||This article may be too technical for most readers to understand. (March 2017) (Learn how and when to remove this template message)|
|Hindustani classical music|
Aaroha and Avaroha
Notation: S 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 Nee and Ga. It is an Odhav-Sampoorna raga, implying that it has 5 notes in Arohana and 7 in Avarohana.
Vadi and Samavadi
Pakad or Chalan
(Bandish) Sthayii and Antaraa
Sthayii:: jaa, jaa re apane mandiravaa suna paave mori saasa-nanadiyaa
Antaraa:: suna ho sadaaranga, tuma ko chaata he kaa tuma hamako thagana diyaa
Organization and relationships
- Dhanashree, Dhani, Patdeep, Hamsakinkini, Patdeepaki
- Thaat: Kafi
- In Carnatic music, Karnataka Devagandhari 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: Afternoon
- DIN KA TISRA PRAHR
Din ka teesra pehar
Pt. Jasraj- "Ja Ja Re Apne Mandirva"
- Bor, Joep (c. 1997), The Raga Guide, Charlottesville, Virginia: Nimbus Records
- Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House