Listen Raga Based Songs

2. Thaat Asavari

Arohi: S R g m P d n S’

Amrohi: S’ n d P m g R S

Thaat Asavari Songs

Chale jana nahin naina milake - Film Badi Bahen
Radha ke to ne bansri churai, Taala Sitarkhani - Film Beti Bete

Ragas of Thaat Asavari

1. Asavari

2. Darbari

3. Jaunpuri

Bandish of a given Raga

Bandish are the most dominating notes of a given raga. Each raga has its own bandish. Whenever a music director composes a song based upon a given raga, he makes sure that he uses the bandish of that raga. This is the precise reason why two songs composed on the same raga sound similar. In a way, bandish is a common factor within all the tunes composed on a given raga. A song based on a given raga can be composed in any one of 3 octaves. This sometimes makes it difficult to identify the raga of the song, although the progression of notes follows the same rules of raga in any octave. Once you memorize the bandish of ragas, you will be able to identify the raga of another tune that is based on same raga.

Each raga has its own bandish. Whenever a music director composes a song based upon a given raga, he makes sure that he uses the bandish of that raga. This is the precise reason why two songs composed on the same raga sound similar. In a way, bandish is a common factor within all the tunes composed on a given raga.

Actually, to understand the bandish of any raga, it is better to listen and grasp the instrumental film music played on a musical instrument. Since musical instruments do not utter words, the listener can concentrate and grasp the raga very accurately after repeatedly listening to the notes of the tune. Of course, if you are very well versed in raga based music, then you can easily recognize a raga with ease even if you are listening to a vocal piece. Hence, by remembering songs based on a particular raga, you will be able to identify the raga of another tune, if it is based on the same raga.

Variya Swar

While rendering a raga, one should be very careful of not using varjya swar. Varjya swar in a raga are the notes, those are strictly excluded in rendition. Varjya swar is the enemy of the raga. If a varjya swar is accidentally used during the rendition of a particular raga, it will spoil the atmosphere that a particular raga is supposed to create. So great artists do a lot of practice of a given raga, so that they will never make the mistake of using varjya swar.

1. Raga/Ragni Asavari Bandish

Asavari is not a raga but ragni and ragni asavari is derived from thaat asavari (Parental scale). Still we can call it raga asavari to some extent. Its Vaadi (main note) is d and Samvaadi (second in importance) is g and important Anuvaadi is P. Its Jaati (class) is Audav-Sampoorn. Its time of performance is morning. Its Pakad is R-m-P-S'- (n) d-P -R-m-P-n-d-P. It is played from madh - taar saptak. Its bhaav is Shad-Madhyam. Ragni Asavari evokes the moods depicting yearning for love, anguish, and melancholy. Ragni Asavari is effective in eliminating the impurities of blood and related diseases.

There is considerable disagreement concerning the Re. Some musicologists view is that only shuddh Re is used. There is another school, which suggests that both shauddh and komal can be used and some are of the view that only the komal Re be used. However, it is recommended to use Shuddh R.

Asavari's counsel and influence have profoundly shaped the Indian musical imagination. This compendium explores that engaging melody as well as its derivative ragas, as I like to call them. Asavari is a very ancient ragni as is the allied Raga Gandhari; We will here train our sights on contemporary musical practice. Throughout this discussion, M=shuddh madhyam and m=tiver madhyam. The ragni, Asavari, itself comes in three flavours, each distinguished by the manner of rishab use. They are, respectively, the shuddh rishab-only (R) Asavari, the komal rishab-only (r) Asavari, and the third type employing both r and R. The swars of the R-only Asavari are aligned with the Asavari thaat proper whereas those of the r-only Asavari belong to the Bhairavi thaat.

Vadi: Komal Dhivat (d)

Samvadi: Komal Gandhar (g)

Jati: Audav-Sampooran

Pakad: R-m-P-S'-(n)d-P R-m-P-n-d-P

Sa Re Ma Pa Dha Sa'

Sa' Ni Dha Pa Ma Ga Re Sa

Arohi: S-R-m-P-d-S'

Amrohi: S'-n-d-P-m-g-R-S

Songs of Raga Asavari

Mujhe galese lagalo bahut udas hun main - Film Aaj aur Kaal
Piya te kaha - Film Toofan aur Diya
Chale jana nahi naina milake - Film Badi Bahen
Tum zid to ker rehe ho – Mehdi Hassan
Jadon holi jai lenda mera naa – Film Att khuda da wair, Noor Jehan
Jab bhi chahen ik nai soorat saja lete hain log – Mehdi Hassan
Sawan aya tum nehi aye, Pakistani Sonng
Bereham asman meri manzil bataa – Talat Mehmood
Na yeh chaand ho ga, Hemant Kumar - Film Shart
Jhanak jhanak tori baje payal, Mana Dey - Film Mere Hazoor
Tu ne hye mere zakham-e jigar ko choo lya - Film Nagina (old)
Mujh ko awaz de tu kehan hai, Mehdi Hassan - Film Ghoongat

