Ragas And Its Westerns Forms
Naut Malhar © Copy right protected
RAGA NAUT MALHAR( in the key of E )
 
It is a different expression of Raga Malhar and is related to rainy season. It is composed of Raga Naut and Malhar. 
Raga Naut is in the Purbanga or Pre part and Raga Malhar is in the Uttaranga or Post part. (Meanings of  Purbanga or (Pre) and Uttaranga or (Post) given in the Fundamental section). The note compatibility | A F# | and | F# B |
is its backbone. The use of G# in this special note compatibility can also be found. Excessive use of G# may indicate the Thaat to be Bilabol.  In order to have the correct expression of Raga Naut Malhar the following order of anubaadi notes which is derived from authentic or "Nayaki" style documentation of Indian Classical Music to be followed :
B F# G# D# C# . As already stated here that more usage of G# leads to Thaat Bilabol because the Sambaadi note or the Prime Helping note for Bilabol is G# while usage of G# is far low in Naut Malhar.
 
Baadi --> A
Sambaadi --> D#
Formula : 1 2 3 4 5 6 7
 
Ascending --> E F# G# A B C# D# E
Descending --> E D# C# B A G# F# E
Pakad : E G# F# G# F# G# A F# A F# A B A G# A F# D# E
 
 The note structure given here is to be creatively used using PHRASING ( such as rests, slides, vibrato etc )
G# F# G# F#  | G# B B A#  | G# A# F# A#  | F# A# F# A#  | F# E D# E  | E E F# F#  | G# E D# E  | G# D# E A#  | F# A# F# G#  | G# A# B C#  | C# A# B A#  | G# B B A#  | G# A# F# A#  | F# A# F# D#  | E E E A#  | F# A# A# B  | A# B B B  | A# A# B A#  | A# G# A# D#  | C# E E D#  | C# D# B A#  |
 
G# A# B A#  | B A# G# A#  | G# A# G# G#  | G# F# A# A#  | A# G# A# B  | A# A# B A#  | D# C# E E  | D# C# D# B  | A# A# A# G#  | A# G# F# F#  | G# F# A# G#  | B B A# G#  | A# F# E D#  | E E E B  | B A# G# F#  | G# F# G# A#  | A# A# C# B  | B D# C# E  | D# E B E  | E E C# D#  | B G# A# G#  |
 
A# B A# C#  | C# B A# B  | A# G# A# B  | B A# G# A#  | F# F# A# A#  | F# F# D# E  | E E F# E  | E E A# F#  | A# A# B B  | A# G# A# F#  | B A# B A#  | B C# D# E  | D# E C# B  | A# G# A# F#  | G# A# B A#  | G# A# F# E  | B B D# C#  | D# E E E  | E E E C#  | D# E F# E  | E C# D# B  | E F# G# A#  |
 
B G# A# F#  | E E E C#  | D# B C# D#  | E E D# C#  | B A# G# A#  | F# G# A# B  | A# G# A# F#  | E D# E E  | A# F# G# A#  | G# G# A# F#  | F# D# E E  | E F# F# D#  | E E F# D#  | E A# F# G#  | G# B A# G#  | A# F# F# B  | E E C# D#  | B B A# B  | F# G# G# F#  | E E A# F#  | G# F# G# G#  | A# G# A# F#  |
 
B A# A# B  | E D# E E  | E F# F# D#  | E E B D#  | A# B B E  | D# E E F#  | D# C# B F#  | A# A# A# F#  | A# B B E  | E D# F# D#  | C# B B C#  | C# A# A# G#  | F# G# E E  | E A# F# G#  | F# G# A# G#  | E G# F# G#  | F# G# A# F#  | G# A# F# E  | D# E F# E  | D# E A# F#  | G# A# B B  | A# G# A# F#  | A# F# A# F#  |
 
