Preetham Bijageri

English Introduction   Raag : Bhoop Aarohan : Sa | Re | Ga | Pa | Da | Sa| Avarohan : Sa | Da | Pa | Ga | Re | Sa Vaadi Swar : Ghandhar (Ga)  Sumvadi swar : Daivath (Da) Jaathi : Audava (5) Time/Samaya : Evening 6-9pm (1st Prahar) Rasa/Type : Shanthi Gambir Thaat : Kalyani Anga : Poorvanga Hindi Intoduction राग : भूप आरोहण : सा | रे | गा | पा | दा | सा| अवरोहण : सा | दा | पा | गा | रे | एसए वादी स्वर : घांधार (गा) सुमवादी स्वर : दैवत (दा) जाति : औडव (5) समय/समय : शाम 6-9 बजे (पहला प्रहर) रस/प्रकार: शांति गंभीर थाट : कल्याणी अंग : पूर्वांग Frequently asked questions on Bhoop Raag: 1. Which raag belong to the thaat of Kalyani ? ANS : Bhoop raag belongs to Kalyani thaat as it has all shudh swar. 2. Write the notation of kalyani thaat. ANS : Sa | Re | Ga | Ma | Pa | Da | Ni | Sa| Here all the notes/swar's are shudh(Pure) only Madhyam (Ma) is thivra swar. 3.How many Swar/Notes are present in Raag Bhoop ? ANS : Five notes ,They are : Sa | Re | Ga | Pa | Da | 4. What are the Vaadi and Sam

D hrupad and Dhamar  D hrupad and Dhamar are the oldest forms of Hindustani classical music which are still in vogue. It is believed that these forms have their roots in the ancient compositional form ‘Prabandha’. In these forms, there is special emphasis on the purity of Raga.  Sung to the accompaniment of Pakhawaj, the Dhrupad form is set to Talas such as Chau Tala, Sool Tala, Brahma Tala etc., whereas the Dhamar form is set to Dhamar Tala. The subject matter of Dhrupaad usually consists of praises of deities and patronizing kings, whereas that of Dhamar describes Holi. Both these forms flourished around the 16th century, which was known as the golden age of these forms. OBJECTIVE 1.After studying this lesson, the learner would be able to 2.Explain in brief history of Dhrupad and Dhamar;  3.Define the forms Dhrupad and Dhamar 4.Identify the forms of Dhrupad from other forms; 5.State the names of different Banis of Dhrupad singing; 6.State the name of some great Dhrupad artists. DEFIN

  In ancient times, ten elements of Tala were in practice, namely - Kaal, Marga, Kriya, Anga, Graha, Jati, Kala, Laya, Yati and Prastara which are collectively known as ‘Tala Dash Prana’. Present day elements of Tala include Avartan, Matra, Laya, Bol, Theka, Vibhag, Sam, Khali and Tali. To be able to identify and follow any Tala, a knowledge of these elements is required. They are being described below: Avartan - The complete cycle of a given tala is called Avartan. It can be repeated more than once. Example, the Avartan of Teen Tala  

M usic is a performing art which is perceived during the process of creation as against Visual arts like Painting, Sculpture and Architecture, which are perceived after the process of creation is completed. Music is determined by the movement of audible forms that give the illusion of virtual time. Just as Visual arts need a measure of space, Performing arts need a measure of time. In Hindustani music, a composition is set to a particular ‘Tala’ or beat with definite intervals. Through the medium of ‘Tala’, an appearance of motion is achieved with the passage of one interval and onset of another. The duration between these intervals gives us the measure of time. This is virtual time that is created within the musical composition. OBJECTIVE Through this lesson, the learner would be able to : - explain the concept and meaning of Tala ; - define Tala ; - differenciate between the ancient and present day of Tala ; - describe the given elements of Tala ; - state the Bols of the

Hi everyone, I am Preetham Bijageri. I hope you are doing well. Tomorrow ie Sunday 24 I am going to publish a new element of HINDUSTANI MUSIC. I hope you will love it.! Stay tuned for more information... 🙏 

  ELEMENTS OF RAGA I n Indian society, music finds expression through    classical as  well as folk streams. The basis of all classical music is believed  to be folk music, which takes the form of classical music upon being bound  by certain rules. The tradition of Hindustani classical music in India abounds   in various styles as well as forms. The basic melodic structure that defines them is   called ‘Raga’. The concepts of Raga and Tala give expression to the main components of music, that is melody and rhythm respectively. If Tala forms the rhythmic foundation upon which a composition is  established, then Raga is the core of the composition’s melodic configuration and its elaboration spanning different forms and styles of Hindustani classical music. The classical character of Hindustani music is exemplified through the medium of Raga in that it adheres to strict rules, which are not seen in other streams of music.   OBJECTIVE After studying this lesson, the learner would be able t

H industani classical music has primarily been vocal centric. This is impliedb y the term ‘Sangeet’ itself that is used for music, which literally means ‘singing in a correct way’. Most of the forms were originally suited forvocal performance and instruments were designed to emulate the human voice.Singing, instrumental music and dance together constituted music or ‘Sangeet’. OBJECTIVE After studying this lesson, the learner would be able to :- 1.  state the foundation of music is based mainly on the elements like Nada, Shruti and Svara;  2. write the two main types of Nada, Ahat and Anahat; 3.  explain the Saptaks are usually used in music; 4. define Alankaras and the benefit of their use in music. SANGEET The term 'Sangeet' is formed by the combination of two words sam+geet. ‘Sam’ means complete in all respect or proper while ‘geet’ means to sing. By joining thet wo it means to sing in a proper manner. That is, singing in a proper manner following set rules is Sangeet or musi