Glossary of Indian Music (Part – 15)

By: Gurumayum Shivachandra Sharma
Cultural Activist
1. Raag Marwa: In North Indian Classical Music, the Raag Marwa isalso one of the most beautiful and melodious Ashraya Raag which belongs to the Marwa Thaath. It is a Sadava-Sadava Jati Raag having re (Reshava Komol) and ma’(Teevra Madhyam). The Vadi Swara of this Raag is Re, Samvadi Swarais Dha, Anuvadi Swaras are Sa, Ga, ma’&Ni, and Vivadi Swarasare Re, ga, Ma, dha & ni respectively. It is a Poorvanga Prabesh Raag and the singing time of this Raag is the last segment of a day and Samprakirtik Raag are Raag Pooriya, Raag Sohani, etc,.
2. Raag Sohani: In North Indian Classical Music, the Raag Sohani isone of the melodious classical Raag belongs to the Marwa Thaath. It is also a Sadava-Sadava Jati Raag having re (Reshava Komol) and ma’ (Teevra Madhyam). The Vadi Swara of this Raag is Dha, Samvadi Swara is Ga, Anuvadi Swaras are Sa, re, ma’ & Ni, and Vivadi Swarasare Re, ga, Ma,Pa, dha & ni respectively. It is also an Uttaranga Prabesh Raag and the singing time of this Raag is themid night and Samprakirtik Raag are Raag Marwa, Raag Pooriya, etc,.
3. Raag Pooriya: In North Indian Classical Music, the Raag Pooriya is also one of the melodiousHindustani Raag belongs to the Marwa Thaath. It is also a Sadava-Sadava Jati Raag having re (Reshava Komol) and ma’ (Teevra Madhyam). The Vadi Swara of this Raagis Ga, Samvadi Swarais Ni, Anuvadi Swarasare Sa, re, ma’ & Dha, and Vivadi Swaras are Re, ga, Ma, Pa, dha & ni respectively. It isa Poorvanga Prabesh Raag and thesinging time of this Raag isearlyevening and Samprakirtik Raag are Raag Marwa,Raag Sohani, etc,.
4. Raag Lalit: In North Indian Classical Music, the Raag Lalit is also a melodious Indian Raag belongs to the Marwa Thaath. It isalso a Sadava-Sadava Jati Raag having re (Reshava Komol) and both Madhyam (Ma & ma’ Teevra Madhyam). The Vadi Swara of this Raagis Ma, Samvadi Swara is Sa, Anuvadi Swaras are re, Ga, ma’, Dha & Ni, and Vivadi Swaras are Re, ga, Pa, dha & ni respectively. It is also an Uttaranga Prabesh Raag and thesinging time of this Raag is also an early morning and Samprakirtik Raag are Raag Sohani, Raag Marwa, Raag Pooriya, Raag Megha Ranjani,etc,.
5. Raag Kafi: In North Indian Classical Music, the Raag Kafi isalso one of the ancient most beautiful and melodious Ashraya Raag belongs to the Kafi Thaath. It is also a Sampurna-Sampurna Jati Raag having ga and ni (Gandhar and Nishad Komol) and other remainings are all Sudha Swaras. The Vadi Swara of this Raagis Pa, Samvadi Swara is Sa, Anuvadi Swaras are Re, ga, Ma, Dha & ni, and Vivadi Swaras are re, Ga, ma’, dha &Ni respectively. It is an Uttaranga Prabesh Raag and the singing time of this Raag isthe mid night and Samprakirtik Raag are Raag Bhimpalasi,Raag Bageshri, Raag Sindhura, etc,.
6. Raag Bhimpalasi: In North Indian Classical Music, the Raag Bhimpalasi isone of the most melodious Raag belongs to the Kafi Thaath. It is also anAudava-Sampurna Jati Raag having gaand ni (Gandhar and Nishad Komol) and other remainings are all Sudha Swaras. The Vadi Swara of this Raagis Ma, Samvadi Swara is Sa, Anuvadi Swaras are Re, ga, Pa, Dha & ni, and Vivadi Swaras are re, Ga, ma’, dha & Ni respectively. It is also a Poorvanga Prabesh Raag and the singing time of this Raag is and Samprakirtik Raag are Raag, Raag , etc,.
7. Raag Bageshri: In North Indian Classical Music, the Raag Bageshri is one of the most melodious and beautiful Indian Classical Raag that belongs to the Kafi Thaath. It is also an Audava-Sadava Jati Raag having ga and ni (Gandhar and Nishad Komol) and other remainings are all Sudha Swaras. The Vadi Swara of this Raag is Ma, Samvadi Swara is Sa, Anuvadi Swaras are Re, ga, Dha & ni, and Vivadi Swaras are re, Ga,ma’, Pa, dha & Ni respectively. It is also an Uttaranga Prabesh Raag and thesinging time of this Raag isthe second segment of a night and Samprakirtik Raag are Raag Bhimpalasi, Raag Kafi, Raag Rageshri, etc,.
8. Raag Pilu: In North Indian Classical Music, the Raag Pilu isalso a melodious Raag belongs to the Kafi Thaath. But, it is a Sampurna-Sampurna Jati Raag having all the Twelve Sangeet Swaras (i.e. Sa, re, Re, ga, Ma, ma’, Pa, dha, Dha, ni & Ni respectively).The Vadi Swara of this Ragis Ga, Samvadi Swarais Ni, Anuvadi Swaras are all the Twelve Sangeet Swaras (i.e. Sa, re, Re, ga, Ma, ma’, Pa, dha, Dha, ni& Ni respectively), and no Vivadi Swarasin this Raag. It is also a Poorvanga Prabesh Raag and the singing time of this Raag is also the third segment of a day.
9. Raag Bahar: In North Indian Classical Music, the Raag Bahar isalso a melodious and beautiful seasonal base classical Raag belongs to the Kafi Thaath. It is also an Audava-Audava Jati Raag having ga and ni (Gandhar and Nishad Komol) and other remainings are all Sudha Swaras. The Vadi Swara of this Raagis Ma, Samvadi is Sa, Anuvadi Swaras are Re,ga, Pa,Dha, ni & Ni, and Vivadi Swaras are re, Ga, ma’& dha respectively. It is also an Uttaranga Prabesh Raag and the singing time of this Raagis the mid night of Spring season (Basanta Ritu) and Samprakirtik Raag of this Raag are Raag Miyah Malhar, Raag Malhar, etc,.
10. Raag Miyah Malhar: In North Indian Classical Music, the Raag Miyah Malhar is also a melodious and beautiful seasonal base Indian Raag belongs to the Kafi Thaath. But, it is a Sampurna-Sadava Jati Raag having ga (Gandhar Komol) and both Nishad(Ni Sudha & ni Komol). The Vadi Swara of this Raag is Ma, Samvadi Swara is Sa, Anuvadi Swaras are Re, ga, Pa, Dha, ni & Ni, and Vivadi Swaras are re, Ga, ma’ & dha respectively. It is also an Uttaranga Prabesh Raag and the singing time of this Raag is the mid night of Rainy season (Barisha Ritu) and Samprakirtik Raag of this Raag are Raag Gouda Malhar, Raag Malhar, Raag Bahar, etc,.