Maharashi Gandharva II

Healing properties of ragas

Ragas are said to have healing properties, if sung properly. Emperor Akbar’s great court singer, Tansen, is said to have been able to light oil-lamps, bring rain and even save lives with his music. There is also a historical historical reference to how he brought a dead man to life by singing a particular raga. Ragas in Indian music are known to have healing properties. properties. While ragas like Sahana heal the body of mild ill-health, Todi relieves severe sinus headaches. Singing the Carnatic ragas Bharavi and Athana restore sagging spirits and bestow a feeling of well being both on the singer and his audience.

he raga-ragini (male-female raga) classification can be traced right since the time of the treatise, ‘Ragatarangini’, written by Lochana Kavi. This book discusses in detail several songs of the Maithila dialect of the Hindi language. These songs were set to many ragas and raginis prevalent during that time. In his book, Lochana Kavi has dealt with both regional and local ragas and raginis of Mithila during that time. The raga-ragini classification of ragas is created with the following principle: There are 6 principal male ragas, namely  Bhairav, Malkauns, Hindol, Deepak, Shri and Megh ragas. These ragas have five wives or raginis each and these raga-ragini ‘couples’ also have 8 children or  raga putras each. This gives us a total of 84 ragas. Mentioned below is a detailed list of the ragas, raginis and their children:

 Bhairav raga –  Bhairav

Raag Bhairav is known to be the first raga, that emanated from Siva himself. A simple and common raga, this is seldom heard in concerts today, as it is deemed as a morning raga. raginis –  Bhairavi,   Bhairavi, Punyaki, Bilawali, Aslekhi, Bangli  putra ragas –  Harakh,   Harakh, Pancham, Disakh, Bangal, Madhu, Madhava, Lalit, Bilawal 

raga –  Malkauns  Malkauns

Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said to have been created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it. raginis - Gaundkari, Gandhari, Seehute, Devagandhari, Dhanasr i  putra ragas - Mustang, Maru, Mewara, Khokhat, Parbal, Chand, Bhora, Nad 

 Hindol  raga –  Hindol 

This raga depicts love and personifies kaama or love and the beauty that is Krishna. A simple raga to sing, it is also very pleasing to the ears. raginis - Telangi, Devkari, Basanti, Sindhoori, Aheeri  putra ragas - Surmanand, Bhasker, Chandra-Bimb, Mangalan, Ban, Binoda, Basant,  Kamoda

raga –  Deepak   Deepak 

Tansen, one of the ‘navaratnas’ in Emperor Akbar’s court, is said to have lighted lamps with this strong, vibrant raga. raginis - Kachheli, Patmanjari, Todi, Kamodi, Gujri  putra ragas -  Kaalanka, Rama, Kuntal, Kamal, Kusum, Gaura, Champak, Kanra raga –  Shri   Shri 

This is a very old raga, taken from the Poorvi Thaat. As the name suggests, it is also a very auspicious raga. raginis - Bhairavi, Gauri, Karnati, Sindhavi Asavari  putra ragas - Salu, Sagra, Sarag, Gund, Gaund, Kumbh, Hamir, Gambhir  raga –  Megh  Megh

As the name of the raga suggests, it lets us envision monsoon in all its primitive force and lets us conjure up images of thick clouds, thunder and lightning. raginis - Sorath, Asa, Gaundi-Malari, Gunguni, Sooho  putra ragas -  Biradhar, Kedara, Gajdhar, Jablidhar, Jaldhara, Nut, Sankar, Syama This system of raga-ragini classification was also accepted and upheld by the Tansen school of thought. The raga-ragini classification had not accepted very easily by scholars at that time. Many musicologists argued that this basis for classification of ragas was merely imaginary and nothing to do with the actual ragas.

But the raga-ragini theory started gaining importance importance when the scientific scientific principle of  the male-female raga elements showed up in the Vadi-Samvadi swaras or notes. VadiSamvadi notes are notes showing the male and the female character of the swara. THE ANCIENT RAGA-RAGINI PARIVARA SYSTEM

In actuality, the raga-ragini  parivara (family) system is believed to have existed many centuries ago, much before the bifurcation of Indian music into Hindustani and Carnatic music. Indain music was one before the 13th Century, that is, till the Moghul invasion. It was after this that there was such a clear line of distinction between north Indian and south Indian music. Though both systems are similar even to date, the difference lies in the way the notes are treated and sung. The ancient raga-ragini system too had six main ragas, each with 5 wives or raginis. Each of these raga-raginis had 8 sons or putras and 8 daughters-in-law or vadhus. So then the ragas totaled to 132. There is no unanimity among the different schools of Hindustani music regarding what the main ragas are and who their respective raginis raginis are either. There is another school of  thought that names six other ragas as the main ragas. According to them, the six major  ragas are Kanada, Vasanta, Mallara, Vibhashaka, Vibhashaka, Gandhara and Dipaka. According to this school, Kanada’s raginis are Mayuri, Todi, Gaudi, Varati, Vilolika and Dhanasri . This school of thought also points out to the existence of  dasa and dasi (male and female servant) ragas and dhoota and dhooti ragas too, giving them certain specific characteristics . The raga Kanada’s raginis, Mayuri and Todi have been mentioned to have dasi ragas like Shyama, Vaya, Vagiswari, Sarad i and Vrindavani . Paraj, according to them, is also a male dasa raga of these ragas. This raga-ragini ambiguity lasted for a long time, but disappeared as soon as the MelakartA and Thaat (parent raga) systems came into being in Carnatic and Hindustani music respectivel Melluko Sringara (Raga: Malayamarut Malayamarutham) ham) Radha Madhava (Raga: Ragesri) Ammamma (Priya Sisters) (Raga: Bhairavi) Vasudha Chooda (Raga: Amrutha Varshini) Gaaline Poya (Raga: Gurjari Todi) Garuda Gamana (Raga: Hindolam) Kanti Akhilanda (Raga: Brindavana Saranga)  Narayanathe Namo (Raga: Behag) O Pavanatmaja (Raga: Sri) Jo Achyutananda (Raga: Navaroj) Deva Eethagavu (Raga: Saveri) Sakalam Hey Sakhi (Raga: (R aga: Sindhu Sindh u Bhairavi)

Título: RAGA SADHANA Autor: Sangeet Kaur Khalsa, Harjinder Singh Gill Early Daw Mantras for the Aquarian Age (Set to classical Indian ragas) Mantras para el amanecer en la Era de Acuario

raga for cure disease Atha Dhyanam : Melodic Meditation - "SONA "SONA RUPA CD: Santoor by Pandit Ulhas Bapat. Naadyoga through exploration of sound. Contains PRATA DHYANA - Raag Ahir Bhairav 30.23 min The Raga ŒAhir Bhairav¹ is one of the most moving morning melodies. Its origin lies in the sacred Vedic chants. The note komal ŒRe¹ gives a touch of  divinity to the raga. The septatonic character of the raga gives it a caste expanse. The raga ŒAhir Bhairav¹ comes closest to the chanting of Vedic Mantras, which have a transforming power. Listening to this raga in the morning brings a state of inner purity., NISHA DHYANA - Raag Kaushi Kanada 31.13 min. The Raga ŒKaushi Kanada¹ is one of our most beautiful compound ragas. It generates a philosophical mood. There is a touch of sombreness to the note komal ŒGa¹. Late night is the time when one reflects upon the deeds of the day and gives and account to one¹s conscience. The state of dhyanam is nothing else but reflection. The Raga ŒKaushi Kanada¹ opens our hearts and elevates us to a higher realm of awareness. In these times of heavy stress, Yoga and Meditation can play a very important part in people's lives. This unique has been specially designed to assist meditation - creating a true sense of calmness 

and peacefulness. "

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A

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Abhogi

Ahir Bhairav

AlhaiyaBilawal

B

Bageshri Bhimpalasi

C

Chandrakauns

D

Darbari Kanada

G

GujariTodi

H

Hamir 

J

Jaijaiwanti

Jaunpuri

K

Kafi Kanada

Kafi

Kambhoji/Kambodh i Kambhoji/Kambodhi Kaushi Bhairav

Kamod Kaushik Dhwani

Khamaj Khat/Shat

Bairagi Bhupali

Basant Bihag

Desh

Durga

Khambavati Khamaj Khokar

Kalavati or  Kalavati Kalyan Kamod Kedar Bahar

Khambavati Kirwani

Bhairav Bilaskhani Todi

Bhatiyar 

Kaligra

Kalyan/Yaman

Kanada Bahar Kedar Nat

Kanada Malhaar  Kedar 

Khat Todi (shuddha m) Kukhub Bilaval (I)

Kedar  Khat Todi Kukhub Bilaval (II)

Kukhub Bilaval (III) L

Lacchsakh Lachari Todi (I) Lachari Todi (II) Lalit Bhairav Lalit/Lalat Lalit Lankadahan Sarang Lankeshri Latangi (II)

M

Madhmad Sarang Madhuvanti Madhuvan ti Malati Basant Maligaura (II) Manjh Megh Multani

N

P

Madhukauns Madhukauns (II) M Madhuranjani adhuranjani (I) Malashree (I) Malashree (II) Malashree (III) (Popular type) Malav Malavi Malgunji Malkauns Malkauns Maluha Kedar Maru Bihag Marwa Marwa Megh Malhar (I) Mirabai ki Malhar  Multani

Miya ki Malhar

Nagasvaravali or  Nagasvaravali Nageshvari

Nand or  Anandi or  Ananda Kalyan

Nand

Nat or Nata (I)

Nat or Nata (II) Nata Kedar

Nata Bhairav

Nata Bilwal

Lajvanti Lalita Gauri

Nayaki Kanada or  Nayaki

Neelambari

Pahadi

Pancham (I)

Madhuvanti, Ambika, Madhumalati Malashree (IV) Maligaura (I) Mand Megh Malhar (II)

Miya ki Sarang

Miyan ki Malhar 

Nandkauns

Narayani

Nata Bihag (I) (Popular) Nata Malhar (I) Nata Malhar (II)

Pancham (II)

Lakshmi Todi Lankadahan Lankada han Sarang (I)

Pancham

Nata Bihag (II) Natanarayani or  Natanarayani Natanarayana

Paraj Bahar 

Paraj or Paraju

Pata bihag

Piloo

Pooria Dhanashree Prabhat Bhairav (I)

Poorvi Kalyani

Malkosh or  Panch Kauns Patadeep Patamanjari (I) Patamanjari Patamanja ri (II) (II ) (Popular) Pooria Poorvi (I) (only Poorvi (II) (both M and m M is used) are used) Popular  Prabhat Bhairav Pradeepaki / Puriya (II) Patadeepaki

PuriyaDhanashri R

Rageshree / Rageshwari Ramdasi Malhar (III) Ramkali

S

Saheli Todi

Rageshree Bahar  Ramdasi Malhar (IV) Rasaranjani

Rageshri

Ramdasi Malhar  (I) Ramkali (I) Ramkali (II) Popular  Rewa (Poorvi Rewa (Shree Ang) Ang)

Salagavarali Samanta Sarang

Saranga Malhar Savani Kalyan

Saranga Savani

Shanmukhpriya Shanmukhpriya Shree (II) Shuddh Bilaval (I) (Same as Shankarbharana) Shuddha Kalyan

Saraswat i Saraswati Saveri

Sampoorna Malkauns Sarparda Shankara

Sharavati Shivaranjanii Shivaranjan Shobhavari Shree Kalyan ShreeRaag Shuddh Bilaval Shuddh Sarang ShuddhKalyan (II)

Ramdasi Malhar (II) Ramkali (III )

Sanjh / Sanjh ka Hindol Savani Bihag Shankarabharana Shree (I) Shuddha Bhairavi

Shuddha Shuddha Malhar Shuddha Nata Shuddha Sarang Malhar  Shukla Bilaval (I) Shukla Bilaval Shyam Kalyan Shyam Kedar Simhendramadhyamam (II) Sindh/Sindhu Sindhu Sohani (M is Sohani/(II) (m is Sohani (III) (m and M both Bhairavi used) Popular  used) are used) Sohani (IV) (m and d Sugharai Suha / Suha Suha / Suha Suha Sugharai are used) Kanada (I) Kanada (II) Sur Malhar (I) Sur Malhar (II) T

Tilak Kamod

Y

Yaman

Z

Zilla Kafi

Ti lakKamod TilakKamod

Tilang

Todi

> List Of Ragas Handled 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Abheri Abhogi Agni Kopam Amirtha Varshini Anandha Bhairavi Anandha Rupa Arabhi Asaveri Atana Bahar

11. 12. 13. 14. 15. 16. 17. 18. 19. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71.

Bahudhari Bala Nandini Basanth Behag Bhageshri Bhairavi Bilahari Bouli Brind rindh havan avana a Sara Sarang nga a Budha Ranjani Chakravagam Chala Nattai Chandra Jyothi Chandrakauns Charukesi Chitrambari Darbar Darbari Kanada Desh Deva Gandhari Dhanyasi Dharmavathi Dheeramathi Dhenuka Dvijavanthi Ganitha Vinodhini Gopika Vasantham Gowlai Gowri Manohari Hamir Kalyani Hamsadhwani Hamsanadham Hamsanandhi Hari Kambhodhi Hema Bhushani Hemavathi Hindholam Huseni Indrabharanam Janaranjani Jayantha Sena Jhankaradhwani Jog Jonpuri Kalasaveri Kalyana Vasantham Kalyani Kamas Kambodhi Kanada Kanakangi Kapi Karaharapriya Karna Ranjani Karnataka Kamas Kathyayini Kedhara Gowlai Kedharam Keeravani Kosalam Kunthala Varali

72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 130. 131. 132.

Kurinji Kusumadharini Lalitha Lathangi Lavanthika Madhukauns Madhuvanthi Madyamavathi Mahathi Malahari Malayamarutham Malgunji Mand Manirangu Manji Maran Mayamalava Gowlai Mohana Kalyani Mohanam Mukhari Nadha Namakriya Naga Nandhini Nalinakanthi Natabhairavi Nataka Priya Natakurinji Nattai Navarasa Kannada Navaroj Nayaki Neelambai Neethimathi Pahadi Panthuvarali Paraz Piloo Poorn oorna a Chand handri rika ka Poorvi Kalyani Punnagavarali Pushpalathika Ragavardhini Rageshri Ramapriya Ranjani Rasika Priya Rasika Ranjani Rathi athip pathi athi Priya riya Rathnangi Reethi Gowlai Revagupthi Revathi Rishabha Priya Rishivani Sahana Saindhavi Sallabam Sama Samudra Priya Sanka ankar rabha abhara rana nam m Saramathi Saranga

133. 134. 135. 136. 137. 137. 138. 138. 139. 140. 141. 142. 143. 143. 144. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 154. 155. 155. 156. 157. 158. 159. 159. 160.

Sarasangi Savithri Senjuruti Shanmugapriya Simh Simhen endr dra a Mady Madyam amam am Sindh indhu u Bhair hairav avi i Siva Ranjani Sri Sri Ranjani Srothasvini Subh Subha a Pant Panthu huva vara rali li Suddh uddha a Dhany hanyas asi i Suddha Sarang Suddha Saveri Thilang Thodi Vachaspathi Vagulabharam Valaji Varali Vasantha Vasan asant tha Bhair hairav avi i Vasan asant tha Mukha ukhari ri Vasantha Shri Vasanthi Vijaya Nagari Yadh Yadhuk ukul ula a Kamb Kambho hodh dhi i Yamuna Kalyani

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Sound has its negative effects as well. Noise pollution is causing diseases like anxiety neurosis, high blood pressure, increase in brain sugar level, heart problems, severe headaches, loss of hearing etc.; this has been proved medically. Only musical sounds can have positive effects. Such positively forceful sounds are found in maximum numbers in the Vedas known as ved  mantras . Regular recitation of the ved mantras  benefits not only the one who recites, but humanity as a whole as well. Famous singer Baiju Bawara Malkos . The great made stone melt like wax when he recited raga Malkos musician Tansen made the lamps burn when he sung raga Deepak  and made it rain when he sung raga Megh Malhar  . The incredible miracles of music were witnessed by the people of the time and are today recorded in history. Headaches can be cured by one raga Asavari  . It is even said that the kolhoo (traditional Indian oil expeller) started moving on its own when raga Bhairav was played.  Raga  Hindola when recited in the middle of night is said to be capable of making

a hindola (swinging seat suspended from a tree used for amusement) swing on its own. Then there is raga Sarang  . This raga is meant for the rainy season, and is to be recited during the noontime when it helps to cure all types of seasonal fevers. This gives complete tranquility and relief. It makes the atmosphere peaceful and soothing.  Raga Vrindavani Sarang  is slight slightly ly differ different ent from from raga raga Sarang  Sarang  . When this is recited to the accompaniment of drizzling rain, it gives a particular type of joy to the mind and the ears, by creating particular waves in the mind and the heart. Such magical music can never be ignored. It is never too late to appreciate the therapeutic value of music apart from its inherent aesthetics. Music is the the grea greate test st pain painle less ss,, swee sweett seda sedati tive ve.. It is a grea greatt scie scienc nce, e, eter eterna nall llyy ensconced in eternity. Music can play an effective role in helping us lead better, fruitful lives. Listening to specific kinds of music at specific times of the day has been shown to be helpful in maintaining good health. Indian music, with its many Ragas, is known to be particularly therapeutic value. The curative power of music emanates from the resonance of certain ragas on hormonal and glandular functions which produce secretions that keep the body balanced and infection free. RAG-MALA

Raga Ahir Bhairav Asavari Bageshri Basant Bahar Bhairavi Bhim palas Brindabani Sarang Chandrakauns Darbari Darbari Kanada

Deepak  Gujari Todi

Gunakali

Disease(s) it helps cure Indigestion Rheumatic Arthritis Hypertension to build confidence insomnia Gall Stones (Cholecystitis) Rheumatic Arthritis Sinusitis encourages detachment Anxity, Hypertension Depression Anorexia Sedetive Headache Asthama Indigestion Anorexia Hyperacidity Gall Stones(Cholecystitis) Cough Rheumatic Arthritis

Hindol

Jaunpuri

Jaijawanti K afi K ausi ausi Kanada

K edar  edar  K hamaj Madhuvanti

Malkauns Malhar Marwa Nat Bhairav

Puriya

Puriya Dhanashri R amkali amkali

Shree

Shudh Sarang Shyam Kalyan Sohani Yaman

Constipation Headache Piles or Hemorrhoids Rheumatic Arthritis , Spondilitis Backache Hypertension Intestinal Gas Diarrhoea Constipation Rheumatic Arthritis Diarrhoea Headache Sleep disorders Hypertension Common Cold Headache Common Cold Cough Asthma Sleep disorders Piles or Hemorrhoids Intestinal Gas Asthma Indigestion Hyperacidity Indigestion Rheumatic Arthritis Colitis Colitis Anaemia Hypertension Anaemia Colitis Piles or Hemorrhoids Anorexia Common Cold Cough Asthma Anorexia Gall Stones (Cholecystitis) Cough Asthma Headache Rheumatic Arthritis

One of the unique characteristics of Indian music is the assignment of definite times of the day and night for performing Raga melodies.To know more about this CLICK HERE.

