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Raga_Mala

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Reply with quote  #1 
Hi,
I am trying a new challenge for myself, which is listening to new ragas and trying to determine the characteristics of the raga based only on listening.

At the moment, my ear is only good enough to pick up aroh and avroh. I cannot usually identify key phrases, perhaps because they are so often altered by gamak/microtone changes.

I was trying to self-check my knowledge of Suhag Bhairav but I could find no online raga definition.

I wonder if anyone here is familiar with the raga and can check my work?

The notes I heard: Shuddh Ni, Sa, Komal re, Shuddh Ga, Shuddh m (very occasional tivra Ma?), Pa, komal dha AND shuddh Dha (Dha seemed to be on ascent, dha on descent?), shuddh Ni and (very rarely) komal ni? Does this sound right?
The great emphasis seemed to be on Shuddh Ni, Shuddh Ma, Sa and Pa. Komal re, Ga, and Shuddh Dha seemed very lightly dealt with. Tivra Ma only appeared once or twice as an ornament to Pa, never self-standing. Shuddha Dha also seemed to appear only in conjunction with Pa phrases, although it was struck as its own swar. In other phrases komal dha was prevalent.

HOW'D I DO?

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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;
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Trans. Arthur Ryder
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plectum

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Reply with quote  #2 
I am not familiar with this raag, I would really like to listen to this raag. Will it be possible for you to post a link to this recording? But AFAIK oscillated r and d are the identifying features of bhairav. Are they being applied straight or with oscillation, in the recording? D in ascent and d in descent sounds correct to me though, because AFAIK (again ) when both shades of a tone are present in a raag, the higher shade presents in ascent and the lower in descent.
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Raga_Mala

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Reply with quote  #3 


That is the video I used as my reference. It is Amjad Ali khansaheb at Pune.

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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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plectum

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Reply with quote  #4 
Hi Raga_Mala, I could not find anything about this raag either, but on listening to the video, I think you have got the swars right. Since this raag is not listed anywhere, I am assuming that it is Amjad Ali's own creation? I am a bit confused though, because while the raag broadly follows Bhairav's chalan, from time to time he seems to be trying to switch to another raag from M. What is it with the tivra ma? I do not know of any morning raag (except mishra bharavi) which uses M. Maybe someone else can clear this up.
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nicneufeld

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Reply with quote  #5 
What I've found online:

http://bhavalaya.com/art%20and%20culture/popular_hindustani_vocalists.html
"Amjad Ali Khan ... has composed many ragas of his own like Kiran Ranjani, Haripriya Kanada, Shivanjali, Shyam Shri, Suhag Bhairav,"

Suhag is an alternate spelling for Sihag, which as I understand is a clan in India:
http://en.wikipedia.org/wiki/Sihag
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plectum

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Reply with quote  #6 
Thanx Nic,
Suhag also means love in hindi, so that is also another possibility.

Anyway I was quite surprised to know that amjad ali has become the "sarod samrat" :?

Bhairav is an extraordinarily beautiful and evocative raag. Making an addition or changing something in this raag without taking away the emotional impact from it is not easy. In parrikar's site there are two recordings on a Bhairav variant called kabiri bhairav,in which suddha dha is added to a beautiful effect. The two recordings provided, of Mallikarjun mansur and kishori amonkar are both wonderful.

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nicneufeld

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Reply with quote  #7 
Quote:
Originally Posted by "plectum"
Suhag also means love in hindi, so that is also another possibility.
And a much likelier one, I would say! I am at rather a large disadvantage in that the scant amount of hindi I know is clustered around either music vocabulary or culinary vocabulary...

Wouldn't, if he emphasizes tivra ma, this more akin to the poorvi thaat than bhairav, at least in thaat if not raga?
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Raga_Mala

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Reply with quote  #8 
Quote:
Originally Posted by "nicneufeld"
Wouldn't, if he emphasizes tivra ma, this more akin to the poorvi thaat than bhairav, at least in thaat if not raga?
If you listen to the rendition, he does not at all emphasize tivra Ma. Tivra Ma is used very passingly, primarily between two Pa's. Shuddh ma receives much more emphasis (along with Shuddh Ni, Sa and Pa).

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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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plectum

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Reply with quote  #9 
ops: Huge blunder on my part.....morning raag todi does use tivra ma. Has amjad ali conceived this raag as bhairab with some todi elements?
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You know, music, art - these are not just little decorations to make life prettier. They're very deep necessities which people cannot live without. ~~ Pablo Picasso
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panchamkauns

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Reply with quote  #10 
It’s probably more worthwhile to try this exercise with ragas that are not quite so rare ... such that they are not recent inventions, and have been recorded by more than one musician.

Still, interesting to make this new aquaintance! Amjad Ali is known for making up ragas frequently (and calling them stuff like ”Tribute to America”!) but this, I think, has been one of his more interesting creations ... I am surprised how much I liked it. He sure is an artist of stature.

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plectum

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Reply with quote  #11 
Well, he does not call himself Sarod Samrat for nothing.
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You know, music, art - these are not just little decorations to make life prettier. They're very deep necessities which people cannot live without. ~~ Pablo Picasso
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