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Raag marwa book

Music Chamber by Moeen Farooqi. Image Courtesy: ArtChowk Gallery. You stand barefoot in the dark, looking as far as you can through the large living room window to the bus stop on the opposite side of the road. You glance at your watch. The small, silver dial tells you it is six thirty-three. The is late. You see the bus draw up, stop, then rumble on again. You strain your eyes to discern the figure waiting to cross the road.

Marva (raga)

You go to the fireplace and light the candles and incense sticks on the mantel piece. You listen for footsteps running along the pavement of your flat, and a knock on the door. You wait a few minutes, but you hear no footsteps, and no knock, only the sound of passing traffic.

You sit in front of the fireplace on the Persian rug which has the tree of life design in green and pink. The plush weave of the silk threads feels soft and smooth. You cross your legs and open the music notation book at Raag Marwa.

You look at your watch, seven minutes have elapsed since the last bus. The effect of this melody form on the listener is to create a feeling of anxiety at the setting of the sun and solemn expectation of night.

You switch on the electronic tanpura and adjust the position of the harmonium, near your knees. With your left hand you release the metal latch on the side of the instrument and with your right you pump the bellows.

You pull out three stops on the front panel. You play a scale of notes on the black and white keys and continue to pump the bellows. You shift the harmonium to the right so that your elbow rests on the frame.

You fiddle with the knob on the tanpura and play the notes again. In the corridor across from the bedroom is a mirror. You catch your reflection.Forgot Password? Login Username. Remember my ID.

Want to Signup? Loading user data please wait. The bandishbase lists different bandishes in different raags and taals.

Bandish literally means to tie something. A bandish is basically a set of words tied together in a raag. All the bandishes are written in devnagri script. The page may load slower due to the fact that you are not required to install any fonts. Use the alphabets to filter bandishes by raag name starting with the selected letter. Abhogi, Shiv. Ada Chau Taal. Thumaka chalata raamachaMdra. Daaree Daaree Daaree raMga mopara kyoM giridhaaree.

Damaroo Dama Dama Dama baaje. Sul Phaakta. Chelaa deUM Chelaa Chela. Amrit Varshini. Bhajni Theka. Sawari, Pancham. Asavari, Jogi. Asavari, Sindhura. Tera suno brijaraaja dulaare. Chum Chanana moree baaje paiMjaniyaa.

Tesula bana phule ranga Chaaye.Marva is the eponymous raga of the Marva thaat. The Ma is actually Ma Tivratara, which is a perfect fourth above Re komal which is cents above Sa [1].

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The Vadi is komal Re, while the Samvadi is shuddh Dha. Notice that these do not form a perfect interval. Sa is omitted within a taan ; it may only be used at the end of a phrase and even then is used infrequently. Thaat : Marwa [7]. Puriya and Sohni have the same tonal material.

In Puriya Ni and specially Ga are emphasised. Komal re of Marwa is slightly higher than komal re of Bhairavi [8]. According to O. For western listeners the tone material may feel strange. As the sixth is emphasised while the tonic is omitted it may feel like playing in A Major, while the base tone is C not C sharp. If the musician turns back to Sa at the end of a phrase it always comes like a surprise note.

Ni is not a leading note to Sa. Bor characterizes Marwa as "heroic".

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Marwa is also characterised as quiet, contemplative, representing gentle love. According to Kaufmann [15] is the overall mood defined by the sunset in India, which approaches fast and this "onrushing darkness awakes in many observers a feeling of anxiety and solemn expectation". With moist eyes, faintly smiling, she is adorned skillfully with sweet smelling flowers of different varieties.

Her complexion gleams like gold; she is attired in red and her eyes are like those of a fawn. She is the elder sister of Mewar. Marwa's forerunners Maru or Maruva have different scales in the literature from the 16th century onwards.

From Wikipedia, the free encyclopedia. For the thaat of the same name, see Marva thaat.

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II, p. Hindustani classical music. Dhrupad Dhamar Khyal Tarana Sadra. Gaud Malhar Miyan Malhar. Categories : Hindustani ragas. Namespaces Article Talk.

raag marwa book

Views Read Edit View history. By using this site, you agree to the Terms of Use and Privacy Policy.Important Note: I have described Indian classical music and ragas from the point of view of their emotion and my journey and experiences with them. Far too many descriptions focus on technical details, which are meaningless for anyone other than those actively learning the art form.

