What Is Sargam

Sargam Sa Re Ga Ma Pa Dha Ni and Sa

Sargam is a way of assigning syllables to names of the notes in a raga or a musical scale The sargam syllables are Sa Re Ga Ma Pa Dha Ni and Sa in the octave It is also called a singing exercise with notes while pressing note of Sa we sing Sa then Re and we say Re and so on Sargam is also a vocal exercise in which the notes are used It has the dual purpose of vocalization and finger practice

Natural notes (pure or major) are called Shudh notes which are shown as S R G m P D N The notes or swars are KhrajShadj Rekhab Gandhar Madhyam Pancham Dhaivat and Nikhad When singing these become Sa Re Ga Ma Pa Dha Ni and sargam stands for Sa-Re-Ga-Ma Only these syllables are sung and further designations are never vocalized When writing these become S R G m P D N A sign of apostrophe on the right side of a letter (S) indicates the octave higher a sign of apostrophe on the left side of a letter (S) indicates the octave lower Re Ga Dha and Ni may be either shudh or komal Ma may be either shudh or tivar and is then called tiver Ma Sa and Pa are immovable (once Sa is selected) Dont think there is anything that you can practice that will have as much an impact on your playing as sargam Take the sargam challenge Play sargam every night for one month and then re-assess your playing skills afterward In other words Sargam is the collection of music notes or the swar of the scale It has been mentioned earlier how notes of the sargam relate to the western scale Practicing to play sargam in music is bit like weight training Basic rules of weight training are to start with simple exercises with lightweights As you get comfortable with lightweights you increase repetitions or increase the weight you are lifting You also focus on muscle group you work on You go to heavier and more complex exercises after you feel comfortable with the basic exercises When we say sargam we dont just mean a scale of notes but it means the act of playing the sargam Playing the sargam is the single most important thing you can do when you are learning harmonium or keyboard When beginning to learn harmonium the teachers should not stress the playing of the sargam too much or enforce it After all there is nothing joyous about playing one note after the other in succession over and over again Students tend to hate sargam for this very reason Getting students into sargam is a challenge Sargam fixes everything If your right hand is not strong enough sargam fixes that If you are not confident in class sargam fixes that If you dont know where the notes are at the beginning or how to sit properly for long periods of time or need discipline or you are trying to increase your speed or clarity or timing or rhythm or etc sargam fixes all Sargam needs great practice but it doesnt have to be boring Nothing is more boring than playing the same notes over and over again so spice up your sargam with some of the variations This will sound like you are actually playing something There are various books written on harmonium or keyboard but no suitable book is available on basics These books were for advance learning and lessons were difficult to follow This lesson of sargam is the first effort to produce sargam lessons in easy and with simplified exercises With these lessons you will be able to play and sing-along with your harmonium or keyboard All the exercises are produced with simple diagrams and notations Thanks to great music composer Nisar Bazmi Sahib and all those colleagues who cooperated with me in producing these fundamental lessons

Sargam Practice We can learn how to play music with keyboard or harmonium but without practice of sargam we cannot sing-along while playing harmonium or keyboard Practice of sargam is very important for a harmonium or keyboard singer Raga Kalyan Sargam

Every thaat is also a Raga and Raga Kalyan is derived from thaat Kalyan The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat Here its jaati is kept sapooran-sampooran for sargam practice only

Arohi S-R-G-M-P-D-N-Srsquo Amrohi Srsquo-N-D-P-M-G-R-S

Exercise 1 (Raga Kalyan) In this exercise we will practice Raga Kalyan notes in madh saptak Raga kalyan is derived from thaat kalyan In our notation system tiver notes are shown in capital letters and with red dot Achal (fixed) notes are also shown with capital letters but with blue dot

S R G M P D N

Achal Tiver Tiver Tiver Achal Tiver Tiver

Sit beside harmoniumkeyboard properly as explained earlier First you have to practice Arohi of raga kalyan sargam which is ascending order as (S R G M P D N S) The arohi of sargam will be taught in ten stages After completing ten stages of arohi you will practice amrohi which is descending order of a sargam as (S N D P M G R S) You have to spend five to ten minutes on each stage for practice Our practice of arohi and amrohi will be in madh or middle saptak Below given diagram is showing raga kalyan notes in all three saptak Raga kalyan is the best raga to start with Raga kalyan notes are shown in all three saptak with finger numbers

Thaat Kalyan notes shown in all three octaves FINGER amp ITS NUMBERS

Thumb 1 Index finger 2 middle finger 3 ring finger 4 little finger 5 First Stage ndash Sa (index finger 2) We will begin our practice in middle saptak that is best for beginners Press note of Khraj which is lsquoSarsquo with right hand index finger number 2 With the voice of harmonium note try to synchronize your voice with it by saying lsquoSarsquo for at least five seconds Keep pressure on the note while pressing bellow of harmonium with your left hand You have to practice at least 5-10 minutes on this first note of Sargam In the beginning you may feel difficulty in synchronizing your voice with harmonium but gradually you will overcome this difficulty Khraj note that is lsquoSarsquo is shown in the diagram with a blue dot All our basic lessons in raga will begin from middle or madh saptak

Second Stage - Re (middle finger 3) Press note of Rekhab which is lsquoRersquo with right hand middle finger and do not displace your finger from Khraj note and only decrease its pressure from the note By pressing note of Rekhab say lsquoRersquo and try to synchronize your voice with the voice of harmonium as explained in the first stage Say lsquoRersquo again and again until your voice is fully synchronizes with harmonium Your index finger and middle fingers must remain over the notes In the picture below Rekhab note is mentioned with red circle You should keep in mind that all above stages are linked and only one note is added in each stage

Third Stage - Ga (thumb 1) Raising your finger from Rekhab note press note of Gandhar (G) with your thumb by twisting your thumb beneath your hand Do not raise your second finger much higher over Rekhab note and only decrease its pressure while approaching Gandhar Now again try to synchronize your voice with Gandhar note and repeat this practice again and again at least 10 minutes In the picture below Gandhar note is mentioned with red circle

Fourth Stage ndash (Kalyan Arohi) Sa Re Ga (fingers 231) In this stage we will practice all three notes together which we have already practiced Press Khraj note lsquoSarsquo with index finger and say this note for about five seconds Then by pressing note of Rekhab say lsquoRersquo for about five seconds and try to synchronize your voice with the voice of harmonium Raising your finger from Rekhab note press note of Gandhar with your thumb and say lsquoGarsquo for five seconds

Fifth Stage - Sa Re Ga Ma (fingers 2312) Now we have to learn four swars together and fourth swar is lsquoMarsquo Saying note lsquoGarsquo from previous stage bring your index finger on Madhym note and say lsquoMarsquo for about five seconds Now again bring your index finger back on Khraj note lsquoSarsquo and after five seconds of vocal synchronizing press note lsquoRersquo and keep practicing these four notes again and again with your particular fingers This repeated exercise from Sa to Ma should not be less than ten minutes of duration It should be remembered that we would stay on each note for about five seconds

Sixth Stage ndash Sa Re Ga Ma Pa (fingers 23123) Keeping in view fifth stage add Pancham note lsquoParsquo in your exercise By raising your finger from Madhyam note press Pancham note lsquoParsquo with your middle finger and say lsquoParsquo for about five seconds Keep on practicing Sa Re Ga Ma Pa again and again for about 10 minutes Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars

Seventh Stage ndash Sa Re Ga Ma Pa Dha (fingers 231234) Connecting your link from sixth stage add note lsquoDharsquo in your exercise By pressing lsquoDharsquo say this note by synchronizing your voice with it Now you have to practice Sa Re Ga Ma Pa Dha for about ten minutes

Eighth Stage ndash Sa Re Ga Ma Pa Dha Ni (fingers 2312341) Press Note lsquoNirsquo with your thumb by turning your thumb under your hand and say this note for about five seconds Soon after that position place your index finger No2 again on the Khraj note lsquoSarsquo and practice Sa Re Ga Ma Pa Dha Ni for about ten minutes like previous exercises of Sargam

Ninth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Continuing your lessons from previous stage bring your index finger on Khraj note lsquoSarsquo in the third octave and try to synchronize your voice with the Khraj note while note is pressed Duration of pressing each note in all above stages is not less five seconds You should keep in mind that all above stages are linked and only one note is added in each stage

