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Puriya Dhanashree is a raga in Hindustani classical music. It belongs to the Purvi thaat and has been derived from the defining raga of that thaat – Raga Purvi. The notes of Puriya Danashree correspond, in Western terms, to the double harmonic scale with an augmented fourth.
Roshan (music director) Lata Mangeshkar: Hindi: Gaud Malhar: Jurm-e-Ulfat Pe Taj Mahal (1963 film) Roshan (music director) Lata Mangeshkar: Hindi: Gaud Malhar: Sharabi, Sharabi Ye Savan Ka Mausam Noor Jehan (film) Roshan (music director) Suman Kalyanpur: Hindi: Gaud Sarang: Woh Dekhen To Unki Inayat Funtoosh: S. D. Burman: Kishore Kumar & Asha ...
Kedar is an ancient raga, with different genres of classical songs, like khayals, thumris, dhrupads, as well as light classical songs based on it. According to the Guru Granth Sahib, raga Kedara (ਕੇਦਾਰਾ) expresses and makes the mind aware of the soul's true character. It conveys the emotions of honesty, integrity and truthfulness in ...
Song Composer(s) Writer(s) Co-artist(s) Amavas Ki Raat: 129 "Is Mehfil Mein" Usha Khanna: 130 "Mastani Barsaat" Bandh Darwaza: 131 "Bheega Bheega" Anand–Milind: Suresh Wadkar: Bungalow No 666: 132 "Rootha Hai Manaa Lenge" Anu Malik: Mohammed Aziz Deewana Mujh Sa Nahin: 133 "Hum Tum Se" Anand–Milind: Amit Kumar 134 "Khadi Raho Baith Jao ...
Bageshri is a very melodic raga in Carnatic music. [7] So, even though this scale has been used only in a few krithis (compositions), many devaranamas, ashtapadis, thiruppugazhs, and other lyrics have been set to tune in this raga. It is typically sung in concerts after the main piece, in viruttams, padams, bhajans, and ragamalika. [7]
These two notes are known as achala swar ('fixed notes'). Each of the other five notes, Re, Ga, ma, Dha and Ni, can take a 'regular' ( shuddha ) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re , the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or ...
Megh malhar has same notes but it is Dhrupad anga raga and is serious in rendering, with a lot of meenḍ. Another distinguishing factor is that while Rishabh is used extensively in Megh Malhar (as also in Sarang), the Rishabh there takes a very strong meenḍ from Madhyam (Me), a salient in the singing of meenḍ -heavy Megh.
Chakravakam, the 16th Melakarta raga of Carnatic music, which is a sampurna scale (all seven notes in ascending and descending scale), closely resembles Ahir Bhairav. [5] However, in the modern times Ahir Bhairav raga has been used in a few Carnatic music compositions and many South Indian film songs as well.