There is a sense of acceptance at the day gone… but a tiny part of you still longs for it…an unresolved contradiction. My journey with Marwa began as it does with most students of music — I learnt the music, learnt the rules and played it in text book fashion.

Sugato Nag. This is a journey which takes time. Marwa is not a raga with obvious appeal - hence Bollywood has largely left it alone — the only recent use of Marwa was in 2 lines of a song from a film called Sathiya — music by AR Rahman you have to really spend a great deal of time with it to absorb the point of this raga. However, age and life experiences are crucial for this journey — so I think I started on Marwa at the right time….

Marwa is an unbelievably hypnotic raga. As is the case for me, I usually stay with a raga for months, sometimes a year or so.

raag marwa book

You have to mentally commit to this raga. It leaves no room for any other shade of musical colour. It will take over your mind. I then pause, and get back into it — it gradually comes back to me in its full glory. My experience is that Marwa requires your mind to be at rest. It requires you to be absolutely mentally still. Too many thoughts, tasks, pressures of life disturb its fragile mood. And when that happens, you will feel it.

I stopped playing right then and took it up the next day, and felt a lot more better…. I share this opinion for most of Hindustani music — especially the major ragas.

raag marwa book

I am reminded of Paul Keating — former Prime Minister of Australia — who claims to have hit upon his greatest ideas when high on Classical Music- almost as if under the influence of a mood altering substance. I can vouch for the mood altering properties of Marwa and raagas in general.

They lift you from the mundane and take you into a different world.

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Hence the name itself — Raaga- that which colours the mind. Marwa is usually appreciated in its full glory with some life experience. You need to travel and see undisturbed sunsets to understand what this raga means. Marwa, as with Darbari, is a raga unique to the Hindustani system. The essence of these ragas is lost at higher speeds. These are meditative ragas — you dwell upon each note in its full glory — and in that moment, time stands still. You cannot rush to execute gamakas, murkis and other embellishments — nor rush ahead with technical wizardry.

You must be comfortable with silences and pauses when handling these ragas.Some ragas are more difficult to master than others.

raag marwa book

This could be because they involve difficult note intervals, because they use complex note patterns, because they use microtones, because they are too similar to other ragas, or other reasons. This page explores a few such ragas. Ragas like Hamsadhwani, Kedar, and Deskar can be challenging for the artist even though they are pleasant and easy to listen to.

On the other hand, ragas like Todi, Bhairav, and Marwa are both difficult to perform and intense in their moods. Bright and happy Raag Hamsadhwani can be quite challenging, especially on instruments like the sitar, because it involves many wide note intervals. This raga is performed in the evening hours, after sunset, and lends itself beautifully to medium and lively tempos. Raag Todi on the other hand, has too many notes that are too close to each other.

This makes it not just difficult to perform, but also disconcerting to hear. It is a serious and sombre raga, filled with pathos that is somehow accentuated by the mid-morning timing prescribed for its performance. Raag Kedar is a circuitous vakra raga. Circuitous ragas can be identified at a glance by their undulating ascending and descending scales. This happens because some of their notes are typically accessed through other notes or in specific note patterns.

Ragas can be circuitous to different extents. Some ragas may have just one note that tends to be accessed indirectly, others may have several. The more circuitous a raga, the more challenging it is to improvise in it, because you're limited by the specific patterns and rules.

Kedar is serene at slower paces, but becomes lively and playful as the tempo rises. It is traditionally performed from late evening to midnight. Bhairav literally "awe-inspiring" is another name for Shiva in one of his more fearsome moods.

Picture him absorbed in the deepest meditation in a dark cave in the Himalayas. Everything is still, except for the occasional dripping of a stalagtite. Then dawn breaks and the first rays of sunlight penetrate into the cave. Imagine the music in the mind of this man of terrifying passions at that time in his state of perfect peacefulness.

Raag Puriya

And that is what Raag Bhairav is. This ancient and very important raga is difficult for many reasons, but the reason I want to focus on here is its use of microtones. Note the difference between the re in this raga and the same note in Raag Todi above. Raag Marwa is one of the big ragas and is taken very seriously. It is performed during the late afternoon hours up to sunset and mainly evokes dark moods of foreboding and anxiety because of its disconcerting note intervals.

Some ragas are difficult because their identities need to be kept separate from other ragas that are very close. The reason these two ragas are different is because they belong to different raga families. Deshkar is challenging for an artist because of the care required to keep its identity separate from the much more prominent Raag Bhupali.Post a Comment. Here you will find links to her stories, my posts and a very interesting interview with her "Raag, in the Sanskrit dictionary, is defined as "the act of coloring or dyeing" the mind in this context and "any feeling or passion especially love, affection, sympathy, vehement desire, interest, joy, or delight"?