Tenth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Now you have to practice all these eight swars which are given below

Arohi S R G M P D N S euro Play left to right

Arohi of Sargam is ascending order of Sargam notes The above sargam initiates from lsquoSarsquo note of middle saptak and ends to lsquoSarsquo note of third saptak You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence One should try to practice Arohi without time limitation until perfection arises Proper synchronizing of voice with swar is very important

Sargam Exercise 2 (Raga Kalyan Amrohi) S N D P M G R S (fingers 21432132) After getting proficiency in Arohi you have to practice Amrohi which is descending notes of a Sargam You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak Amrohi S N D P M G R S Play right to left Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes Fingering will be same as selected in Arohi practice but in reverse order There must be a gap of one and half second between swars to breath

First Stage ndash S N D lArr (fingers 214) In all these six stages you will have to practice as explained in earlier exercises of Sargam You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice The gap between each note must be one and half second in this initial stage Total time of practice must be between 5-10 minutes

Second Stage ndash S N D P (fingers 2143)

By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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Sargam Practice We can learn how to play music with keyboard or harmonium but without practice of sargam we cannot sing-along while playing harmonium or keyboard Practice of sargam is very important for a harmonium or keyboard singer Raga Kalyan Sargam

Every thaat is also a Raga and Raga Kalyan is derived from thaat Kalyan The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat Here its jaati is kept sapooran-sampooran for sargam practice only

Arohi S-R-G-M-P-D-N-Srsquo Amrohi Srsquo-N-D-P-M-G-R-S

Exercise 1 (Raga Kalyan) In this exercise we will practice Raga Kalyan notes in madh saptak Raga kalyan is derived from thaat kalyan In our notation system tiver notes are shown in capital letters and with red dot Achal (fixed) notes are also shown with capital letters but with blue dot

S R G M P D N

Achal Tiver Tiver Tiver Achal Tiver Tiver

Sit beside harmoniumkeyboard properly as explained earlier First you have to practice Arohi of raga kalyan sargam which is ascending order as (S R G M P D N S) The arohi of sargam will be taught in ten stages After completing ten stages of arohi you will practice amrohi which is descending order of a sargam as (S N D P M G R S) You have to spend five to ten minutes on each stage for practice Our practice of arohi and amrohi will be in madh or middle saptak Below given diagram is showing raga kalyan notes in all three saptak Raga kalyan is the best raga to start with Raga kalyan notes are shown in all three saptak with finger numbers

Thaat Kalyan notes shown in all three octaves FINGER amp ITS NUMBERS

Thumb 1 Index finger 2 middle finger 3 ring finger 4 little finger 5 First Stage ndash Sa (index finger 2) We will begin our practice in middle saptak that is best for beginners Press note of Khraj which is lsquoSarsquo with right hand index finger number 2 With the voice of harmonium note try to synchronize your voice with it by saying lsquoSarsquo for at least five seconds Keep pressure on the note while pressing bellow of harmonium with your left hand You have to practice at least 5-10 minutes on this first note of Sargam In the beginning you may feel difficulty in synchronizing your voice with harmonium but gradually you will overcome this difficulty Khraj note that is lsquoSarsquo is shown in the diagram with a blue dot All our basic lessons in raga will begin from middle or madh saptak

Second Stage - Re (middle finger 3) Press note of Rekhab which is lsquoRersquo with right hand middle finger and do not displace your finger from Khraj note and only decrease its pressure from the note By pressing note of Rekhab say lsquoRersquo and try to synchronize your voice with the voice of harmonium as explained in the first stage Say lsquoRersquo again and again until your voice is fully synchronizes with harmonium Your index finger and middle fingers must remain over the notes In the picture below Rekhab note is mentioned with red circle You should keep in mind that all above stages are linked and only one note is added in each stage

Third Stage - Ga (thumb 1) Raising your finger from Rekhab note press note of Gandhar (G) with your thumb by twisting your thumb beneath your hand Do not raise your second finger much higher over Rekhab note and only decrease its pressure while approaching Gandhar Now again try to synchronize your voice with Gandhar note and repeat this practice again and again at least 10 minutes In the picture below Gandhar note is mentioned with red circle

Fourth Stage ndash (Kalyan Arohi) Sa Re Ga (fingers 231) In this stage we will practice all three notes together which we have already practiced Press Khraj note lsquoSarsquo with index finger and say this note for about five seconds Then by pressing note of Rekhab say lsquoRersquo for about five seconds and try to synchronize your voice with the voice of harmonium Raising your finger from Rekhab note press note of Gandhar with your thumb and say lsquoGarsquo for five seconds

Fifth Stage - Sa Re Ga Ma (fingers 2312) Now we have to learn four swars together and fourth swar is lsquoMarsquo Saying note lsquoGarsquo from previous stage bring your index finger on Madhym note and say lsquoMarsquo for about five seconds Now again bring your index finger back on Khraj note lsquoSarsquo and after five seconds of vocal synchronizing press note lsquoRersquo and keep practicing these four notes again and again with your particular fingers This repeated exercise from Sa to Ma should not be less than ten minutes of duration It should be remembered that we would stay on each note for about five seconds

Sixth Stage ndash Sa Re Ga Ma Pa (fingers 23123) Keeping in view fifth stage add Pancham note lsquoParsquo in your exercise By raising your finger from Madhyam note press Pancham note lsquoParsquo with your middle finger and say lsquoParsquo for about five seconds Keep on practicing Sa Re Ga Ma Pa again and again for about 10 minutes Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars

Seventh Stage ndash Sa Re Ga Ma Pa Dha (fingers 231234) Connecting your link from sixth stage add note lsquoDharsquo in your exercise By pressing lsquoDharsquo say this note by synchronizing your voice with it Now you have to practice Sa Re Ga Ma Pa Dha for about ten minutes

Eighth Stage ndash Sa Re Ga Ma Pa Dha Ni (fingers 2312341) Press Note lsquoNirsquo with your thumb by turning your thumb under your hand and say this note for about five seconds Soon after that position place your index finger No2 again on the Khraj note lsquoSarsquo and practice Sa Re Ga Ma Pa Dha Ni for about ten minutes like previous exercises of Sargam

Ninth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Continuing your lessons from previous stage bring your index finger on Khraj note lsquoSarsquo in the third octave and try to synchronize your voice with the Khraj note while note is pressed Duration of pressing each note in all above stages is not less five seconds You should keep in mind that all above stages are linked and only one note is added in each stage

Tenth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Now you have to practice all these eight swars which are given below

Arohi S R G M P D N S euro Play left to right

Arohi of Sargam is ascending order of Sargam notes The above sargam initiates from lsquoSarsquo note of middle saptak and ends to lsquoSarsquo note of third saptak You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence One should try to practice Arohi without time limitation until perfection arises Proper synchronizing of voice with swar is very important

Sargam Exercise 2 (Raga Kalyan Amrohi) S N D P M G R S (fingers 21432132) After getting proficiency in Arohi you have to practice Amrohi which is descending notes of a Sargam You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak Amrohi S N D P M G R S Play right to left Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes Fingering will be same as selected in Arohi practice but in reverse order There must be a gap of one and half second between swars to breath

First Stage ndash S N D lArr (fingers 214) In all these six stages you will have to practice as explained in earlier exercises of Sargam You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice The gap between each note must be one and half second in this initial stage Total time of practice must be between 5-10 minutes

Second Stage ndash S N D P (fingers 2143)

By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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Thumb 1 Index finger 2 middle finger 3 ring finger 4 little finger 5 First Stage ndash Sa (index finger 2) We will begin our practice in middle saptak that is best for beginners Press note of Khraj which is lsquoSarsquo with right hand index finger number 2 With the voice of harmonium note try to synchronize your voice with it by saying lsquoSarsquo for at least five seconds Keep pressure on the note while pressing bellow of harmonium with your left hand You have to practice at least 5-10 minutes on this first note of Sargam In the beginning you may feel difficulty in synchronizing your voice with harmonium but gradually you will overcome this difficulty Khraj note that is lsquoSarsquo is shown in the diagram with a blue dot All our basic lessons in raga will begin from middle or madh saptak

