Raag Parichay Book Pdf 601
Raag Parichay: A Book on Indian Classical Music
Raag Parichay is a series of books on Indian classical music, written by Harishchandra Shrivastava, a renowned musicologist and teacher. The books cover the theory and practice of various raags, or musical modes, that are used in Hindustani and Carnatic music traditions. The books are divided into four parts, each containing 150 raags, with detailed descriptions, notation, examples, and illustrations.
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The books are intended for students, teachers, and enthusiasts of Indian classical music, who want to learn and appreciate the beauty and diversity of raags. The books are also useful for composers, singers, and instrumentalists, who want to enrich their musical repertoire and creativity. The books are written in simple and lucid language, with clear explanations and examples. The books also include historical and cultural information about the origin and evolution of raags, as well as their relation to seasons, times of day, emotions, and moods.
The first part of Raag Parichay was published in 1969, and the subsequent parts were published in 1972, 1975, and 1978. The books have been widely acclaimed and appreciated by music lovers and experts alike. The books have been translated into several languages, including English, Hindi, Gujarati, Marathi, Bengali, Tamil, Telugu, Kannada, Malayalam, and Urdu. The books have also been digitized and made available online for free download by various websites .
Raag Parichay is a valuable contribution to the field of Indian classical music, as it provides a comprehensive and systematic introduction to the vast and complex world of raags. The books are a treasure trove of musical knowledge and wisdom, that can inspire and enlighten anyone who wants to explore the rich and diverse musical heritage of India. Here is the continuation of the HTML article on the topic "raag parichay book pdf 601": Some Popular Raags from Raag Parichay
In this section, we will briefly introduce some of the popular raags from Raag Parichay, and provide some examples of songs and compositions based on them. These are not exhaustive lists, but only indicative of the variety and versatility of raags.
Raag Bhairav
Raag Bhairav is one of the oldest and most fundamental raags in Indian classical music. It is derived from the Thaat (parent scale) of the same name, and has a pentatonic structure. It is usually sung or played in the early morning, and evokes a mood of devotion, serenity, and peace. Some of the characteristic features of Raag Bhairav are the use of Komal (flat) Re and Dha, and the prominent use of Ma (the fourth note). Some examples of songs and compositions based on Raag Bhairav are:
Mann Lago Yaar Fakiri Mein by Kabir
Bhairavi Jaagat Hai by Amir Khusro
Bhairav Se Bhairavi Tak by Pandit Ravi Shankar
Payoji Maine Ram Ratan Dhan Payo by Meera Bai
Morning Raga by Ustad Bismillah Khan
Raag Yaman
Raag Yaman is one of the most popular and versatile raags in Indian classical music. It is derived from the Thaat Kalyan, and has a hexatonic structure. It is usually sung or played in the evening, and evokes a mood of romance, joy, and elegance. Some of the characteristic features of Raag Yaman are the use of Shuddh (natural) Re, Ga, Dha, and Ni, and the prominent use of Ga (the third note). Some examples of songs and compositions based on Raag Yaman are:
Aaj Jaane Ki Zid Na Karo by Farida Khanum
Manmohana Bade Jhoothe by Lata Mangeshkar
Yaman Kalyan by Ustad Amjad Ali Khan
Albela Sajan Aayo Re by Ustad Rashid Khan
Yaman by Anoushka Shankar
Here is the continuation of the HTML article on the topic "raag parichay book pdf 601": Raag Darbari
