One of the prime Raag in Hindustani Classical music is Raag Asavari. From the ten fundamental Thaat of Indian Classical music Asavari is also one of the raag. Raag Asvari derives from Asavari Ghat, for which it is also called as Ashray Raga from Asavari Ghaat. Natabhairavi is the corresponding Raag of Raag Asavari in the Carnatic Music System. This Raag is a close relative of Raag Gaandhari and Raag Jaunpuri.
These are the three aspects of music. I give importance to singing. It is like talking to your soul. It is an inner communion which you are trying to communicate … in the process, naturally it will diminish in value. – Kishori Amonkar.
Significance of Asavari
In Asavari Raag the Swaras Ga, Da, Ni are used as Komal Swaras. Ga and Ni are omitted from Aroha so there is 5 Swaras in Aroha and 7 Swaras in Abroha. For which Raag Asavari is of Audhav Sampoorna Jati. The perfect time to sing this Raag is 2nd prahar of the day. The dominant swara(Vadi) of this Raag is (Da) and the codominant (Sambadi) swara is (Ga).
As the Vadi note Da is placed in the top tetra chord of the octave so it is also an Uttaraang Vadi Raag. In Asavari Raag there is a sensation of submission to the divine, a feeling of serenity and divinity.
Nature of Asavari
THAT – Asavari(Thaat is classification of Raagas)
Wadi – Da
Sambadi – Ga
Time – late morning
Nature – Gambhir(Seriuos)
Jati – Ourab Sampurna
Pakar – R M P G R S
Nyas – R G M P D
Taal – Teentaal
Ga Da Ni swars used as Komal in this Raag
Aaroh – S R M P D Ṡ
Abroha –Ṡ N D P M G R S
ALAP
SRMP MPG RS RMP MPD MPG RS MPG MPDṠ ṠNDP MP MP GRS
Bandish-1(Based on Teentaal_starts from 13th bit)
Stahi
Bhajamana Rama nama kari ye mana
Rama Nama Eka mana bhajana
Antra
Bhakta jana Nama kare su mi rana
Eka mana bha jana nama shara nama
Stahi Notation
P M P S | D D P P | D M PR | M M P P |
Bhajamana | Ra- ma – | nama kari | ye – ma na |
S S R R | D D S S | M P D P | M G RS |
Ra- ma – | Na- ma – | Eka ma na | bha ja na |
Antra Notation
M P D D | Ṡ – Ṡ Ṡ | R G R S | D D P P |
Bha kta ja na | Na – ma ka | re – su -mi | ra – na – |
P G R S | R N D P | M P D P | M G R S |
E ka ma na | bha ja na – | na – ma sha | ra – na ma |
TAAN
Bhajamana Rama nama kari ye mana
S – – – | R- M – P | D – – – | S – – –
Bhajamana Rama nama kari ye mana
R – – – |M – – – |P- – – | M – P –
Bhajamana Rama nama kari ye mana
Ṡ – – – |N – – – |D- – – | P – – –
Bhajamana Rama nama kari ye mana
R – – – | M – P – | D -Ṡ – | N – D P
TAAN
Bhajamana Rama
1) SR MP DṠ DṠ ṠN DP MG RS
2) MP DS ṠN DP MP DP MGRS
3) MP DP DṠ ṠN DP MG RS
4) PD PD SNDP MGRS SRMP
Bhajamana Rama nama kari ye mana
SR SR MM | RM RM PP | MP MP DP
MP DP MG RS | SR MP DP
Bhajamana Rama nama kari ye mana
SN DP MG RS | SR MP DS DP
SR MP DS DP | SR MP DS DP
Tiahi (Bhajamana rama )3 times
Nama kariye mana
Bandish-2(Based on Teentaal_starts form 9th bit)
Stahi
Aare mana samajha samajha paga dhariye
Aare mana iss jaga mein nahi koi
apana para chaee so dariye
Stahi Notation
Aa re ma na | sa ma jha sa | ma jha pa ga | dha ri ye – |
D M P Ṡ | D D P P | G R M M | D D P – |
Aa re ma na | is s ja ga | me in na hi | hi – k oi |
D M P P | D D D D | P – PD MP | G – R S |
A pa na – | pa ra ch a | ee – so – | da ri ye – |
R R S _ | S S ṠR Ġ | Ṙ _ Ṡ _ | N Ṡ D P |
Antra
Doulat duniya kutmbak bila
Inn sone hana kabahoon kariye
Rama naama sukha dhama jagata pati
Sumirana se jaga tariye
Antra Notation
Dou – la ta | du ni ya – | ku tu mba ka | bi -la – |
M – P P | D D D – | Ṡ Ṡ Ṡ Ṡ | Ṙ N Ṡ – |
In na so – | ne – ha na | ka ba hoo na | ka ri ye – |
D D D – | Ṡ – Ṡ Ṡ | Ṙ Ġ Ṙ Ṡ | N Ṙ D P |
Ra – ma na | – ma su kha | dha – ma ja | ga ta pa ti |
PD N N D | P P PD MP | G – R S | R R S S |
Su mi ra na | se – ja ga | ta ri ye – |
S S Ġ Ġ | Ṙ – Ṡ Ṡ | N Ṡ D P |
Did You Know?