Second Stage - Re (middle finger 3) Press note of Rekhab which is lsquoRersquo with right hand middle finger and do not displace your finger from Khraj note and only decrease its pressure from the note By pressing note of Rekhab say lsquoRersquo and try to synchronize your voice with the voice of harmonium as explained in the first stage Say lsquoRersquo again and again until your voice is fully synchronizes with harmonium Your index finger and middle fingers must remain over the notes In the picture below Rekhab note is mentioned with red circle You should keep in mind that all above stages are linked and only one note is added in each stage

Third Stage - Ga (thumb 1) Raising your finger from Rekhab note press note of Gandhar (G) with your thumb by twisting your thumb beneath your hand Do not raise your second finger much higher over Rekhab note and only decrease its pressure while approaching Gandhar Now again try to synchronize your voice with Gandhar note and repeat this practice again and again at least 10 minutes In the picture below Gandhar note is mentioned with red circle

Fourth Stage ndash (Kalyan Arohi) Sa Re Ga (fingers 231) In this stage we will practice all three notes together which we have already practiced Press Khraj note lsquoSarsquo with index finger and say this note for about five seconds Then by pressing note of Rekhab say lsquoRersquo for about five seconds and try to synchronize your voice with the voice of harmonium Raising your finger from Rekhab note press note of Gandhar with your thumb and say lsquoGarsquo for five seconds

Fifth Stage - Sa Re Ga Ma (fingers 2312) Now we have to learn four swars together and fourth swar is lsquoMarsquo Saying note lsquoGarsquo from previous stage bring your index finger on Madhym note and say lsquoMarsquo for about five seconds Now again bring your index finger back on Khraj note lsquoSarsquo and after five seconds of vocal synchronizing press note lsquoRersquo and keep practicing these four notes again and again with your particular fingers This repeated exercise from Sa to Ma should not be less than ten minutes of duration It should be remembered that we would stay on each note for about five seconds

Sixth Stage ndash Sa Re Ga Ma Pa (fingers 23123) Keeping in view fifth stage add Pancham note lsquoParsquo in your exercise By raising your finger from Madhyam note press Pancham note lsquoParsquo with your middle finger and say lsquoParsquo for about five seconds Keep on practicing Sa Re Ga Ma Pa again and again for about 10 minutes Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars

Seventh Stage ndash Sa Re Ga Ma Pa Dha (fingers 231234) Connecting your link from sixth stage add note lsquoDharsquo in your exercise By pressing lsquoDharsquo say this note by synchronizing your voice with it Now you have to practice Sa Re Ga Ma Pa Dha for about ten minutes

Eighth Stage ndash Sa Re Ga Ma Pa Dha Ni (fingers 2312341) Press Note lsquoNirsquo with your thumb by turning your thumb under your hand and say this note for about five seconds Soon after that position place your index finger No2 again on the Khraj note lsquoSarsquo and practice Sa Re Ga Ma Pa Dha Ni for about ten minutes like previous exercises of Sargam

Ninth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Continuing your lessons from previous stage bring your index finger on Khraj note lsquoSarsquo in the third octave and try to synchronize your voice with the Khraj note while note is pressed Duration of pressing each note in all above stages is not less five seconds You should keep in mind that all above stages are linked and only one note is added in each stage

Tenth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Now you have to practice all these eight swars which are given below

Arohi S R G M P D N S euro Play left to right

Arohi of Sargam is ascending order of Sargam notes The above sargam initiates from lsquoSarsquo note of middle saptak and ends to lsquoSarsquo note of third saptak You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence One should try to practice Arohi without time limitation until perfection arises Proper synchronizing of voice with swar is very important

Sargam Exercise 2 (Raga Kalyan Amrohi) S N D P M G R S (fingers 21432132) After getting proficiency in Arohi you have to practice Amrohi which is descending notes of a Sargam You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak Amrohi S N D P M G R S Play right to left Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes Fingering will be same as selected in Arohi practice but in reverse order There must be a gap of one and half second between swars to breath

First Stage ndash S N D lArr (fingers 214) In all these six stages you will have to practice as explained in earlier exercises of Sargam You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice The gap between each note must be one and half second in this initial stage Total time of practice must be between 5-10 minutes

Second Stage ndash S N D P (fingers 2143)

By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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Fourth Stage ndash (Kalyan Arohi) Sa Re Ga (fingers 231) In this stage we will practice all three notes together which we have already practiced Press Khraj note lsquoSarsquo with index finger and say this note for about five seconds Then by pressing note of Rekhab say lsquoRersquo for about five seconds and try to synchronize your voice with the voice of harmonium Raising your finger from Rekhab note press note of Gandhar with your thumb and say lsquoGarsquo for five seconds

Fifth Stage - Sa Re Ga Ma (fingers 2312) Now we have to learn four swars together and fourth swar is lsquoMarsquo Saying note lsquoGarsquo from previous stage bring your index finger on Madhym note and say lsquoMarsquo for about five seconds Now again bring your index finger back on Khraj note lsquoSarsquo and after five seconds of vocal synchronizing press note lsquoRersquo and keep practicing these four notes again and again with your particular fingers This repeated exercise from Sa to Ma should not be less than ten minutes of duration It should be remembered that we would stay on each note for about five seconds

Sixth Stage ndash Sa Re Ga Ma Pa (fingers 23123) Keeping in view fifth stage add Pancham note lsquoParsquo in your exercise By raising your finger from Madhyam note press Pancham note lsquoParsquo with your middle finger and say lsquoParsquo for about five seconds Keep on practicing Sa Re Ga Ma Pa again and again for about 10 minutes Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars

Seventh Stage ndash Sa Re Ga Ma Pa Dha (fingers 231234) Connecting your link from sixth stage add note lsquoDharsquo in your exercise By pressing lsquoDharsquo say this note by synchronizing your voice with it Now you have to practice Sa Re Ga Ma Pa Dha for about ten minutes

Eighth Stage ndash Sa Re Ga Ma Pa Dha Ni (fingers 2312341) Press Note lsquoNirsquo with your thumb by turning your thumb under your hand and say this note for about five seconds Soon after that position place your index finger No2 again on the Khraj note lsquoSarsquo and practice Sa Re Ga Ma Pa Dha Ni for about ten minutes like previous exercises of Sargam

Ninth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Continuing your lessons from previous stage bring your index finger on Khraj note lsquoSarsquo in the third octave and try to synchronize your voice with the Khraj note while note is pressed Duration of pressing each note in all above stages is not less five seconds You should keep in mind that all above stages are linked and only one note is added in each stage

Tenth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Now you have to practice all these eight swars which are given below

Arohi S R G M P D N S euro Play left to right

Arohi of Sargam is ascending order of Sargam notes The above sargam initiates from lsquoSarsquo note of middle saptak and ends to lsquoSarsquo note of third saptak You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence One should try to practice Arohi without time limitation until perfection arises Proper synchronizing of voice with swar is very important

Sargam Exercise 2 (Raga Kalyan Amrohi) S N D P M G R S (fingers 21432132) After getting proficiency in Arohi you have to practice Amrohi which is descending notes of a Sargam You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak Amrohi S N D P M G R S Play right to left Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes Fingering will be same as selected in Arohi practice but in reverse order There must be a gap of one and half second between swars to breath

First Stage ndash S N D lArr (fingers 214) In all these six stages you will have to practice as explained in earlier exercises of Sargam You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice The gap between each note must be one and half second in this initial stage Total time of practice must be between 5-10 minutes

Second Stage ndash S N D P (fingers 2143)

By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

Seventh Stage ndash Sa Re Ga Ma Pa Dha (fingers 231234) Connecting your link from sixth stage add note lsquoDharsquo in your exercise By pressing lsquoDharsquo say this note by synchronizing your voice with it Now you have to practice Sa Re Ga Ma Pa Dha for about ten minutes

Eighth Stage ndash Sa Re Ga Ma Pa Dha Ni (fingers 2312341) Press Note lsquoNirsquo with your thumb by turning your thumb under your hand and say this note for about five seconds Soon after that position place your index finger No2 again on the Khraj note lsquoSarsquo and practice Sa Re Ga Ma Pa Dha Ni for about ten minutes like previous exercises of Sargam

