MUSIC IN MOTION

The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Dhanashri

Although this rag is rarely heard today, literature from mid-20th century provides reference to four different varieties based on elements of rag-s like: Bhimpalasi (vide), Bhairavi (vide), Patdip (vide) and Bilaval respectively (Rao [Raga nidhi II] 1964: 30).

Tone material: S R G m P D N

The variety presented on the accompanying recording includes all natural notes. It resembles a melody called shubh prevalent in the folk music of Rajasthan (ibid).
Re and Dha are omitted from the ascent, but as seen in this recording, Re could be included in the ascending phrases around high Sa. Ga and Ni are important notes and Pa is a resting note that can be sustained.

Some characteristic phrases:
mP – m Gm G R S
S R S G –

A variety of this rag with a base of Bhimpalasi is often used in shabad kirtan, religious songs in Sikhism.

Time evening (ibid)

Further listening:
Recording by V. R. Athavale

Performance by Aslam Khan

Composition: khayal

जाये कहो मोरा
इतना संदेसवा
कौन दिन (दिना) अांगनवा अावे (अावोगे)

उडियोरे कागा
पिया की देत (देस)
इतनी बिनती मोरी
उन सो कहियो
कौन दिन (दिना) अावे (अावोगे)

Oh bird, please go and convey my message to my beloved. Ask him when would he return to my abode.

Tal: Rupak (slow tempo)

Performance:
12-17: Pa is approached and sustained. Note the phrase ending on Ga
22- 25: Pa held within the characteristic phrase – mP – m Gm G R S
27-32: A typical phrase leading to Ga
35-37: Again – mP – m Gm G R S to return to Sa
48: Composition begins. Note the refrain including characteristic phrase – S R S G – and the accentuated beat (sam) of the 7 -beat rhythmic cycle coinciding with Ga, an important note in this rag
74: Second line, also having the accentuated beat coinciding on Ga
105: First part of the composition (sthayi) repeats with some variations
135: Second part of the composition (antara)
155: Following line
171: Concluding line
194: Improvisations using words of the composition (bol alap). Note the focus on Pa
226: Focus now shifts to high Sa. Note a movement from the low to high Sa (231-232)
245-259: Movements descend to Pa and then gradually conclude with a typical phrase – mP m Gm G R S

 
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