My Music Diary

  Raag Yaman – Complete Guide (Aaroh, Avroh, Pakad, Time, and Characteristics) Raag Yaman is one of the most important and widely performed ragas in Hindustani classical music . Known for its peaceful and devotional mood, it is often the first raga taught to beginners and remains a favorite among performers. Basic Information of Raag Yaman Thaat: Kalyan Jati: Sampurna – Sampurna Vadi: Gandhar (Ga) Samvadi: Nishad (Ni) Time of Performance: 1st Prahar of Night (6 PM – 9 PM) Swar Structure of Raag Yaman Raag Yaman uses Teevra Madhyam (Ma#) , while all other notes are Shuddha Swaras . This single use of Teevra Madhyam gives the raga its unique, bright, and soothing character. Aaroh and Avroh of Raag Yaman Aaroh (Ascent): ,Ni Re Sa – Ni Re Ga Ma Pa Dha Ni Sa’ Avroh (Descent): Sa’ Ni Dha Pa Ma Ga Re Sa ,Ni Re Sa A key feature is the prominent use of Nishad (Ni) in the Aaroh , which enhances the beauty of the raga. Pakad / Mukhya Ang of Raag Yaman So...

  Raag Alhaiya Bilawal / Bilawal Swar: Madhyam is omitted in the ascent (Aaroh). Both forms of Nishad (Shuddha and Komal) are used, while the remaining swaras are Shuddha. Jati: Shadhav – Sampurna Thaat: Bilawal Vadi – Samvadi: Dhaivat – Gandhar Time: Early morning (1st Prahar, around 6 AM to 9 AM) Vishranti Sthan (Resting Notes): Sa, Ga, Pa, upper Sa, Pa, Ga Mukhya Ang (Key Phrases): G R G P ; D n D P ; m G R ; G P D N S' Aaroh – Avroh: Aaroh: S R G P D N S' Avroh: S' N D P D n D P m G R S Raag Alhaiya Bilawal emerges from Raag Bilawal with the inclusion of Komal Nishad, giving it a soft, pleasing, and tranquil character. In some traditions, Raag Bilawal itself is referred to as Alhaiya Bilawal. A distinctive feature of this raag is that Dhaivat, although the Vadi swar, is not typically used as a resting note. Instead, Pancham and Gandhar serve as the primary nyas swaras. The use of Komal Nishad is characteristic, especially when it appears between two D...

  Raag Jaunpuri Swar Structure In the ascent (Aaroh), Gandhar is omitted . Gandhar, Dhaivat, and Nishad are rendered as Komal swaras , while all other notes remain Shuddha . Jati Shadhav – Sampurna (6 notes in ascent, 7 in descent). Thaat Asawari Vadi – Samvadi Dhaivat – Gandhar Time of Performance Second quarter of the day (9:00 AM to 12:00 PM) Resting Notes (Vishranti Sthan) R, P, d, S’ – d, P, g, R Aaroh – Avroh S R m P d n S’ S’ n d P m g R S Mukhya Ang (Key Phrases) R m P, d m P S’ R’ n d P m P n d P d m P g R m P Raag Description Raag Jaunpuri shares a close resemblance with Raag Asavari in its overall expression and carries a gentle, melodious charm. However, a key distinction lies in the ascent: while both Gandhar and Nishad are omitted in Asavari, only Gandhar is omitted in Jaunpuri . Characteristic phrases such as: R R m m P, d m P g R S, and R n S help define the identity of the raag. The phrase d m P g R S is often rendered with smooth meend (...

 🎶 Raag Bhairav – The Essence of Dawn 🌅 One of the most profound morning ragas, Raag Bhairav creates a deeply meditative and serene atmosphere. With its signature komal Rishabh and komal Dhaivat , rendered with gentle oscillations, the raga evokes a sense of devotion and introspection. Its expansive nature allows exploration across all octaves, painting a vast, ocean-like emotional landscape. ✨ A perfect companion for the stillness of early mornings. Raag Bhairav – Overview Swar Structure: This raga employs Komal (flat) Rishabh (Re) and Dhaivat (Dha) , while all other notes remain Shuddha (natural) . Jati (Note Count): Sampurna in both ascent and descent (uses all seven notes in Aaroh and Avroh). Thaat: Bhairav Vadi – Samvadi: Dhaivat (primary note) and Rishabh (secondary note) Time of Performance: Early morning, specifically during the first quarter of the day (approximately 6 AM to 9 AM). Key Resting Notes (Vishranti Sthan): Sa, Ma, Pa, komal Dha, upper Sa;...

Raag Rageshree: https://youtu.be/UjDVLDZ7cvE?si=_q2FRXROf4Fk3-tr  Raag Multani: https://www.youtube.com/watch?v=b1eornyOk34&t=500s Raag Madhuvanty: https://www.youtube.com/watch?v=QWsxwA8PY7E&t=1737s Raag Suha Sughrai (snippet): https://youtu.be/cJvCRQqF0ys?si=IGuou7hQWAPN-cAr Raag Nand: https://youtu.be/ddqko4ovbJs?si=24F1TE2InkmWLY4e Raag Darbari: https://youtu.be/YRD-_6rbFWc?si=Gfxn-lSlKyeda8zm Raag Desh, Shyam Kalyan etc: https://www.youtube.com/live/vbPQk4MDFDQ?si=PlNazGGGnda0nBpy Raag Bihag: https://www.youtube.com/watch?v=LHI-CANtAIU&t=475s ==================================

In Hindustani instrumental music , especially in sitar, sarod, surbahar, and violin, terms like Ladi, Lad-guthao, Lad-lapet, and Ladant relate to rhythmic-melodic development in gat and taan playing. 1. Ladi (लड़ी) Meaning: A Ladi is a chain or series of similar patterned notes played in sequence. In practice: Repeated note-patterns moving stepwise or rhythmically Common in drut gat Builds momentum and brightness Example (Teentaal): Sa Re Sa Re | Ga Ma Ga Ma | Pa Dha Pa Dha 2. Lad-Guthao (लड़ गुथाओ) Meaning: “Guthao” means to interweave . In practice: Interlocking of swaras, bol patterns, and rhythm Not straight taan — more crafted and layered Uses meend, kan-swar, and subtle layakari Creates a dense, intellectual musical texture. 3. Lad-Lapet (लड़ लपेट) Meaning: “Lapet” means to wrap around . In practice: Notes wrap around a main swara Use of murki, khatka, zamzama Circular phrasing around vadi or nyas swara Example: Ga (Re Ga Re Sa) Ga Adds orna...