Ninth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Continuing your lessons from previous stage bring your index finger on Khraj note lsquoSarsquo in the third octave and try to synchronize your voice with the Khraj note while note is pressed Duration of pressing each note in all above stages is not less five seconds You should keep in mind that all above stages are linked and only one note is added in each stage

Tenth Stage - Sa Re Ga Ma Pa Dha Ni Sa (fingers 23123412) Now you have to practice all these eight swars which are given below

Arohi S R G M P D N S euro Play left to right

Arohi of Sargam is ascending order of Sargam notes The above sargam initiates from lsquoSarsquo note of middle saptak and ends to lsquoSarsquo note of third saptak You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence One should try to practice Arohi without time limitation until perfection arises Proper synchronizing of voice with swar is very important

Sargam Exercise 2 (Raga Kalyan Amrohi) S N D P M G R S (fingers 21432132) After getting proficiency in Arohi you have to practice Amrohi which is descending notes of a Sargam You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak Amrohi S N D P M G R S Play right to left Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes Fingering will be same as selected in Arohi practice but in reverse order There must be a gap of one and half second between swars to breath

First Stage ndash S N D lArr (fingers 214) In all these six stages you will have to practice as explained in earlier exercises of Sargam You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice The gap between each note must be one and half second in this initial stage Total time of practice must be between 5-10 minutes

Second Stage ndash S N D P (fingers 2143)

By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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Arohi S R G M P D N S euro Play left to right

Arohi of Sargam is ascending order of Sargam notes The above sargam initiates from lsquoSarsquo note of middle saptak and ends to lsquoSarsquo note of third saptak You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence One should try to practice Arohi without time limitation until perfection arises Proper synchronizing of voice with swar is very important

Sargam Exercise 2 (Raga Kalyan Amrohi) S N D P M G R S (fingers 21432132) After getting proficiency in Arohi you have to practice Amrohi which is descending notes of a Sargam You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak Amrohi S N D P M G R S Play right to left Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes Fingering will be same as selected in Arohi practice but in reverse order There must be a gap of one and half second between swars to breath

First Stage ndash S N D lArr (fingers 214) In all these six stages you will have to practice as explained in earlier exercises of Sargam You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice The gap between each note must be one and half second in this initial stage Total time of practice must be between 5-10 minutes

Second Stage ndash S N D P (fingers 2143)

By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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By adding note lsquoParsquo practice all four notes all over again and again for ten minutes and synchronize your voice with swars

Third Stage - S N D P M (fingers 21432) By adding note lsquoMarsquo practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars

Fourth Stage ndash S N D P M G (fingers 214321)

Fifth Stage S N D P M G R (fingers 2143213)

Sixth Stage ndash S N D P M G R S (fingers 21432132)

Now it is the stage of Amrohi add Khraj note lsquoSarsquo in your practice In the sixth stage there is no fixed time period for practice of swars You may increase your time if you feel you are not perfect in fingering or vocal

Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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Sargam Exercise 3 - Arohi Amrohi It is the time when we will practice complete sargam in ascending and descending order This exercise is very important for harmonium students for basic music learning Proper synchronizing of voice with swar is very important in this lesson It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second At least half an hour continuous practice is important but you can increase your practice time according to your capability Now you got familiar with sargam notes in ascending and descending order so we are going to write arohi and amrohi of sargam in normal style Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow Try to remain on each note for half a second which is the perfect speed for practice of Sargam If you get bored then take rest and divide your practice time in parts or play in front of friends or family members Note- Sargam of raga bilawal bhairav bhairavi and other ragas will be provided with the sargam paper book and ebook Order now for these books from the most comprehensive website of music teaching

Ragas amp Time

According to Indo Pak ancient theory the musicians task in exploring mood is made easier if the performance takes place at the time and in the atmosphere appropriate to the raga So if a raga that embodies the atmosphere of spring is played in spring it will be more effective than if it were played in winter Play some classical sounding music and try to see if any particular Raga thrills you Anything that turns you off completely Play instrumental or light classical music at first before embarking on a heavy-duty vocal piece Is there a piece that moves you Puts you in a sublime or inspiring mood Another aspect of the raga is the appropriate distribution in time during the 24 hours of the day for its performance ie the time of the day denotes the raga sung at a particular time Ragas are also allotted a particular time space in the cycle of the day Time based ragas are divided into four types 1 Twilight raga when the notes re and da are used such as Raga Marwa and Poorvi 2 Mid-day and Mid-night ragas that include the notes ga and ni (komal) 3 Ragas for the first quarter of the morning and night that include the notes re ga da and ni (komal) 4 For the last quarter of the day and night the raga includes the notes Sa ma and Pa The entire ragas are divided into two groups

1 Poorvi Ragas

2 Uttar Ragas The Poorvi Raga is sung between 12 noon and 12 midnight The Uttar Raga is sung between 12 midnights and 12 noons The variations on the dominant or ldquoKingrdquo note helps a person to find out why certain raga are being sung at certain times This raga classification is about 500 years old and it takes us to Mughals era The beauty of the raga will not be spoiled by the time of the day it is sung It is the psychological association with the time that goes with the mood of the raga The object of a raga is to express a certain emotional mood and sentiment without any reference to

time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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time and season For a student of classical music this classification may give an idea as to how to base his reasons for the traditional usage of raga Classification of Ragas under five principals

bull Hindol (There are also five ragnis for each class) bull Deepakbull Megh bull Shri bull Maulkauns

From these five ragas other ragas are derived The first derivatives of the ragas are called raganis and each of the five ragas has five raganis under them There are 25 raganis for the above five ragas Raganis are female and raga is male You can guess raganis and raga from the name of the ragas Further derivatives from these raga and raginis resulted in attaching to each principal raga 16 secondary derivatives known as upa-raga and upa-raganis Every raga has a fixed number of komal (soft) or tiver (sharp) notes from which the thaat can be recognized In other words a certain arrangement of the 7 notes with the change of komal and tiver is called a thaat Facts About Ragas It took a long time for music to come to the form found in present-day India The most important advance in music was made between the 14th and 18th centuries During this period the music sung in the north came in contact with Persian music and absorbed it through the Pathans and the Mughals It is then that two schools of music resulted the Hindustani and the Carnatic Hindustani music adopted a scale of natural notes and Carnatic music retained the traditional octave During this period different styles of classical compositions such as Dhrupad Dhamar Khayal etc were contributed to Hindustani music Detailed melodic modes are used in Ragas Traditionally ragas are based on a complex Vedic philosophy of sound A raga is also basically a set of Vedic-rooted rules for how to build a melody It specifies rules for movements up (arohi) and down (amrohi) the scale which notes should figure more and which notes should be used more cautiously Which phrases to be used and which phrases to be avoided and so on The result is a framework that can be used to compose or improvise melodies allowing for endless variation within the set of notes There is no absolute pitch instead each performance simply picks a ground note and the other scale degrees follow relative to the ground note As ragas were never codified but transmitted orally from teacher to student some ragas can vary greatly across regions traditions and styles Indian classical music is always set in raga but all raga music is not necessarily classical Many popular Indian film songs are themselves based on ragas In todays Indian classical music raga is the backbone The outstanding feature of Indian classical music is the ldquoragardquo concept Raga is the essential concept of Indian classical music Each raga is a distinct musical entity or unit by itself and possesses well-defined characteristics The concept of raga is proud contribution to the world music It is defined as melody mould or melody style The goal of absolute music is reached in the concept of raga Ragas are the artistic facts that can be recognized by a trained ear Ragas are acoustic facts and every musician is aware of them They are the creative talents of a musician The ragas form the basis of all melodies in India Raga is the soul of Indian classical music If two songs sound strikingly similar the chances are based on the same set of notes and thus in the same raga Raga is also identified typically by pattern recognition if you are not willing to do detailed decomposition into the basic keys of their scale Thus a raga is described as the unmeasured music and it has a rich variety of classifications

