a saunvaadi in this raag, and it also has Abhyaas Bahutva

e has anabhyaas alpatva: Example .

‘ n e g , g e s ,

s has langhan alpatva in aaroha and avaroha : Example

. .

‘ n e g and g n , g e n e s ‘

k has Alanghan Bahutva: Example

This is because k is never omitted in aalaap

. . . . . . . .

‘ n d n , k , d n , n e g k n k g , g e s ‘

d has anabhyas alpatva : Example

‘ k d n k g ‘

d also has Langhan Alpatva in this raag: Example

‘ n k g ‘


Swar vistaar (Swar Expansion) Raag Puriyaa 1.

. . . . . . . . .

s , n e s , n e n

d k

n d s , n e s , g ,

k n e s

2.

. . . . . . . . . . .

d n e n , d k

n d n , d n e g n , e g ,

k n e s

c c c c

3.

. . . . .

d n e g , n e n g , k g k g , g k d g k g ,

k n e s

c c c

4.

. . .

n e g , n k g , g k n d n

d k

d g k g ,

k n k g e s

5.

\ \ \ \ \ \

g k d n d k

d g k g , k d n e n

d k

d g k g ,

d k

n d s n e s , s i n e n

d k

d g k g , g k d g , k g e s

c c c c c c c

6. . \ \ \ \ \ \ \ . . n e g k d n e n d k k

n d s n e s , d n e k g k g , k g e s n , n k g e s

c c c c c c c c c c c c c c

7. . . . \ \ \ \ \ \ \ \ \ \ \ . n e n n k g , d n d d n

d k g , k

n d

s n e s , d n e g , n k g ,

k n e s , e n d k k g , g k g g k g , k n e s

c c c c c c c c c c


11. Raag Shuddha Kalyaan

Swar (k) Teevra, Varjya swar (m,n) varjya in aaroha

Thaat Kalyaan Jaati Odav - Sampoorna

Vaadi Gandhaar (g)

Saunvaadi Dhaivat (d) Samay First prahar of night

Aaroha sgrgp`d`

Avaroha `ndpkgr,gpprs Pakad grs,80=,s,gpprs

Characteristics of Raag Shuddha Kalyaan: 1. Originates from Kalyaan thaat. It is performed with Kalyaan anga.

2. (m-n) Varjya in aaroha and they are used by performing Meend in avaroha

3. Chalan (the way the raag walks or is performed) of Shuddha Kalyaan is similar to raag Bhoopaalee and hence it is also called Bhoop-Kalyaan.

4. Older singers use raag Bhoopaalee’s swar and sing gprs at the end of aalaap. You see this trend in old traditional bandishes.

5. Nishaad is used in taan’s avaroha and raag Kalyaan’s shades are seen in taan’s avaroha. `ndp,ndp,1`ndpkgr,gpkgrs

6. gprs Note clsuters show Kalyaan anga (character). 7. Older bandishes sometimes altogether omit k.


s is a vaadi in this raag, and it has Abhyaas Bahutva . . . .

‘ g , e s n d n e g , g e s , n e g , n k g , g , e s

n is a saunvaadi in this raag, and it also has Abhyaas Bahutva

e has anabhyaas alpatva: Example .

‘ n e g , g e s ‘

s has langhan alpatva in aaroha and avaroha : Example

. .

‘ n e g and g n , g e n e s ‘

k has Alanghan Bahutva: Example

This is because k is never omitted in aalaap

. . . . . . . .

‘ n d n , k , d n , n e g k n k g , g e s

d has anabhyas alpatva : Example

‘ k d n k g ‘

d also has Langhan Alpatva in this raag: Example

‘ n k g ‘

Swar vistaar (Swar Expansion) Raag Shuddha Kalyaan 1.

. . . . . .

s n d

n d s , p

s d s , s r s ,

g r g , g

p r s

2.

.

d s r g , r g r p i k g , g d p

k g ,

p g p

p r s

c c c

3.

s r g p k g , r g d p

k g , r g r p

k g ,

p g

p r s

4.

s r g p n d

n d p

k g , g p d g

d p

k g , r g r p

k g ,

p r s

c c c c c

5.