One of the unique characteristics of Indian music is the assignment of definite times of the day and night for performing Raga melodies. It is believed that only in this period the Raga appears to be at the height of its melodic beauty and majestic splendor. There are some Ragas which are very attractive in the early hours of the mornings; others which appeal in the evenings, yet others which spread their fragrance only near the midnight hour. This connection of time of the day or night, with the Raga or Raginis is based on daily cycle of changes that occur in our own body and mind which are constantly undergoing subtle changes in that different moments of the day arouse and stimulate different moods and emotions. Each Raga or Ragini is associated with a definite mood or sentiment that nature arouses in human beings. The ancient musicologists were particularly interested in the effects of musical notes, how it effected and enhanced human behavior. Music had the power to cure, to make you feel happy, sad, disgusted and so on. Extensive research was carried out to find out these effects. This formed the basis of time theory as we know it today. It is believed that the human body is dominated by the three Doshas - Kaph , Pitta and Vata . These elements work in a cyclic order of rise and fall during the 24 hour  period. Also, the reaction of these three elements differ with the seasons.Hence seasons.Hence it is said that performing or listening to a raga at the proper allotted time can affect the health of  human beings. Raga and Day Time The following schedule will summarize the specific time periods. The 24 hour period is divided into 8 beats(Prahar) each three hours long, as follows: 1. 2. 3. 4. 5. 6. 7. 8.

4 a.m. - 7 a.m. a.m. 4th beat beat of the night. night. Early Early Dawn; Dawn; Dawn Dawn (before (before sunrise sunrise); ); 7 a.m. - 10 a.m. a.m. first first beat of the the day. Daybr Daybreak; eak; Early Early Morni Morning; ng; Mornin Morning; g; 10 a.m. a.m. - 1 p.m. 2nd beat beat of the day. day. Late Late Morning Morning;; Noon; Noon; Early Early Afternoon; Afternoon; 1 p.m. - 4 p.m. p.m. 3rd 3rd beat beat of the day. day. Afterno Afternoon; on; Late Late Afternoo Afternoon; n; 4 p.m. - 7 p.m. p.m. 4th beat of of the day. day. Evening Evening Twilight; Twilight; Dusk Dusk (suns (sunset); et); 7 p.m. - 10 10 p.m. first first beat beat of the the night. night. Evening; Evening; Late Late Evenin Evening; g; 10 p.m. p.m. - 1 a.m. a.m. 2nd 2nd beat beat of the the night. night. Night; Night; Midnight; Midnight; 1 a.m. a.m. - 4 a.m. a.m. 3rd 3rd beat beat of of the nigh night. t. Late Late Night Night

Simillarly Everyday two cycles of change pass through our body, each bringing a Vata, Pitta, or Kapha predominance. The approximate times of these cycles are as follows: First cycle: • • •

6 A.M. to 10 A.M. - Kapha 10 A.M. to 2 P.M. - Pitta 2 P.M. to 6 P.M. - Vata

Second cycle: • • •

6 P.M. to 10 P.M. - Kapha 10 P.M. to 2 P.M. - Pitta 2 A.M to 6 P.M. - Vata

Raga and Ritu(Seasons)

There are Ragas associated with the rainy season,Varsha (Raga Megha and Raga Malhar), the autumn season,Basant (Raga Basant) and the spring season (Raga Bahar). Seasonal Ragas can be sung and played any time of the day and night during the season allotted to them. The obligation of time in case of such melodies is relaxed. Vasanta Ritu (Spring Season) In this season, increased kapha is liquified by the heat of sun which causes diminished agni (digestive activity) causing diseases Grishma Ritu (Summer Season) In this season, Sunrays become powerful. Kapha decreases vata increases day by day Sharat Ritu (Autumn Season) Sudden exposed to sunlight after cold season aggravates pita.

Dosha

Accumulation

Vitiation

Diminution Diminution

Kapha Pitta Vata

Shishir Grishma Varsha

Vasant Varsha Sharad

Grishma Sharad Hemant

Raga and Ritu(Seasons) Association :-

Raga

Ritu

Bhairav

Shishir 

Hindol

Vasant

Deepak

Grishma

Megh

Varsha

Malkans

Sharad

Shree

Hemant

Verious Ragas and there Performance Timings:

Raaga

Thaat

Performance Time

Piloo

Kafi

Any Time

Kafi

Kafi

Any Time

Mand

Bilawal

Any Time

Dhani

Kafi

Any Time

Bhairavi

Bhairavi

Any Time

Gaud Malhar

Kafi

Monsoon

Miyan Malhar

Kafi

Monsoon

Deshkar

Bilawal

Morning

Gunkri

Bhairav

Morning

Ahir Bhairav

Bhairav

Morning

Asavari Bhankar

Morning Bhairav

Morning

Bairagi Bhairav

Bhairav

Basant Mukhari

Morning Morning

Basant

Poorvi

Morning

Bhoopali Todi

Bhairavi

Morning

Bhatiyar

Bhairav

Morning

Bilawal

Bilawal

Morning

Bilaskhani Todi

Bhairavi

Morning

Bhairav

Bhairav

Morning

Desi

Asavari

Morning

Sohni

Marwa

Morning

Gurjari Todi

Todi

Morning

Nat Bhairav

Bhairav

Morning

Kalingada

Bhairav

Morning

Lalit

Poorvi

Morning

Jogiya

Bhairav

Morning

Jaunpuri

Asavari

Morning

Hindol

Kalyan

Morning

Todi

Todi

Morning

Vibhas

Bhairav

Morning

Vrin Vrinda dava vani ni Sa Sara rang ng Kafi Kafi

Afternoon

Shuddh Sarang

Kalyan

Afternoon

Poorvi

Poorvi

Afternoon

Patdeep

Afternoon

Madhyamad Sarang

Kafi

Afternoon

Madhuvanti

Todi

Afternoon

Bhimpalasi

Kafi

Afternoon

Gaud Saarang

Kalyan

Afternoon

Multani

Todi

Afternoon

Bhoopali

Kalyan

Evening

Kamod

Kalyan

Evening

Desh

Khamaj

Evening

Yaman Kalyan

Kalyan

Evening

Hansdhwani

Bilawal

Evening

Khamaj

Khamaj

Evening

Sham Kalyan

Kalyan

Evening

Yaman

Kalyan

Evening

Tilang

Khamaj

Evening

Shuddh Kalyan

Kalyan

Evening

Shankara

Bilawal

Evening

Maru Bihag

Kalyan

Evening

Puriya Dhanashri

Poorvi

Evening

Puriya

Marwa

Evening

Pahadi

Bilawal

Evening

Jana Sammohini

Evening

Marwa

Marwa

Evening

Shree

Poorvi

Evening

Bahar

Kafi

Night

Tilak Kamod

Khamaj

Night

Bageshri

Kafi

Night

Charukeshi

Night

Malhar

Kafi

Night

Raageshri

Khamaj

Night

Nand

Kalyan

Night

Malkauns Pancham Bhairavi

Night

Malkauns

Bhairavi

Night

Bhinna Shadja

Khamaj

Night

Shivranjani

Kafi

Night

Malgunji

Kafi

Night

Jhinjhoti

Khamaj

Night

Kirwani Chandani Kedar

Night Kalyan

Chandrakauns

Night Night

Kedar

Kalyan

Night

Chhayanat

Kalyan

Night

Darbari

Asavari

Night

Kalavati

Khamaj

Night

Adana

Asavari

Night

Durga

Bilawal

Night

Jaijaiwanti

Khamaj

Night

Gorakh Kalyan

Khamaj

Night

Hamir

Kalyan

Night

Bihag

Kalyan

Night

MORE ON RAGA -TIME ASSOCIATION Time

Raga

Raga Bhairavi 4am - 7am Raga Bhairava Ragas Ramakali & Jogiya

Benefit

emotional strength ,Devotion and Peace Peace Integration, Compassion Peace & Serenity

7am 10am

Raga Komala Rishabha Asawari Raga Deshkara Raga Jaita Raga Gurjari Todi Raga Todi Raga Alahiya Bilavala

serenity Increased Energy Dynamism Compassion ,Patience Joy Peace and Happiness

10am 1pm

Ragas Gauda & Vrindavani Saranga Raga Shuddha Saranga Raga Ahir Lalita Raga Vrindavani Saranga

wisdom Success, Knowledge Joyfulness Greater Energy

Raga Multani Raga Madhuvanti 1pm - 4pm Raga Samanta Saranga Raga Bhimapalasi

Achievement, Affuence Happiness Creativity Life

Ragas Kafi & Madhuvanti Raga Mishra Pilu 4pm - 7pm Raga Puriya Dhanashri Raga Marwa Raga Puriya Kalyana

Creativity and Happiness Celebration & Joyfulness Relaxation Coherence ,Happiness Harmony

7pm 10pm

Ragas Puriya & Rageshri Raga Hansadhwani Raga Maru Bihaga Raga Desh Raga Durga Raga Maru Bihaga

Harmony and Rejuvenation Celebration Celebration & Happiness Compassion Joy Integration Compassion

10pm 1am

Raga Darbari-Kanhra Raga Bageshvari Raga Gunji Kanada Raga Abhogi Raga Malkaunsa

Restful Quality of Sleep Relaxation & Rest Better Sleep Peaceful Slumber  Restful Sleep ,Tranquility

Raga Sohini & Bhatiyara Raga Basanta 1am - 4am Raga Sindhu Bhairavi Raga Lalita Raga Nata Bhairava

Healthy Mind and Body Love & Happiness Gentleness Peace & Tranquillity Serenity

Raga: Raga in Sanskrit means “ passion”. It is also linked to Sanskrit word Ranj, which means, “ color”. It refers to melodic modes used in Indian Classic music. Raga specifies the rules of melody. A very special thing about raga based songs is that it can be used to cure various diseases!!!!! Effect of ragas: Raga Bageshri: - Gives stability to life & brings calmness. This raga is also used in treatment of diabetes and hypertension. Ragas BhupatiTodi, Ahir-Bhairav & Kalyan : - Provides relief to patients of high blood pressure. Provides relief to patients of low blood Ragas Malkans & Asawari: -Provides pressure. Raga Chandrakauns: - Useful in treatment of heart ailments and diabetes. Ragas DarbariKanara, TilakKamod, Hansdhwani, Kalawati & Durga: This raga eases tension and provides relaxation. Raga Puriya Dhanashri: -This - This raga keeps the mind stable and prevents acidity. Raga Bhairavi: -Provides - Provides relief from Sinus, cold, phlegm, toothache. Ragas Bihag, Bahar, Kafi & Khamaj: - Useful in the treatment of sleep disorders. Raga Malhar: - Useful in the treatment of asthma and sunstroke. Raga Todi, Poorvi & Jayjaywanti: Jayjaywanti: - Provides relief from cold and headache. Ragas Hindol & Marava: - This raga is useful in blood purification. Raga Mohana: - Useful for the treatment of migraine headache.

Raga Shivaranjani: -Useful - Useful for memory problems.

Amazing facts: 1. Music therapy yields fast remedial effects for psychosomatic disorders like hypertension, migraine headache, anxiety and insomnia. 2. According to Dr.W.H.J.Wales Indian classical music can cure jaundice!!!!! 3. The rhythmic sounds of temple bells and shankha (conch) can destroy bacteria and germs in their surroundings!!!!!!!!! 4. High beat music can be detrimental to health in general. 5. Music therapy provides relief to nausea and vomiting. 6. Music therapy can be used as an aid in Psycho-oncology!!! 7. Autistic and retarded children respond to certain kinds of music. 8. Everyone has different tastes in music. If you listen the type of music with which you are not comfortable, it can alleviate stress instead of reducing it!!!!! 9. Playing music in the background while we are working, seemingly unaware of the music itself, has been found to reduce the stress and increase pour performance. 10. Listening to sounds of nature like the waves of ocean or the calm of deep forest can provide instant relief to stress.

The Mantra is OM AIM HREEM SHREEM SHIVA RAAMA ANAGHA DATTAAYA NAMHA. NAMHA. Chant this Mantra. May good happen to you all. Jaya Guru Datta As I am conversant with both Hindusthani and Carnatic styles I have an affinity for ragas that find a place in both forms.

Raga Yaman is one such. It corresponds to Kalyani in Carnatic. Reasons? Vast scope, extraordinary musical phrases and pleasant and serene mood of  More than this, music has curative powers. Assorted people and organizations are still working at various levels to scientifically chronicle the curative powers of the music. Yet, there is a conviction among many that music does have a healing power. "I have heard from people that Ananda Bhairavi helps to reduce blood pressure. Likewise, Atana helps to reduce the blood sugar,’’ Jayashri says, pointing to people who have

experienced it. In fact, Apollo Hospital has a music therapy wing in Chennai to treat certain types of ailments. All different forms of these melodies (ragas) are believed to affect various " chakras" (energy centers, or "moods") in the path of the Kundalini. However, there is little mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying...

Title: A dose of music for those without hope Are you too stressed out? Lie down on the sofa or strech out on the bed and listen to “kapi raga”. It is guaranteed to beat the stress from your body and r ejuvenate you. If you are suffering from hypertension then the “Todi Raga” is right for you.

blog.360.yahoo.com/blog jKw1O9k8bqgCnFuAezjBVvmyvw--? cq=1&p=2239 http://blog.360.yaho http:// blog.360.yahoo.com/blog-jKw1 o.com/blog-jKw1O9k8bqgCnFuAe O9k8bqgCnFuAezjBVvmyvw--?cq= zjBVvmyvw--?cq=1&p=2239 1&p=2239

Some Therapeutic Ragas Puriya Hypertension, phobia, heart disorder

Jaunpuri Apan disease, constipation, Intestinal Gas Urinary tract infection, colic pain

Darabari Kanada

Headache (Acute), Migraine, mind concentration, Grief, Mental shock

Puriya Kalyan Anxiety, Leucorroea, Dysmenorrhoea, Abdominal pain

Kedar Insomnia, Mental retardation, Memory impairment, tonsitis, Rhinitis, Upper respiratory infections

Bhairav Specifying three dosh diseases, Insomnia, Heart disorder

Shyam Kalyan Anger, three dosh disorder

Malkauns Three dosh disorder, fever

Kalavati Rag

Labour pains (Acute), Insomnia, (women delivered safely without strain)

Sam Ved Richa Labour pain, Insomnia general debility, tissue building

Hindol Body pain, low backache, musculo-skeletal and neuralogic pain, vat diseases, Rheumatoid arthritis

Deepak Indigestion, less gastric fire, Hyperacidity

Pata Manjiri Vomiting, less gastric fire, Anorexia

Megh Malhar Irritation of Skin, Rakt Pitt, Leprosy, leucoderma, High gastric fire (bhasmaka)

Vasant bahar Pitt diseases, fever

Asavari

Infertility, impotency, Apan disorder and habitual abortion

Shree Kaph diseases, swelling, Asthama, common cold weakness.

Bhairavi Arthritis, Rheumatic disorder, muscular & joins pain, heaviness

Lalit Rasayan, Vaikaran (improve sex emotion) Nervous break down

Sohani Shock.

Kaphi Vat Pitt diseases , mainly eye problems.

Jay-Jayvanti Pain reliever, kaph & vat pacify, bring happiness.

Conclusion

There is a growing awareness that ragas could be a safe alte altern rnat ativ ive e for many many medi medica call inter nterve vent ntio ions ns.S .Sim impl ple e iterative musical rhythms with low pitched swaras, as in bhaj bhajan anss and and kirt kirtan anss are are the the time time-t -tes este ted d seda sedati tive ves, s, whic which h can can even even subs substi titu tute te the the synt synthe heti ticc anal analge gesi sics cs,, which show many a side-effect. They are capable of leading to relaxation, as observed with the alpha-levels of the brain waves. They may also lead to favourable hormonal changes in the system. These excerpts are from Rag Sindhu Bhairavi, a morning raga. • • • • •

Scale or Mode Tal(Rhythm Structure) Alap (Introduction) Ghatt (Melody) Improvisation excerpt

•

Greetings!

I'm looking for the ideal listening times for these raags: raga saraswati Raag Nand Pallavi Sujani Malhar  Raga Ramdas-Malhar  Ramdas-Malhar  Mishra Tilang Ragam Sarasvatipriya Sarasvatipriya raga haripriya kanhra Raga Palas Kafi Raga Malika Raag Ahir Lalit Raga Mishra Pilu Raag Kala Ranjan Aaja Sajana Sanga Raga Mishra Kafi Raag Bairagi Raga Mishra bhairavi Raga Bairagi Todi Raga Darbari I have "Googled" some sites with lists of ragas and their  times, yet not all ragas were included and some were vague.