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

A Raga may also be characterized by a series of melodic notes pattern called challan which means movement or by a key set of notes called pakad These form the melodic outlines of a raga and include consecutive ascending and descending phrases The challan discloses the basic grammar and the progression of a raga Every raga has a note that is frequently used or held for a long duration and is called vadi or a sonant note Similarly there is another note from vadi that is called samvadi or the consonant This note is usually the fourth or the fifth note from the vadi Identify Raga From Raga Based Film songs Pakaad or bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga While rendering a raga one should be vary careful of not using varjya swar Varjya swars in a raga are the notes those are strictly excluded in rendition Varjya swar is the enemy of the raga If a varjya swar is accidentally used during performance of a particular raga it will spoil the atmosphere that a particular raga is supposed to create So great artists do a lot of practice of a given raga so that they will never make the mistake of using varjya swar Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument or midi music Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece Also in order to grasp any given raga one should listen to the same raga presented by different artists If you listen to a vocal song based on a raga say on radio or a in a computer and you want to identify the raga of this song then you should listen to it while you are farther away say about 30 to 50 feet away from the player It has been observed that you can recognize the raga of a song while listening to it from a farther distance rather than by listening to it closer This is because as you go farther from the source of vocal sound you do not listen to any words from the song but you only hear the dominating notes or bandish of the song Once you hear the bandish you can easily recognize the raga of the song Of course one has to have prior knowledge of ragas before attempting to recognize it using this technique Also note that within any raga or a melody there is a definite relationship among the notes A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave The way some people have it easy and can directly see the patterns and recognize a raga Some others learn by going to a guru but for a casual listener it might take some practice and some intuitive thinking If you listen too much film music then there is a really good and easy way to try and learn ragas Listen to a song and get someone to identify the raga initially for you Learn this raga by listening to the song and try humming along with it Then turn off the song and try humming along the same tune but with variations Let me name some songs for you Let us take for instance any song of Raga Kalyan eg Ranjish hi sahi composed by Nisar Bazmi Sahib If you know the name of the raga play this song in your cd player Play it a couple of times continuously and then turn your cd player off Sing the song but use your imagination to sing it And then slowly hum and let it loose If you are finding trouble nailing the notes get its lyrics Once youve done this for a few songs you will have some of it down If you want to get theoretical however and already have a decent ear then learn the notes It really and really helps if you can play an instrument something visual Harmonium is perfect some persons learn on electronic keyboard so the possibility is obviously endless If you know theory and are just finding it hard identifying the ragas then just stick with it and practice You should try and improve your memory and memory association skills Watch patterns solve pattern puzzles they all help

There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

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There are certain clues to look for here is a short suggestion on how to identify raga notes First listen to how the raga alaap starts off or the song it must always begin with the raga identification Its not like you can just sing without telling the audience what the raga of the song is Listen closer to each note sang Listen very carefully and note down which notes are higher and lower then slowly approximate the scale Make it thorough first For example if you are listening a song you just try to sing-along with the song Slowly try to get what are the swars inside that song Ok you just think that you got the swars

2 Thaat Kafi

Arohi S R g m P D n S

Amrohi S n D P m g R S

Ragas of Thaat Kafi

1 Raga Kafi 2 Bheemplasi 3 Piloo 4 Shivranjani

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental classical music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in classical music then you can easily recognize a raga with ease even if you are listening to a vocal piece

1 Raga Kafi Raga Kafi is a midnight raga Raga Kafi is derived from thaat Kafi (Parental scale) Its vaadi sur is P and samvaadi sur is S Its pakad is S-R-R-g-m-P Its Jati (class) is Sampoorn-Sampoorn Its similar raga is gara

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

Raga Kafi Notes (same as thaat kafi)

Play Raga Kafi Singer Iqbal Yousuf Ramzi

Raga Kafi Sargam

Arohi S ndash R ndash g ndash m ndash P ndash D ndash n - Srsquo Amrohi Srsquo ndash n ndash D ndash P ndash m ndash g ndash R ndash S

Songs of Raga Kafi Keep diagram of raga kafi in front while playing songs

1 Tumhaaraa pyaar chaahiye mujhe Bappi Lahri - Film Toote Khilone 2 Pyar bhare do sharmeele nain Mehdi Hassan - Film Chaahat 3 Rim jhim rim jhim pere phawar Noor Jehan Film Koyal 4 Jalte hain arman mera dil roota hai Noor Jehan - Film Koyal 5 Sun wanjli di mithri taan way Noor Jehan - Film Heer Ranjha 6 Tu hai phool mere gulshan ka Film Phool Mere Gulshan Ka 7 Lat uljhi suljha ja re baalam Noor Jehan - Film Sawal8 Yeh raat yeh chaandni phir kahaan Hemant Kumar - Fim Jaal 9 Hamari sanson mein aaj tak woh hina ki kshboo Noor Jehan 10 Tere bheege badan ki kshboo se Mehdi Hassan - Film Shabab11 Ae dunya kia tujh se kehoon - Mehdi Hassan12 Sab kuch luta ke hosh me Talat Mehmood - Film Ik Saal13 Ik sitam aur meri jaan abhi jaan baqi hai Mehdi Hassan - Film Saiqa14 Dil mein ho tum aankhon mein tum Bappi Lahri Film Satyamev Jayate15 Qarar lootne wale qarar ko terse Munir Hussain - Film Saat Lakh

2 Raga Bheemplasi

Raga Bheemplasi is a afternoon raga Raga Bheemplasi is derived from thaat Kafi (Parental scale) Its Vaadi sur is m and Samvaadi sur is S Its behave is Shadj-Madhym Pakad is rsquon-S-g-m-P-g m-g-R-rsquon-S Its Jati (class) is Audav-Sampoorn Its first sur will start in Mandr saptk and will reach Madh in middle octave Its similar raga is patdeep

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo Diagram 4

Diagram 5 Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S

Diagram 5 Arohi rsquon ndash S ndash g ndash m ndash P ndash n - Srsquo

Amrohi S rsquo- n ndash D ndash P ndash m ndash g ndash R ndash S Play with windows

media player - ragatracks

Alaap Bheemplasi amp Film Song By Iqbal Yousuf Ramzi

Songs of Raga Bheemplasi 1 Zindagi mein to sabhi pyaar kiya karte hain Taal Dadra Mehdi Hassan2 Ae Ajnabi Tu Bhi Kabhi - Film Dil Se 3 Khilte Hain Gul Yaha - Film Sharmilee4 Dil mein tujhe bithake puja - Film Fakira 5 Nainon mein badara chhaye bijali si chamke haaye Taal Kehrva - Film Mera 6 SaayaAi ri main to prem diwani Taal Kehrva - Film Naubahar 7 Maine chand aur sitaronki - Film Chandrakanta 8 Ye na thi hamari kismat Film - Mirza Ghalib 9 Jhanakar payalaki tose binati - Film Naga Devata 10 Kismat Se Tum Ham Ko Mile Hon - Film Pukar 11 Nainon mein badra chhaye - Film Mera Saaya 12 Main gareebon ka dil hoon Taal Kehrva Film - Ab-e-hayat 13 Dilmen tujhe bithake puja karungi teri Film - Fakira 14 Om nao Bhagavate Vasudevay - A bhajan by Pandit Jasra 15 O beqarar dil Film Khamoshi 16 Kuch dil ne kaha Film - Anupama

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

17 Tum mile dil khile Film - Criminal 18 Naghma-o-sher ki saughaat ndash Ghazal 19 Aaa neele gagan tele pyar Mahendra Kapoor Film - Badshah

3 Raga Piloo

Raga Piloo is afternoon raga Raga Piloo is derived from thaat Kafi (Parental scale) Its vaadi sur is g and samvaadi sur is N Its behaav is Shadj-Madham Pakad is g-m-d-P-g-S-N-S Its Jati (class) is Audav-Audav Its first sur will start in mandr ndash madh saptak and will reach madh in middle octave

Diagram 6 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Diagram 7 Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Diagram 7 Arohi N ndash S ndash g ndash m ndash P ndash N - S

Amrohi S ndash n ndash D ndash P ndash d ndash P ndash g ndash S

Note The notes with cross sign are present in thaat kafi but will not be played in raga piloo Amrohi The green button (d) is not actually present in the thaat kafi but used as an extra note in raga piloo Amrohi