2. Raga Darbari

Raga Darbari is derived from Thaat Asavari (Parental scale). Its Vaadi (main note) is R and Samvaadi (second in importance) is P. Its Jati (class) is Sampoorn-Sampoorn; We do not count repeated notes while defining jati. Its time of performance is early night. Its Pakad is S-R-g, R-S-'d, 'n-R-S. Its bhaav is Shadj-Madham. Andolan is required on komal Ga and komal Dha, particularly in arohi.

Arohi: S-R-g, m-P-d, n-S’

Amrohi: S’-d-n-m-P, m-P-n-g-m-R-S

Songs of Raga Darbari

Ye Hawa Ye Raat Ye Chaandni - Film Sangdil
Mujhe tum se kuchh bhi na chahiye - Film Kanhaiya
Bahon Ke Darmiyan - Film Khamoshi
Ku-ba-ku fail gai baat shanaasai ki, Mehdi Hassan
Daiya re daiya, laaj mohe lage, Taal Kehrva - Film: Leader
Dil jalta hai to jalne de, Taal Kehrva - Film Pehli Nazar
Jo chala gia ose bhool ja - Film Saathi
Chandi ki dewar na todi, Mukesh - Film Vishwas
Suhaanee chaandanee raaten hame sone, Mukesh - Film Mukti
Tora man darpan kahlaaye, Taal kehrva - Film Kaajal
Teri duniya mein dil lagta nahi, Taal kehrva - Film Bawre Nain
Hum tujh se muhabat ker ke sanam - Film Awara
Mujhe tum se kuch bhi na chahiye - Film Kanhaiya
Oh duniya ke rakhwale sun dard bhare mere naale - Film Baiju Bawra
Tu pyarka sagar hai - Film, Seema
Tuthe hue khvabonne - Film Madhumati
Basti basti parabat parabat - FilmBaadal
Muhabbat ki jhuthi kahani pe roye - Film Mugal-e-azam
Guzre hai aaj ishqmen - Film Dil Diya Dard Liya
Raha gardishonmen haradam - Film Do Badan
E dil mujhe aisi jagah le chal - Film Arzoo (old)
Hum tum se juda ho ke - Film Ek Sapera Ek Lutera
Aap ki nazaron ne samajha - Film Anpadh
Koi matwala ayaa more dware - Film Love In Tokyo
Pag ghoongroo bandh meera naachi thi - Film Namak Halal
Yaad mein teri jaag jaag ke hum - Film Mere Mehboob

3. Raga Jaunpuri

Raga Jaunpuri is derived from Thaat Asavari (Parental scale). It can be played in daytime. Its Vaadi (main note) is S and Samvaadi (second in importance) is P. Its Jati (class) is Shadav-Sampoorn; Its time of performance is morning till noon. Its Pakad is dm, PdnS’-d-P, and d-m-P, R-m-P. Its bhaav is Shadj-Pancham. Is is played in madh - tar saptk. Important annuvaadi is n.

Arohi: S-R-m-P, dm, PdnS'

Amrohi: S'-n-d-P, d-m-P,g-R-S

Arohi: S-R-m-P, dm, PdnS'

Amrohi: S'-n-d-P, d-m-P,g-R-S

Songs of Raga Jaunpuri

Jaye to jayen kahan samjhe ga kaun yahan, Taal kehrva - Film Taxi Driver
Meri yadmen tum na ansu bahana, Taal kehrva - Film Madhosh
Dil ched koi aisa nagma, Taal kehrva - Film Inspector
Ghunghat ke pat khol, (Kabir Bhajan) Taal kehrva - Film Jogan
Muhabbat ki jhoothi kahani pe roye, Taal kehrva - Film Mughal-E-Azam
Jab dilko sataye gam tu uuu ched sakhi sargam - Film Sargam (Old)
We lagiyan di laj rakh lai kadi bhul na jai anjana - Film Chor Nale Chitar
Husan ko ishaq ka pegam aya hai - Film Taj Mahal (Pakistani)

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asavari bandish and raga asavari Lakshan geet. Play raga asavari and johnpuri or jonpuri based film songs, e.books available.
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