I am rather new to Carnatic music... the last four years I've  been listening much, discovering and having much joy from this treasure trove. Thank you kindly Ron Gang  painter-artist  painter-artist - Kibbutz Urim, Israel web site- http://www.iarc.org/~4x1mk/

Email: [email protected] www.diabetesmellitus-information.com/diabetes-mellitus-music-therapy.htm /www.namdhari-music.co.uk/classical/listofragas.htm //kksongs.org/raga/list/raga_list.html /www.carnatica.net/que /www.carnatica.net/queryinquiry.htm ryinquiry.htm vozme.com/webmasters.php?lang=es www.vibrasdigitales.com/

www.speakcomputers.com/T www.speakcomputers.com/Texto-a-Voz.aspx exto-a-Voz.aspx

The raga Vasantapriya ("Dear to Spring") is very close contextually to raga Vasantha. That the raga Sarasvatipriya is not the same as raga raga Sarasvati, Sarasvati, with a bit of modification in the Ragam Tanam Pallavi, as one goes through the entire stretch of the piece, would be obvious ("Chettinadu Chinna Magane").

"Raga Sarasvatipriy Sarasvatipriya"  a" is basically "Raga Sarasvati," but with some slight modifications. Similarly, "Raga Vasantapriya" is essentially "Raga Vasanta."  Vasanta ." 

http://www.sacredscience.com/archive/Westbrook1.htm

The Doshas and the Cycles of Time It is of great significance significance for our study of music that  Ayurveda also has its own theory of  time. We can refer to the Caraka Samhit a (Sharma,1981: 384):

Time is the year as well as the status of the patient. The year is divided into two, three,  six, twelve or even more parts according to the nature of action (to be taken). Now, dividing it into six, the action will be said. Hemanta (early winter), grisma (summer) and varsa (rainy season) these are the three seasons characterized by cold, heat and  rains. In between them there are other three seasons having common characters such as-pravrt (early rains), sarad (autumn) and vasanta (spring).

The text goes on to relate these time values to the treatment of patients (Sharma, 1981: 385-386): The status of the patient is also called as timely or untimely in relation to the act being   performed or not such as, in a certain condition one drug is untimely, and the other one is timely. . . . The therapy being administered after or before the (opportune) time is not  effective because time determines the sufficiency of the administration of therapy.

On the basis of this principle,  Ayur Veda recognizes multiple cycles of time and distinguishes the specific balance between the doshas existing in each segment of each cycle. These factors are taken into account in diagnosis and treatment as well as the recommendations recommendations for preventing disease. During the diurnal cycle, each dosha is found to predominate twice. The sequence is approximately thus :(7) 6 - 10 a.m.- kapha 10 - 2 p.m. - pitta 2 - 6 p.m. - vata 6 - 10 p.m. - kapha 10 - 2 a.m. - pitta 2 - 6 a.m. - vata It does not end there, however. A tridosha balance is specified for every kind of cycle, days of the week, months of the year, the main stages of life, the steps of digestion, the seasons, the nakshatras or cycles of the moon etc. Of considerable importance in this scheme are the seasons. This is not only because seasonal imbalances are an important feature of  Ayur  Ayur Veda theory, but also because, according to an ancient text, the diurnal cycle is, at least in part, based on the seasonal one (Bhishagratna,1981: 51): . . . the features which specifically mark the different seasons of the year are observed  to characterize the different parts of a complete day and night, [or in other words] traits peculiar to spring time exhibit themselves in the morning; the noon is marked by all the characteristics of summer; the evening by those of the rainy season; the midnight  by those of autumn; and the hours before dawn by those of Hemanta. And similarly, like the seasons of the year, the different parts of the day and night are marked by variations of heat, cold, etc, [or in other words] the deranged bodily humours such as wind, bile. etc. naturally and spontaneously accumulate, aggravate, or subside during  the different parts of the day as they do in the different seasons of the year [represented  by those parts of the day and night as stated above].

This relationship relationship between the seasons and the diurnal cycle is mirrored in the area of  music. Ancient music theories recognized six basic ragas and the six seasons. O.C. Gangoly suggests (1989: 80) that "It is quite possible that the assignation of  ragas to  particular seasons may be older than the Sangta-makaranda ," that is, prior to its earliest discussion in terms of the diurnal cycle. He goes on to suggest that these seasonal associations originated from the customs surrounding certain seasonal festivals, a notion that parallels the ideas of Gosvami and Nijenhuis quoted earlier. Of great significance to the present study is that the historical development of the diurnal cycle concept from the seasonal one is similar both Ayur Veda and in music. The link between diurnal and seasonal cycles is only one piece of evidence for the connection between  Ayur Veda and Gandharva Veda. Prof. P.V. Sharma of Benares Hindu University and editor of the Caraka Samhit a cites Sarngadeva's involvement in  Ayur Veda and the inclusion of musicians in the list of hospital staff members in ancient  Ayurvedic texts. He also addresses the connection between the time theory and rasa aspects of  raga performance by citing the connection between the doshas of  Ayur  Ayur Veda and the gunas, or primary constituents constituents ofnature, of  Samkhya philosophy. The following is from a discussion I had with Professor Sharma during a research visit to India in 1994: Q) So, do you see any relationship between doshas and swaras (notes)? A) Certainly. The approach is psychosmomatic psychosmomatic - a mind/body approach. The doshas the  physiological humors interact with the psychological ones,  sattva, rajas, tamas. We can correlate sattva with pitta , tamas with kapha and rajas with vata. They are both unstable. Q) So it would come as no surprise to you that the time aspect of music is related to  Ayur Veda ? A) Certainly, because it affects the physiological humors. So a morning raga will sooth kapha in the body because it eliminates tamas in the mind. Music is concerned with the mind. But the mind is in the body. Until you know the physiology of the body how can you know the effect of music? It is not possible. Professor Sharma also supports the idea that the effect of music on the physiology can  be learned through experimental methods built around  Ayurvedic  pulse diagnosis, a highly sophisticated methodology used by  Ayurvedic doctors to assess the balance of  the doshas within the physiology. Some small pilot studies which have been conducted at Maharishi Vedic University show that such effects can be clearly demonstrated. It has  been noted, for example, that the doshas are often brought sharply into balance when an individual listens to Sama Veda and other kinds of Vedic recitation. The effect of music is more complex, however, and requires more sophisticated study for which funds have not, thus far, been available. One goal of such research would be to show whether  vata, pitta or kapha responses occur during vata, pitta or kapha periods of the day. It must be evident, however, that there is a discrepancy between such periods and the eight  praharas of current music theory. These can be reconciled by considering the broad interpretation of Pandit Bhatkhande's raga classification vis-a-vis time of performance and scale forms as set

forth by Harold Powers. In a recent article (1992: 9-51), Harold Powers divides the day into six, rather than eight, segments and relates them to the thats as follows: Before noon (suddha MA) or midnight (tivra MA) for kalyan, bilaval and khamaj thats. Around dawn (suddha MA) or dusk (tivra MA) for bhairav, purvi and marva thats. After noon (suddha DHA) or midnight (komal DHA) for kafi, asavari and bhairavi thats. While it may appear that this scheme does not exactly overlap the divisions of the day from Ayur Veda, it is important to note that a major concern in  Ayur Veda is helping the  physiology to make transitions smoothly from one period to another. Difficulty in doing this results in symptoms and disease and  Ayurvedic practitioners practitioners routinely prescribe changes in routine, diet and medications during different seasons, for example, in order  to prevent this. From this viewpoint, music's influence can be seen as a form of therapy in assisting such transitions. It is, in fact, used as a treatment modality in exactly this way at Maharishi Ayur Veda medical centers. Maharishi Mahesh Yogi (1991: 12) explains as follows:  Every level of creation is a frequency. One frequency melts in to the other and this is how the process of evolution takes place. The night comes to an end and the dawn begins. At dawn, when the darkness and dullness of the night is over, some inspiring   freshness comes and there is a different frequency in the whole atmosphere. At midday there is another big change in frequency; at evening, a different frequency; at midnight  a different. This cycle of change is perpetual, and because everything is a frequency there is sound at every stage.  From morning to morning the melody of nature is changing, changing. Gandharva music goes with the time, setting its melodies according to the changing nature. It sets  forth those very natural melodies which match with the process of evolution. It provides a powerful harmonizing influence in the whole atmosphere to balance imbalances in nature.

Thus, for example, the period defined as "before noon" comprises a transition from kapha to pitta time. Dawn involves the transition from vata to kapha, as does the spring  period , and so on. Music therapy designed for such periods influences the physiology in such a way as to facilitate these transitions. To understand this process would require knowledge of the effects of different note patterns and rhythms on the physiology. Some scholars believe that such knowledge exists. Writing as long ago as 1935, Gangoly, (1989: 83), reported that "...some music scholars have recently discovered some physiological basis in the structure of the ragas which seem to offer some rational explanation explanation for assigning particular particular melodies to particular hours." Similarly, Alain Daniélou wrote to me in 1992. "There exists a relation between various scales scales and the humours of the body. Any one expert in the music therapy of the Ayur Veda should be able to find out." Whether or not such expertise exists in India is the subject of ongoing enquiry. In the interim, a research study utilizing pulse diagnosis can test many of the hypotheses which emerge out of the theoretical constructs outlined above and could prove to be a

valuable first step in understanding the phenomenon of time in musical performance. If  we take the view that the theory of  Gandharva Veda , or music, can only emerge from the full value of Vedic thought, we have to consider all the aspects of Vedic literature which deal with cycles of time. Of these, however, Ayur Veda is one of the most significant, and there appears to be considerable evidence linking it with musical  performance in ancient times The reader will recall the verse from the Sanigta-makaranda , quoted at the beginning of  this paper.

On the basis of this principle,  Ayur Veda recognizes multiple cycles of time and distinguishes the specific balance between the doshas existing in each segment of each cycle. These factors are taken into account in diagnosis and treatment as well as the recommendations recommendations for preventing disease. During the diurnal cycle, each dosha is found to predominate twice. The sequence is approximately thus :(7) 6 - 10 a.m.- kapha 10 - 2 p.m. - pitta 2 - 6 p.m. - vata 6 - 10 p.m. - kapha 10 - 2 a.m. - pitta 2 - 6 a.m. - vata It does not end there, however. A tridosha balance is specified for every kind of cycle, days of the week, months of the year, the main stages of life, the steps of digestion, the seasons, the nakshatras or cycles of the moon etc. Of considerable importance in this scheme are the seasons. This is not only because seasonal imbalances are an important feature of  Ayur  Ayur Veda theory, but also because, according to an ancient text, the diurnal cycle is, at least in part, based on the seasonal one (Bhishagratna,1981: 51):

/trumpet.sdsu.edu/M345/Music_of_India1.html Kriti

A Kriti is a composed composition set to a certain Raga and a fixed tala. There are three sections in a Kriti: Pallavi, Anupallavi, and Charanam. Ragam, Tanam, Pallavi

Ragam

Ragam consists of free improvisation (without rhythmic accompaniment) based on a  particular Raga. The soloist develops the Raga in stages, staying within the framework  of the Raga. There are certain rules which must be observed and some restrictions that apply. Each Raga is based on a scale of five, six or seven notes. There are certain notes in the Raga which are more important than the other notes. These are called Vadi and Samvadi and are stressed more than the others during the improvisations. improvisations. The soloist will not use notes that are not in the Raga (vivadi swaras). If there are any microtones incorporated with any of the notes, they must be used. There are certain typical phrases or usages of certain phrases in some Ragas which make them easily distinguishable. Ragas are derived from Melakartas or parent scales (see under Some Important Concepts of Indian Music for a more detailed explanation.) The Raga Alapana or  delineation of the Raga starts slowly bringing out the beauty and mood of the Raga and is slowly built up ending with Pharans (fast runs) where the performer can demonstrate his virtuosity and technical prowess. Tanam

Tanam is the second phase of the Ragam, Tanam, Pallavi where the performer continues to improvise, still without any rhythmic accompaniment. Though there is no drum accompaniment, this section introduces an element of rhythmic pulse as opposed to the Ragam wherein the improvisation improvisation is free. At the end of each phrase section a stereotypical rhythmic cadence pattern is used to indicate the end of that particular  section. Pallavi

Pallavi consists of a short precomposed melodic theme, with words, which is usually set to one cycle of Tala. The theme is played two or three times in its simple form (without variations) during which the drummer familiarizes himself with it and enters. The Pallavi has the following main features: 1. NeravaI This literally means filling up or  spreading; in other words, filling up portions of the Pallavi line with new, fresh and creative music. The soloist improvises new melodies built around the words of the Pallavi keeping the rhythmic structure constant. (Note: This type of improvisation is also used with the Kriti form where a line of the Kriti is taken as the theme for Neraval improvisation.) 2. Tri-Kalam In this section the Pallavi is played in three Tempi keeping the Tala or rhythmic cycle constant: i.e. (1) usually twice as slow as the original tempo, (2) the original tempo and (3) twice as fast as the original tempo. 3. Swara Kalpana This improvised section is performed using swaras (solfa syllables) in medium and fast speeds. Each swara kalpana passage returns to the beginning of the Pallavi theme. The  possibilities are endless in this type of improvisation and are only limited by the creative capacity, technical and musical abilities of the individual performer. 4. Ragamalika The Pallavi usually ends with this section, which literally means, "Garland of Ragas." The soloist improvises freely in different Ragas and at the end of each Raga comes back to the rhythmic theme of the original Pallavi. Pallavi The first section of a composition

Sama The third of the four Vedas. The origin of music can be traced back to this Veda.

Bhajan

Bhajans are also, like Ghazals, considered to be light music and do not have to be confined to a particular Raga. They are devotional songs that are set to music. They are always in praise of deities like Rama, Krishna, et al. Bhajans written by the saint poets of the 16th century like Mirabai, Tulsidas, Surdas, Kabirdas, et al are still very popular  in India today. Thumri

Thumri is a light-classical form. It is usually sung in Ragas like Desh, Khamaj, Pilu, Bairavi, et al. It is not rigid like the Khyal and allows for a lot of artistic and creative freedom. In this form the performer has the license to occasionally use notes that do not  belong to the Raga. It is usually sung in a medium tempo. This form originated in the courts of the Nawabs of Lucknow. There are three famous styles of Thumri singing Lucknow, Benares and the Punjab styles. The Talas normally used are Dadra, Keherwa and Deepchandi. The emphasis, in this form, is on the emotion and the lyrics. The theme is usually that of a lover pining for her beloved or for the love of Krishna. It is a very lyrical style.

http://www.ecse.rpi.edu/Homepages/shivkuma/persona l/music/manodharma/index.html www.maharishi.co.uk/gv/ www.maharishi .co.uk/gv/MaharishiGand MaharishiGandharvaVedaRaga harvaVedaRagas.htm s.htm

The Health Benefits of Different Ragas Homepage | Back  | Catalogue of Recordings | Listen to Samples | About Gandharva Veda

Gandharva Veda Music Therapy, Raga Chikitsa the health benefits of different ragas According to Swara Shastra the 72 melakarta ragas (parent ragas) control the 72000 important nadis, which transmit life energy. Ragas performed with due devotion, in accord with raga lakshana (norms), and shruti shuddhi (pitch purity) will affect the nadis in a favourable manner. The Health Benefits of Different Ragas Raga

Effect

Time

Artist

Product

Traditional

code

Abhogi

Peaceful sleep 22-01

H. P Chaurasia Vol 9.7

Ahir Bhairav

Compassion

S. Mukherjee 61010

04- 07

A. Nath Vol 3.1

health claims for each Raga (not yet confirmed by an MAV authority)

64016

64002 60006

Helps maintain good digestion, healthy joints, and normal blood  pressure.

Pawar Bros Alb. 8 Ahiri Lalita

10-13

H.P. Chaurasia Vol. 16.3

64022

Asavari

07-10

Pawar Bros

60006

Builds confidence

Bageshri

22-01

Anita Roy

61011

Supports natural sleep

22-01

S.K. Sharma Vol. 17.7

64116

Bageshvari

Joy

Relaxation & rest

Pawar Bros Alb. 8 Basanta

Love & happiness

01-04, S.K. Sharma any Vol. 17.8 time in spring Pawar Bros Alb.8

60006

64117 60006

Basant Bahar

Bhairagi Bhairava

Helps maintain the health of the gall bladder  Peace

04-07

Mishra Bros Vol 7A

62003 64020

H.P Chaurasia Vol. 16.1 Bhairavi

Emotional strength

04-07

D Chaudhuri Vol 6.1

ANY Celebration,

64102 62006

D. Chaudhuri

Supports joint health, health of  nasal sinuses. Encourages

Peace and happiness

mental coherence and detachment.

/ A. Lal Vol. ANY

12.1

64029

04-07

B.B. Goswami Vol. 22.1

60006

Pawar Bros Alb.8 Bhairav Bhairava

04-07 Devotion &  peace

H.P. Chaurasia Vol. 9.1

64010 64110

S.K. Sharma Vol. 17.1 Bhatiyara

Healthy mind & body

01-04

Bhimpalasi

Success in life 13-16

D. Chaudhuri 64101 Vol. 6.8 Mishra Bros Vol. 7A

62003 64005

Amar Nath Vol 3.4

Helps maintain mental balance and normal blood  pressure

60006

Pawar Bros Alb.8 Bhupali

Peace & Happiness

19-22

S. Guha Vol. 62008 24

Bilawala

Peace and Happiness

07-10

B.B. Goswami Vol. 22.1

64029

Brindavani Sarang

Wisdom

10-13

Mishra Bros Vol 7A

62003

Greater Energy

D Chaudhuri Vol. 6.3

Helps uplift the emotions

64104 64012

H.P. Chaurasia Vol. 9.3

Chan Chandr draakauns auns

Hel Helps to gai gain normal weight

Darbari

Helps settle mental activity

Darba Darbari ri Kanad Kanadaa

Supports Suppor ts head head comfort, mental ease and calmness and normal  breathing.

Darb Darbar arii Kanhr Kanhraa Rest Restfu full quali quality ty 22-01 of sleep

D. Chaudhuri 64108 Vol. 6.7

Deepak

Helps maintain good digestion and normal stomach acidity and healthy gall  bladder, supports normalisation normalisation of  weight.