Songs of Raga Piloo

1 Ajahun na aye balma Film - Sanjh Aur Savera

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

2 Jhoole mein pavanki ayi bahar Taal kehrva Film - Baiju Bawra3 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola4 Dheere se aaja ri akhiyan mein nindiya - Film Albela 5 Jaiye aap kahan jayenge - Film Mere Sanam6 Dhoondho dhoondho re saajna Film - Ganga Jamuna 7 Allah megh de pani de Film - Guide 8 Kali ghata chhaye mora jiya ghabraye Film ndash Sujata 9 Tere bin soone nayan hamare Film - Meri Soorat Teri Aankhein10 Kaise chhupaaoon raaz-e-gham (Ghazal) Taal dadra Mehdi Hassan 11 Maine rang lee aaj chunariya sajana tore rang mein Film - Dulhan Ek Raat Ki 12 Baharon ne mera chaman loot kar Film - Devar13 Ai meri johara zabeen tujhe maaloom nahin Taal Dadra Film - Waqt 14 Din sara guzara tore angana Film - Junglee 15 Mainu ishq lag gaya rog - Dil Hai Ke Maanta Nahin 16 Apni kaho kuch meri suno Film - Parchhain 17 Ai meri Zohara zabeen tujhe maaloom nahi Film - Waqt 18 Sur na saje Film - Basant Bahar 19 Jhulemen pavanki ayi bahar Film - Baiju Bawra20 More sainya ji utarenge paar nadiya dhire baho Film - Uran Khatola 21 Maine shayad tumhe pahle Film - Barsaat Ki Raat (old) 22 Apni kaho kuchh meri suno Talat Mehmood Film - Parchhai 23 Chura liya hai tumne jo dil ko Film - Yaadon Ki Baraat 24 De de pyar de Film - Sharabi 25 Mera pyar bhi tu hai yeh bahar bhi tu hai Film - Saathi26 Kabhi aar kabhi paar laaga teer-e-nazar Taal Kehrva - Film Aar Paar

4 Raga Shivranjni Raga Shivranjani can be played any time Raga Shivranjani is derived from thaat Kafi (Parental scale) Its Jati (class) is Audav-Audav Its first sur will start in Madh saptk in middle octaveThis raga is extremely popular among instrumentalists This raga is known to evoke the moods of romance and sorrow Arohi and Amrohi notes of the raga Shivranjani are very close to raga Bhoopali except that in raga Bhoopali the GA note is shudh whereas in raga Shivranjani the GA note is komal which is represented as lower case ga Also vaadi and Samvaadi notes are different in raga Shivranjani compared to raga Bhoopali These differences set apart raga Shivranjani from raga Bhoopali Obviously both ragas sound totally different Sometimes liberty is taken with raga Shivranjani and shudh Gandhar (Ga) may be used by some musicians

Arohi S ndash R ndash g ndash P ndash D - S

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Arohi S ndash R ndash g ndash P ndash D - S Amrohi Srsquo ndash D ndash P ndash g ndash R - S

Note Arohi and Amrohi notes of raga Shivranjni are same in ascending and descending order

Bandish of Raga Shivranjani If you are familiar with Hindi songs then you will notice That the words ldquoanjaanardquo in the song ldquoTere mere beechame kaisa hain ye bandhan anjaanardquo (Film - Ek duje ke liye) ldquogaye vordquo in the song ldquoJane kahan gaye vo dinrdquo and ldquosamay kirdquo in the song ldquoMere nainardquo stanza ldquobeete samay ki rekhardquo have the same exact notes or have the same subset of notes from bandishi of raga Shivranjani

Songs of Raga Shivranjani

1 Ajahun na aye balma Film - Sanjh Aur Savera 2 Mere naina savan bhado Film - Mehbooba3 Jaane kahaan gaye wo din Film - Mera Naam Joker 4 Sansar hai ek nadiya Film - Raftaar5 Aawaz deke hamem tum bulao Film - Professor 6 Banake kyun bigada re Film - Zanjeer 7 Ai mere sanam ai mere sanam Film - Sangam 8 Dil ke jharokhe mein tujhko bithakar Film - Bramhachari 9 Tere mere beech mein Film - Ek Duje ke liye 10 Kahin deep jale kahin dil Film - Bees Saal Baad 11 Tumhe dekhti hun to lagta hai aise Film - Tumhare Liye 12 Bahaaro phool barsaao mera mehboob aaya hai Film - Suraj 13 Yaad teri aayegi mujhko bara sataayegi Film - Ek Jaan Hain Ham 14 Rimjhimke geet savan gaye Film - Anjaana 15 Na kisiki ankhka nur hun Mohd Rafi Film - Lal Quila16 Tumse milkar na jane kyun aur bhi kuchh Film- Pyar Jhukta Nahin 17 Mujhe Kuch Kahna Hai Film - Mujhe Kuch Kahna Hai 18 Jo bhi dukh yaad na tha yaad aya - A Ghazal by Ghulam Ali 19 Kahin deep jale kahin dil Film - Bees Saal Baad 20 Mere sanam Film - Sangam

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

Home | Our Midi Music | What Is Midi | Tabla Styles | Music Books | Payment Methods | Guest Book | Contact Us

Harmonium LessonsKeyboard LessonsLive Piano LessonsRaga Lessons

Alaap PracticeSargam PracticeRaga Based SongsRaga Lakshan GeetMP3 Karaoke MusicSaleem Shahzad Composer Nisar BazmiMusical Events

24 PSR tabla styles Package

40 tabla styles + 24 Package

Kehrva Dadra Jhaptaal Teen

taal Rupak Bhangra Dhol

Ghungru etc

Indian and Pakistani film

songs styles for Yamaha PSR

Styles will be sent by email

Great keyboardist of Pakistan Azhar Hussain amp Khan

Mehdi Hassan amp Khan

Music lessons edited by great music composer Nisar Bazmi

Raga asavari bandish and raga asavari Lakshan geet Play raga based film songs in desi style ebooks availableListen raga asavari bandish raaga darbari songs raga jaunpuri song jonpuri

2 Thaat Asavari

Arohi S R g m P d n Srsquo Amrohi Srsquo n d P m g R S

Thaat Asavari Songs bull Chale jana nahin naina milake - Film Badi Bahen bull Radha ke to ne bansri churai Taala Sitarkhani - Film Beti Bete

Ragas of Thaat Asavari

1 Asavari 2 Darbari 3 Jaunpuri

Bandish of a given Raga

Bandish are the most dominating notes of a given raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga A song based on a given raga can be composed in any one of 3 octaves This sometimes makes it difficult to identify the raga of the song although the progression of notes follows the same rules of raga in any octave Once you memorize the bandish of ragas you will be able to identify the raga of another tune that is based on same raga Each raga has its own bandish Whenever a music director composes a song based upon a given raga he makes sure that he uses the bandish of that raga This is the precise reason why two songs composed on the same raga sound similar In a way bandish is a common factor within all the tunes composed on a given raga Actually to understand the bandish of any raga it is better to listen and grasp the instrumental film music played on a musical instrument Since musical instruments do not utter words the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune Of course if you are very well versed in raga based music then you can easily recognize a raga with ease even if you are listening to a vocal piece Hence by remembering songs based on a particular raga you will be able to identify the raga of another tune if it is based on the same raga

Variya Swar

Definition of Taal Rhythm is a concept that you encounter almost every day in our life Due to your response to the rhythm in the music you instinctively tap your feet or click your fingers on hearing music There are many examples of rhythm in our life By listening to these examples carefully you can clearly identify repeating patterns of sound These repeating patterns construct what is called rhythm Rhythm is a concept that we encounter almost every day in our life Remember the time when you instinctively tap your feet or click your fingers on hearing music Well this reaction is nothing but your response to the rhythm in the music There are many examples of rhythm in our life which are given below