D# E A# F#  | A# A# B B  | A# A# B B  | A# A# B A#  | D# C# B E  | E C# D# B  | G# A# G# A#  | B A# G# G#  | G# G# F# E  | A# A# A# G#  | A# B A# D#  | C# E E C#  | D# B A# G#  | F# G# A# A#  | G# A# F# E  | E E B A#  | B A# G# F#  | A# A# B B  | C# E D# E  | F# E E C#  | D# B G# A#  | B A# B A#  | A# G# A# F#  | A# F# E 
Hangsadhwani © Copy right protected

In the key of A

Intro Sa   Re   Ga     Pa       Ni Sa
  A   B   C#     E       G# A

 

 

Formula -> 1      2     3     5     7
A     B    C#   E   G#
This belongs to Bilabol thaat or category. This is devoid of Ma and Dha
Baadi – Sa        -> A  
Sambaadi – Pa -> E
Timing            ->early night
It is a south Indian raag.
Ascending        ->A B C# E G# A
Descending    ->A G# E C# B C# E C# B C# B A
Pakad             -> C# E G# E C# B C# E C# B C# B A
Restricted combination -> G# E
Nyash -> B
A B C# A,, C# E G# E G# G#,, A B A,,B C# B A,, G# E G# B A G#,,C# B C# E G# G#,, B C# B A…. C# E G# E A G# E…G# E A G#....A B A B C# B A G#.......E G# B A G#  

1. AB C#B C#E C#B AG# EG# AB C#B AB C#E G#E C#E  
2. C#B AB C#E G#E C#E C#B G#E C#E G#B A      
3. C#B AE C#B AB C#E C#B AC# EG# EC# BA G#E C#B  
  C#B C#E G#A BA G#E C#B AB C#E G#E C#E C#B A  

 

ABC#B G#EG#A BC#BA ABC#E G#EC#B C#EG#A EG#AA G#EC#B
ABC#E G#AEG# ABAG# EEC#B C#EG#A C#C#BA G#EC#E C#BAA
C#EC#G# G#EC#B ABC#E G#AEB AG#EG# ABC#A BAC#C# BAG#E
C#EC#B AG#EG# ABAG# EEC#B BAG#E C#EG#A C#BAG# EC#BA
C#C#BA EEC#B G#G#EC# EG#AG# AC#BA G#EG#A EG#AB C#BAG#
EG#AB EC#BA G#EC#E G#ABA G#EC#E G#EC#B C#EC#B AG#AA
EC#BA G#BC#E C#BAE G#AEG# ABC#B G#BG#E C#BAB EC#EG#E
EG#BC# BAG#E EAG#B G#C#BA G#EEG# AEG#E C#BEG# EG#EA
EC#EC# BAG#E G#AG#E C#BAG# BC#BA G#EC#B G#BAC# G#BC#E

Ragas and its western forms is a continuous approach. Like this raga there will be so many other ragas in "Ragas and its Western Forms" section. 

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Meghmalhar © Copy right protected
Intro Sa   Re     Ma   Pa     ni   Sa
  E   F#     A   B     D   E

 Formula :  1 2  4  5  b7

 Vibrating F# with a touch of A(To be used as Con)  is very important to recognize the raga.

This is under category Kaafi. It uses D and the other notes are all pure(no variations). This is devoid of G ,G# , C and C#. Character : Pentatonic .
A is Baadi and E is Sambaadi .  time of the year : rainy season

Ascending :  E    F#+A     A       F#+A    B+A     B+D     E
Descending :   E     B+D    B+A     F#     B     A+F#    E

Baadi : A (Ma)

Sambaadi : E(Sa)

Pakad : 1. E   D   E   F#   D   B   E    F#+A    F#+A    B   D   B     F#+A   A  F#   D    E
2. F# A F# E     D B D E   F# A F# B    F# A F# E

1. E D E F# A F#+A E  
2. D+B B A B D B D E  
3. B D E F# D E F# A F#  
4. F# B A B  
5. A F# D E D B E F# E F# A F# D
  E  
6. D E F# B  
7. A A F# E D E F#  
8. A B D B  
9. A F# B A  
10. D D B A  
11. F# A F# E  
12. D E D B  
13 E F# E F# B  
14 F# A F# D E  
 