Deshi

Joy

19-22

H. P Chaurasia Vol 9.6

64015

Deshkara

Increased energy

07-10

S.K. Sharma Vol. 17.2

64111

Durbar Durbarii Kanada Kanada

Supports Suppor ts head head comfort

Durga

Integration

19-22

Amar Nath Vol. 3.6

64007

Gauda

Wisdom

10-13

D Chaudhuri Vol. 6.3

64104

Gujari Todi

Compassion,  patience

07-10

Mishra Bros Vol 7A

62003 64011

H.P Chaurasia Vol. 9.2

Supports health of  upper respiratory tract.

64120

A. Lal / D. Shankar Vol. 11.2 Gunakali

Supports good digestion, digestive motility, head comfort, healthy joints and health of the

lower digestive tract. Gunji Kanada

Better sleep

Hameer Hansadhwani

Celebration & happiness

22-01

H.P. Chaurasia Vol. 16.7

19-22

Mishra Bros Vol 7

19-22

S.K. Sharma Vol. 17.6

64115

Hindol

Supports joints and back health and normal blood  pressure

Hindolam

Helps maintain temperature  balance

Jaunpuri

Helps maintain normal digestive gas and digestive motility.

Jaijawanti

Supports joint health, normal digestive motility and head comfort

Jaita

Dynamism

07-10

H.P. Chaurasia Vol. 16.2

Jogiya

Peace & serenity

04-07

A. Lal/D 64119 Shankar Vol. 11.1

07-10 7-10

Pawa Pawarr Bros Bros

60006 0006

Jonp Jonpur urii

64021

Kafi

Creativity

16-19

D Chaudhuri Vol. 6.5

64106

Supports natural sleep

Kalyan

Compassion

19-22

D.N Majoomdar  Alb. 1

60001

Helps maintain healthy joints

Kamboji

01-04

Pawar Bros Alb. 8

60006

Kaunshi Kanhra

22-01

Sunil Mukherjee

61010

Mishra Bros

62004

Vol. 7B Kaus Kausii Kana Kanada da

Suppor Supp ortts norma rmal  blood pressure and health of  upper respiratory tract

Kedar

Helps maintain comfort of the head, health of  upper respiratory tract and normal  breathing.

Khamaj

Supports mental ease and calmness and natural sleep

Komala Rishabha Asawari

Serenity

07-10

D Chaudhuri Vol 6.2

64103

Lalita

Peace & tranquillity

01-04

Mishra Bros Vol. 7B

62004 64001

A. Nath Vol 3.8 Madha Madh Madhuvanti

Happiness

10-13

Pawar Bros

16-19

D. Chaudhuri 64106 Vol 6.5 64006 Amar Nath Vol 3.5 64113

13-16

60006 Supports health of  the lower  digestive tract.

S.K. Sharma Vol. 17.4 Malhar Malkaunsa

Supports normal  breathing Restful Sleep, tranquillity

22-01

Amar Nath Vol. 3.7 A. Lal /D. Shankar Vol. 11.7

Malshree Maru Bihaga

Compassion

64008 64125

19-22

Mishra Bros

62004

19-22

A. Lal / D. 64124 Shankar Vol.

Helps maintain normal digestive gas and body temperature.

11.6 64025 H.P. Chaurasia Vol. 16.6

64030

B.B. Goswami Vol. 22.2 Marwa

Coherence

16-19

Mishra Bros Vol. 7b

62004 64006

Amar Nath Vol. 3.5 H.P Chaurasia Vol 9.5

64014 60001

Supports digestion,  balanced stomach acidity and helps maintain resistance to malaria.

60006

D.N. Majoomdar  Alb. 1 Pawar Bros Megha

Increased ANY Energy & Bliss

A. Nath Vol. 19

63001

Multani

Achievement

D Ch Chaudhuri Vol. 6.4

64105

13-16

Affluence

64013 H.P Chaurasia Vol. 9.4

Achievement

64122

A. Lal / D. Shankar Vol. 11.4 Mishra Pilu

Celebration &  joyfulness

16-19

Nanda Nata Bhairav

Punn Pu nnag agav avar aral alii

Serenity

S.K. Sharma Vol. 17.5

64114

19-22 01-04

A. Lal / D. 64126 Shankar Vol. 11.8

Supports digestion, joints and health of  digestive tract. Help Helpss main mainta tain in emotional coolness and

 balance Puriya

Harmony &  peace

19-22

D Ch Chaudhuri Vol. 6.6

64107 60006

Pawar Bros Alb. 8

Puriya Dhanashri

Relaxation

16-19

H.P. Chaurasia Vol. 16.5

64024

Puriya Kalana

Harmony

16-19

A. Lal / D. 64123 Shankar Vol. 11.5

Rageshri

Rejuvenation & longevity

19-22

D Ch Chaudhuri Vol. 6.6

P. Kalyana

Harmony

16-19

Ramakali

Peace & serenity

04-07

Helps maintain normal levels of  iron in the blood

64107

A. Lal / D. 64120 Shankar Vol. 11.2

Sahana

Samanta saranga

Helps maintain the health of  digestive tract, normal blood iron levels, blood  pressure, mental ease and calmness.

Helps maintain health of the digestive tract and lower digestive tract. Helps maintain emotional coolness and  balance.

Creativity

Saranga

13-16

H. P Chaurasia Vol. 16.4

64023

10-13

Pawar Bros Alb. 8

60006

Shree

Helps to gain normal weight, supports health of  upper respiratory tract and normal  breathing.

S Bhatiyara

Healthy mind & body

01-04

Shuddha Saranga

Knowledge

10-13

Anita Roy Amar Nath

61011

Helps to gain normal weight and maintain health of 

gall bladder. Success

Vol 3.3

Success

A. Lal / D. 64121 Shankar Vol. 11.3 64112 S.K. Sharma Vol 17.3

64004

62003

Mishra Bros Vol. 7A Shuddha Vasanta

Love & happiness

Shuddha Kalyan

01-04

H.P. Chaurasia Vol. 16.8

64027

19-22

Mishra Bros Vol. 7B

62004

Pawar Bros Alb. 8 Sindu Bhairavi Gentleness

01-04

H.P. Chaurasia Vol. 9.8

60006

64017

Sohani

Helps maintain head comfort.

Sohini

Healthy Mind & Body

01-04

D. Chaudhuri 64101 Vol. 6.8

Sura malhara

Celebration

ANY

D. Chaudhuri 62007 / A. Lal Vol 12.2

Todi

Joy

07-10

A. Nath Vol 3.2

Vasant Saranga Energy

10-13

Vrindavani Saranga – see Brindavani Saranga

10-13

Yaman -see Kalyan

Supports health of  upper respiratory tract and normal  breathing.

Compassion

19-22

64003

Helps maintain head comfort

Helps maintain normal blood  pressure

Helps maintain

Raga Hindol ('swing') embodies Kama, the god of love, or Krishna. It is an ancient spring raga in which both Re and Dha were omitted. However, from the 16th century onwards, Hindol omits Re and Pa. There is a similarity in contour between the Hindustani Hindustani raga Hindol and its South Indian namesake. However, the northern Hindol has all natural notes and the southern all flat notes, like the Hindustani raga Malkauns. In ragamala paintings paintings Hindol always portrays Krishna on a swing, surrounded by pretty young women moving the swing to and fro. Dha and Ga are strong notes in Hindol. Ni should be treated as a grace note, used in an oblique and delicate manner, as in G M sharp D -  N M sharp D / S. In some compositions Ni is avoided altogether. Many artists make use of a distinct type of ornamentation ( gamak   gamak ) in Hindol, which in a sense imitates the movement of the 'swing.' If Ni were used in the ascent of Hindol, it would sound similar to raga Sohini. Therefore it is best to avoid Ni, or treat it as a very weak note, if Hindol is to retain its own identity. Time: After midnight or, according to some, early morning. Time: Early night, 9 - 12.

"... in penance, adorned, grey [with ashes] and dark, a young man beauteous in every limb, [this is]  Kedar raga." 

Kedar is a serious and contemplative raga. It is commonly portrayed as an ascetic who worships Shiva and is deeply absorbed in music or meditation. meditation. His renown r enown and holiness attract royal visitors. In its medieval form Kedar was a pentatonic raga, omitting Re and Pa. It was based on the major scale. Judging from the Sahasras (early 17th century), it was one of the main ragas performed by the Mughal court musicians. In addition to the natural notes, today's Kedar uses sharp Ma (for which reason Bhatkhande classified it in Kalyan that ) and sometimes flat Ni. However, in old dhrupad compositions these additional notes often do not appear. The melodic movements are very oblique in Kedar. Whereas Re is omitted in the ascent, Ga appears obliquely between Ma and Pa. Natural Ma is the most articulated note, and sharp Ma usually appears between two Pa's. Similarly, flat Ni may appear   between two Dha's, although not all musicians take this path. The phrase S M - M G P M sharp P - M sharp P D P \ M brings out the typical mood of Kedar. Time: Early night, 9 - 12.

"A scarf round his neck and fanned by the fair-hipped one, a golden seat has been made for the king of  the gandharvas. Handsome and wealthy, Shri Malav is known as the fifth Malav." 

Malkauns (or Malkosh) was also referred to as Malav kaushika or Kaushik in the past. It is a majestic and somewhat introverted pentatonic raga, which seems to have undergone quite a transformation over the centuries. In ragamala paintings Malkauns is frequently  portrayed as a heroic lord taking  pan. Superstitious musicians musicians describe it as a raga r aga with supernatural powers, and some believe that it can attract evil spirits. Ma is the pivotal tone of this raga, and the tone in which the first string of the tanpura is usually tuned. Ga, Dha and Ni may be slightly oscillated. Malkauns should be  performed in a slow and dignified manner, and to bring out its ethos the notes should be linked by glides, in particular  N \ D, D \ M and M \ G. We have seen that raga Chandrakauns has the same scale as Malkauns except for Ni, which is natural. Sampurna malkauns is an older variety of Malkauns which includes natural Re and Pa in descent. Elements of Malkauns have been combined with several other ragas, resulting in ragas such as Kaunsi kanada, Madhukauns and Jogkauns. Time: Late night, 12 - 3.

Ramkali (or Ramakri) is a raga of sunrise with old roots. Its ancient precursor Ramakriti Ramakriti had almost the same scale as today's raga, that of Bhairav ( S R G M P D N ). The augmented fourth was probably added to it in the early 17th century, although many old dhrupad compositions in Ramkali do not include sharp Ma. The raga is frequently  portrayed as a proud lady who is enraged with her lover, and rejects him. In ragamala  paintings  paintings this rejecti r ejection on is dramatised by the remorse of the gentleman who sits beside the lady. Ramkali movements movements are slow and focused in the upper tetrachord. Sa and Pa are strong notes. Sharp Ma often stands between two Pa's, and flat Ni between two Dha's. Contrary to Bhairav, Ramkali's Re and Dha do not have a pronounced oscillation. oscillation. Moreover, the  presence of sharp Ma and flat Ni give Ramkali its own particular character and expression. Ramkali was frequently performed at the beginning of this century, but recently, this raga has lost much of its former glory. Time: At daybreak.

Terapia de música Atharva Védica  formuladopor Sri Selvam "Siddhar" Musicoterapia es una científicamétodo de curas eficaces de la enfermedad mediante el    pod poder er de la músi música ca.. Rest Restau aura ra,, mant mantie iene ne y me mejo jora ra em emoc ocio iona nal, l,ph phys ysio iolo logi giCa Call y   psyc psychol hologi ogiCAL CAL bien bien ser. ser. La arti articul culati atide, de, lanzam lanzamie iento nto,, el tono tono y el arran arrange gemen men específ específicot icot de swars swars (notas) (notas) en un particul particular.e ar.estim stimula ula raga, raga, aliviay aliviay curas curas diversa diversass dolencias inducir electro magnética cambiar en el cuerpo.

Musicoterapia tiene una larga historia que data de la antigua escuela órficos en Grecia. PythagorusPlatón y Aristóteles,todos eran conscientes de la prophylactIC y therapeutic  poderes de la música. Incluso el testimonio testimonio de la edad menciona musicoterapia donde se dice Rey David para que se han curado de una enfermedad por jugar en el arpa. Hipp Hippoc ocra rate tes, s, el padr padree de la medi medici cina na mo mode dern rna, a, de util utiliz izar ar mú músi sica ca para para cura curar  r  enfermedades humanas. En el antiguo Egipto la música se utilizó para disminuir el dolor de las mujeres durante el parto. Ibn Sina, un famoso escritor árabe, ha escrito en detalle sobre este tema. En la India leyenda tiene Thyagaraja, el famoso músico de sur  de la India, ante una persona muerta volver vida cantando el composition naa Jeevan Dhara en raga Bihari. En 1729 Richard Browne, un médico escribió el texto famoso Musica de medicina que describe el uso de la música como la medicina. El Dr. Burnell ha menci menciona onado do un manusc manuscrit ritoCh oChiki ikists stsaa de raga raga con nombr nombree en la colec colecci cións óns de   biblioteca Mahal Saraswati Thanjāvūr que aborda los ragas diferentes que pueden utilizarse para curar dolencias diversas. ¿Qué es música? Las es de música"una especie de inarticulate, unfathomable discurso que nos lleva al borde de la infinito y nos por un momento mirada que permite"observó Carlyle. Música es básicamente un sonido o generar nādaparticularlas vibracionesque se mueve por medio de Éter presente en la atmósf atmósfera erayy efect efectos os en el cuerpo cuerpo humano humano.. Sarang Sarangdev dev se menci menciona ona en su Sangee Sangeett Ratnakar que los ahata nāda o música siempre es producida por sacando o aghata por  una vida está en un instrumentode instrumentode cualquier tipo. Por lo tanto la música es una potencia o energía universal en la forma de ragas. Matanga (9-10 siglo) fue el escritor lo antes posible para definir raga. Según él "raga es ese tipo de sonido compositioque consiste en nde los movimientos melódicos que tiene el efecto de pintar el corazón de los hombres". "Hay cuatro fuentes de raga: canciones folkló folklóric ricas as,, poesía poesía,, devoti devotiona onalca lcanci ncione oness de mí místi sticos cos y compo composit sitio ioNS NS de mú músic sicos os clásicas.Mientras que armonía es la characteriSTIC de música occidental, música de India es pura melodía. El término general para la melodía en la India es raga o ragini". (Kangra Ragmala--Randhawa de maestría). Sinfoníasde raga tener un efecto calmante definido en la mente, así como en el cuerpo. Repite escuchar la particularraga ser elegido para un particularenfermedad produce una red de vibraciones del sonido.Los músculos, nervios y los cakras de la parte afectada son contratadosCuando un impulso es dado y relajado durante el intervalo entre dos impulsos. Por lo tanto, durante la contraction del tejido, notas musicales que la sangre de salir de ese particularárea y en el intervalo hay relajacióny un estado de la reducción

de la presión se produce en estas áreas. Por lo tanto, la sangre de la zona adyacente fluirá allí. Este proceso se repite una y otra vez y el flujo de sangre y la energía de flujo en esa esa part partee es mayo mayor. r. Esto Esto hace hace rápi rápido do,, rápi rápido do de cura curaci ción ón.. Ener Energí gíaa de URF URF (universalcampo de la energía) a transmitte HEF (campo de energía humana)d por los trazos de los diferentes tonos de raga afecta a la CNS (sistema nervioso de central)  porque las raíces de los nervios auditivo son que más ampliamente distribuird y tienen más de conexións que cualquier otros de los nervios en el cuerpo. Ritmos de música tienen un relationsh muy cercaIP con mangas de corazón. Música tener 70-75 latidos  por minuto equivalenteal ritmo cardíaco normal de 72 tiene un efecto muy calmante. Asimismo anticipan los ritmos que son más lentos que 72 latidos por minuto crear una suspensión positivo en la mente y cuerpo desde el cuerpo de mente complejass que acelerará la música y esto restaurado la energía vital da una relajación profundaen el cuer cuerpo po.. Ener Enerve ve de ritm ritmos os que que son más más rápi rápido doss que que la frec frecue uenc ncia ia card cardía íaca ca y rejuvenecerel rejuvenecerel cuerpo. Hindi/ clásicamusical considera ragas como que el estado de ánimo específico. Un appropriates ser evocó en de la escucha humor emente antes de iniciarel tratamiento musical.Kafi Raga evoca un estado de ánimo húmedo, fresco, calmante y profunda mientras raga Pooriya Dhanasri evoca dulce, profundo, pesado, nublado y estable estado de ánimo. Raga Mishra mand tiene un muy agradable, actualizando, actualizando, luz y dulce tocan al Bagesh Bageshwar waride idespi spiert ertaa un senti sentimie miento nto de la oscuri oscuridad dad,, estab estabil ilida idad,p d,prof rofund undida idadd y calmness. Se considera la músicala mejor tranquilisER en días modernos de ansiedad, ansiedad, tensión y la  presión arterial alta. Se considera Darbari ragamuy eficaz en aliviar la tensión. Es una noche raga compuesto por Tansen para Akbar aliviar su tensión después agitada de  programación de la vida diaria de la Corte. Este raga pertenece a Asavari que y es que contiene un completo ragatodas las siete notas. Las siete notas se toman de diversos sonidos naturales de aves y animales. De Pandit Jasaraj RAM Ko Sumiran Kar en Vilambil Ek tal es una de las grabaciones mejores disponiblesde este majestuoso raga. De Pandit Raghunath Seth raga Darabari (instrumental) en una terapia de música es especialmente cassette llamado Tanavcompuesto para aliviar la tensión. Dr. Balaji Tambe ha demostrado a través de su científicainvestigación dan Bhupali Raga y Todi enormealivio a los pacientes de hipertensión arterial. Ahir-Bhair ragaAv supone mantener chords que automatically lleva hacia abajo de la presión arterial. Este raga es un combination de Kafi y Bhairav. De Pandit Jasaraj AJ a anand anand en DrutiadolescenteTal es uno de la mejor performanc vocales de este hermoso raga. Raga Malkauns y Asawari raga ayuda a curar la presión arterial baja. Malkauns y Asawari raga ayuda a curar la presión arterial baja. Malkauns un raga muy prominente de Bhairavi que compositi (en de notas musicales musicales en el que se origina el raga) es uno de las ragas más antiguos de la India de música clásica. Re y pa están ausentes en esta raga, todas las otras notas utilizadas son komal (suave). El performanc intemporale intemporale por Pandi Onkarnath Thakur en much ghunghroo baje mira nache está es uno de los ejemplos más conocidos de esta raga. Para el dolencias de corazón Chandrakau ragase considera NSmuy útil. Algunos otros   pro promi mine nent ntes es raga ragass para para rela relaja jars rsey ey aliv alivia iarr la tens tensió iónn son son raga raga Tila Tilakk-ka kamo mod, d,

HansdhwaniKalavati, HansdhwaniKalavati, Dörgön. Evocan un efecto muy agradable en los nervios. Para los  pacientes sufren de insomnio y la necesidad de un sueño sonora Pacífico, raga Bihag y de la Bahar tienen efectos maravillosos.

