Indian Pakistani Classical Music

What Is Sargam?

2010-01-25T03:30:00.001-08:00

What Is Sargam?

Sargam : Sa, Re, Ga, Ma, Pa Dha, Ni, and Sa'

Sargam is a way of assigning syllables to names of the notes in a raga or a musical scale. The sargam syllables are: Sa, Re, Ga, Ma, Pa Dha, Ni, and Sa' in the octave. It is also called a singing exercise with notes. while pressing note of Sa, we sing Sa then Re and we say Re and so on. Sargam is also a vocal exercise in which the notes are used. It has the dual purpose of vocalization and finger practice.

Natural notes (pure or major) are called Shudh notes which are shown as S, R, G, m, P, D, N. The notes, or swars, are Khraj/Shadj, Rekhab, Gandhar, Madhyam, Pancham, Dhaivat and Nikhad. When singing these become Sa, Re, Ga, Ma, Pa, Dha, Ni, and sargam stands for "Sa-Re-Ga-Ma". Only these syllables are sung, and further designations are never vocalized. When writing these become, S, R, G, m, P, D, N. A sign of apostrophe on the right side of a letter (S') indicates the octave higher, a sign of apostrophe on the left side of a letter ('S) indicates the octave lower. Re, Ga, Dha, and Ni may be either shudh or komal; Ma may be either shudh or tivar and is then called tiver Ma. Sa and Pa are immovable (once Sa is selected),

Don't think there is anything that you can practice that will have as much an impact on your playing as sargam. Take the sargam challenge. Play sargam every night for one month and then re-assess your playing skills afterward.

In other words Sargam is the collection of music notes or the swar of the scale. It has been mentioned earlier how notes of the sargam relate to the western scale. Practicing to play sargam in music is bit like weight training. Basic rules of weight training are to start with simple exercises with lightweights. As you get comfortable with lightweights, you increase repetitions or increase the weight you are lifting. You also focus on muscle group you work on. You go to heavier and more complex exercises after you feel comfortable with the basic exercises. When we say sargam, we don't just mean a scale of notes but it means the act of playing the sargam. Playing the sargam is the single most important thing you can do when you are learning harmonium or keyboard. When beginning to learn harmonium, the teachers should not stress the playing of the sargam too much or enforce it. After all, there is nothing joyous about playing one note after the other in succession, over and over again. Students tend to hate sargam for this very reason. Getting students into sargam is a challenge.

Sargam fixes everything. If your right hand is not strong enough, sargam fixes that. If you are not confident in class, sargam fixes that. If you don't know where the notes are at the beginning, or how to sit properly for long periods of time or need discipline or you are trying to increase your speed or clarity or timing or rhythm or etc; sargam fixes all. Sargam needs great practice, but it doesn't have to be boring. Nothing is more boring than playing the same notes over and over again, so spice up your sargam with some of the variations. This will sound like you are actually playing something.

There are various books written on harmonium or keyboard but no suitable book is available on basics. These books were for advance learning and lessons were difficult to follow. This lesson of sargam is the first effort to produce sargam lessons in easy and with simplified exercises. With these lessons you will be able to play and sing-along with your harmonium or keyboard. All the exercises are produced with simple diagrams and notations. Thanks to great music composer Nisar Bazmi Sahib and all those colleagues who cooperated with me in producing these fundamental lessons.

Sargam Practice

We can learn how to play music with keyboard or harmonium but without practice of sargam we cannot sing-along while playing harmonium or keyboard. Practice of sargam is very important for a harmonium or keyboard singer.

Raga Kalyan Sargam

Every thaat is also a Raga and Raga Kalyan is derived from thaat Kalyan. The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. Here its jaati is kept sapooran-sampooran for sargam practice only.

Arohi: S-R-G-M-P-D-N-S’

Amrohi: S’-N-D-P-M-G-R-S

Exercise 1 (Raga Kalyan)

In this exercise we will practice Raga Kalyan notes in madh saptak. Raga kalyan is derived from thaat kalyan. In our notation system tiver notes are shown in capital letters and with red dot. Achal (fixed) notes are also shown with capital letters but with blue dot.

S R G M P D N

Achal Tiver Tiver Tiver Achal Tiver Tiver

Sit beside harmonium/keyboard properly as explained earlier. First you have to practice Arohi of raga kalyan sargam, which is ascending order as (S, R, G, M, P, D, N, S'). The arohi of sargam will be taught in ten stages. After completing ten stages of arohi you will practice amrohi, which is descending order of a sargam as ('S, N, D, P, M, G, R, S). You have to spend five to ten minutes on each stage for practice. Our practice of arohi and amrohi will be in madh or middle saptak.

Below given diagram is showing raga kalyan notes in all three saptak. Raga kalyan is the best raga to start with. Raga kalyan notes are shown in all three saptak with finger numbers.

