Rag-Megh Malhar
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I listened to a very melodious Meera Bhajan " bharsE bAdariyA sAwanki " in rag MEGH MALHAR, sung by Ranjini & Gayathri in YouTube. The video link/url is: ( http://in.youtube.com/watch?v=X-AX7Jukfh8 )
I wish to know some details on this raga. Is the note GA a part of this raga's phrase/ characteristics. I feel the singer had touched this note in the raga alapanam. The Arohana and avarohana pattern of this rag (as given in the book "Dakshinendian Sangeetham-Part II by Sri.A.K.Ravindranath)
Arohanam : - N2 PA N2 SA RI MA RI PA MA N1 PA N1 N2 SA
Avarohanm: SA N2 SA N1 PA RI MA , N2 RI SA
Vadi/Samvadi are - SA/PA.
Whereas the note GA(Komal) is part of the rag Miyan Malhar.
Please some one clarify and post the Aro.& Avaro of this rag if different from what is given above.
I wish to know some details on this raga. Is the note GA a part of this raga's phrase/ characteristics. I feel the singer had touched this note in the raga alapanam. The Arohana and avarohana pattern of this rag (as given in the book "Dakshinendian Sangeetham-Part II by Sri.A.K.Ravindranath)
Arohanam : - N2 PA N2 SA RI MA RI PA MA N1 PA N1 N2 SA
Avarohanm: SA N2 SA N1 PA RI MA , N2 RI SA
Vadi/Samvadi are - SA/PA.
Whereas the note GA(Komal) is part of the rag Miyan Malhar.
Please some one clarify and post the Aro.& Avaro of this rag if different from what is given above.
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Mr. Vijay, your views are really a practical aspect when looked into singing of Bhajans as thukkadas at the end of any Katcheri. It is the melody of the song that matters more than its theoretical aspects, due to the priority for the content of sahithya beauty, communicated to the mind of the listeners. This may be the reason why an ordinary listener with very little or no exposure to Sasthriya Sangeeth, enjoys, sometimes more, light bhajans or thukkadas than the main raga Alapana/RTP part.
A classic example to this aspect is the present day trend in so called "Bhajanotsavam" conducted all over our country as well as abroad, attracting large crowd. Bhajans music reaches to the heart of every listener and are also rarely being criticized by music critics on its musical contents. One reality is that classical theories are most often violated while rendering, still every one enjoys without giving any concern for deviations, if any, in the phrases/notes priscribed for a raga, while singing Bhajans. Why such a treatment? because, Bhajans are but offering of Prayers where as all others are but performances, where each singer attempts to reveal his/her depth of music knowledge.
A classic example to this aspect is the present day trend in so called "Bhajanotsavam" conducted all over our country as well as abroad, attracting large crowd. Bhajans music reaches to the heart of every listener and are also rarely being criticized by music critics on its musical contents. One reality is that classical theories are most often violated while rendering, still every one enjoys without giving any concern for deviations, if any, in the phrases/notes priscribed for a raga, while singing Bhajans. Why such a treatment? because, Bhajans are but offering of Prayers where as all others are but performances, where each singer attempts to reveal his/her depth of music knowledge.
Last edited by hariharan on 25 Oct 2008, 19:15, edited 1 time in total.
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Can some one kindly give me the meaning of the lyrics for this beautiful Meera bhajan?
barse badariyaa sAwan ki
sAwan ki man bhavan ki
sAwan mein um agyo merO manvA
bhanak suni hari aavan ki
umad ghumad chAhun disA sE aayo
dAmini dhamke jhar laavan ki "¦
nanhi nanhi boonde meghA barse
shItal pavan sohAvan ki
meerA kE prabhu giridhar nAgar
Anand mangal gavan ki
barse badariyaa sAwan ki
sAwan ki man bhavan ki
sAwan mein um agyo merO manvA
bhanak suni hari aavan ki
umad ghumad chAhun disA sE aayo
dAmini dhamke jhar laavan ki "¦
nanhi nanhi boonde meghA barse
shItal pavan sohAvan ki
meerA kE prabhu giridhar nAgar
Anand mangal gavan ki
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Very true Mr. Vijay. I only wish that this trend doesn't erode the value and tradition of "sasthriya Sangeet" while giving a stage performance (CM) . It is always a task to exactly identify or recognize the raga in a bhajan song than in other rendations and the reason for this situation is due to injecting of vivadi dosha/foreign notes while rendering. CM rejects this practice whereas Hindusthani music sans vivadi dosha may not shine well.