You can clearly identify repeating patterns of sound by listening to music Repeating patterns of sound is called rhythm Any musical system is constructed with rhythm Planets revolves around the sun according to set rhythm as well wave in stream flow in rhythm Rhythm has existed several centuries before the ragas were invented Rhythm is essential for Indian music or any music of the world Indian system of rhythm is known as tala and tala means clap In north Indian music the tabla has replaced the clap in the performance of raga Almost all the Indian compositions are built improvised with the help of tala Tala is a repeating cycle of a number of beats per second which are grouped in a particular way which sounds pleasant If we listen beats without proper cycles of rhythm then it will sound awaful North Indian Taals These are some of the famous Taals in Northern Indian music Although most Tabla players know all the following Taals but they donrsquot get to play them very often Most commonly used Taals are lsquoTeen Taalrsquo (16 beats) lsquoAik Taalrsquo (12 beats) lsquoRoopakrsquo (7 beats) lsquoDadrarsquo (6 beats) lsquoKehrvarsquo (8 beats) and lsquoJhup Taalrsquo (10 beats) Note- Click play button and let the music to fully download After fully download you can listen complete music smoothly To listen again press play button again

Kehrva(8 beats two sections)

Taal signs X 0

Maatras 1 2 3 4 5 6 7 8

Boles Dha ge na ti Na ke dhi na

Dadra(6 beats 2 sections)

Taal signs X 0

Maatras 1 2 3 4 5 6

Boles Dha Dhin na ta tin na

Jhaptaal Taal(10 beats 4 sections)

Taal signs X 2 0 3

Maatras 1 2 3 4 5 6 7 8 9 10

Boles Dhin na Dhin Dhin na Tin na Dhin Dhin na

Roopak(7 beats 3 sections)

Taal signs 0 2 3

Maatras 1 2 3 4 5 6 7

Boles Tin tin na Dhin na Dhin na

Tabla Sounds Tabla has ten main sounds or boles All other boles are combination of these sounds These ten sounds are divided into three basic categories

(I) Right side sounds

1 na or ta 2 tin or ti3 din or thun4 tu5 te6 re

(II) Left sidersquos sounds

7 Ge or Ghe (pronounced gay and ghay)8 ke (pronounced kay)

(III) Sounds played with both hands at the same time

9 dha ( lsquogersquo plus lsquonarsquo or 7+1)10 dhin (rsquoghersquo plus lsquotinrsquo or 7+2) Please do not skip to the next sound until you learn one sound of one hand correctly

How to Learn Read and Play Taals To master a Taal first memorize the boles then learn to read (show) it on your palm If you know a Taalrsquos flow by heart then you can take any boles (sounds) and make them fit in that Taal Most of the Indian film songs are composed in taal kehrva and other taal is dadra Few film songs are composed in jhaptaal and rupak

Showing a taal on your palm

Method 1 Get your left palm out and count 1234 5678 (beats in a Taal vary Taal to Taal) in any constant speed Take a little breather

before lsquo5prime thus accenting 1st and 5th beat

2 Now every time you say a number touch your left palm with one finger tip of your right hand

3 Now clap on one (very quietly) with all four fingers on your left palm and count 2 3 4 with using your index second and third finger

4 On 5 do not clap move your right hand away to the right instead leaving this beat empty

5 Count 678 the same as 234 by using your index second and third finger

6 You just counted the lsquoKehrva Taalrsquo on your palm Please see below given table

Taal Kehrva(8 beats two sections)

Taal signs X 0

Beats 1 2 3 4 5 6 7 8

Boles Dha Ge Na Ti Na Ke Dhi na

Hands Clap 1st 2nd 3rd Wave 1st 2nd 3rd

The purpose to count

The purpose to count on hand is getting to know a Taal You can sing anything while giving Taal with your hand It is perfect way to find out if your piece ends on one (sum) or not Or you can try to make a pick up or a fill Once again this is how the palm system goes

1 we clap on every clap point (that is the Sum and the other Taali points in a Taal)

2 We count all the other beats with our fingers just to keep rhythm

3 We wave our right hand to the right to show Khali (empty point)

Sometimes only the Sum (first beat) and the Khali (lighter point) are shown on the hand It is called lsquogiving Khali-Taalirsquo Please refer to definitions of rhythmic words to know more about these words

A key to pronounce and memorize Tabla Boles (sounds)

Tabla boles (sounds) can be really hard to remember if you see them individually The key to memorize them is to see them as a group Try to form a combination bole (sound) Some times combination boles are spread over two three or four beats See the broken lsquowordsrsquo and pronounce them together in whatever time they are written in If there is no combination boles then try to read a section together Memorize it then read the next section In most Taals you will find that you only have to memorize a portion of it As the whole Taal forms a poetry of boles For Dadra Taal please see below given tables

Taal Dadra(6 beats 2 sections)

Taal signs X 0

Beats 1 2 3 4 5 6

Boles Dha Dhin na Dha tin na Letrsquos separate Left and rigt and see what is going on

Taal signs X 0

Beats 1 2 3 4 5 6

Right Ta Tin Na Ta Tin Na

Lleft Ge Ghe Ge Here you see that in the both sections the right hand is playing the same thing To make the first beat and section heavier two extra boles are added with the left hand As described before lsquota+gersquo is lsquoDharsquo and lsquotin+ghersquo is lsquoDhinrsquo It is just like any drum patterns If you take them apart and write them in sections you will see that how the bass drum separates the Taali (heavier) and Khali (lighter) sections

Filmi Songs - Based On Thaat amp Ragas

Note- Playing songs with thaat is easy due to seven notes ascending and seven notes descending Please only experiment to play songs with thaat It is recommended to play songs with ragas only Below given list is actually belongs to raga-based songs and not thaat based songs Identifying or appreciating a raga do not require any formal training By identifying the similarities between songs of the same raga one would be able to grasp the basic structure of the raga Let us keep the list growing Send in your suggestions and discoveries about raga based songs

Taal signs X 0

Beats 1 2 3 4 5 6 7 8

Boles Dha Ge Na Ti Na Ke Dhi na

Hands Clap 1st 2nd 3rd Wave 1st 2nd 3rd

The purpose to count

The purpose to count on hand is getting to know a Taal You can sing anything while giving Taal with your hand It is perfect way to find out if your piece ends on one (sum) or not Or you can try to make a pick up or a fill Once again this is how the palm system goes

1 we clap on every clap point (that is the Sum and the other Taali points in a Taal)

2 We count all the other beats with our fingers just to keep rhythm

3 We wave our right hand to the right to show Khali (empty point)

Sometimes only the Sum (first beat) and the Khali (lighter point) are shown on the hand It is called lsquogiving Khali-Taalirsquo Please refer to definitions of rhythmic words to know more about these words

A key to pronounce and memorize Tabla Boles (sounds)

Tabla boles (sounds) can be really hard to remember if you see them individually The key to memorize them is to see them as a group Try to form a combination bole (sound) Some times combination boles are spread over two three or four beats See the broken lsquowordsrsquo and pronounce them together in whatever time they are written in If there is no combination boles then try to read a section together Memorize it then read the next section In most Taals you will find that you only have to memorize a portion of it As the whole Taal forms a poetry of boles For Dadra Taal please see below given tables

Taal Dadra(6 beats 2 sections)

Taal signs X 0

Beats 1 2 3 4 5 6

Boles Dha Dhin na Dha tin na Letrsquos separate Left and rigt and see what is going on

Taal signs X 0

Beats 1 2 3 4 5 6

Right Ta Tin Na Ta Tin Na

Lleft Ge Ghe Ge Here you see that in the both sections the right hand is playing the same thing To make the first beat and section heavier two extra boles are added with the left hand As described before lsquota+gersquo is lsquoDharsquo and lsquotin+ghersquo is lsquoDhinrsquo It is just like any drum patterns If you take them apart and write them in sections you will see that how the bass drum separates the Taali (heavier) and Khali (lighter) sections

Filmi Songs - Based On Thaat amp Ragas

Note- Playing songs with thaat is easy due to seven notes ascending and seven notes descending Please only experiment to play songs with thaat It is recommended to play songs with ragas only Below given list is actually belongs to raga-based songs and not thaat based songs Identifying or appreciating a raga do not require any formal training By identifying the similarities between songs of the same raga one would be able to grasp the basic structure of the raga Let us keep the list growing Send in your suggestions and discoveries about raga based songs