VERSE  
1 F#+A F#+A  - A - F# E F#+A   -   -  - A F#
  E  
2. D - B - D - E - F# - A - F#
  - A -  
3. B - B - F# - F# - A - F# - E
  - D E  

 

Solo Sa   Re     Ma   Pa   Dha ni   Sa
  E   F#     A   B   C# D   E
                           
1. D+E F#+A F#+E F#+A B+D E+F# E+D B+A F#+A F#+E D+E -  
2. F#+A B+A B+D E+F# A+A F#+E D+E D+B A+B F#+A F#+E -  
3. D+E F#+B F#+A F#+E F#+A B+D A+D B+A B+D E+F# E+D B+A F#+A
  F#+E D+E -                    
4. A+A F#+A F#+E D+E D+D B+D B+A F#+A B+D E+F# D+E D+D  
5. B+A F#+A F#+E - B+D E+F# A+F# B+A F#+A F#+E F#+A B+D  
6. E+F# E+D B+A B+D B+A F#+A F#+E -          
7. D+E F#+A A+F# B+F# A D+D B+A B+F# A F#+F# E+D D+B  
  A+B F#+A A+A F#+E D+D B+A B+F# A+F# E+D B+D E -  
8. E+D B+D E+F# A+F# B+A F#+A F#+E D+E A+F# E+F# B+A F#+A D+B
  A+B D+E F#+E D+B A+B D+D B+A F#+A F#+E D+E -    
9. D+D B+A B+F# A+F# E F#+A B+D B+A F#+A F#+E A+F# B+A D+B
  D+E A+A F#+E D+E B+D A+B A+D B+A F#+A F#+E -    

Ragas and its western forms is a continuous approach. Like this raga there will be so many other ragas in "Ragas and its Western Forms" section. 

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Al Haiya Bilabol © Copy right protected

RAAG – AL HAIYA BILABOL  ( In the key of E)
It originates from thaat bilabol. Its character is complete (7 notes). All notes are normal.
Baadi -> C#
Sambaadi  ->G#
Timing à early morning
It has got huge similarity with Kalyan THAAT. Sometimes it is called morning time Kalyan. In this raag D# and G# are applied indirectly. Ascending is devoid of A .

Ascending -> E F# G# F# G# B C# D# C# D# E
Descending -> E D# C# B A G# A F# E
Pakad -> G# F# G# B C# D# E

Notes

Sa

 

Re

 

Ga

Ma

 

Pa

 

Dha

 

Ni

Sa

 

E

 

F#

 

G#

A

 

B

 

C#

 

D#

E

 Examples : 

BBC#D# EEF#E EF#G#A F#E EF#G#ABG# AF#F#E G#G#AF#E
 
F#ED#C# BEC#B C#AG#A F#G#AC# BAG#A F#E  
 
BG#A BBD#C# D#E BEE C#B AG#F#G#  
 
BC#D# ED#E D#EF#E#D# C#BBB C#D#EF# ED#C#B G#ABA
 
G#F#E D#EEF# G#ABB< D#C#D# EEEG#G# AF#EF# EC#BA
 
G#F#BG# BC#D#ED#          
 
D#C#G#B AF#G#G# BD#C#D# EEED# C#D#C#B BD#C#D# EF#EE
 
C#BAG# AF#G#A AG#F#E ED#EB G#AG#B D#D#EE BD#D#E
 
EEG#G# AG#F#E BG#AF# EEC#D# 126    
 
D#EEG# AG#BA BD#D#B C#C#BABA G#AAG#F#G# AG#F#ED#ED#E BBEE
EED#D#
 
F#E D#ED#BED# EED#C# D#E,EE EG#A G#F#EE ED#C#D#
 
C#D#ED# EEC#D# C#BD#D# C#BAG#      

Ragas and its western forms is a continuous approach. Like this raga there will be so many other ragas in "Ragas and its Western Forms" section. 

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