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Raga_Mala

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Reply with quote  #1 
I've been listening a lot to Ravi-ji's lengthy "Jogeshwari" on the album "Vision of Peace" and I am really loving this Raga. I cannot find a good resource that tells the stats on this raga.

The only things I have been able to ascertain from internet research are that Jogeshwari is "a mix of Jog and Rageshri" and that it belongs to Khamaj thaat.

Clearly it has mostly shuddha svaras except for komal ni and occasional komal ga...I can't distinguish anything else?

Does anyone know the aroh/avroh for this raga or anything else about it>?

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"Not all is good that bears an ancient name,
Nor need we every modern poem blame;
Wise men approve the good, or new, or old;
The foolish critic follows where he's told."
-Kalidas, Malavikagnimitra I.i.2
Trans. Arthur Ryder
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jaan e kharabat

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Reply with quote  #2 
I listened to Mubarik Ali Khan of Pakistan's rendition of this raga and what I can glean from this is: very strong Rageshri base but in place of that raga's typical avroh cadential phrase back to the Sa, namely, G M R S, in Jogeshwari the Jog element G M g S or M G g S, n S g S etc is inserted.

Aroh : S G M D n S''
Avroh: S n D G M g S

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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Raga_Mala

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Reply with quote  #3 
M=tivra ma?
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"Not all is good that bears an ancient name,
Nor need we every modern poem blame;
Wise men approve the good, or new, or old;
The foolish critic follows where he's told."
-Kalidas, Malavikagnimitra I.i.2
Trans. Arthur Ryder
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jaan e kharabat

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Reply with quote  #4 
No, the other kind...
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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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Raga_Mala

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Reply with quote  #5 
Quote:
Originally Posted by "Raga_Mala"
M=tivra ma?
Oh you're one of THOOOOSE... :wink:

__________________
"Not all is good that bears an ancient name,
Nor need we every modern poem blame;
Wise men approve the good, or new, or old;
The foolish critic follows where he's told."
-Kalidas, Malavikagnimitra I.i.2
Trans. Arthur Ryder
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jaan e kharabat

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Reply with quote  #6 
Well seeing as neither Rageshri nor Jog contain the tivra madhyam, in this context any "em" would represent the shuddh/komal variety.

From now on I will write all sargam in uppercase and qualify it appropriately with a "k"(komal) or "t"(tivra) superscript. That is the easiest way to eliminate the confusion.

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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Raga_Mala

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Reply with quote  #7 
Yeah I wish someone in Indian music had enough authority to lay down the law and finalize once and for all.

As for myself, I am habituated to use m for shudh ma and capitals for all other shuddh svaras. (Also I am habituated to call them "shuddh" instead of using the komal/tivra nomenclature--in other words only r,g,d,n take "komal" and only M takes tivra).

But that is only my habit and I realize these other formats are also valid.

__________________
"Not all is good that bears an ancient name,
Nor need we every modern poem blame;
Wise men approve the good, or new, or old;
The foolish critic follows where he's told."
-Kalidas, Malavikagnimitra I.i.2
Trans. Arthur Ryder
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