Thaat Kalyan notes shown in all three octaves

FINGER & ITS NUMBERS

Thumb 1, finger 2, middle finger 3, ring finger 4, little finger 5

First Stage – Sa ( finger 2)

We will begin our practice in middle saptak that is best for beginners. Press note of Khraj, which is ‘Sa’ with right hand finger number 2. With the voice of harmonium note try to synchronize your voice with it by saying ‘Sa’ for at least five seconds. Keep pressure on the note while pressing bellow of harmonium with your left hand. You have to practice at least 5-10 minutes on this first note of Sargam. In the beginning you may feel difficulty in synchronizing your voice with harmonium but gradually you will overcome this difficulty. Khraj note that is ‘Sa’ is shown in the diagram with a blue dot. All our basic lessons in raga will begin from middle or madh saptak.

Second Stage - Re (middle finger 3)

Press note of Rekhab, which is ‘Re’ with right hand middle finger and do not displace your finger from Khraj note and only decrease its pressure from the note. By pressing note of Rekhab say ‘Re’ and try to synchronize your voice with the voice of harmonium as explained in the first stage. Say ‘Re’ again and again until your voice is fully synchronizes with harmonium. Your finger and middle fingers must remain over the notes. In the picture below Rekhab note is mentioned with red circle. You should keep in mind that all above stages are linked and only one note is added in each stage.

Third Stage - Ga (thumb 1)

Raising your finger from Rekhab note press note of Gandhar (G), with your thumb by twisting your thumb beneath your hand. Do not raise your second finger much higher over Rekhab note and only decrease its pressure while approaching Gandhar. Now again try to synchronize your voice with Gandhar note and repeat this practice again and again at least 10 minutes. In the picture below Gandhar note is mentioned with red circle.

Fourth Stage – (Kalyan Arohi) Sa, Re, Ga (fingers 2,3,1)

In this stage we will practice all three notes together, which we have already practiced. Press Khraj note ‘Sa’ with finger and say this note for about five seconds. Then by pressing note of Rekhab say ‘Re’ for about five seconds and try to synchronize your voice with the voice of harmonium. Raising your finger from Rekhab note press note of Gandhar, with your thumb and say ‘Ga’ for five seconds.

Fifth Stage - Sa, Re, Ga, Ma (fingers 2,3,1,2)

Now we have to learn four swars together and fourth swar is ‘Ma’. Saying note ‘Ga’ from previous stage bring your finger on Madhym note and say ‘Ma’ for about five seconds. Now again bring your finger back on Khraj note ‘Sa’ and after five seconds of vocal synchronizing press note ‘Re’ and keep practicing these four notes again and again with your particular fingers. This repeated exercise from Sa to Ma should not be less than ten minutes of duration. It should be remembered that we would stay on each note for about five seconds.

Sixth Stage – Sa, Re, Ga, Ma, Pa (fingers 2,3,1,2,3)

Keeping in view fifth stage add Pancham note ‘Pa’ in your exercise. By raising your finger from Madhyam note press Pancham note ‘Pa’ with your middle finger and say ‘Pa’ for about five seconds. Keep on practicing Sa, Re, Ga, Ma, Pa again and again for about 10 minutes. Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars.

Seventh Stage – Sa, Re, Ga, Ma, Pa, Dha (fingers 2,3,1,2,3,4)

Connecting your link from sixth stage add note ‘Dha’ in your exercise. By pressing ‘Dha’ say this note by synchronizing your voice with it. Now you have to practice Sa, Re, Ga, Ma, Pa, Dha for about ten minutes.

Eighth Stage – Sa, Re, Ga, Ma, Pa, Dha, Ni (fingers 2,3,1,2,3,4,1)

Press Note ‘Ni’ with your thumb by turning your thumb under your hand and say this note for about five seconds. Soon after that position place your finger No.2 again on the Khraj note ‘Sa’ and practice Sa, Re, Ga, Ma, Pa, Dha, Ni for about ten minutes like previous exercises of Sargam.

Ninth Stage - Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa' (fingers 2,3,1,2,3,4,1,2)

Continuing your lessons from previous stage bring your finger on Khraj note ‘Sa’ in the third octave and try to synchronize your voice with the Khraj note while note is pressed. Duration of pressing each note in all above stages is not less five seconds. You should keep in mind that all above stages are linked and only one note is added in each stage.

Tenth Stage - Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa' (fingers 2,3,1,2,3,4,1,2)

Now you have to practice all these eight swars, which are given below:

Arohi: S, R, G, M, P, D, N, S' Play left to right

Arohi of Sargam is ascending order of Sargam notes. The above sargam initiates from ‘Sa’ note of middle saptak and ends to ‘Sa’ note of third saptak. You should practice arohi of sargam until your fingers are not used to play notes without hesitation and confidence. One should try to practice Arohi without time limitation until perfection arises. Proper synchronizing of voice with swar is very important.