\ \

g p g g p k g , p

s d s i n d p

k g , r g r r g r p r s

c c c c c c c c c c

6. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ p g p

k g ,

s d s

n d ,

r s r , g g r r g r , d g r , g

p r s , g r n s

n d p k g ,

p g p

n d

n d p

k g , r g r r g r ,

p g

prs

c c c c c c c c c c c c c

7. \ \ \ \ \ \ \ \ \ \ \ s n d p k g r g p d s

n r s , s

g r g , r s n d p k g , p d s ,

n d p

k g ,

g r g

p r s

c c c c c c c c c c c c c c c c c c


12. Raag Darbaaree Kaanadaa

Swar (fab) Komal, Other notes are shuddha Varjya swar Some people think (f,a) varjya in avaroha, but they

are used in vakra fashion

Thaat Aasaavaree Jaati Vakra Sampoorna, (Some people think Sampoorna Odav or Sampoorna Shaadav)

Vaadi Rishabh (r)

Saunvaadi Pancham (p) Samay Second prahar of night

Aaroha srmfmfmp,baba`b` ,

Avaroha

` b a b p , m p

m f m r s 9 s r s

c c c c Pakad 8srmfmrs,9srr-9=

Characteristics of Raag Darbaaree Kaanadaa: 1. Originates from Aasaavaree thaat. It is performed with Aasaavaree anga.

2. Darbaaree Kaanadaa has a serious, solemn nature (character).

3. Expansion is in Mandra and Madhya saptak.

4. There are special oscillations (‘aandolan’ or undulations) on (f-b). This increases the seriousness and sweetness of the raag.

In aaroha, ‘aandolan’ is done on (rf)with r as kanaswar (grace note). Hence it is said Gandhaar is ‘descended’ in Darbaaree Kaanadaa.

5. To protect from Aasaavaree, avaroha is performed in vakra fashion (`abpmpfmrs), instead of straight manner (`bapmfrs)

6. While singing plain, straight taan, there is a shadow of raag Saarang. Examples: (`bpmrs8s, bbpmrs8s) If you remove Gandhaar and Dhaivat from avaroha, it sounds more like Saarang.

7. Straight or fast taan is not performed very often.

8. (s,r,f,p) are nyaas swar.

9. Many times, an artist will sing badaa khyaal in Darbaaree Kaanadaa and cchotaa khyaal in raag Adaanaa, since Adaanaa is a taanpradhaan raag (Taans are prominent in raag Adaanaa).


r is a vaadi in this raag, and nyaas is performed on r.

Hence it has Abhyaas Bahutva

. . . .

‘ a b r , s r f m i r s r , s a i b r , s ‘

c c

p also has Abhyaas Bahutva in this raag since both in aaroha

and avaroha, there is independent nyaas on p

‘ m f m g m p ,

b a

b a b i p ‘

f,a should also have abhyaas bahutva and Alanghan

Bahutva in this raag since they important swar in this raag,

although there is no nyaas on f,a. Reason is: There is

always aandolan on f with r,m kanaswar and aandolan

on a with b . But f,a are used in profusion.

‘ s r , r r f i m p

m f ,

m f , m r s

s r s ‘

c c

\

‘ m p , b a

b a , b

p ‘ ‘ s

b a ,

b a , b p ‘

m has anabhyas alpatva in aaroha and avaroha : Example

‘ s r f i m p , m f i m , r s

s r s ‘

c c

b also has anabhyas alpatva like m : Example

‘ m p , b a ,

b a , b p ‘

Swar vistaar (Swar Expansion) Raag Darbaaree Kaanadaa 1.

. . . . . . . . . . . . .

s , r b

r s

r a

b a

b a ,

s b

s b s , a b s r r s r

r a

s b

s b s

c c c c

2.

. . . .

a b s r b s r , r s r m f

m f m

m r s , r s b s r s

c c c c c c c c c c c

3.

. . r b

r s r , s r

m f

m f m p , p

m f

m f m p , p

m f

m f m r s b s r s

c c c c

4.

s r m f

m f m p , m p m p m p b i

m f

m f m , s r s

c c

5.

s r m f

m f , m p

b a

b a b i p , b i f , f m p f m

m r s

6. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ . m p

b a

b a b p ,

b a

s b s , s b r , s r

m f

m f m r s , r r s b s

r a b p , b b p m p b i f , m r s b s r s



13. Raag Bahaar

Swar (f) Komal, Two Nishaads are used (nb)

Other notes are shuddha Varjya swar

(r) omitted in aaroha.

f,d) varjya in avaroha, but f is used in vakra

fashion in avaroha.

Thaat Kaafee Jaati Shaadav - Shaadav (Some people think Shaadv – Vakra Sampoorna since sometimes Dhaivat is also used in vakra fashion in avaroha.)

