Resources for Raga Music

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    Raga Rani posted a note on 28 June 2016 - 8:52am.

    VOICE & Sound meditation

    Using Simple iterative Musical rhythms
    low pitched notes are capable of relaxation relieving stress, blood pressure, loneliness depression

    Venue Erdington B23 6DB
    Further Details contact Rani 07440383691
    Cost £30 for 2 hours

    Primitive man did not speak. He sang like birds.
    Music had its origin in the calls of birds and animals.

    Voice & Sound Meditation
    for health and Healing

    Think about Deep sound-experiences in Nature. They reflect a transmission of a simple, passively receptive form of music which please and relax us.

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    Raga Rani posted a link on 8 May 2012 - 9:57pm.

    Circle of equal counting - the tala

    We have many cycles in our life. We have natural cycles like the changing of night-time and day-time and unnatural cycles like dividing the day into 24 hours or dividing the week into seven days.

    The tala (means: clap) is a rythmic-cycle, which starts at the beginning of a gat (composition) and shows the proper music-tempo (vilambit-slow, madhya-medium, drut-fast) whithout any break until the end of the gat, or even until the end of the raga.

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    [video]Raga Rani posted a video on 26 November 2009 - 11:57pm.
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    Imrat Khan & Sons - Raag Kalavati

    Raaga Kalavati

    This raga is derived from South Indian Melody and it is very difficult to sing due to its tonal qualities.
    Kalavātī is an modern pentatonic Hindustānī rāga; Re (the second tone) and Ma (the forth tone) are omitted. Kalavātī belongs to the Khamāj thaat (although it' sometimes called Kalāvatī Kalyāna).

    V.R.Patwardhan say that Kalavātī is derived from a carnatic raga (see also Yagapriya). According to J.D. Patki the raga has been popularised in Maharastra by Pandit Rao Nagarkar, Roshan Ara Begum and Gangubai Hangal.

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    [video]Raga Rani posted a video on 10 February 2009 - 12:22am.
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    Raag Bhankar - one name, multiple personalities

    It is very rare for a Hindustani raag bearing one name to possess multiple personalities, and more surprisingly, still be recognized by that name regardless of the musician playing or singing it.

    Bhankar is one such raag, or perhaps the only one of its kind in Indian music. It mantains this unique position not without controversy, especially regarding its movements and pitch material, the very building blocks of its being.

    The literature (Bhatkhande, Patwardhan, Garg, Subbha Rao, et al.) seems to agree on the general profile of Bhankar:
    * belongs to Marwa thaat

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    [video]Raga Rani posted a video on 25 January 2009 - 11:52pm.
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    Bindrabani Sarang - a cooling effect at mid-day.... can intoxicate poisonous snakes

    An afternoon Raag from the land of Krishna(Vrundavan or Brindaban), this is a charming pentatonic Raag which omits the gandhar(Ga) and dhaivat(Dha) while making use of both the nishad(Ni) - shuddha(natural) and komal(flat) in the descent. It evokes the mood of a langurous summer afternoon, with its bright sunlight and deep shadows.

    Sarang is reputed to have acquired its name from the famous 14th century music theorist, Sarangadeva. The Sarang raga consists of a group of seven, each of which is combined with some other raga.

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