Raag Darbari is one of the most majestic and grand raags in Indian classical music. It is derived from the Thaat Asavari, and has a heptatonic structure. It is usually sung or played in the late night, and evokes a mood of solemnity, dignity, and gravity. Some of the characteristic features of Raag Darbari are the use of Komal (flat) Ga, Dha, and Ni, and the prominent use of Sa (the first note). Some examples of songs and compositions based on Raag Darbari are:
Ab To Hai Tumse Har Khushi Apni by Lata Mangeshkar
Darbari Kanada by Ustad Vilayat Khan
Mora Saiyan Bulave by Ustad Nusrat Fateh Ali Khan
Darbari by Pandit Shivkumar Sharma
Darbari by Ravi Shankar and Philip Glass
Raag Desh
Raag Desh is one of the most melodious and patriotic raags in Indian classical music. It is derived from the Thaat Khamaj, and has a hexatonic structure. It is usually sung or played in the monsoon season, and evokes a mood of nostalgia, longing, and love for the motherland. Some of the characteristic features of Raag Desh are the use of Shuddh (natural) Re, Ga, Dha, and Ni, and the prominent use of Pa (the fifth note). Some examples of songs and compositions based on Raag Desh are:
Vande Mataram by Bankim Chandra Chattopadhyay
Desh by Ustad Bade Ghulam Ali Khan
Ae Watan Ae Watan by Mohammed Rafi
Desh Ki Dharti by Mahendra Kapoor
Desh by Pandit Hariprasad Chaurasia
Here is the continuation of the HTML article on the topic "raag parichay book pdf 601": Raag Hamsadhwani
Raag Hamsadhwani is one of the most enchanting and lively raags in Indian classical music. It is derived from the Thaat Bilawal, and has a pentatonic structure. It is usually sung or played in the late evening, and evokes a mood of happiness, celebration, and festivity. Some of the characteristic features of Raag Hamsadhwani are the use of Shuddh (natural) Re, Ga, Pa, and Ni, and the prominent use of Ni (the seventh note). Some examples of songs and compositions based on Raag Hamsadhwani are:
Vatapi Ganapatim by Muthuswami Dikshitar
Hamsadhwani by Ustad Ali Akbar Khan
Chupke Chupke Raat Din by Ghulam Ali
Hamsadhwani by Pandit Jasraj
Hamsadhwani by Shankar Mahadevan
Raag Malkauns
Raag Malkauns is one of the most profound and intense raags in Indian classical music. It is derived from the Thaat Bhairavi, and has a pentatonic structure. It is usually sung or played in the midnight, and evokes a mood of mystery, depth, and devotion. Some of the characteristic features of Raag Malkauns are the use of Komal (flat) Ga and Ni, and the prominent use of Ma (the fourth note). Some examples of songs and compositions based on Raag Malkauns are:
Man Tarpat Hari Darshan Ko Aaj by Mohammed Rafi
Malkauns by Ustad Bismillah Khan
Malkauns by Ustad Zakir Hussain
Malkauns by Pandit Bhimsen Joshi
Malkauns by Kishori Amonkar
Here is the continuation of the HTML article on the topic "raag parichay book pdf 601": Raag Bageshri
Raag Bageshri is one of the most soothing and sweet raags in Indian classical music. It is derived from the Thaat Kafi, and has a hexatonic structure. It is usually sung or played in the late night, and evokes a mood of romance, tenderness, and tranquility. Some of the characteristic features of Raag Bageshri are the use of Komal (flat) Ga and Ni, and the prominent use of Dha (the sixth note). Some examples of songs and compositions based on Raag Bageshri are:
Bhor Bhaye Panghat Pe by Lata Mangeshkar
Bageshri by Ustad Rais Khan
Bageshri by Pandit Ravi Shankar
Bageshri by Ustad Rashid Khan
Bageshri by Kaushiki Chakraborty
Raag Kedar
Raag Kedar is one of the most divine and serene raags in Indian classical music. It is derived from the Thaat Kalyan, and has a heptatonic structure. It is usually sung or played in the late evening, and evokes a mood of devotion, reverence, and bliss. Some of the characteristic features of Raag Kedar are the use of Shuddh (natural) Re, Ga, Dha, and Ni, and the prominent use of Ma (the fourth note). Some examples of songs and compositions based on Raag Kedar are:
Om Jai Jagdish Hare by Pandit Jasraj
Kedar by Ustad Amir Khan
Kedar by Pandit Hariprasad Chaurasia
Kedar by Ustad Amjad Ali Khan
Kedar by Pandit Shivkumar Sharma