A great music site for some of us begginers! Videos with movement of notation for Rag development with audio provide a wonderful visual aid for auditory association. Further to capture notation – Is there a companion transcribed site reading link to the video? In booklet page the link to “what you see is not what you hear” doesn’t launch. Error message server not found. Can that be enabled?
Overall a very informative site with great resource! Glad to have found it!
When talking about raga Bairagi, you say it is a prakar of Bhairav.. or form of Bhairav.. or even worse you say that Bairagi is also known as Bairagi Bhairav.
No sir. Bairagi and Bairagi Bhairav are different ragas, nor is it fair to say that it is a form of Bhairav. For example, you may say that Aahir Bhairav is a form of raga Bhairav (even though Aahiri is an established raga in its own accord). Bairagi is a well established raga of its own personality, of course belonging to Bhairav thaat.
Bairagi Bhairav is a Samkirna Raga with Bairagi in ascend and Bhairav in descent; but it is not a prakar of Bhairav. From the perspective of or considering what ragas really are .. we must be careful in what we say. Many great musicologists (e,g, Shrii Ramashraya Jha ak Ramranga) and performers (such as Raajan Saajan Mishra) have said that these days people take pride in saying that they created “new” raga. But changing few notes here and there or mixing different ragas in ascent and descent doe snot make a raga. Along the same line of logic Samkirna ragas are legitimate ragas and should not be looked upon as “mixture” of raga or form of one raga (ascending one) or the other (descending one). We do not say that Khir is mixture of milk, sugar and spices !! Khir is Khir because it has unique taste of Khir. Ragas genuinely possess personality of their own. Mixing different ragas to make a new raga is like mixing milk, sugar and spices to make Khir. More than likely your Khir will not taste like Khir unless you know how to cook or you are professional cook.
Composing new ragas takes visionary aesthetics of creating personality. In modern day there are a few genius examples of new ragas .. such as Chandra Nandan, or Medhabi… both created by Ali Akbar Khan sahib. Aalamgiri was also a creation of Ali Akbar Khan sahib but in my opinion, it was not as much of creative aesthetics. And as is well known, Aalamgiri (along the line of Abhogi) did not receive as much acceptance by the public as Chandranandan and Medhabi. Nor did Parmeshwari (attempted along the line of Bageshri / Rageshrii) claimed by Ravi Shankar as a legitimate new creation. Purity of the raga is not only in correct use of notes, but also along the proper expression of music, with proper emphasis on proper notes, proper phrase, in proper amount, and very importantly in proper use of Nyaas Swara of the raga… and all if it done maintaining the tradition.
You have an interesting point. We are always interested in improving the information on our website, but could you please refer us to the sources which corroborate your view? Our information has been based on J. Shah’s excellent overview of the Bhairav family of ragas. Other sources so far have been either lacking any information or are very vague.
Thanks for the hard work in the site which I just discovered. I am a relative novice. Your notation of black slash and fwd slash is not clear. Which is the grace note? Glide from what to what? Chinu Srinivasan
Thanks for the compliments.
Backward and forward slash stands for a glide (meend) which connects two notes. In case the progression is in the ascending direction (for example, from lower Ni to middle Re it would be shown as N /R with an upward slash and when the tonal progression is in the descending direction (for example, from Re to lower Ni it would be shown as R \N with a downward slash.
I have been listening to Padma Talwalkarji’s Yaman chhota khayal ” Mori ghaghar na bharan de” in Yaman. The bandish is somewhat similar to the raga Yaman tintal bandish by Hirabai Barodekar as there are minor variations in the text of the lyrics.
Your notes/observations on this performance state that the composition begins at 309 seconds. On careful listening, it seems that the actual words or rather the first syllable of “mori” begins a bit later on ‘Re’ and that Padmaji has pre-faced it with the sound syllable ‘Ye’ with the result that the actual bandish seems to start 2 matra-s later. I am correct in my hearing/conclusion?
A small erratum- the khali at 368 seconds has been shown in grey, instead of light or dotted red.