Preetham Bijageri

Bhirav Raag Introduction Bhirav Raag Bhirav raag is a morning raag in Hindustani classical music. It is a pentatonic raag, which means it is composed of five notes (swaras) of the octave. The notes used in Bhirav raag are Sa Re Ga Pa Dha Sa. Bhirav raag is known for its solemn and contemplative mood. It is often performed at the beginning of a concert to set the tone for the rest of the performance. The aroha (ascending) and avaroha (descending) of Bhirav raag are as follows: Aroha: Sa Re Ga Pa Dha Sa Avaroha: Sa Dha Pa Ga Re Sa

ರಾಗ್ ಭೂಪಾಲಿಯ ಲಕ್ಷಣ್ ಗೀತ್ ರಾಗ್: ಭೂಪಾಲಿ/ಭೂಪ್                                                                   ತಾಲ್: ಟೀಂಟಾಲ್ (16 ಬೀಟ್ಸ್) ಸ್ಥಾಯಿ ಗಾವೋ ಭೋಪಾಲಿ ಔಡವ ಜಾತಿ ಸ ರೇ ಗ ಪ ದ ಸಾ ಆರೋಹಿ ಅವರೋಹಿ ಅಂತ್ರಾ ಪ್ರಥಮ ಪ್ರ ಹರ ನಿಶಾ ಗಯೇ ಭಜಯೇ ॥ ವಾದಿ ಕರೇಗ ದಾಸೋ ವಾದಿ ನಮ್ಮ ಸೈಟ್‌ಗೆ ಭೇಟಿ ನೀಡಿದ್ದಕ್ಕಾಗಿ ಧನ್ಯವಾದಗಳು. ನೀವು ಉತ್ತಮ ಭಾವಿಸುತ್ತೇವೆ. ಯಾವುದೇ ಪ್ರಶ್ನೆಗಳಿದ್ದಲ್ಲಿ ನನ್ನನ್ನು ಸಂಪರ್ಕಿಸಲು ಮುಕ್ತವಾಗಿರಿ.

ರಾಗ: ಭೂಪ್ Introduction to Raag Bhoop in Kannada ರಾಗ : ಭೂಪ್ ಆರೋಹಣ : ಸಾ | ರಿ | ಗ | ಪ | ದಾ | ಸಾ| ಅವರೋಹಣ : ಸಾ | ದಾ | ಪ | ಗ | ರಿ | ಸಾ ವಾದಿ ಸ್ವರ : ಗಂಧರ್ (ಗಾ) ಸಂವಾದಿ ಸ್ವರ : ದೈವತ್ (ದಾ) ಜಾತಿ : ಔಡವ (5) ಸಮಯ : ಸಂಜೆ 6-9 (1ನೇ ಪ್ರಹಾರ್) ರಸ/ಪ್ರಕಾರ : ಶಾಂತಿ ಗಂಬೀರ ಥಾ ಟ : ಕಲ್ಯಾಣಿ ಅಂಗ : ಪೂರ್ವಾಂಗ

Introduction To Raag Bhirav Raag : Bhirav Aarohan : Sa Re Ga Ma Pa Da Ni Sa Avarohan : Sa Ni Da Pa Ma Ga Re Sa Vaadi : Daivath (Da) Samvadhi : Rishabh (Re) Jaathi : Sampoorna (All notes) Anga : Uttaranga That : Bhairav Time : 6pm tp 9pm Rasa : Shantha rasa                      In this Raag Rishab and divaat are Komal swaras(Notes) and rest all 5 notes are Shudh Hindi translation राग : भैरव आरोहण : सा रे गा मा पा दा नी सा अवरोहण : सा नी दा पा मा गा रे सा वादी : दैवत ( दा ) संवादी : ऋषभ ( रे  ) जाति : संपूर्ण (सभी नोट्स) अंग : उत्तरंगा वह : भैरव समय : शाम 6 बजे टीपी 9 बजे रस : शांता रस                      इस राग में ऋषभ और दैवत कोमल स्वर हैं और शेष सभी 5 स्वर शुद्ध हैं।

 Lakshan Geet of Raag Bhoopali Raag : Bhoopali/Bhoop                                                       Tal : Teental (16 beats) English: Gaao Bhopaali audava Jaati Sa Re Ga Pa Da Sa aarohi avarohi Antra  Prathama Pra Hara nisha gaaye bhajaye  Vaadi  karega daasou vadi Hindi : गाओ भूपाली ओडवा जाती  सा रे गए प् दा स आरोही अवरोही  आन्तरा प्रथम प्र हरा निशा गाये भजाये  वादी करेगए दासौ वादी  Notations : (Sa - स  Re - रे Ga - ग Pa - प  Da - द )    1 | 2 | 3 | 4  | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13   |   14  | 15 | 16 |                                                                             |Sa|Da | Sa| Re |gapa|dapa| ga | ss | Sa|Re|ga|pa|da|sa|sa|ss|sa |Re | ga |pa | da    | sa    |ss   | ss | sa | sa|da|pa|ga|re|sa|ss| Antra                                       |ga | ga |ga|  ga |pa     |pa    | sa  |da |  sa |ss |sa |sa|re|da|sa|ss| sa | re  |ga|  re |sa      |da    |pa  |ga | da| pa|ga|re|ga|re|sa|ss| Thank you for visiting our site. Hope you feel good. In case of any querie

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