Ragas son estrechamente relacionados con diferentes partes del día según a los cambios en naturaleza y el desarrollot de un particular.emoción, el estado de ánimo o el sentimiento en la mente humana. Bhairav es cantado una hora antes del amanecer, Ramkali al amanecer, Vilavali al amanecer, Sarang a las 12.00 horas, nata y Malava en las tardesGaudí en las noches, Kalyan por la noche, Kedara, Chandra y Bihag tarde en la noche. Tratamiento Tratamiento de terapia de música se realiza temprano en la mañana, tarde o noche. Uno debe evitar sesiones de música largo en el estómago vacío. Sesiones de la música deben ser de una duración de hora con dos o tres sesiones cortas con saltos. Sri Selvam Siddhar  www.hindutempleofgeorgia.orgTEL: PEAJE LIBRE EN ESTADOS UNIDOS @ 888 www.hindutempleofgeorgia.orgTEL: 232 1818

Sahaja Music, Ragas for Chakras

Raag means a sweet yet mind blowing sound arrangement (Swara-rachana) made in proper  restrictions restricti ons & rules. The music, which Kundalini hears and gives response to that, is called "Sahaj Music".  Name of the Sound Raag Chakra (Swar) Bilawal,, Bilawal Mool Moolad adha hara ra "Sa" "Sa" Shyamkalyan Left Komal Todi Swadishthan "Re" Centre & Shuddh Right Yaman "Re" Swadishthan

Instrument Shehenai Veena Veena

Komal Bhatiyar "Ga" Center & Shudda Abhogi Right Nabhi "Ga" Bhavasagar  . Malkauns (Void) Left Heart . Bhairava Left & Shudda . Center Heart "Ma" Center & . Durga Right Heart Tivra Right Heart . "Ma" JayVishuddhi "Pa" Jayawanti Komal Left Agnya Bageshri "Dha" Center & Shuddha Bhoop Right Agnya "Dha" Komal & Sahasrara Darbari Shudda "Ni" Left Nabhi

Santoor   Santoor 

Damaroo TablaDrums TablaDrums

Flute Sarod Sarod Sitar 

Music for health

Music can play an effective role in helping us lead better, fruitful lives. Listening to specific kinds of music at specific times of the day has  been shown to be helpful in maintaining maintaining good health. Indian music, with its many Raags, is known to be particula particularly rly therapeutic. One vital  point is that actually singing the raga will help more than listening to it. Raag Disease(s) it helps cure Indigestion, Indigestion, Rheumatic Arthritis, Ahir Bhairav Hypertension Basant Bahar Gall Stones (Cholecystitis) (Cholecystitis ) Bhairavi Rheumatic Arthritis Chandrakauns Anorexia Darbari Headache Kanada Indigestion, Indigestion, Anorexia, Deepak  Hyperacidity, Hyperacidity, Gall Stones(Cholecystitis)

Gujari Todi

Cough Rheumatic Arthritis, Gunakali Constipation, Headache, Piles or  Hemorrhoids Rheumatic Arthritis, Backache, Hindol Hypertension Intestinal Gas, Diarrhoea, Jaunpuri Constipation Rheumatic Arthritis, Diarrhoea, Jaijawanti Headache Kausi Kanada Hypertension, Hypertension, Common Cold Headache, Common Cold, Kedar  Cough, Asthma Madh Madhuv uvan antti Pi Pilles or or Hem Hemorrho rrhoiids Malkauns Intestinal Gas Marwa Indigestion, Indigestion, Hyperacidity Hyperacidity Indigestion, Indigestion, Rheumatic Arthritis,  Nat Bhairav Colitis Puriya Colitis, Anaemia, Anaemia, Hypertension Puriya Anaemia Dhanashri Ramkali Colitis, Piles or Hemorrhoids Anorexia, Common Cold, Shree Cough, Asthma Anorexia, Gall Stones Shudh Sarang (Cholecystitis) Shyam Kalyan Kalyan Cough, Asthma Asthma Sohani Headache Yaman Rheumatic Arthritis

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Raga Abhogi (early night) - Hariprasad Chaurasia (tintal_  3′03).mp3 Raga Adana (late night) - Buddhadev Das Gupta (tintal_  3′35).mp3

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Raga Ahir Bhairav (daybreak) - Buddhadev Das Gupta (tintal_ 4′36).mp3 Raga Alhaiya Bilaval (late morning) - Shruti Sadolikar Katkar (Which way has he gone - tintal_ 4′.mp3 Raga Asaveri (late morning) - Hariprasad Chaurasia (tintal_ 5′52).mp3 Raga Bageshri (midnight) - Buddhadev Das Gupta (tintal_ (tin tal_ 5′59 5′59).mp ).mp 3 Raga Bahar (midnight_ any time Spring season) Buddhadev Das Gupta Gu pta (tint (ti ntal_ 4′38).mp3 4′ 38).mp3 Raga Basant (any time Spring season) - Hariprasad Chaurasia (tintal_ 5′09).mp3 Raga Bhairav (daybreak) - Hariprasad Chaurasia (tintal_  4′17).mp3 Raga Bhairavi (morning_ any time) - Hariprasad Chaurasia (tintal_ 3′52).mp3 Raga Bhatiyar (early morning) - Shruti Sadolikar Katkar (My lover has not come to my place - tint.mp3 Raga Bhimpalasi (early afternoon) - Shruti Sadolikar Katkar (Seeing your fair face pleases my hea.mp3 Raga Bhupal Todi (morning) - Hariprasad Chaurasia (jhaptal_ 3′40).mp3 Raga Bhupali (early night) - Hariprasad Chaurasia (ektal_ (ekt al_ 3′35 3′35). ).mp3 Raga Bibhas (daybreak) - Vidyadhar Vyas (Krishna, let go of my arms a rms - ektal ktal_ _ 4′33).m 4′3 3).mp3 p3 Raga Bihag (late night) - Buddhadev Das Gupta (tintal_  4′13).mp3 Raga Bilaskhani Todi (morning) - Hariprasad Chaurasia (tintal_ 4′15).mp3 Raga Brindabani Sarang (early afternoon) - Buddhadev Das Gupta (dhamar & tintal_ 5′27).mp3 Raga Chandrakauns (late night) - Vidyadhar Vyas (Please let me sleep - tintal_ 4′34).m p3 Raga Chayanat (early night) - Buddhadev Das Gupta (tintal_ 3′39).mp3 Raga Darbari Kanada (midnight) - Buddhadev Das Gupta (tintal_ 6′16).mp3 Raga Desh (late night) - Hariprasad Chaurasia (tintal_  4′40).mp3 Raga Deshi (late morning) - Shruti Sadolikar Katkar (Go, crow, go - tintal_ 3′43).mp3 Raga Dhani (any time) - Shruti Sadolikar Katkar (My lover is with me - tintal_ 3′34).mp3 Raga Durga (late night) - Shruti Sadolikar Katkar (Come, clever beautiful one - tintal_ 4′03).mp3

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Raga Gaud Malhar (any time Rainy season) - Buddhadev Das Gupta (tintal_ 4′32).mp3 Raga Gaud Sarang (early afternoon) - Shruti Sadolikar Katkar (My lover is nowhere to be seen - ti.mp3 Raga Gorakh Kalyan (early night) - Vidyadhar Vyas (tara arana na - tintal tin tal_ _ 4′50).mp3 4′50) .mp3 Raga Gujari Todi (late morning) - Shruti Sadolikar Katkar (Oh beautiful bride - tintal_ 3′49).mp3 Raga Gunakri (daybreak) - Vidyadhar Vyas (The damaru resounds in Hara’s hand - rupak tal_ 4′19).mp3 Raga Hamir (early night) - Buddhadev Das Gupta (tintal_  3′36).mp3 Raga Hansadhvani (early night) - Vidyadhar Vyas (Lover, don’t go to my rival’s house - tintal_ 4′.mp3 Raga Hindol (after midnight or early morning) Vidyadhar Vyas (Oh dark one, stop playing holi wi.mp3 Raga Jaijaivanti (late night) - Buddhadev Das Gupta (tintal_ 5′06).mp3 Raga Jaunpuri (late morning) - Buddhadev Das Gupta (tintal_ 4′55).mp3 Raga Jhinjhoti (any time_ late night) - Buddhadev Das Gupta (tintal_ 4′39).mp3 Jog - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Jogiya - Hariprasad Chaurasia/Ted De Jong.mp3 Kafi - Hariprasad Chaurasia/Ted De Jong.mp3 Kamod - Buddahadev DasGupta/Devendra Kanti Chakrabarty.mp3 Kedar - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Khamaj - Buddahadev DasGupta/Devendra Kanti Chakrabarty.mp3 Kirvani - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Lalit - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Madhuvanti - Shruti Sadolikar-Katkar/Madhu Sadolikar-Katkar/Madhukar kar Kothare/Anant Krishnaji Kunte.mp3 Malkauns - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Manj Khamaj - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Maru Bihag - Shruti Sadolikar-Katkar/Madhukar Kothare/Anant Krishnaji Kunte.mp3 Marva - Vidyadhar Vyas/Sandip Bhattacharya.mp3 Megh - Vidyadhar Vyas/Sandip Bhattacharya.mp3 Miyan Ki Malhar - Vidyadhar Vyas/Sandip Bhattacharya.mp3 Miyan Ki Todi - Vidyadhar Vyas/Sandip Bhattacharya.mp3

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Multani - Shruti Sadolikar-Katkar/Madh Sadolikar-Katkar/Madhukar ukar Kothare/Anant Krishnaji Kunte.mp3 Nayaki Kanada - Shruti Sadolikar-Katkar/Madh Sadolikar-Katkar/Madhukar ukar Kothare/Anant Krishnaji Kunte.mp3 Patdip - Shruti Sadolikar-Katkar/Madh Sadolikar-Katkar/Madhukar ukar Kothare/Anant Krishnaji Kunte.mp3 Pilu - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Puriya - Vidyadhar Vyas/Sandip Bhattacharya.mp3 Puriya Dhanashri - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Puriya Kalyan - Hariprasad Chaurasia/Shib Shankar Ray.mp3 Purvi - Vidyadhar Vyas/Sandip Bhattacharya.mp3 Rageshri - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Ramkali - Shruti Sadolikar-Katkar/Madhukar Kothare/Anant Krishnaji Kunte.mp3 Shahana - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Shri - Vidyadhar Vyas/Sandip Bhattacharya.mp3 Shuddh Kalyan - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Shuddh Sarang - Shruti Sadolikar-Katkar/Madhukar Kothare/Anant Krishnaji Kunte.mp3 Shyam Kalyan - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Sur Malhar - Buddahadev DasGupta/Devendra DasGupta/Devendra Kanti Chakrabarty.mp3 Tilak Kamod - Shruti Sadolikar-Katkar/Madhukar Kothare/Anant Krishnaji Kunte.mp3

Indian raga Guide Part 1: • • • • • •

Bairagi-Shashanka Teentaal.mp3 Bhatiyali.mp3 Bhatiyali Dhun.mp3 Kaushi Bhairav - Teental.mp3 T eental.mp3 Mishra Pilu - Tivra Taal.mp3 Teentaal.mp3

Part 2 • • •

Dhun - Roopak Taal - Ramanarain.mp3 Madhuwanti - Shiv Kumar Sharma.mp3 Maluha Kalyan - Nikhil Banerjee.mp3

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Pahadi Dhun - Shiv Kumar Sharma.mp3 Ras Mohini-Roopak Taal - Sultan.mp3 Sindhu Gandhar - Ranadhir Roy (.mp3 Teentaal - Karamatullah Khan (T.mp3 Teentaal - Samta Prasad (Tabla).mp3

Part 3 • • • • •

Poorbi Dhun - Bismallah Khan (S.mp3 Chaiti - Bismallah Khan (Shenai.mp3 Dhamaar Taal - Arjun Shejwal (P.mp3 Sanjh Tarini - Hafiz Ali Khan (.mp3 Hamaeer-Gat Drut Teentaal - N..mp3

Part 4 • • • •

Chandra Kauns - Teentaal.mp3 Nand.mp3 Poorvi Dhun - Keharwa Taal.mp3 Sulfakta Tal.mp3

Mixed Indian Classical • • •

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ali_akbar_khan_piloo.mp3 allaudin_khan_zila_kafi.mp3 Amjad_Ali_Khan_ _Bengali_and_Assamese_Folk_Songs.mp3 Amjad_Ali_Khan_-_Raga_Bapu_Kauns.mp3 AmjadAliKhan–Raga_Miyan_Ki_Malhar.mp3 AmjadAliKhan–Raga_Megh_Malhar.mp3 HariPrasad -Brindabani_Sarang.mp -Brindabani_Sarang.mp3 3 Pt.Jasraj–Nat_Narayan.mp3 RaagTodi-Ustad Bismillah Khan.mp3 rag-bhairavi.mp3 raga-chandni-kedar.mp3 raga-hansadhwani (santoor).mp3 raga-jaijaiwanti(flute).mp3 raga-marva (flute).mp3 raga-yaman (sarod).mp3 Ustad Sabri Khan–Jhala.mp3 Ustad Sabri Khan–Aochar.m Khan–Aochar.mp3 p3 Ustad Sabri Khan–Vilambit.mp Khan–Vilambit.mp3 3 Ustad Sabri Khan–Drut.mp3

/www.reversespins.com/he /www.reversespins.com/health.html alth.html What is music? "Music is a kind of inarticulate, unfathomable speech which leads us to the edge of the infinite and lets us for a moment gaze in that" ... Matanga (9-10th century AD) was the earliest writer to define raga. According to him "raga is that kind of sound composition consisting of melodic movements which has the effect of colouring the hearts of men". "There are four sources of raga: folk songs,  poetry, devotional songs of mystics and compositions of classical musicians. While harmony is the characteristic of Western music, Indian music is pure melody. The general term for melody in India is raga or ragini The muscles, nerves and the chakras of the affected part are contracted when one impulse is given and relaxed during the interval between two impulses. Thus, during contraction of the tissue, musical notes make the  blood flow out from that particular area and in the interval there is relaxation and a state of reduced pressure is produced in these areas. Thus the blood from the adjacent area will flow there. This process is repeated again and again and the blood flow and energy flow in that part is enhanced. This makes quick, fast healing.

Raga Jogiya, Bhairavi, Malhar, Darbari are no longer just music to the ears, but also a form of treatment, recovery,  prevention and improvement… The melodious Indian Classical music is being used to affect miraculous cures, for  quicker post operative recovery, treating infertility, preventing natal handicaps in new-born as also to develop concentration and memory in youth and children. Different ragas are used to cure different ailments. Dr Sucheta Rakshit, music therapist practising at a hospital here informs that she studies the history of each patient

/yoga2ayurveda4healing.googlepages.com/mantras-spiritual-songs

www.holisticjunction.com/displaya www.holisticju nction.com/displayarticle.cfm?ID=7752 rticle.cfm?ID=7752

The power of Sankarabaranam Sankarabaranam is incredible. incredible. It cures mental illness, soothes the turbulent mind and restores peace and harmony. Sankarabaranam, Sankarabaranam, if rendered with total

devotion for a stipulated period, can cure mental disorders said to be beyond thescope of  medical treatment. Arunachala Kavirayar, Muthuthandavar, Muthuthandavar, Suddhananda Bharathi, Marimutha Pillai and Mayooram Vedanayakam Pillai, have rendered many sweet compositions compositions in the raga. Sankarabaranam has the power to shower wealth. Papanasam Sivan’s `Mahalakshmi Jaganmatha’ is a gem in this raga. Muthuswamy Dikshithar  equates Sankarabaranam with `Akshayapathram,’ which supplies endless bounty in all forms. `Akshaya Linga Vibo’ composed by him is a popular kriti. SHANMUGAPRIYA

Shanmugapriya Shanmugapriya has the effect of sharpening the intellect of the singer as well that of the listener. It instills courage in one’s mind and replenishes replenishes the energy in the body. This is not surprising. Shanmugapriya being the beloved raga of Shanmuga, who was born out of the blazing wisdom-eye of Shiva. I would attribute the success and prosperity I have attained in life to the constant chanting of Shanmuga stothrams in the Murugan temple of Kunnakkudy. “Parvathi nayakane,” “Saravanabhava Ennum Thirumanthiram” of  Papan Papanasa asam m Siv Sivan an are known known for their their sparkl sparkling ing verses verses.. Harike Harikesan sanal allur lur Mutha Muthaiah iah Bhagavathar’s “Vallinayakane” is another example. Shanmugapriya was beautifully used to make the song “Maraindirundu Paarkum” in the classic “Thillana Mohanambal” immortal.