In music, these descriptions apply to the impressions of melodic sounds on both the artist s and listener s. A raag consists of required and optional rules governing the melodic movements of notes within a performance.

The rules of a raag can be defined by The manner in which the notes are used, ie. I think in order to get the most from this story it helps to know a bit about the complex very classic Hindu musical work known as the Raag Marwa. I placed a link to very good Singapore based webpage on classic Hindu music at the start of this post as well as a link to a performance that helped me to increase my understanding of the music teacher in the story. The Raag Marwa is a work in which one can withdraw totally into the music, retreating or rising to a spiritual plane beyond the mundane.

Raag Marwa

There are only two on stage characters in the story, a fifty year old woman who gives lessons in classic Indian music and a man she lives with in an urban apartment, I think he is her husband.

The woman is very anxious, looking out the window at the bus stop, looking for someone. She begins to play the Raag Marwa, also singing musical tones. Her husband yells from the bedroom, "are you teaching? He is evidently disabled, rarely getting out of bed. He had not eaten the food she prepared and she has to monitor his medication, sometimes he hides his pills.


We learn she is awaiting a special to her music pupil, a twenty seven year old attorney. We sense she is in love with the pupil. I will leave the ending of this very moving, poignant Story untold.

She does sink into existential despair, brought out of it only by withdrawing back into the Raag Mawra. Ahamed has crested a sharp picture of two lives, a woman seemingly trapped by the illness of her husband, now largely indifferent to her but as a caregiver. We also must question her character, seemingly planning to abandon her husband and cynically we must wonder if the twenty-seven year old attorney really returned her love or is she deceiving herself, ready to foolishly through away her past.

I really liked this story. As in her other stories, Ahamed creates very real characters to whom we can relate. I felt sadness for the woman and I admit I winced a bit when the wife asked her husband if he had taken his pills, this having happened to me on numerous occasions.

Take the time to listen to the music in the link above. If one is interested you might listen to class Hindu music radio stations as background while reading. This story first appeared in The Miss Slate, April 10, I hope to post on another of Ahamed's short stories in a few days. Farah Ahamed is a short fiction writer.

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Labels: Farah Ahamed. Newer Post Older Post Home. Subscribe to: Post Comments Atom.We began by exploring a few light ragas on the previous page.

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Let's move on to some bigger ragas now. This page gives you an introduction to raga parent scales through some of the best-loved ragas in Indian classical music — Yaman, Bhimpalasi, Bageshree, Jhinjhoti, Jaunpuri, Bihag, and Bhupali. In Hindustani North Indian classical music, the most common way to classify a raga is under ten parent scales called thaat. A thaat is no more than a seven-note scale including one each of the seven notes sa re ga ma pa dha ni the Indian equivalents of do re mi fa so la ti.

Of these, the notes re ga ma dha and ni each have two variants natural vs. The video below shows these ten parent scales. Based on the notes they use, most Hindustani ragas can be classified under one of these ten scales.

The parent scale of a raga functions, essentially, as its key signature. And so on. This ancient raga is very important in both Carnatic South Indian and Hindustani music.

Performed from sunset to late evening, Yaman is full of grace and beauty, evoking a mood of devotion and dedication. It is a raga that suggests unconditional offering of everything one has at the altar of whatever one's calling may be, asking nothing in return.

An afternoon raga, sung from late afternoon to sunset, it is poignant and passionate, filled with yearning. This sensuous raga enjoys enduring popularity in both Carnatic and Hindustani classical music and is typically performed late at night. Imbued with the soul of rural India, charming Raag Jhinjhoti lends itself well to medium and fast paces and is typically performed in the late evening.

This raga from the Jaunpur region of Uttar Pradesh has melancholy undertones and a distinctly feminine quality to it, which requires a light touch. It is sung in the late morning hours, up to noon or so. Not all ragas are easy to classify under a parent scale. Now what do we do? So we classify it under the Bilawal scale. Traditionally performed late at night, Bihag is another big raga, spanning both light and serious genres of classical music, but it does have a light and feminine quality that makes it well suited to more popular genres like ghazals and film music as well.

Ragas that use less than seven notes are also difficult to classify under a thaat. Take Raag Bhupali, for instance. All five notes are found in three different scales, Bilawal, Kalyan, and Khamaj. So which scale should we classify it under?

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