Three main gharanas of thumri — Benaras, Lucknow and Patiala….Major Styles of Hindustani Music.

Raga Bageshri or Bageshree (IAST: Bāgeśrī) is a Hindustani classical raga….Bageshri.

Yerwada and Bageshwari are two types of charkhas. Yerwarda charkha was modified in the 1930s and used by Mahatma Gandhi while he was in Pune’s Yerwada jail during the Quit India movement.

Jaati of Raag Bageshwari is Audav-Sampooran. We consider bageshri as Audav- Vakra sampoorna, because avaroha comes as SA NI DHA MA PA DHA MA GA RE SA.

Pa is omitted in ascent and used rather infrequently in descent. It is very common to avoid it in fast passages. Sa and Ma are the strong notes but Dha is sustained as well in the typical movement m /D- n D /m. Both Ga and Ni can be oscillated.

five gamakas
Hindustani music has five gamakas. The gamaka is similar to meend and andolan.

Darbhanga Gharana: They sing the Khandar Vani and Gauhar Vani. They emphasise on the raga alap as well as composed songs over an improvised alap….Major Styles of Hindustani Music.

Raga Bhairav is a raga associated with Lord Shiva. Bhairav is considered a masculine Raga and its consort is Raga Bhairavi (another melodious late morning Raga). Bhairav Raga is based on the family (or Thaat) also called Bhairav. Bhairav Thaat has other morning ragas too such as Ramkali and Jogiya.

dna’s web team brings you the 5 Hindustani Classical Raags that you must listen to on World Music Day.

1. Raag Hamsadhwani. Hamsadhwani is a beautiful raag of the evening.
2. Raag Mian ki Malhar. The raag was composed by the great Indian Maestro Tansen.
3. Raag Bhopali.
4. Raag Bhairav.
5. Raag Kafi.

To improve your gamaka, you can also sing the phrases next with the sound aaa… instead of the swaras. Then try other syllables, like eee…, ooo…, ayyyyy…., aii…., mmm…., ohhhh…. etc. Add the taaLam when you are proficient at the early lessons. This will be useful especially when singing in the four speeds.

It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century . In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music.

Bageshri (IAST: Bāgeshrī) is a Hindustani classical raga. It is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover.

Bageshri is an asymmetric scale that does not contain panchamam in the ascending scale. It is called a shadava-sampurna rāgam, [1] in Carnatic music classification (as it has 6 notes in ascending and 7 notes in descending scale).

Bageshri has become a popular raga in Carnatic music. This scale has been used in a few krithis (compositions). In addition, many devaranamas, ashtapadis, thiruppugazhs, and other lyrics have been set to tune in this raga.

Eminent classical singer Ustad Sayeeduddin Dagar, who is credited with keeping the Dhrupad tradition of Indian classical music alive, died late last night due to old age. He was 78 and is survived by his wife and two sons.

Samgana
Dhrupad traces its origin to the ancient text of Samaveda. The Samaveda was chanted with the help of melody and rhythm called Samgana.

Talas used in Dhrupad singing are ChauTala, SoolTala, Teevra, Matta, Brahma and Rudra Tala. Dhamar is invariably set to Dhamar Tala. Both the forms are sung to the rhythmic accompaniment of Pakhawaj, a percussion instrument. 1.

Ustad Abdul Karim Khan
Kirana Gharana, which got its name from a small town called Kerana in North India and founded by Ustad Abdul Karim Khan has traversed the length and breadth of India, bringing into its fold artistes such as Abdul Wahid Khan, Suresh Babu Mane, Hira Bai Badodekar, Roshanara Begum, Sawai Gandharv, Basavraj Rajguru.

Namashkar. In this edition of Short Takes, we shine the spotlight on Raga Bageshree and its allies. Bageshree is an old and ‘big’ raga, popular with even women and children. It finds mention in the older treatises as “Vageeshwari.” Throughout the following discussion, M = shuddha madhyam and m = teevra madhyam.

Malgunji is a product of the synergy between elements of Khamaj and Bageshree. A sound understanding of such ragas is acquired only after they have done a good deal of time within the walls of your mind.