BHILAHARI

BHILAHARI BHILAHARI is associat associated ed with love. love. ‘Naajee ‘Naajeevada vadara’ ra’ of Tyagaraj Tyagarajaa in this raga has always been popular. The saint, it is said, composed this in order to alleviate the acute stomach pain a man was suffering from. His prayer was answered and the man had relief. ‘Krishnaleela ‘Krishnaleela Tarangini’ of Narayana Tirtha has the song `Poorayamamakamam’ `Poorayamamakamam’ in Bhilahari. The saint cries out, “Hey! Gopala, bestow me with all the goodness so that I can continue to sing your praise”. This Bhilahari song ensures one vigour and good health. In “Konjum Salangai” Ramalinga Adigalar’s bakthi verses ‘Orumayudan Unadhu’ set in Bhilahari and rendered by Sulamangalam Rajalakshmi was a popular hit. Another    po popul pular son song is ‘Unn Unnai Kan Kandu Naa Naan Ada Ada Enna nnai Kan Kandu Nee Nee Aada Aada’’ from rom “Kaly “Kalyana anapar parisu isu”. ”. “Thal “Thalai aiva va Thavap Thavapudh udhal alva va,” ,” the the song song I compo composed sed for the the film film “Agathiyar” was set in this raga. The Hindi song “Korakagaz” (”Aradhana”) owes its melody to the charm of Bhilahari. RATHIPATHIPRIYA

Rathipathipriya adds strength and vigour to a happy wedded life. This five-swara raga has the power to eliminate poverty. The very prayoga of the swaras can wipe off the vibrat vib ratio ions ns of bit bitte terr feeli feelings ngs emitt emitted ed by il illl wil wills. ls. ‘Jagaj ‘Jagajan anani ani Suk Sukav avani ani Kalyan Kalyani’ i’ composed by M. M. Dhandapani Dhandapani Desikar is a very popular popular song in this raga. Singing Singing or  listening to Rathipathipriya bestows on one happiness and has a stimulating effect.

/www.icompositions.com/music/song.php?sid=93576

http://elportaldelcel-uncursodemi http://elportaldel cel-uncursodemilagros.blogspot.com/  lagros.blogspot.com/ 

http://brainwavelab.ning.com/video/sonido-la-senal-del-amor 

www.experiencefestival.com/raga /waveofmp3.com/ragas/alb25006/#postform /www.holisticonline.com/Remedies/Depression/dep_ayv_treatment_kapha.htm www.itcsra.org/sra_others_s www.itcsra.org/sra_others_samay_index. amay_index.html html /www.hare-krishna.org/articl /www.hare-krishna.org/articles/633/1/ es/633/1/A-Day-in-the-Life-of-Kri A-Day-in-the-Life-of-Krishna-Ashna-AMusical/Page1.html www.theosophy-nw.org/theos www.theosoph y-nw.org/theosnw/arts/ar-rooke. nw/arts/ar-rooke.htm htm www.rediff.com/dirsrch/html_out/music/indian/classical/index.htmlwww.india4u.com/i ndmusic/carnatic_ragas.asp ragasacredart.com/healing_wands.html /www.esnips.com/web/Bilawal/ indianraga.wordpress.com/2008/06/ The name Basant is from Sanskrit vasant meaning spring, and during that season of the year Basant may be performed at any time of the day or night. Otherwise, it is reserved for the night between 9 p.m. and midnight. midnight. The Ragmala gives Basant as a putra (son) of Hindol, also a spring raga. Today it belongs to the Purvi thata. The only variant noted in the Holy Book is Basant-Hindol. Basant is a very old raga dating from the 8th century. Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur composed sabdas to this raga. Performed in slow tempo, this gentle melody depicts quiet joy. The descending scale is usually found at the beginning of a composition with the ascending form following later.

TIMING FOR GURBANI RAAGS DAY

6 - 9 am

9 - 12 pm

12 - 3 pm

3 - 6 pm

Period 1 (D1)

Period 2 (D2)

Period 3 (D3)

Period 4 (D4)

Bhairari Devgandhari

NIGHT

Sarang Suhi Bilaval Gujri Gond Todi

Vadhans Maru Dhanasari

Maajh Gauri Tilang Tukhari

6 - 9 pm

9 - 12 am

12 - 3 am

3 - 6 am

Period 1 (N1)

Period 2 (N2)

Period 3 (N3)

Period 4 (N4)

Sri Raag Basant Maali-Gaura Jaitasari Kedaara Kalyaan Gurbani RaagsIndex

Bihaagara  Nat-Naraayan Sorath Malaar  Kaanra Jaijawanti Musical Instruments

/www.searchgurbani.com/raags

Gurbani Raag: Bhairav Bhairon was an important raga at the time of Guru Nanak and has continued to retain its significance and popularity. Bhairon (not to  be confused with Bhairavi) appears in the Rdgrnala as husband of  Bhairavi and four other rdginis. Today it is the head rdga r dga for one of  the ten thatas. The Rdga Sdgara, a treatise of circa 8th century, describes this rdga as awe-inspiring and as expressing the "fulfilment of the desire of worship." Mesakarna (1509) calls this morning melody of the autumn season one of awesome grandeur. Performed before sunrise, this raga was used by Guru Nanak, Guru Amar Das, Guru Ram Das, and Gurft Arjan for 99 hymns.

Aasa Raamkali Bhairaav Parbhati

Taals Index

Ramkali is not given in the Ragmala but is one of the most important rdgas of the Guru Granth Sahib. All Gurus, including including Guru Tegh Bahadur, have composed verses to this rdga. The total number of sabdas comes to over three hundred. Ramkali is a morning rdga performed after sunrise usually during the hot season. The mood is such as to inspire lofty thoughts. In the Guru Granth Sahib, a number of hymns in Rainkah expound True Yoga and other spiritual issues. Some celebrated compositions such as Sidha Gosti, Anandu, Sadd, Oarikdr and the Vdr by Satta and Balvand are composed to this raga. Some of the verses also contain analogies to music and musical instruments. Four forms of this raga are recognized, although although only two are in general use today. The raga belongs to the Bhairav thata. BILAVAL (ancient name Velavali) Bilaval had become the basic scale for North Indian

music by the early part of the 19th century. Its tonal relationships are comparable to the Western C- major scale. Bilaval appears in the Ragmala as a ragini of Bhairava, but today it is the head of the Bilaval thata. The Ragmala gives Bilaval as a putra (son) of  Bhairav, but no relation between these two ragas is made today. Bilaval is a morning raga to be sung with a feeling of deep devotion and repose, often performed during the hot months. Over 170 hymns were composed to this raga r aga by Guru Nanak, Guru Amar  Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur. Literally, Bilaval means ‘delight’ and therefore this raga is often sung in the spring season. Guru Arjan sings of the bliss which spiritual fulfilment brings: “I am blessed with great destiny for my God is my Bridegroom. In His court plays the spontaneous celestial strain.  Night and day, I abide in bliss, listening happily to musical instruments; Disease, sorrow and pain harass not here, nor is there birth or death”.

/www.downmelodylane.com/ragas12.html#shiv

www.rso.cornell.edu/spicmacay/spicmacay_files/home www.rso.cornell.edu/spicmacay/spi cmacay_files/home_files/raga. _files/raga. html HEALING Holistic medicine aims at self-healing. It is the mind–body-medicine. mind–body- medicine. The goal is to accomplish the healing process that is physical and mental. Healing using cosmic energy as is done in Reiki brings about miraculous recovery. When healing cardiac problems, since Ajna chakra has control over all the chakras, Mooladhara for  survival, and heart chakra specifically for the heart, Manipura chakras for control of  emotions, these chakras are healed. All the chakras are brought to balance by channelising channelising cosmic energy and automatically automatically heart chakra works in harmony with other chakras thus restoring health. In some cardiac problems warranting surgery like infarct, coronary blocks, valvular  degeneration degeneration or emotional disturbances disturbances psychic surgery is done. In psychic surgery, the  patient is taken to deep level of relaxation. By autosuggestion, the patient identifies the negative energy that is causing the disease and the healer with his psychic power 

removes the negative force that is surfacing. In psychic surgery, the patient’s physical  body is not even touched by the healer. In majority of the cases which are treated by using a combination of crystals  programmed with reiki, and Acupuncture/Acupressure duration of the treatment is cut short.

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SCIENTIFIC ANALYSIS OF "MANTRA" The scientific analysis of a Mantra is given below, as to how it attracts power when chanted by someone.

Everything Everything has a particular vibratory frequency. Every thought, every word and every emotion. How we feel, think and speak defines our particular vibration. And we create our world based upon that vibration. Sound is an incredibly powerful vibration. vibration. “Man” means mind, “tra” means wave or projections. Therefore mantra is the projection of the mind through sound vibrations. vibrations. The basic structure of the universe is the atom, and the basic structure of our bodies is the cell; each cell is made of billions of atoms and each atom is made of a positive nucleus and negative electrons rotating around it; because of this rotation, an electromagnetic field is generated similar to fields generated by an engine. Every single atom is vibrating in a specific frequency, whether this atom is part of  metal, water, cell, or anything else. So every thing in this universe is vibrating, this is a given scientific fact. A small pebble thrown in a pond creates numerous ripples reaching quite far, in the same pond itself. Same way, the words, which we pronounce, creates vibrations vibrations and waves in our mind, which awaken subtle powers in us. Thus the Effects of whatever  Words we speak, falls on our self, our society, and even on the universe.

Realizing this fact, that SOUND is the most powerful element; our ancient sages developedd the science of Music or Sound (SHABDA) Therapy, called Bio-waves or  develope “Mantra” and a collection of Mantras called a “STOTRA”, which being related to Ether  (which is very subtle), becomes very powerful as the power of SUBTLE

(SUKSHAMA) is greater than the GROSS (STHOOLA). When atoms are isolated, it creates great energy & become more powerful, although it is so small that it is impossible to see it, with our naked eyes, likewise when a person focuses on every single syllable and letter letter emanating from the Shabda Brahma (Mantra) or the nada (the vibration) it is said to have profound effects on the psyche as well as one’s physical self. Mantra or Stotras are those scientifically made sound combinations that affect our  subtle Nerves – “SHAT CHAKRAS” and “POWER CENTRES” directly in such a way, that it awakens our 'powers', which otherwise lie dormant. As a result these Nerves  become active and the person chanting is blessed with different powers (SIDDHI). In fact, (STOTRA SADHANA) is nothing else, but the Power of Sound. These Sanskrit Mantra letters contain both Emotions and Meanings. The permutation and combinations of these letters have the power to create wonders. Sound being the base of the Mantra, makes it very powerful.

"When a Mantra is pronounced repeatedly, like a dynamo the Sound waves are transformed transforme d into electrical energy or vibrations & if coupled with deep emotions, becomes more powerful. These vibrations are in the shape of a Ring which rises up with great speed, through the medium of Ether, moving directly towards the presiding Deity of that Mantra. When it reaches its Deity, it combines with the power of that Deity before bouncing back along with the subtle but now manifold powers of that Deity back to re-enter the source of its origin which is the subtle body of the one chanting the Mantra. The Stronger the Faith, Will-power and Emotion attached with the Mantra, the Stronger will be the attraction of the powers of the Deity. It’s like a Dynamo effect, the more who keep repeating a Mantra continuously continuously the more you get charged up with Divinity .This phenomenon is so subtle & so fast that the person chanting the Mantra does not even realize it as these sound waves or vibrations moving in the air in about 340m/sec have their own frequency while humans can hear only from 20 frequencies per second to 20000 frequencies per second & not outside of this range."

On the physically level the science of Sound works with the movement of the tongue in the mouth. The hard upper palate forms the roof of the mouth where there

are 84 meridian points located. located. While pronouncing the Mantra, the movement of the tongue stimulates these meridian points which in turn stimulate the hypothalamus to secrete neurotransmission fluids. As these different chemical liquids are secreted to different parts of the brain, messages are transmitted throughout as well. Simultaneously, Simultaneously, these Mantra sound vibrations are also received by the ear & are turned into electrical signals which move along the acoustic nerve towards the acoustic bark in the Brain, whose cells then correspond to these waves and move into the various parts of the brain especially especially the frontal part. All these parts work together corresponding to the signals and translating them to a language the human understands. And as, as our   body is made up of at least 70 per cent water, our bodies become an excellent conductor  of sound vibrations thus every cell in our body acts as a sound resonator. So finally, the  brain analyses these signals and gives orders to the various parts of the body to correspond to these signals.

The signs of this charged Mantra, re-entering the subtle body of the person chanting it, are in the different types of Vibrations or Emotions that can move one to

tears, lift his spirits up, bring back beautiful memories, make him deliriously happy, or  rouse violent emotions, sensations of energy flowing from the head to the base or goose  bumps too. The mantra may be chanted out aloud, or repeated silently, silently, or resonated in the mind (Japa) and should be recited from the base of the stomach which represents the seat of a  person’s dormant power. There is a lot of hidden shakti here. It produces subtle vibrations in the fine nerves of the brain, thereby empowering the brain’s 108 centers and quelling their inactivity. If Mantras are pronounced correctly, following following the rules and regulations, given in the Scriptures it can undoubtedly cure many a diseases. So, the Success of the Mantra lies in its correct pronunciation. Unless the pronunciation is correct, it does not have the desirable effects on our Nerves. JAPA and DHYANA, are similar to NAADA (Sound) and BINDU SAADHANA

(Concentration (Concentration on a point), which can pierce the greater or the subtlest particle. EXAMPLES The “Gayatri Mantra”

GAYATRI MANTRA when repeated r epeatedly ly chanted, creates ring shaped sound waves which rises up with great speed, through Ether and goes towards the Sun, and after  touching the surface of the SUN, it returns back along with the subtle powers of the Sun, like Heat, Light, Electrical etc. Thus the Mantra combined with all these powers of  the Sun re-enters the subtle body of the one chanting it. Who, therefore is regarded  blessed by Gayatri Mata. POWER OF MANTRA

Tansen the famous court-musician court-musician of Emperor Akbar, could make the clouds pour down  by singing the Raga MEGH MALHAAR, and could lit the lamps by singing RAGA DEEPAK. POWER OF SOUND VIBRATIONS

Two scientists by the name of GRAHAM and NEIL did a experiment in a crowded street, in Australia's Melbourne city. The experiment was done to show the 'POWERS OF SOUND'. The medium of the experiment was a Motor-Car. They wanted to move the car, according to their commands. The car followed their command when they said 'START' and again when they commanded 'GO', the car started moving and stopped when they said 'HALT'. People thought it to be a magic, which in reality, it was not. It was merely an experiment, which showed the 'Power of Sound'. But how did it happen? Graham had a Transmitter in his hands; the function of the Transmitter was to convert the command into a fixed frequency of electrical power, and send it to the control unit, which was fitted in the dashboard of the car. Another device named 'CAR RADIO' was fitted in front of the Control-unit.

When the electro-magnetic frequencies transmitted transmitted by the Transmitter, dashed against 'CAR RADIO' the cars engine started and even began to move, and ultimately stopped. The source of all these happenings was the 'SOUND WAVES'. The causes and effects of the 'MANTRAS' and 'STOTRAS' could not be analyzed till date, because they are based on Ultrasonic Sounds, which, we can neither see, nor hear. But if these are pronounced with clarity and emotion, than it can do wonders. "In a Disco, your Mind makes you Dance, In a Satsang, you Make your Mind to Dance."

The correct time of day and night for a few ragas: 6-9 a.m. Ragas of Bilawal such as Alahya Bilawal, Shuddh Bilawal, Devgiri Bilawal, Shukla Bilawal, Kukubh Bilawal; Gunakali and Sarpada; Ragas of Bhairav such as Ahir-Bhairav; Ramkali, Jogiya Bhairav-Bahar; Ragas of Bhairavi such as Bhairavi, Bhupali-Todi, Bilaskhani Todi; Ragas of Kalyan such as Hindol; 9 a.m. - 12 noon. Ragas of Todi such as Gurjari Todi, Miyan-ki-Todi; Asavari thăt: ragas such as Asavari, Komal Re Asavari, Sindh Bhairavi; Ragas of Kafi such as Sugharai, Sur Malhar; Ragas of Bilawal such as Deshkar.  Noon - 3 p.m. Ragas of Kafi such as Bridabani Sarang, Shuddh Sarang, Bhimpalasi, Pilu; Ragas of Kalyan such as Gaud-Sarang. 3 - 6 p.m. Ragas of Purvi such as Purvi, Purya-Dhanashri, Shri, Triveni; Ragas of Marwa such as Marwa, Purya;

Ragas of Todi such as Multani; of Kafi thăt, such as Pat-Manjari. 6-9 p.m. Ragas of Kalyan such as Yaman, Bhupali, Hamir, Shuddh Kalyan, Chhay-Nata; Ragas of Bilawal such as Hansadhwani. 9 p.m. - midnight. Ragas of Bilawal such as Shankara, Durga, Nand, Maluha Kedar, Bihag and its forms; Ragas of Khamaj such as Khamaj, Jaijaiwanti, Regeshwari, Bhainna Shadja, Gara; Ragas of Kafi thăt, such as Kafi, Malhar and its forms, Bageshwari. Midnight - a.m. Ragas of Kafi such as Bahar, Nayaki Kanada Ragas of Asavari such as Darbari Kanada, Shahana Kanada; Ragas of Bhairavi such as Malkauns. 3-6 a.m. Ragas of Purvi such as Basant, Paraj; Ragas of Marwa such as Sohoni, Lalit; Ragas of Bhairav such as Kalingda. Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash. There are others that can be played at any and all times, for instance ragas Mand (regarded also as an evening raga), Sindhura, and Dhani.

http://www.hindu.com/fr/2004/10/29/stories/2004 http://www.hindu.com/fr/2004/10/ 29/stories/2004102903630900. 102903630900. htm Hi all, I read in an article that Certain ragas have wonderful medicinal medicinal properties that keep us fit as a fiddle!

Here is the small list of ragas, which exhibit medicinal properties. Please feel free to add your inputs.. Thanks Shree: Helps in digestion of food. Asaveri: Cures Headache Karaharapriya: Makes us forget hunger  Bhairavi: Cures Tuberculosis Hindolam: Cures cough and cold Saranga: Cures Indigestion. Indigestion. Ragas and the Rasas they reflect: Kalyani: Gives courage Hindolam: Gives enthusiasm and relaxation Kamboji: Expresses bhakthi Atana, Mohanam: Expresses Valour   Natai: Feeling of divinity  Nadanamakriya:  Nadanamakriya: Expresses "Karuna" rasa Mukhari: Expresses longing and love Sahana: Gives peace in loneliness Deepakam: Has the power to light a lamp automatically.