It exists in four major forms: Dhrupad, Khyal (or Khayal), Tarana, and the semi-classical Thumri. Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal.
16 matras Alap
Aare mana samajha samajha paga dhariye
S R M P | D -P- | M P D P | G – R S |
Aare mana samajha samajha paga dhariye
S R M P | D D Ṡ – | Ṡ N D P | M G R S |
Aare mana samajha samajha paga dhariye
M P D – | P – – – | M P G – | R _ S _ |
Aare mana samajha samajha paga dhariye
M P N – | D – P – |S R M P | D – P – |
TAAN
Aare mana samajha
SR MP DD Ṡ- | ṠN DP MG RS |
Aare mana samajha
SR MM RM PP | MP DP MG RS |
Aare mana samajha
MP DP MG RS | ṠN DP MG RS |
Aare mana samajha
SR GR SR MP | DP MP MG RS |
16 matras Alap
Aare mana samajha samajha paga dhariye
SR MM DP MP | MP DP MG RS |SR MP DṠ ṘṠ|NN DP MG RS |
Aare mana samajha samajha paga dhariye
SR MM RM PP | MP DD PD S_ | ṠN DD ND PP | MP DP MG RS |
Tiahi
Aare mana samajha (3 times )
samajha paga dhariye
Composition to practice in Raag Asavari
- Chale Jana Nahin Naina Milake (Badi Bahen)
- Jadoo Teri Nazar, Khusboo Tera Badan (Darr)
- Lo Aa Gayi Unki Yaad, Wo Nahi Aaye (Do Badan)
- Mujhe Gale Se Laga Lo Bahut Udas Hun Main ( Aaj Aur Kal)
- Piya Te Kaha ( Toofan Aur Diya)
- Ajeeb Dastan Hai Yeh (Dil Apna Aur Preet Parai)
- Aadha Hai Chandrama (Navrang)
- Jyoti Kalash Chhalke (Bhabhi Ki Chudiyan)
- Ka Karun Sajni Aye Na Baalam
- Albela sajan aayo ri (Bajirao Mastani)
- Dil hoom hoom kare (Rudali)
- Neel gagan ki chaon me (Amrapali)
- Kabhi Khushi Kabhie Gham (Kabhi Khushi Kabhi Gham)
- Agar Tum Saath Ho (Tamasha)
- Kabhi Jo Baadal Barse (Jackpot)
Raag Bageshri is another Raag that belongs to the most prominent Raags in the history of Hindustani Music
FAQs
1. What is Raag Asavari?
In Asavari Raag there is a sensation of submission to the divine, a feeling of serenity and divinity.The perfect time to sing this Raag is 2nd prahar of the day.
2. What instruments are commonly used to play Raag Asavari?
You can use the instrument Violin or harmonium to Asavari rag .Inted most of the classical songs harmonium and violin are used to perform.
3. Is Raag Asavari appropriate for beginners?
Yes also beginners can learn Asavari Raag but in general Raag Bhoop or Raag Yaman are the most prime raag to start in the beginning of Hindustani course.
4. What instruments are commonly used to play Raag Asavari?
Difficult of raag mainly depends on the practice and level of the person .Actually in Hindustani Music the most common complex Raag are Bhairavi,Todi,yaman .As these Raags needs more practice and control in the voice which comes with the time in a Artist .