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barse badariyaa sAwan ki - let the clouds (badariyA) of spring (sAvan kI) shower (barsE)
sAwan ki man bhavan ki - the clouds of spring (sAvvan kI), the clouds that entertain (bhAvan kI) the mind (man)
sAwan mein um agyo merO manvA - my (mErO) mind (manvA) always exults (umag AgyO) in (mein) Spring (sAvan)
bhanak suni hari aavan ki - I hear (sunI) the sounds (bhanak) of krishNa's (hari) arrival (Avan kI)
umad ghumad cArun disA sE aayo - I hear the sounds of thunder (umaD ghumaD) coming (AyO) from (sE) all 4 (cArUn) directions (disA)
dAmini damke jal aavan ki - lightning (dAmini) flares (damkE) heralding the arrival (Avan kI) of the rains (jal)
nanhi nanhi boonde meghA barse - the clouds (mEghA) shower (barsE) tiny (nanhI) droplets (bUndE) of water
SItal pavan suhAvan ki - as cool (SItal) and pleasant (suhAvan) wind (pavan) blows by
meerA kE prabhu giridhar nAgar - It is the time for mIrA's (mIrA kE) Lord (prabhU), giridhar to
Anand mangal gavan ki - sing (gAvan) and make happy (Anand) and auspicious (mangaL) music
nAgar - AFAIK is a very civilized person - not at all sure why mIrA addresses krishNa as 'giridhar nAgar' - may be to distinguish him as the suave and civilized one as opposed to her rustic self.
sAwan ki man bhavan ki - the clouds of spring (sAvvan kI), the clouds that entertain (bhAvan kI) the mind (man)
sAwan mein um agyo merO manvA - my (mErO) mind (manvA) always exults (umag AgyO) in (mein) Spring (sAvan)
bhanak suni hari aavan ki - I hear (sunI) the sounds (bhanak) of krishNa's (hari) arrival (Avan kI)
umad ghumad cArun disA sE aayo - I hear the sounds of thunder (umaD ghumaD) coming (AyO) from (sE) all 4 (cArUn) directions (disA)
dAmini damke jal aavan ki - lightning (dAmini) flares (damkE) heralding the arrival (Avan kI) of the rains (jal)
nanhi nanhi boonde meghA barse - the clouds (mEghA) shower (barsE) tiny (nanhI) droplets (bUndE) of water
SItal pavan suhAvan ki - as cool (SItal) and pleasant (suhAvan) wind (pavan) blows by
meerA kE prabhu giridhar nAgar - It is the time for mIrA's (mIrA kE) Lord (prabhU), giridhar to
Anand mangal gavan ki - sing (gAvan) and make happy (Anand) and auspicious (mangaL) music
nAgar - AFAIK is a very civilized person - not at all sure why mIrA addresses krishNa as 'giridhar nAgar' - may be to distinguish him as the suave and civilized one as opposed to her rustic self.
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thanks to hariharan and ravi for sharing this lovely bhajan - a very enjoyable rendition and translation! though bhajans are considered to be "tukdas", it is interesting to note that this one has been tuned in a classical raga such as megh-malhaar. All varieties of the malhar family are very popular in HM concerts during the rainy season (months of shraavan/saavan and bhaadon) in North India.
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Re: Rag-Megh Malhar
namaste everyone,
what are the lyrics or the dhrut part of the song? i couldnt make out even though i listened very carefully. i'll be really happy to know the lyrics.
thankyou
what are the lyrics or the dhrut part of the song? i couldnt make out even though i listened very carefully. i'll be really happy to know the lyrics.
thankyou
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Re: Rag-Megh Malhar
Which part do you mean? I think the lyrics in post #6 or #7 are complete.sravyavarali wrote:namaste everyone,
what are the lyrics or the dhrut part of the song? i couldnt make out even though i listened very carefully. i'll be really happy to know the lyrics.
thankyou
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- Joined: 20 Nov 2010, 13:16
Re: Rag-Megh Malhar
they go something like this....
