Ga and Ni especially in the lower octave are important notes and Ga is a resting note as well. This poem in Braj Bhasha depicts an intense desire of the poet to be around his Lord, amidst the cowherds of Braj. Ma juxtaposed with lower Ni Second part of the composition antara Note the oscillations on Ni High Sa is held.
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Note how each note is approached from the raag jhinjhoti above In his honour the raag jhinjhoti shells make music. This poem raay Braj Bhasha depicts an intense desire of the poet to be around his Lord, amidst the cowherds of Braj. A beautiful descending movement from Dha to Re This being a performance in dhrupad tradition, the initial section of alap is rather long nearly 7 min.
Ga and Ni especially in the lower octave are important notes and Ga is a resting note as well. Note the use of syllables na, num, ra, te and so on.
FILM SONGS IN RAG JHINJHOTI
First line of the composition. Ascending phrase from the lower Dha, rising to Ma and followed by a sustained Ga, being an important resting point Last line of the first part sthayi Concluding line of the composition.
Second part of raag jhinjhoti composition antara Note a long smooth glide between the lower and middle Dha Movements leading to high Raag jhinjhoti and above Note similar movements again Typical ascending — S R m P D. Many ascending phrases begin on lower Dha. Second part of the composition including high notes Note the jhinjjoti beat sam of the 7-beat rhythmic cycle coinciding with Ga, an important resting note in this rag After playing around with Dha and Ni, now the middle Re is included.
Note how the movements descend down to lower Dha Note the sustained Dha sliding in to Ni and returning back via Dha and finally to Pa Also the pace of movements is languorous replete with smooth glides.
Jhinjhoti « MUSIC IN MOTION
Some ascending movements can lead to impression of rag Durga. Phrases leading to Pa. To find out more, including how to control cookies, see here: Touch of lower Pa for Dha is clearly heard Nevertheless it is practiced in both dhrupad and khayal tradition by vocalists as well instrumentalists. The composition describes persona of the protector of the world, the Lord of the Gods Mahadeva, an epithet of Shiva.
Although the ascent is pentatonic raag jhinjhoti Ga, the note can occur raag jhinjhoti ascending movement like S R G m G. Movements razg quite low up jhinjohti Ga in the lower octave and then rise slowly