||This article is written like a personal reflection or opinion essay that states the Wikipedia editor's particular feelings about a topic, rather than the opinions of experts. (December 2007)|
|Hindustani classical music|
Arohana and Avarohana
Notation: S r R g G M Ḿ P d D n N S
Lower caps indicate 'komal' or flat notes, " indicates higher (third) octave, ' indicates lower (first) octave
The raag has komal Ni and Ga. It is an Audava-Sampoorna raga, implying that it has 5 notes in Arohana and 7 in Avarohana.
Vadi and Samavadi
Pakad or Chalan
Organization and relationships
- Dhanashree, Dhani[disambiguation needed], Patdeep, Hamsakinkini, Patdeepaki
- Thaat: Kafi
- In Carnatic music, Abheri is the most similar raga, falling with Melakarta 22 (Karaharapriya).
The madhyam (fourth) is the most important note - an important 'nyaas' sthaan (note for rest) with emphasized elaboration around this note - S g M, M g M, g M P, M P g M P (M) g (M) g M... The Rishabh (second) and the Dhaivat (sixth) are skipped in Aarohi (ascending) passages, but are given due importance when descending (Avrohi). Use of the Dhaivat and Rishabh is symmetric and both are approached via the succeeding notes (D from n, and R from g).
- Samay: Late Afternoon
- DIN KA TISRA PAHR
- Bor, Joep (1997?), The Raga Guide, Charlottesville, Virginia: Nimbus Records
- Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House