Vaadi Madhyam (m)

Saunvaadi Shadja (s) Samay Third prahar of night (Midnight). However, it is a seasonal raag and hence it can be performed at any time in spring season.

Aaroha smpmfm,db` or (dn`) ,

Avaroha

1 n `

` d b p , m p

m f m r s

Pakad

m p m f m , d b ̀ b p or ( d n ̀ b p )

c c c

Characteristics of Raag Bahaar: 1. Bahaar originates from Kafee thaat. It is sung from kaafee anga (style).

2. Bahaar is a modern seasonal raag. It can be sung any time in spring season.

3. Compositions have descriptions of spring season.

4. Bahaar is a mixture of raag Kaanadaa and Baageshree.

5. Rishabh (r) is varjya in aaroha. (f,d) is considered varjya in avaroha, however, (f,d) appear in avaroha in vakra fashion. Hence jaati can be considered to be Shaadav – Vakra Sampoorna.

6. Mostly komal nishaad (b) is used in Bahaar. Shuddha nishaad (n) is used at certain places like: (1n`) or (n`141`n`)

7. (m-d) – Madhyam – Dhaivat combination sounds very sweet and pleasant.

8. Bahaar is very useful for mixing with other raag. Such as: Basant – Bahaar, Bhairav – Bahaar, Kaanadaa – Bahaar, Baageshree – Bahaar, Hindol – Bahaar.

9. Bahaar is an Uttraanga – Pradhaan raag and taans are predominant in performance.

10. During swar exapansion, medium tempo (laya) is maintained, which inspires joy and excitement in one’s mind.


Shadja (s) has a prominent place in all raagas and Bahaar’s

saunvaadi is Shadja (s).

Hence Shadja (s) has Abhyaas Bahutva in raag Bahaar.

Madhyam (m) also has Abhyaas Bahutva in raag Bahaar

because it is a vaadi. It is also ‘Anshik Nyaas’ (Ansha = Vaadi) and smapoorna nyaas swar because it is a vaadi.

‘ s m , m p f i m , b d b p , m p m f i m , r s

In aaroha, d also has Abhyaas Bahutva. It is varjya or used in

vakra fashion in avaroha

\ \

‘ f m d n s , m b d n s ‘

p has nyaas bahutva in avaroha.

‘ s b i p , b p m p , f m d n s , p b m p

m f i m r , s ‘

(r) Rishabh is varjya in aaroha. In avaroha it has Anabhyaas

Alpatva. Sometimes people use (r) in aaroha taar saptak.

\ \ \

‘ p m f m

s r s , d n s r n s ‘

(f) Gandhar has Langhan Alpatva in aaroha.

It has Anabhyaas Alpatva in avaroha.

‘ s m , p m f i m ‘

(b) Komal Nishaad has Alanghan Bahutva in avaroha.

It is used in expansion again and again. However, in general there is alpatva of komal Nishaad in this raag since there is no

Nyaas performed on it.

\

‘ b d n p , s i b p ,


Swar vistaar (Swar Expansion) Raag Bahaar: 1.

s , s r s , s s m , p m

p m p

m f m , f m p f m

s r s

c c

2.

.

r n s m , p m

p m p

m f m , b m p

m f

m f m , s r s

c c c c c

3.

. \

r s n s m , p m

p m p

m f

m f m , m b d , n s b b p

p m p

m f m

s r s

c c c

4.

. \ \

s r n s m , p m

p m p

m f

m f m , m b d , m d b s d b s b p , b m p m p b p

m f m , f m p

m f m ,

s rs

c c c c c c c c c c c c c c c c

5.

. \ \ \ \ \ \ \ \ \ \ \ \ \

r r s n s m , m p m p b p m f m , m d b s d b s , s i n r s , r r s n s n s r s b d , d n s b p ,

m f

m f m ,

s r s

c c c c c c c c c c c c c c c c c c c c c

6. \ \ \ \ \ \ \ \ \ \ \ \ \ f m d b s , b b p m f m d n s ,

n r s , f f r s r s , r n s b d , s

m f

m f m , p

m f m ,

s r s

c c c c c c c c c c c c c c c c c c

7. \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ r r s b d b s , n r s ,

m f

m f m , p

m f

m f m ,

s r s , s b p , b m p

m f m ,

s r s

c c c c c c c c

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Visharad Pratham Theory - Swaranjali Music School...Swar vistaar (Swar Expansion) 1. gp rg ps,= 8 s...

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