Or perhaps deshkar? there is also a focus on the dha, but that is often preceded by a ni or other swaras outside of deshkar (which makes it a very interesting raag)?
Really glad you liked it! Even I can’t say if it is more Bhoop or Deshkar, but it is basically what I could do to make a Hindustani tune out of the scale of _The Last Rose of Summer_ (I mention it in the Description too), which is a tune I first heard played on the piano as a small boy. From an HCM perpsective, the 'scale' of Last Rose is *SRGPDN* with a measured proportion of komal d also being used in a chromatic phrase *DdD* . I tried to bring out all these features in this bandish. As an _obiter dictum_ : In HCM, one does hear the *DdD* kind of phrases in thumri. Abdul Karim Khan’s _Piya bin nahi aavat chaina_ has the phrase slipped in snugly in the middle somewhere. Vasantrao also dabbles in such phrases in his rendition of the thumri _Eri sakhi kal na pare_ .
@@FarhanAmin1994 I was going to mention the DdD phrase - one doesn't hear such chromatic phrases in khyal a whole lot. Though we often hear Sr or Gm or Pd*, but rarely do we hear the same swara in it's komal and shuddha form at the same time - a few examples being the MmG in Lalit, SRgGg in Phulambrikar's Shiv Kalyan or maybe, to a lesser extent, the nDNS in Bahar (I say to a lesser extent since nDNS is strictly chromatic). These phrases add such a brilliant and enchanting lustre to the raags that aren't found a lot in simpler raags such as bhoop, deshkar and Todi. The DdD isn't much heard in Khyal (though in thumri it is found in many places) as you noted - so I think the DdD phrase adds extra intensity to the raag - Brilliant composition well done! *upper case denotes shuddha swara and lower case denotes komal swara, except in the case of m, where M is teevra
Astutely observed, man! And I agree on all scores. I’d add one more raga to the chromatic list, which, I suspect you too would have heard sometime: Kumar’s Lagan Gandhar. Among well known but Bhavageet-esque tunes that use chromatic interplay is the famous _GhananiLa laDivaLa_ composed by Shri Sudhir Phadke. I’ve recently tried composing a few similar tunes with the gG pairing; I’ll post a nice version when I can, hehe.
@@FarhanAmin1994 I was going to mention Lagan Gandhar but hadn't listened to it enough to confidently say there was a chromatic swara pairing! If I am not mistaken, Lagan Gandhar also has two shrutis of komal gandhar, You should definitely post a few more of those tunes that you compose, would love to hear them!
Here is an instrumental rendition of the song that inspired this composition: ua-cam.com/video/vZfpG7FOK7s/v-deo.html
Wah…. Wish to hear more 😁😁
Very nice 👍 sarjee
😊🙏
Waah waah waah.....
Badiya. It has come nicely. Which raag inspired u. Thanks for putting up the lyrics also
Thanks for the appreciation! Do see the pinned comment for the link to the inspiration for this song.
❤️❤️
(: zank you
There seems to be a kalyan ang, perhaps Bhoop is mixed in?
Or perhaps deshkar? there is also a focus on the dha, but that is often preceded by a ni or other swaras outside of deshkar (which makes it a very interesting raag)?
Really glad you liked it! Even I can’t say if it is more Bhoop or Deshkar, but it is basically what I could do to make a Hindustani tune out of the scale of _The Last Rose of Summer_ (I mention it in the Description too), which is a tune I first heard played on the piano as a small boy. From an HCM perpsective, the 'scale' of Last Rose is *SRGPDN* with a measured proportion of komal d also being used in a chromatic phrase *DdD* . I tried to bring out all these features in this bandish.
As an _obiter dictum_ : In HCM, one does hear the *DdD* kind of phrases in thumri. Abdul Karim Khan’s _Piya bin nahi aavat chaina_ has the phrase slipped in snugly in the middle somewhere. Vasantrao also dabbles in such phrases in his rendition of the thumri _Eri sakhi kal na pare_ .
@@FarhanAmin1994 I was going to mention the DdD phrase - one doesn't hear such chromatic phrases in khyal a whole lot. Though we often hear Sr or Gm or Pd*, but rarely do we hear the same swara in it's komal and shuddha form at the same time - a few examples being the MmG in Lalit, SRgGg in Phulambrikar's Shiv Kalyan or maybe, to a lesser extent, the nDNS in Bahar (I say to a lesser extent since nDNS is strictly chromatic). These phrases add such a brilliant and enchanting lustre to the raags that aren't found a lot in simpler raags such as bhoop, deshkar and Todi. The DdD isn't much heard in Khyal (though in thumri it is found in many places) as you noted - so I think the DdD phrase adds extra intensity to the raag - Brilliant composition well done!
*upper case denotes shuddha swara and lower case denotes komal swara, except in the case of m, where M is teevra
Astutely observed, man! And I agree on all scores. I’d add one more raga to the chromatic list, which, I suspect you too would have heard sometime: Kumar’s Lagan Gandhar.
Among well known but Bhavageet-esque tunes that use chromatic interplay is the famous _GhananiLa laDivaLa_ composed by Shri Sudhir Phadke. I’ve recently tried composing a few similar tunes with the gG pairing; I’ll post a nice version when I can, hehe.
@@FarhanAmin1994 I was going to mention Lagan Gandhar but hadn't listened to it enough to confidently say there was a chromatic swara pairing! If I am not mistaken, Lagan Gandhar also has two shrutis of komal gandhar,
You should definitely post a few more of those tunes that you compose, would love to hear them!
Der se aaye parantu durust aaye 😄..
Iss raga ke bare me bhi batao.. naamheen!
Hehe. Try to see what notes are in common with existing ragas ;) And what key feature comes from the 'dhun'.
Also, the related image is taken from wagwalking.com/condition/spring-season-allergies. :p
Seasonal allergies XD
XD
Thisnis just raag shadav kalyan....
Yt gharana people at it again
Hoy. Aapla anumaan bara aahe, bhau. ;)