Thaat Bilawal

ThaatScale Bilawal Diagram 1

Sargam S R G m P D N S (ascending notes) S N D P m G R S (descending notes) Try to play the sargam of bilawal given above for one hour for at least three days in the madh sabtak or middle octave Your fingers should not jump or slip on wrong keys After practice of sargam ascending and descending try to play the songs I am sure that you will play the songs yourself without notation This is the real way of learning keyboard After practice of bilawal sargam repeatedly your mind will be familiar with the voice of notes If you will play one song perfectly then you will be able to play all the songs of thaat bilawal While practice your fingers can reach other octaves or sabtak like taar sabtak but the arrangement of the keys will remain the same madh saptk given above in diagram 1 This is the secret which most of Ustad do not tell their students in such a short period The songs based on thaat and ragas are tested in the keyboard Your fingers shouldl only touch yellow keys and not white or black keys while playing songsTry to play one song at a time Many more songs of bilawal will be provided with the e book Have a nice time and fun

Songs of Thaat Bilawal (Raga Bilawal) 1 Ik piar ka nagma hai 2 Ae dil kiski ki yaad mein Film Ik Tera Sahara 3 Choo ker mere man ko4 Tum naa jane kis jehan me kho gae5 Bachpan ki mohabat ko6 Mushkil hai bahut mushkil Film Mahal7 Tujhe jeevan ki dor se Film Asli Naqli 8 Lag ja gale ke phir ye hansi rat Film Woh kaun thi9 Baharon mera jivan bhi sanvaro - Aakhiri Khat10 Pak Sarzameen Shaad Bad (trana) 11 Tum ko dekha to yeh khyaal (Ghazal)

Thaat Kafi

ThaatScale Kafi

Songs of Thaat Kafi (Raga Kafi) 1 Dil men ho tum ankhon me tum Bappi Lehri 2 Tumhara pyar chahaee mujhe 3 Pyar bhere do sharmeele nain

4 Rim jhim rim jhim pere phawar tera mera nit ka pyar

5 Jalte hain arman mera dil roota hai

6 Sun wanjli di mithri taan way Film Heer Ranjha

7 Lat uljhi suljha ja re baalam

8 Yeh raat yea chandni

9 Tere bheege badan ki kshboo se

10 Ae dunya kia tujh se kehoon - Mehdi Hassan

11 Sab kuch luta ke hosh me

12 Ik situm aur meri jaan abhi jaan baqi hai - Mehdi Hassan

Thaat Asavari

ThaatScale Asavari

Songs of Thaat Asavari (Raga Asavari)

1 Be reham asmaa meri manzil bata hai kehan

2 Chale jana nahin naina milake - Film Badi Bahen

3 Meri yaad men tum na - Film Madhosh

4 Tere pyar ki tamna ghame zindgi ke saee

5 Tum zid to ker rehe ho Mehdi Hassan

6 Jadoon holi jae lenda mera naa Noor Jehan

7 Sawan aya tum nehi aie

8 Oh dunya ke rakhwale Film Beju Banwra

9 Jab bhi chahen ik nai soorat Mehdi Hassan

10 Apno ne gham die to mujhe yaad Mehdi Hassan

11 Tu jo nehi hai to kuch bhi nehi hai S B John

12 O sun le oh Jane wafa Tu hai dunya meri Film Sangdil (Pakistani)

Note Please note that some songs may not adhere completely to a ragas format ie they may not represent the raga in its pure form While each song in in desi music is based primarily on a raga but certain changes have been made while composing film songs Some songs have their asthaay and antara based on different ragas Such songs have been categorized based on the ragas of asthaayi or ragas of antra

Thaat Bhairav or Bhero

Songs of Thaat Bhero1 Mohe bhool gae sanwarya 2 Saj rahi gali meri amma sunhere gote mein 3 Oh lagi re laage lagan yehi dil mein - Mehdi Hassan

4 Dard se mera daaman bher de - Jagjeet

5 Hame koi gham nahi thaa - Mehdi Hassan

6 Puchho naa kesee mein ne rain bitaee

7 Raam teri gan meli ho gai

8 Kehdo koi naa kere yahan pyaar

9 Mein to ik khawab hun - Mukesh

10 Hai isi mein pyaar ki aarzoo

• Sa Re Ma Pa Dha Sa
• Sa Ni Dha Pa Ma Ga Re Sa
• • Sargam Practice
  • • Identify Raga From Raga Based Film songs

ThaatScale Kafi

Songs of Thaat Kafi (Raga Kafi) 1 Dil men ho tum ankhon me tum Bappi Lehri 2 Tumhara pyar chahaee mujhe 3 Pyar bhere do sharmeele nain

4 Rim jhim rim jhim pere phawar tera mera nit ka pyar

5 Jalte hain arman mera dil roota hai

6 Sun wanjli di mithri taan way Film Heer Ranjha

7 Lat uljhi suljha ja re baalam

8 Yeh raat yea chandni

9 Tere bheege badan ki kshboo se

10 Ae dunya kia tujh se kehoon - Mehdi Hassan

11 Sab kuch luta ke hosh me

12 Ik situm aur meri jaan abhi jaan baqi hai - Mehdi Hassan

Thaat Asavari

ThaatScale Asavari

Songs of Thaat Asavari (Raga Asavari)

1 Be reham asmaa meri manzil bata hai kehan

2 Chale jana nahin naina milake - Film Badi Bahen

3 Meri yaad men tum na - Film Madhosh

4 Tere pyar ki tamna ghame zindgi ke saee

5 Tum zid to ker rehe ho Mehdi Hassan

6 Jadoon holi jae lenda mera naa Noor Jehan

7 Sawan aya tum nehi aie

8 Oh dunya ke rakhwale Film Beju Banwra

9 Jab bhi chahen ik nai soorat Mehdi Hassan

10 Apno ne gham die to mujhe yaad Mehdi Hassan

11 Tu jo nehi hai to kuch bhi nehi hai S B John

12 O sun le oh Jane wafa Tu hai dunya meri Film Sangdil (Pakistani)

Note Please note that some songs may not adhere completely to a ragas format ie they may not represent the raga in its pure form While each song in in desi music is based primarily on a raga but certain changes have been made while composing film songs Some songs have their asthaay and antara based on different ragas Such songs have been categorized based on the ragas of asthaayi or ragas of antra

Thaat Bhairav or Bhero

Songs of Thaat Bhero1 Mohe bhool gae sanwarya 2 Saj rahi gali meri amma sunhere gote mein 3 Oh lagi re laage lagan yehi dil mein - Mehdi Hassan

4 Dard se mera daaman bher de - Jagjeet

5 Hame koi gham nahi thaa - Mehdi Hassan

6 Puchho naa kesee mein ne rain bitaee

7 Raam teri gan meli ho gai

8 Kehdo koi naa kere yahan pyaar

9 Mein to ik khawab hun - Mukesh

10 Hai isi mein pyaar ki aarzoo

• Sa Re Ma Pa Dha Sa
• Sa Ni Dha Pa Ma Ga Re Sa
• • Sargam Practice
  • • Identify Raga From Raga Based Film songs

7 Sawan aya tum nehi aie

8 Oh dunya ke rakhwale Film Beju Banwra

9 Jab bhi chahen ik nai soorat Mehdi Hassan

10 Apno ne gham die to mujhe yaad Mehdi Hassan

11 Tu jo nehi hai to kuch bhi nehi hai S B John

12 O sun le oh Jane wafa Tu hai dunya meri Film Sangdil (Pakistani)

Note Please note that some songs may not adhere completely to a ragas format ie they may not represent the raga in its pure form While each song in in desi music is based primarily on a raga but certain changes have been made while composing film songs Some songs have their asthaay and antara based on different ragas Such songs have been categorized based on the ragas of asthaayi or ragas of antra

Thaat Bhairav or Bhero

Songs of Thaat Bhero1 Mohe bhool gae sanwarya 2 Saj rahi gali meri amma sunhere gote mein 3 Oh lagi re laage lagan yehi dil mein - Mehdi Hassan

4 Dard se mera daaman bher de - Jagjeet

5 Hame koi gham nahi thaa - Mehdi Hassan

6 Puchho naa kesee mein ne rain bitaee

7 Raam teri gan meli ho gai

8 Kehdo koi naa kere yahan pyaar

9 Mein to ik khawab hun - Mukesh

10 Hai isi mein pyaar ki aarzoo

• Sa Re Ma Pa Dha Sa
• Sa Ni Dha Pa Ma Ga Re Sa
• • Sargam Practice
  • • Identify Raga From Raga Based Film songs