Raga Deshi
Referred to as the Deshi Todi in the past Deshi is a very melodic and attractive raga that evokes the shrinagar Rasa and a madhur Bhav. There is a lot of contemplation as to Deshi’s association with Raga Todi. However a difference can be observed between the scale of Miyan ki Todi and Deshi and hence there are many who refute any such association. The most commonly heard Deshi used both the Komal as well as shudh Dhaivat in the descent while both ‘Ga” and ‘Dha” are avoided in the ascent. Its Vadi most Frequently used notel is ‘Pa’ and Samvaadi (second most frequently used note) is ‘Re’ a complex and oblique raga Deshi has a Vakra Nature.
Thaat – AsavariTime – Late morning Jaati – Andav – Sampurna
Aroha: Sa (Ma) Re, (Pal) Ma Pa, Ni Sa Avroha: Sa Pa Dha Pa Dha Ma Pa, Re Gas a Re Ni Sa
Raga Gunakri
Gunakri is a morning melody that generates a lot of pathos. There is a lot of speculation as to whether this raga is the same as Gunakali. According to some Raga Guankri is identical to what was first described as Gunakriya. It appeals most when rendered in Vilambit Laya. Alap evokes Shanta Rasa. A gambhir (Serious) prakriti raga Gunakri often evokes the shaanti Rasa. Its vadi (most frequently used note) is Sa and samvadi (second most frequently used note) is ‘Pa’ Characteristic phrases of Gunakri are – MaPaDha-Ma-Resa, SaReMaPa. Employing komal ‘Re’ and ‘Dha’compositions in this raga often use ‘Pa’ as a pivotal note as well. Certain compositions in this raga similar to Gunakri is Raga Jogiya, which has the same ascent. The differentiating factor however is that while ‘Ni’ is varjit in gunakri jogiya uses ‘Ni’ in its descent. Also where khayal and dhrupad compositions are more popular in Gunakri in Jogiya more thumris are sung.
Thaat – BhairavTime – Morning Jaati – Andav – Andav
Aroha: SA Re Ma Pa Dha SA Avroha: SA Dha Pa Ma Re SA
Bhajan – Surdasji It is in praise of the beautiful form of Lord Krishna.
Dr. N. Rajam
Dr. N. Rajam started her musical career as a child prodigy and has captivated listeners with her renditions ever since her first performances. She caused a revolution in the realm of Hindustani sangeet with her innovative and experimental style from which emerged the ‘Khayal Gayaki’ ang of the violin which today has become synonymous with her name. the secret of Dr. N. Rajam’s almost magical music is probably the strong foundation that was laid by her father Vidwan Late Sri. A. Narayana Iyer and later by the great vocalist Pandit Omkarnath Thakut. It was his unique style that encouraged her to explore the hidden depths of her violin. Mastering the art of dhrupad, alaap, Khayal thumri, tappa and also bhajans on her violin she introduced the listeners to completely different side of the violin. With her magical bowing and fingering technique she has wooed the audience world over. Dr. Rajam is not only a great violinist but is also an M.A. in Sanskrit Ph. D. in music and has been serving the cause of music education at the Banaras Hindu University for four decades. Dr. N. Rajam has made several contributions to the world of music through the Pandit Omkarnath music foundation of which she is the founder chairperson. She is also the noted recipient of the coveted Padmashri and the sangeet Natak Academy awards from the central and state governments.
Tabla: Mukesh Jadhav Tanpura: Yogesh Deshmukh, Raju Parwardhan
Recorded at Studio 2000 Andheri Mumbai.Recorded & Mixed by Mahesh Amberkar
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