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Sargam (from SA-RE-GA-MA), a technique for the teaching of sight-singing, is the Hindustani or North Indian equivalent to the western solfege. Sargam is practiced against a drone and the emphasis is not on the scale but on the intervals, thus it may be considered just intonation. The same notes are also used in South Indian Carnatic music.
"Akhiyan Hai Noor Bhari" (version 1) "Akhiyan Hai Noor Bhari" (version 2) Pyaar Ka Pahela Sawan "Aaj Meri Zindagi Pyar Pyar Hi Gayi" Sunanji Suman Naadaan "Yeh Kaisi Fizaayein" Prawaasi "Ibadat Ki Arzoo Thi Dil Mein" Mohammed Yasmin Mohammed Aziz Pyaasi Mamta "Hum Pyaar Karte Hain Sanam" Surinder Kohli R. V. Singh solo "Lab Pe Jo Hansi Hogi"
Sargam refers to singing the notes, mostly commonly used in Indian music, instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. This is generally done in medium-tempo as a bridge between the alap and taan portions.
Śaṃkarābharaṇaṃ's notes when shifted using Graha bhedam, yields 5 other major Melakarta rāgas, namely, Kalyāṇi, Hanumatodi, Natabhairavi, Kharaharapriya and Harikambhoji. Graha bhedam is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāga. Refer table below for ...
Durga has the same notes as Malhar, another popular raag and one of old pedigree. The aural experience of both are significantly different. Technically, they are made apart by the use of rishabh (Re). Durga is also readily distinguished by its salient use of the phrase Sa Re Dha Sa. 1) Common phrase Re Pa, distinguished by the use of Re
Poova Maramum Poothadu [1] Naan Petra Selvam: G. Ramanathan: T. M. Soundararajan & jikki: Abheri / Bhimpalasi: Kannan Mananilaiyai [2] Deivathin Deivam: G. Ramanathan: S. Janaki: Ābhēri/ Bhimpalasi: Vaarai Nee Vaarai [TH - A Raga's Journey 1] Manthiri Kumari: G. Ramanathan: Tiruchi Loganathan & Jikki: Abheri / Bhimpalasi: Sadiseyako Gali ...
Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and in some cases Shadav; the ascending Aaroha scale and the descending style of the avroha includes all seven notes in the octave (When it is audav, the Aroha goes like N,RGmDNS', where the fifth note is omitted; Pa but the Avaroha is the same complete octave).
Aroha: N' S g m P N S' [1] Avaroha: S" N D P, m P g, m g R S [1] The raag has Komal Ga. It is an Audava-Sampoorna raga, implying that it has 5 notes in Arohana and 7 in Avarohana. Raag Patdeep is formed when pure N is taken instead of komal n in Raag Bhimpalasi. Patdeep is essentially Gowrimanohari sans rishaba and dhaivata in ascent. [2]