/www.calcuttaglobalchat.net/calcuttablog/indian-raga/ http://indiapicks.com/SNT_Hindi/Raga_Index.ht m chandrakantha.com/raga_raag chandrakan tha.com/raga_raag/song_title.html /song_title.html www.chandrakantha.com/raga_raag/song_title.ht www.chandrakantha.com/raga _raag/song_title.ht ml

Afternoon Ragas Songs: Piloo, Raga Shuddh Sarang, Brindabani Sarang, Raag Patdeep, Madhuvanti, Raag Madhuvanti, Raag Madhuvanti ... more Artists: Evening Ragas Songs: Raag Multani, Raag Marwa, Raag Puria Dhanashri, Pooriya, Marwa, Raag Shree, Raag Rajya Kalyan, Raag Puriya Kalyan ... more Artists: Morning Ragas Songs: Jaunpuri, Bilaskhani Todi, Bilaskhani Bilaskhani Todi, Gurjari Todi, Gurjari Todi, Desi Todi, Bilaskhani Bilaskhani Todi, Mian Ki Todi, Bhoopali Todi ... more

ringar Rasa Songs: Gat, Gat, Gat, Dhun, Dogri Folk Melody, Gat, Dhun, Gat, Dhun ... more Artists: early Morning Ragas Songs: Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi, Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi ... more Sringar Raasa Songs: Dhun, Dhun, Dhun, Gat, Gat, Jazz Fusion, Jazz Fusion, Jazz Fusion, Jazz Fusion ... more Artists:

Ragas in Practice Pr actice The ragas have their seasons and times of day as well. Summer is regarded as the corresponding season for  raga Dipak , Monsoon for  raga Megh, Autumn for  raga  Bhairav, Winter for  raga Malkauns, and the Spring for  raga Hindol . In Carnatic music, however, there is no such connection of season or time, although some ragas are considered appropriate to certain hours. The correct time of day and night for a few ragas:

6-9 a.m.

 Ragas of Bilawal th � t  t,  such as Alahya Bilawal, Shuddh  Bilawal, Devgiri Bilawal, Shukla Bilawal, Kukubh Bilawal; Gunakali and Sarpada ;  Ragas of Bhairav th � t  t,  such as  Ahir-Bhairav; Ramkali, Jogiya  Bhairav-Bahar ;  Ragas of  Bhairavi   Bhairavi th� t  t , such as  Bhairavi, Bhupali-Todi,  Bilaskhani Todi;  Ragas of Kalyan th� t  t , such as  Hindol ;

9 a.m. - 12 noon.  Ragas of Todi th� t t , such as Gurjari Todi, Miyan-ki-Todi;  Asavari th� t: t: ragas such as Asavari, Komal Re Asavari, Sindh  Bhairavi;  Ragas of  Kafi  Kafi th� t  t,  such as Sugharai, Sur Malhar ;  Ragas of  Bilawal   Bilawal th� t  t , such as  Deshkar .

 Noon - 3 p.m.

 Ragas of  Kafi  Kafi th� t  t,  such as Bridabani Sarang , Shuddh Sarang,  Bhimpalasi, Pilu;  Ragas of  Kalyan   Kalyan th� t  t,  such as Gaud-Sarang .

3 - 6 p.m.

 Ragas of  Purvi   Purvi th� t  t,  such as Purvi, Purya-Dhanashri, Shri, Triveni ;  Ragas of Marwa th� t  t,  such as Marwa, Purya;  Ragas of Todi th� t  t , such as Multani ; of  Kafi  Kafi th � t  t , such as  PatManjari.

6-9 p.m.

 Ragas of  Kalyan   Kalyan th� t  t,  such as Yaman, Bhupali, Hamir, Shuddh  Kalyan, Chhay-Nata ;  Ragas of  Bilawal   Bilawal th� t  t , such as  Hansadhwani .

9 p.m. - midnight.  Ragas of  Bilawal   Bilawal th� t  t , such as Shankara, Durga, Nand, Maluha Kedar, Bihag  and its forms;  Ragas of  Khamaj  Khamaj th � t  t,  such as Khamaj, Jaijaiwanti,  Regeshwari, Bhainna Shadja, Gara ;  Ragas of  Kafi  Kafi th� t  t,  such as  Kafi, Malhar  and its forms,

 Bageshwari.

Midnight - a.m.

 Ragas of  Kafi  Kafi th� t  t,  such as  Bahar, Nayaki Kanada ;  Ragas of  Asavari   Asavari th� t  t , such as  Darbari Kanada, Shahana  Kanada;  Ragas of  Bhairavi   Bhairavi th� t  t , such as Malkauns .

3-6 a.m.

 Ragas of  Purvi   Purvi th� t  t,  such as Basant, Paraj ;  Ragas of Marwa th� t  t,  such as Sohoni, Lalit ;  Ragas of  Bhairav   Bhairav th� t  t,  such as Kalingda.

Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash. There are others that can be played at any and all times, for instance ragas Mand  (regarded also as an evening raga), Sindhura, and Dhani. These stipulations of time are governed by the notes and their pitch.  Pandit Bhatkhande held that ragas performed at night or at sunset should contain the tivra madhyam (M�), whereas daytime ragas must not contain the tivra madhyam . Ragas which emphasize the lower pitch are to be performed during the evening or early night; ragas emphasizing emphasizing the higher pitch are appropriate for late night and early morning. Undoubtedly, there are exceptions to these stringent guidelines. Hindusthani Music http://print.google.co.in/print? id=HVjyfWPCO1wC&dq=bhatkhande+that&oi=print& id=HVjyfWPC O1wC&dq=bhatkhande+that&oi=print&pg=PA11&sig=sLRxATzI2Fw pg=PA11&sig=sLRxATzI2FwYYAXpwWGav5HCZHg&prev=http://www AXpwWGav 5HCZHg&prev=http://www.google.co.in/search%3Fhl%3Den%26q%3 .google.co.in/search%3Fhl%3Den%26q%3Dbhatkhande%2Bthat Dbhatkhande%2Bthat %26btnG%3DSearch%26meta%3D

http://www.chembur.com/anecdotes/bhatkhande.htm http://www.musicalnirvana.com/composers/vn_bhatkhande.html http://www.musicalnirvana.com/composers/vn_bhatkhande_articles.html http://www.swargram.org/bh http:// www.swargram.org/bhatuniv.html atuniv.html

http://www.tribuneindia.com/2003/20030126/spectrum/gallery/pages/v%20n %20bhatkhande.htm

rAga and Seasons In Hindusthani rAga scheme There are rAgas associated with a specific Ritu [ Season] . Eg. basant, bahar, megh etc There are many rAgas that are Sarva Ritu [ All seasonal ] Bilaval Darbari Kanada Examples Months rAga

March april Hindol May –june Deepak  July-August Megh September–October September–October Bhairav  November –December Shree January – February Malkauns “ [~1~] In The KarnAtik rAga scheme rAgas are not generally classified seasonally.

/ www.ipnatlanta.net/camaga/vidyarthi/Carnatic_  Basics/Melakarta_Scheme.htm

Kriti The Karnatic kriti (or krithi) is a song of praise or adoration for a particular Hindu deity. Kritis are especially especially associated with Tyagaraja (or Thyagaraja) (1767-1847), Muttuswamy Dikshitar Dikshitar (1776-1835) and Syama (or Shyama) Sastri (1762-1827), a famed trinity of musician-saints or saint-composers. In order, appreciating the trinity's work has been likened to the grape, the coconut and the banana. The first can be consumed and enjoyed immediately. The second involves cracking open a shell to get to the kernel. The third involves the removal of a soft outer layer to get to the fruit. Their  era is known as the Golden Period of Karnatic Music and during their time they composed a collection of timeless compositions. Tyagaraja alone is credited with some 600 kriti compositions. Kritis are usually composed in Telugu, Tamil or Sanskrit are habitually seeded in specific ragas.

/www.orientalblues.com/ragaindex.htm

The Ragas are listed according to their complexity.

1. Category 1 : The ragas of this category have complete (all 7) notes and the Aarohana and Avarohana are Monotonic (straight).

2. 3. 4.

Category 2 : The ragas of this category have missing notes (does not have all 7 notes) but have straight Aarohana & Avarohana Category 3 : The ragas of this category have notes (either complete or missing) with Monotonic Aarohana and Non-Monotonic Avarohana Category 4 : The ragas ragas of this this category have have notes (either complete complete or missing) missing) with Non-Monotonic Non-Monotonic Aarohana and Avarohana3

The Seven Natural (Complete)"Swaras" or Tones are:Sa are: Sa Re Ga Ma Pa Dha Ni and the 7 colors of the rainbow Notice the following terms related to the notes !!! •

• • • • •

All upper case letters refer to the "Shuddha Swaras" or natural tones. Example, R G D N. N. All lower case letters refer to the "Komal Swaras". Example, r g d n. n. For 'Ma', m refers to the natural one and M refers to the 'Tivra or Kori Ma'. The upper octave notes are suffixed by the ' sign. Example, S' R' G' m' P' D' N'. N'. The lower octave notes are prefixed by the ' sign. Example, 'S 'N 'D 'P 'm 'G 'R 'R.. Thaat can be defined as the root or parent raga from which another raga (child) can be derived. Example, 'Jaunpuri' derived from 'Asavari'. There are about 10 Thaats: Asavari, Bhairav, Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, Marwa, Purvi, Todi. Todi.

Ragas of Category -1 Hindustani Raga hir Bh Bhairav Bhairav Bhairavi Kalyan aunpuri Kafi Kalingra Kirwani Bilawal Latangi Nata Bhairav Purvi

Carnatic Raga Chakravaham Mayamalava Gowla Sindhu Bhairavi Mecha Kalyani Jhonpuri Kharaharapriya Mayamalavagaula Kiravani Dheera Shakarabharanam Latangi Sarasangi Kamavardhini

Aarohana (Up) S r G m P D n S' S r G m P d N S' S r g m P d n S' S R G M P D N S' S R m P d n S' S R g m P D n S' S r G m P d N S' S R g m P d N S'

Avarohana (Down) S' n D P m G r S S' N d P m G r S S' n d P m g r S S' N D P M G R S S' n d P m g R S S' n D P m g R S S' N d P m G r S S' N d P m g R S

Time Pre-Dawn Morning Dawn Evening Morning Night Late Night to Dawn Night

Thaat Bhairav Bhairav Bhairavi Kalyan Asavari Kafi Bhairavi Melakaratha Raga

S R G m P D N S'

S' N D P m G R S

Morning

Bilawal

S R G M P d N S' S R G m P d N S' S r G M P d N S'

S' N d P M G R S S' N d P m G R S S' N d P M G r S

Morning Dusk

Melakaratha Raga Bhairav Purvi

Ragas of Category -2 Name of Raga bhogi Kanada savari Bairagi

Carnatic Raga Abhogi Nata Bhairavi Revati ?

Aarohana (Up) S R g m D S' S R m P d S'

Avarohana (Down) Time S' D m g R S Night S' n d P m g R S Morning

Thaat Kafi Asavari

S r m P n S'

S' n P m r S

Melakaratha Raga

Morning

Raga

Thaat

Pakad - Mukhyang Aroh Avroh (main structure of  (ascending) (descending) raga)

Vadi Samvadi Time of  (main (second singing or Remarks note) main) playing

No.

1 Aabhogi

Kafi

Abhogi Kanhra

Kafi

2

3 Adana

Asavari

4 Ahir Ahir Bha Bhair irav av Bhai Bhaira ravv

SRgMD S. SRgMD S.

S. n D M g R  .D S R g M R S S S. D M g R  MgRS, .DSRg, S, .D S MDMg, RS, .D S

S R M P, d  N S.

S

M

morning

S

M

10 am to 1  pm

S. d n P M P, S. d N S. , d , n PMP, S. gMRS gMRS

P

1 to 4 am

S r G M, P D S. n D P, M G M r S, .DN. r S n S. GrS

M

S. NDP, SR GMGR, G R GP,MGMR, Bilaval DnDP, MG D GP, D N S. GPDnDP MRS S. n d P M g R M P, n d P, d M P, g 6A Assavari Asavari S R M P d S. D RS RS S. n D M g R  S .n .D S, M g, M D n 7 Bageshri Kafi S g M D n S. M S D, Mg, M g R S .n S, g M P, S. n D n P, M 8 Bahar Kafi g M, n D N M P g M D N S. M PgMRS S. r . N d P, M' M' d r . S., r . N d P, M' 9 Basant Poorvi S G M' d r. S G, M' d M' G S. G M' G ,rS S r G M P d S. N d P MG 10 Bhairav Bhairav DM r , GMP, MG, r S D  N S. rS Bhairavi S r g M P d n S. n d P M g 11 Bhairavi S g M P, d -- p M S. rS .n S g M P n S. n D P M g .n S M, M P g, M g R  12 Bhimpalasi Kafi M S. RS S GRS.D, SRG, PG, 13 Bhupali Kalyan S R G P D S. S. D P G R S G DPG, R S . N S G M P S. N D P M  N . S, GMP, GMG, RS G 14 Bihag Bilaval N  N S. GRS . N S G, G M S. N D, n D  N 15 B Biihagra Bilaval P D n D P, N P, G M G R  GMPDnDP, GMGRS M S. S Bilaskhani S r g, M G, P S. r . n d P, M .d S r g, Mg, r g, r S 16 Bhairavi d Todi d, n d, S. grgrS S R G M P D S. N D P M 17 Bilaval Bilaval G R GP, DNS. D S. G RS . N S g M d S. N d M g M  N 18Chandrakauns g M N d M g M g N. S M  N S. gS S. NDP, M' S, RGMP, P--R, RGMP, MG 19 Ch Chayanat Kalyan PDP, RGMP, R DP, ND, S. MR, S GMRS 20Darbari Asavari .n S R g R S, S. d n P, M P, g M R S, .d .n S R S R Kanhdra M P d n R . g M R S Alahiya 5 Bilaval

S

morning . G G S

morning

remove komal n for bilaval

10 am to 1 .  pm 10 am to 1  pm

S

10 am to 1  pm

P

4 to 7 am

R

7 to 10 am

S

morning

S

10 am to 1  pm

D

7 to 10 pm

N

7 to 10 pm

S

10 pm to 1 Some use M' am also

g

10 am to 1  pm

G

morning .

S

mid night

P

7 to 10 pm

P

10 am to 1  pm

S. 21 Des

Kamaj

22 De Deshkar

Bilaval

23 Desi

Asavari

24 Dh Dhanashri

Kafi

25 Durga

Bilaval

26 Gaur aur Ma Malhar lhar Kafi Kafi 27 Gaur aur Sa Sarang rang

Kaly Kalyaan

28 Gurja urjari ri Todi odi Todi odi 29 Hamir

Kalyan

30Hans 30Hansad adhv hvan anii Bila Bilava vall 31 Hindol

Kalyan

32 Jai Jai Jai Vant Vantii

Kama Kamajj

33 Ja Jaunpuri

Asavari

34 Jh Jhinjhoti

Khamaj

35 JJoogiya

Bhairav

36 Kafi

Kafi

37 Ka Kalavati

Khamaj

38 Kamod

Kalyan

39Kau 39 Kausi si Kanhda Kanhda Asavar Asavarii 40 Kedar 

Kalyan

SRMPN S.

S. n D P M G RMP, nDP, DMGR, . NS RGS G NS

P

S R G P D, S. D P, G R  D D P, G P D P, G R S D S. S R g R S R  .n S. P -, D M RgRSR .nS, S, R M P n P R g S R  .n P RMPDMPgRgRSR .nS S. S .n S, g M P, S. n D P, M P .n S, GMP, g , MgRS P n S. g, M g R S SRMPD S. D P M R S DMR, MPDMR, MPDMR, .DS M S. R G R M, G S. n D n P, D RGRM, GRS, PM, R S, M R P G P M, R G M PD, S. , D P M M P, D S. R M G R S S, GR, M' G, S. DNP, DM' PM' , DP, PG, MR, PR, S, GRMG, PRS G .  ND, S S S r g M' d N S. n d M' g r, .d .n S r g, r S, M' g r g d S. grS rS S. N D P, M' SRS,GM P D P, G M S R S, G M D D D, N D S. RS . N.P, GR, S G R, G P, S. N P, G P SGRS,  N  N S. G R, S GPGR, S

S

S G, M' D N S. , N D , M' SG, M'DND, M'GS D D, S. G,S S, R g R S, S. n D P, G R g RS, .n.D.P, R, .n .D.P, R, R M, R g R S GM, R g R S GMP, NS. S RM P d n S. n d P, M g RMP, n d P, d M P, d S. RS gRS S R G M P D S. n D P M G .DS, RM, G, PMGR, G n S. RS S.n.D.P S. N d P M r  S r M P d S. M, r S, S r r M r S M S S R g M P D S. n D P M g SS RR gg MM P P n S. RS S G M P D n S. n D P M G G M P D n D, M P D P S. RS MG . NDP, M' S NDP, S, RP, M' RP, M' PDP, PDP, GMP, P PDP, NDS. GMP,GMRS GM, RS S R g M P D S. n D P M g M n S. RS S. NDP, M' S M, M P, D S M, M P, D P M, P M PDPM, S P, N D S. RS PMRS

R G

Some consider R  7 to 10 pm vadi and P samvadi 7 to 10 am

R 

10 am to 1  pm

S

1 to 4 pm

S

10 am to 1  pm

S

Some 1 to 4 pm consider thaat Bilaval

D

7 to 10 am

r 

10 am to 1  pm

G

7 to 10 pm

P G P g n

Some consider G 7 to 10 pm Vadi and NSamvadi N is used less 7 to 10 am to avoid Sohni 10 am to 1  pm 10 am to 1  pm 10 am to 1 10 am to 1 pm  pm

S

morning

R

1 to 3 pm .

S

10 pm to 1 . am

S

7 to 10 pm

S

10 pm to 1 Bageshri Ang am

M

7 to 10 pm .