<first line>
kunwar shyaam sang nariya
gori ghata se bijli chamke
jor jor kar.....
i didnt get the first line which is partially continued in the last line. it is like tarajat....something
please, if any one of u can try..
thanks
<first line>
kunwar shyaam sang nariya
gori ghata se bijli chamke
jor jor kar.....
i didnt get the first line which is partially continued in the last line. it is like tarajat....something
please, if any one of u can try..
thanks
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Re: Rag-Megh Malhar
If you can get hold of an 30's vinyl 78 r.p,m record of film songs from Tansen featuring Kundan Lal Saigal and khurshid begum you can hear a nice megh Malhar rendered by Khurshid
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Re: Rag-Megh Malhar
Shri veeyens3,
http://www.youtube.com/watch?v=SdAZfHKvFQ8
http://www.youtube.com/watch?v=SdAZfHKvFQ8
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Re: Rag-Megh Malhar
An andidote for Raga Deepak - the singing of which started a fire within the singer - Tansen - and could be quenched only by Megh Malhar.
Scroll down the Youtube page for the Diya Jalao song in Deepak by which Tansen lights the lamps .
Scroll down the Youtube page for the Diya Jalao song in Deepak by which Tansen lights the lamps .
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Re: Rag-Megh Malhar
http://www.mediafire.com/?7bkb8b2b1ni9i1n
A track fit for the Gods !!
A track fit for the Gods !!
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Re: Rag-Megh Malhar
http://www.youtube.com/watch?v=3yiOY8pGVvI
A ,lovely track from Pakisthan TV in Miya Malhar , where Farida Khannum floats into megh malhar in the dying seconds of the track.
A ,lovely track from Pakisthan TV in Miya Malhar , where Farida Khannum floats into megh malhar in the dying seconds of the track.
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Re: Rag-Megh Malhar
Re #19 and 22 May God bless you for directing me to thse oldies
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Re: Rag-Megh Malhar
http://www.youtube.com/watch?v=0k5Nc9Iye2Y Benchmark megh malhar
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Re: Rag-Megh Malhar
Would really appreciate some information about Raag Deepak.
After listening to Diya Jalao Jagmag Jagmag_K.L.Saigal , I felt that it must be some cousin of Hamsadhwani. But another search on youtube yielded a completely different creature with Komal Rishabh etc.
Kartik,
Abida Parween:), what an artist!!! I love her Yaman's (Raqs-e-Bismil- Jee chahey tu Sheesha Banja) and Bhopali/Deshkar's (Zahib ne meraa housle imaan nahin dekha) especially
After listening to Diya Jalao Jagmag Jagmag_K.L.Saigal , I felt that it must be some cousin of Hamsadhwani. But another search on youtube yielded a completely different creature with Komal Rishabh etc.
Kartik,
Abida Parween:), what an artist!!! I love her Yaman's (Raqs-e-Bismil- Jee chahey tu Sheesha Banja) and Bhopali/Deshkar's (Zahib ne meraa housle imaan nahin dekha) especially
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Re: Rag-Megh Malhar
is there any equivalent of rag megh in carnatic
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Re: Rag-Megh Malhar
Megh = Madhyamavati = S R M P N S, S N P M R S
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Re: Rag-Megh Malhar
i think megh has only jaru gamakams and other gamakams are negligible.
and also think megh is a vivadi / bashanga raga in comparision to madhyamavathi
and also think megh is a vivadi / bashanga raga in comparision to madhyamavathi
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Re: Rag-Megh Malhar
ajaysimha: I suggest you download volume 3 (K to P) of Raganidhi by B.Subba Rao from musicresearchlibrary.net and look on pages 149 and 150 about hindustani rAgA mEgh.