13 July, 2011

RAAGA-MALAS

  1. Aa bhi jaa (Phuulon ki sej - 1964)
  2. Aayi madhu ritu (HAMDARD)
  3. Andhera chhaya (Ram Rajya - 1967)
  4. Barkhaa ritu bairi hamaar (HAMDARD)
  5. BHOR BHAI BHAIRAV GUN GAO (SWEEKAR KIYA MAINE - 1982)
  6. Intezaar Aur Abhi Aur Abhi (Char Dil Char Rahein)
  7. Ik ritu aaye, ik ritu jaaye (Sau Saal Baad - 1966)
  8. Kuhu-kuhu bole koyaliya (Suvarna Sundari - 1957)
  9. Mast mayura naache (DIL KI RAAHEIN - 1973)

  10. Naye naye rangon se (KAVI KALIDAS)
  11. Nayi ri lagan aur (Alaap – 1977)

  12. Nis din bisrat (Goonj Uthi Shehnayi - 1959)

  13. O ASHAADH KE PEHLE BAADAL (

    Kavi Kalidas - 1959)
  14. Pee bin soona (HAMDARD) 
  15. Piu piu re karat hai (BAIJU BAWRA – 1952)
  16. Pratham Dhar Dhyaan Dinesh (Umrao Jaan - 1982)
  17. Ritu aaye Ritu Jaaye (HAMDARD)

  18. Rut Basant aayi Ban Upavan (JHANAK JHANAK PAYAL BAJE)
  19. Sakal ban gagan (Mamta - 1966)
  20. Vikal mora manvaa (MAMTA - 1966)
  21. RAAGMALA (TANSEN – 1942) SARGAMS ONLY


Rāagmālā......रागमाला - means "A Garland of Ragas." Ragmalika should technically, be a string of at least four different raagas composed in a sequence.
Raga mixing involves Teerobhav and Aavirbhav ( 
तीरोभाव / आविरभाव).
Teerobhav means to conceal and Aavirbhava means to reveal.
So by mixing an image of a different raaga and coming back to the original we exercise the Teerobhav and Avirbhav of the original raaga. This intermixing creates unique and interesting mixtures that the player and the listeners enjoy. Its lure can keep one amused and reach joyous heights. In strict classical circles this inter-mixing might be looked upon with some scorn especially when one is not well versed with the ragas being mixed, thus creating more of a sour effect than one of delight and ecstasy..... For this reason, it is highly recommended that one be expertly skilled in the raagas being mixed before they attempt to delve into this realm.


1 comment:

swasti said...

waah... kahan kahan se dhoondh ke layi hain ap..great