SGMPD  N S. . N r G M, M'  N 42 Lalit Marva M G, M' D S. . N S g M' P  N 43Mad 3Madhuvanti Todi  N S. .n S R M P n Madhyamad 44 Kafi Sarang S. .D  N . N S R G 45 Ma Malgunji Kafi M, G M, D  N S. .n S g M d n 46 Malkauns Bharavi S. . N R S, G M  N 47 Maluha Maluha Kedar Kedar Bilaval Bilaval P, D P M, M P N S. S G R M G, 48 Mand Bilaval P M D P, N D S. . N S G M P  N 49Mar 9Maru Biha ihag Kalyan  N S. . N r G M' D  N 50 Marva Marva  N S. 41 Khamaj

Khamaj

S. n D P M G G M P D n D, M P RS D,MG

G

N

10 pm to 1 am

. NRGM, DM', MG, R . N D, M' D  NRGM, M' M G, R S M'GRS

M

S

4 to 7 am

S. N D P M' . SGM'P, M'GRS N gRS S. n P , M R  .nSR, RMRPR, nP, S MRS

P R

58 Piloo 59 Pooriya 60

Pooriya Dhanashri

61 Poorvi

Kafi

S g M P N S.

7 to 10 am

S. N D P M GMgRS, .D.nSRGM S G, M g R S

M

night

S. n d M g M M g, M d n d, M g, M M gS g, S

S

1 to 4 am

. NSGMP, GMRS, S. N D P, G  NSGMP, . NS M P G M R S .D.P.M.P NS

S

10 pm to 1 am

P

all time

N

10 pm to 1 am

R

evening

P

10 am to 1  pm

S

10 pm to 1 am

M

S. D N P, D S, RG, S, R, MMP, D, S M P G M S PDS.

S. N D P M g D P, g, M P N S . RS

S. n D P n d . N S G M P  N P dPMgS  N S. . N S  N . N r S, G, M' S. N D M' G  N Marva D, N r . S. rS . N r G M' P, S. N d P, M'  N Poorvi D P, N S. G M' r G, r S . N r G, M' P, S. N d P M',  N Poorvi d N S. GMG, r S Kafi

4 to 7 am

P

S. N D P, M' M' G, RS, RS, SMGP, G G M' G R S M' G M' G RS S. N D M' G D, M' G r, G M' G r S D rS S. n D n P, M SRS, .nD.nP, Miya Ki S R M R, M . NS, R, MR, R 51 Kafi P, M R M R, .M.P.n.D NS, Sarang P n D N S. . N S . NS S  N PMR  NS R M R S, M . p, .M .P .n S. n D, n M RMR S .n  p, 52Miya 52Miya Malh Malhar ar Kafi Kafi R P, M P n M . N S, P g M R S P, g M R S .D  N D, N S. . N S g M' P S. N d P M' g  N . S, M' g, P g, r S 53 Multani Todi N P  N S. rS S. D, N P, D  Nand SGM,P 54 Kalyan M' P, G M D GMDP, RSGM S Anandi D , N P S. PRS S. D P , G P, 55 Pa Pahadi Bilaval S R G P D S. G, RS, .D, .P.DS S GRS S. N d P, M' . N S G, M' d  N S., N d P, M' P d P, G 56 Paraj Poorvi P d P, G M S.  N S. MG G, M' G r S 57 Patdeep

S

S

10 pm to 1 am

P

all time

P

4 to 7 am

S

.P  N . N S R g S, G M P g G . N S S,  N

N

. N r S, G,  N G . N.D N . N.M'.D, r S  N . N r G, M' P, DP, M'  N P G, M' r G, r S . N, S r G, MG, M' G r   N, G S

1 to 4 pm

P

P

M' r N

It is a Sandhi Prakash Raga

1 to 4 pm It's N is little (towards 4 sharper   pm) All 12 notes 1 to 4 pm are used in this raga It is a Sandhi evening Prakash Raga It is a Sandhi evening Prakash Raga It is a Sandhi evening Prakash Raga

S G M D N S. n D M G R GMDN S. n DM, M S. S GMRS, .D .n S G M S. n D n P, D . N S, R G M, Ramdasi  N 63 Kafi P M, P g, M RPMGM, nPgMRS M Malhar  n D n P N S. P g, M R S S. N d P, M' SrGMPd d P, M'PdndP, GM', r  64 Ra Ramkali Bhairav P d n d P, G P  N S. PMG r S MrS S R M D N S. N D M, D 65Ras 5Rasranjani Bilaval M S. MRS R . n D P M' S R M' P, n 66 Sa Saraswati Khamaj R M P, M' R  P D P, n D S . S S. NP, ND S. S. NP, ND S. NP, 67 Sh Shankara Bilaval S G P N S. G  NP, GPGS GPGS 68 Sh Shivranjani Kafi S R g P D S. S. D P g R S P S. Nd P, M' P S r r S, r M' S r r S, r M' P, d M' G 69 Shri Poorvi d M' G r, P r  R P N S. rGrS GrS S. N D, N D . N.D N . N.D.P, S, Shuddh GRS,  N 70 Kalyan S R G P D S. P, M' G R, G G Kalyan GR, PR, GRS RPRGRS Shuddh S R M P, M' S. N D P M' 71 Kafi R Sarang P N S. GRS S. N D P M' . N S R M' P . N S R M' P, G M R  Shyam  N  N . N 72 Kalyan P G M R  N P . N S Kalyan  N S.  N S Sindhu S R g M P d S. n d P M g 73 Asavari M Bhairavi n S. RS S. r . S. N D, S G M' D N S. N D, G M' DNS. r . 74 Sohni Marva G M' D, G M' D S. S. G, M' G r S .n S R g, M S. D, N P, M .n S R g, MP n P, DP, 75 Sughrai Kafi P P, N S. P, g , M R S MP g MRS S R G S, R  S. P D M G, .P NSRG,  .NSRG, S, RPMG, 76Tila 76Tilakk Kamo Kamodd Kham Khamaj aj M P D, M P, R . N S N . N S R G, S  N S. . NSGMP, NS . , S. nP, SGMPN  NSGMP, 77 Tilang Khamaj S. n P M G S G S. GMGS S r g M' P d S. N d P M' g .d NS, r , g r, s, M'g r  78 Todi Todi d  N S. rS grS S r G P d P S. d P G P d 79 Vibhas Bhairav d , P , GP, G r S d S. P, G r S Vridavani SRMPN 80 Kafi S. n P M R S .N S R, MR, PMR, S P Sarang S. . N R G, R S, P M' G R  Yaman S R G M' P S. N D P M'  N 81 Kalyan G Kalyan D N S. G RS S Yamani . N R G, M R  S. N D P, M'  N . N R G, M' PMG,  N 82 Bilaval Bilaval G P, M' P, D P M G, R G P RGRS  N S. RS 62Rag 2Rageshwari

Taal

Khamaj

S

10 pm to 1 am

S

rainy season

S

morning

S

midnight

R

midnight

S

10 pm to 1 am midnight

P

evening

D

7 to 10 pm

P

10 am to 1  pm

S

7 to 10 pm

S

10 am to 1  pm

G

4 to 7 am

S

10 am to 1  pm

P

10 pm to 1 am

N

N g

10 pm to 1 am 10 am to 1  pm

G

morning

R 

10 am to 1  pm

N

7 to 10 pm

S

morning

It is a Sandhi Prakash Raga

Indian Music Foreword by Pandit S.P.Tata “I do not reside in Vaikuntha, nor do I dwell in the hearts of yogis. There alone I abide, O Narada, where my devotees sing!” Lord Vishnu to Narada in Narada Samhita 1:17 Indian music is as old as time itself as it dwells in a world of moods and perceptions. It is a realm of beauty where experiences through sound transcend into metaphysics and feelings soar to the point of equation with the sublime. It creates a world of ecstasy, where involvement is spontaneous and perception a matter of total communion with the nuances of sound. Indian music is evocative. It evokes a gamut of moods, feelings, sentiments and emotions and mental cadences that few other forms of performing arts are capable of. Whether it is the pangs of separation or the joys of reunion, the sublimity of devotion or the recklessness of passion, the haze of summer noon or the mellifluous metronome of the monsoon, the warmth of fire or the softness of the silvery moon beams, it evokes every known sensation, feeling, mood and sentiment. Whether it be classical or flock, filmy or devotional, its range is vast, rich and varied, opening the floodgates to a treasure house of memorable experience that one lifetime is too short to comprehend. In India, music, painting and drama are considered divine arts. Brahma, Vishnu, and Shiva – the Eternal Trinity-were the first musicians. The Divine Dancer Shiva is scripturally represented as having worked out the infinite modes of rhythm in His cosmic dance of universal creation, preservation, and dissolution, while Brahma accentuated the time-beat with the clanging cymbals, and Vishnu sounded the holy MRIDANGA or drum. Krishna, an incarnation of Vishnu, is always shown in Hindu art with a flute, on which he plays the enrapturing song that recalls to their true home the human souls wandering in MAYA-delusion. Saraswati, goddess of wisdom, is symbolized as performing on the VINA, mother of  all stringed instruments. The SAMA VEDA of India contains the world’s earliest writings on musical science. The ancient Hindu way of life aimed at a totally integrated system of  knowledge covering all aspects of life. The ancient scriptures of India

were taught by countless sages, who perceived the knowledge in direct communion with God during meditation. Gandharva Veda, which is one of the four Upa Vedas, taught the arts of  music, dancing and drama. Gandharvas are celestial beings famous for their Gandharva Gana or celestial singing. Many Indian scriptures mention about singing by celestial beings like Devas, Yakshas, Gandharvas and Kinnaras – Deva Gana, Yaksha Gana, Gandharva Gana and Kinnara Gana. Rishi Narada was the most famous for his Deva Gana. Gandharva Veda is extinct now and was supposed to be a scripture which contained 36000 verses. However a shorter version based on it, called Natya Sastra written by Sage Bharata, containing 6000 verses is available. Gandharva Veda teaches that music is a means of unfolding harmony by enlivening Natural Law through sound. When one listens to music it gives peace, harmony and wholeness. Music also has a healing effect on diseases and can improve ones health. Ayurveda, the ancient science of  medicine also deals with the theme of time. Time has many facets – cycle, frequency, changing etc. There are three basic types of human health tendencies, Vata or windy, Pitta bilious, and Kapha or phlegmatic. People with these three different tendencies show different physiologies of the body at different hours of the t he day. Gandharva Veda advises playing or listening to the appropriate tunes necessary to create balance through the 24-hour cycle. Generally, there are (3) 8-hour periods in a 24-hour day and during each of these 8 periods the style of the music changes. So a particular combination or sequence or style of music is prescribed for each of the periods. Some time specific recommendations are: Ramkali & Lalat ragas 3-7 AM; Makansa raga 11-3 PM (for pitta/vata) Makansa raga 11PM – 3AM (for pitta/vata) Bhupali & Shri ragas 6-9 PM (for kapha) In Gandharva veda music is the coexistence of both the changeable and the non changeable. There is an inherent constant structure to the raga and at the same time there is also a spontaneous or creative musical elements with variations. Typically, one hears one instrument that places the same notes/ pattern throughout the raga – called a drone. This represents non-change. This symbolizes the creative and diverse nature na ture of  Self / Being and its underlying permanent nature coexisting together. This music is highly spiritual though emphatically sensual. In the playing

of the melody the listener will be treated to elegant elaborations on a theme. Further, the full range of a note – not just a narrow interval of it –  is another aspect of this music. The Natya Shastra deals with music, drama and dance. It is a very important scripture to know the history of Indian classical music because this ancient text gives details about the music and instruments of the ancient days. While the Samaveda has a lot to do with the melodious rendering of the ritual verses of the Vedas, the Natyashastra is the only available ancient scripture that deals with music at length and is considered the foundation treatise of Indian Classical Music. In the Natyashastra, nine chapters are dedicated to music. It describes svara or a musical note and its use in evoking a particular Rasa. The seven notes Sa, Re, Ga, Ma, Pa, Da, Ni (longer names are Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata and Nishada.), which were already there in the Sama Veda, are made use of in creatings the Raga. Shruti or pitch, Svara or tune, pada or composition and tala or beats are the four basics of Natya N atya Sastra music. The Natyashastra classifies music in to different modes or “jatis” based on invoking different emotions like tragedy or Karuna rasa, heroism or Vira rasa etc. Based on this many types of melodies called Ragas emerged. Natya Sastra also gives details about various musical instrument

season of the year, and a presiding deity who bestows a particular potency. Thus, (1) the HINDOLE RAGA is heard only at dawn in the spring, to evoke the mood of universal love; (2) DEEPAKA RAGA is played during the evening in summer, to arouse compassion; (3) MEGHA RAGA is a melody for midday in the rainy season, to summon courage; (4) BHAIRAVA RAGA is played in the mornings of August, September, October, to achieve tranquillity; (5) SRI RAGA is reserved for autumn twilights, to attain pure love; (6) MALKOUNSA RAGA is heard at midnights in winter, for valor. The ancient rishis discovered these laws of sound alliance between nature and man. Because nature is an objectification of the Om, the Primal Sound or Vibratory Word, man can obtain control over o ver all natural manifestations through the use of certain Mantras or chants. Historical documents tell of the remarkable powers possessed by Miyan Tan Sen, sixteenth century court musician for Akbar the Great. Commanded by the Emperor to sing a night Raga while the sun was overhead, Tan Sen

intoned a Mantra which instantly caused the whole palace precincts to become enveloped in darkness. Indian music divides the octave into 22 Srutis or demi-semitones. These microtonal intervals permit fine shades of musical expression, something which is unattainable by the Western chromatic scale of 12 semitones. Each one of the seven basic notes of the octave is associated in Hindu mythology with a color, and the natural cry of a bird or beast- Sa with green, and the peacock; Re with red, and the skylark; Ga with golden, and the goat; Ma with yellowish white, and the heron; Pa with black, and the nightingale; Da with yellow, and the horse; Ni N i with a combination of  all colors and the elephant. Three scales-major, harmonic minor, melodic minor-are the only ones which Occidental music employs, but Indian music outlines 72 Thatas or scales. The musician has a creative scope for endless improvisation around the fixed traditional melody or Raga. He concentrates on the sentiment or definitive mood of the structural theme and then embroiders it to the limits of his own ow n originality and imagination. The classical Indian musician does not read set notes. He clothes anew at each, playing the bare skeleton of the Raga, often confining himself to a single melodic sequence, stressing by repetition all its subtle s ubtle microtonal and rhythmic variations. Bach, among Western composers, had an understanding of  the charm and power of repetitious sound slightly differentiated in a hundred complex ways. Ancient Sanskrit literature describes 120 Talas or time-measures or rhythm. Bharata has isolated 32 kinds of Tala in the song of a lark. The origin of Tala or rhythm is rooted in human movements – the double time during walking, and the triple time of respiration in sleep, when inhalation is twice the length of exhalation. India has always recognized the human voice as the most perfect instrument of sound. Indian I ndian music therefore largely confines itself to the voice range of three octaves. For the same reason, melody, the relation of successive notes, is stressed, rather than harmony, the relation of simultaneous notes. The deeper aim of the early rishi-musicians was to blend the singer with the Cosmic Song which can be heard through awakening of man’s occult spinal centers. Indian music is a subjective, spiritual, and individualistic art, aiming not at symphonic brilliance but at personal harmony with the Oversoul. The Sanskrit word for musician is Bhagavatar meaning “he who sings the praises of God.” Man himself as an expression of the Creative Word and sound has the most potent and immediate effect on him, offering a way to remembrance of his Divine Origin.

There are three stages in the rendering of a raga by an artist. They are called Ragam Thanam Pallavi in South India and Raag, Vilambit & Dhrut in North India. Ragam or Raag In this first part, the musician starts by creating the mood of raga by playing the basic notes and lays a foundation for composition to follow. It is a solo rendering with out any accompaniments. Thanam or Vilambit is the second part where the artist expands the raga and shows his skill in playing with the notes and beats. Normally there are some interesting duet-duels between the main artist and the accompanying artists. Pallavi is the equivalent of a refrain in Western music. The basic style in Pallavi rendition is to sing the Pallavi in different speeds and beat patterns. The Pallavi challenges the musician’s ability to improvise with complex and intricate patterns. The whole exercise is very demanding, both technically and musically, since all the artiste’s musicianship is put to test. Around the 13th century, the Indian classical music bifurcated into Hindustani classical music in North India and Pakistan, and Carnatic classical music in South India. Owing to Persian and Islamic influences in North India from the 12th century onwards, Hindustani music and Carnatic music styles diverged. By the 16th and 17th centuries, there was a clear demarcation between Carnatic and Hindustani music. It was at this time that Carnatic music flourished in Thanjavur, where the Vijayanagar Empire of Andhra Pradesh was at its best. Purandara Dasa, 1484 – 1564, who is known as the father (Pitamaha) of Carnatic Music, formulated the system that is commonly used for the teaching of Carnatic music. Venkatamakhin invented and authored the formula for the melakarta system of raga classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD). Govindacharya is known for expanding the melakarta system into the sampoorna raga scheme – the system that is in common use today. Patronized by the kings of Vijayanagaram, Mysore and Tanjavuru, South India produced many noted composers, Vocalists and instrumentalists proficient in playing musical instruments, such as the veena, rudra veena, violin, ghatam, flute, mridangam, nagaswara. Three

of the greatest composers and singers of that era are Syama Sastri (1762 –  1827), Muttuswami Dikshitar (Born March 24, 1775 Died October 21, 1835) and the legendary Tyāgarāja Born May 4, 1767 Died January 6, 1847. They are called the Trinity of Carnatic music. Two famous court-musicians and instrumentalists were Veena Sheshanna (1852-1926) and Veena Subbanna (1861-1939), The Melakarta Ragas The Melakarta Ragas refers to the basic 72 Janaka Ja naka (parent) ragas in Carnatic Music. All of these ragas have seven notes saptaswaras, that is that they have all seven swaras which are- Sa, Ree, Ga, Ma, Pa, Da, Ni, and Sa. The system is further divided into two sets of 36 ragams each –  The first set with the first Ma and the second with a sharper Ma. This is very similar to the Western concept of scales and the circle of flats. The Melakarta Ragas are the Janaka (Root) ragas for all of the infinite others Ragas in Carnatic Music. The system is divided into two sets of 36