Sargam Exercise 2 (Raga Kalyan Amrohi)

S', N, D, P, M, G, R, S (fingers 2,1,4,3,2,1,3,2)

After getting proficiency in Arohi you have to practice Amrohi, which is descending notes of a Sargam. You also have to practice Amrohi in stages as you already did in Arohi of Sargam but now in descending order from Taar (upper) Saptak towards Madh (middle) Saptak.

Amrohi: S', N, D, P, M, G, R, S Play right to left

Do not forget to stay for five seconds on each note in each exercise while synchronizing your voice with swars. There is also no time limitation for Amrohi practice but it should be continued until you get acquainted with the voice of notes. Fingering will be same as selected in Arohi practice but in reverse order. There must be a gap of one and half second between swars to breath.

First Stage – S', N, D, Ü (fingers 2,1,4)

In all these six stages you will have to practice as explained in earlier exercises of Sargam. You have to remain for five seconds on each note while saying relevant swars and by synchronizing your voice. The gap between each note must be one and half second in this initial stage. Total time of practice must be between 5-10 minutes.

Second Stage – S', N, D, P (fingers 2,1,4,3)

By adding note ‘Pa’ practice all four notes all over again and again for ten minutes and synchronize your voice with swars.

Third Stage - S', N, D, P, M (fingers 2,1,4,3,2)

By adding note ‘Ma’ practice all four notes all over again and again for five to ten minutes and synchronize your voice with swars.

Fourth Stage – S', N, D, P, M, G (fingers 2,1,4,3,2,1)

Fifth Stage: S', N, D, P, M, G, R (fingers 2,1,4,3,2,1,3,)

Sixth Stage – S', N, D, P, M, G, R, S (fingers 2,1,4,3,2,1,3,2)

Now it is the stage of Amrohi, add Khraj note ‘Sa’ in your practice. In the sixth stage there is no fixed time period for practice of swars. You may increase your time if you feel you are not perfect in fingering or vocal.

Sargam Exercise 3 - Arohi Amrohi

It is the time when we will practice complete sargam in ascending and descending order. This exercise is very important for harmonium students for basic music learning. Proper synchronizing of voice with swar is very important in this lesson. It is better to stay on each swar for five seconds and gradually decrease your time to four seconds and in the end half second. At least half an hour continuous practice is important but you can increase your practice time according to your capability. Now you got familiar with sargam notes in ascending and descending order so, we are going to write arohi and amrohi of sargam in normal style. Now notations of raga Kalyan sargam will be written from left to right but will be played according to direction of arrow.

Try to remain on each note for half a second, which is the perfect speed for practice of Sargam. If you get bored then take rest and divide your practice time in parts or play in front of friends or family members.

Note:- Sargam of raga bilawal, bhairav, bhairavi and other ragas will be provided with the sargam paper book and e.book. Order now for these books from the most comprehensive website of music teaching.

Alankar

2010-01-25T03:29:00.001-08:00

Alankar

Alankars are different sets of the swars that will enable you to practice and familiarize yourself with the different sounds. You should practice these till you can play them correctly without looking at the keyboard. While you practice how to play, please sing-along too so that you can improve your voice and can learn how to sing more in tune.

Alankaars are extremely useful for practice and are a great way of getting familiar with your keyboard or harmonium. In this website there are some Alankars for practice; try to play them continuously for an extended period of time; its extremely important that your fingers move smoothly on the keyboard because when you are playing a metered melody, an extra second's hesitation is enough to send you out of synchronization with the taal or rhythm..

Alaap

2010-01-25T03:28:00.002-08:00

Alaap

The word alaap means a dialog or conversation. Alaap is a dialog between the musician and the raga. The purpose of including an alaap in a composition is for the singer to set the scene for the composition itself. In order to tell a story emotionally, the storyteller is required to set the scene for the listener. The alaap prepares the listener to receive the emotions from the singer. Suspense is also being built up through the alaap for the listener.

In other words, alap is the beginning part of the raga, starts with the key note of the mode it uses, that is “Sa”, both in the instrumental and vocal pieces. The tempo at the beginning is usually slow in order to show the scale and the key structure of the melody. There is no drum in this section; if it is a piece of vocal music, there are no lyrics with it.

The asthayee is the first part of the main melodies in the raga. It consists of two music phrases, and is the most important part that shows the raga’s main musical ideas. In vocal music, this part always comes with lyrics. Antra, which originally meant “the rhyme of the poem,” it can also be translated as “stanza". The length and times of improvisations mainly depend on the feelings of the performers.

Lakshan Geet

2010-01-25T03:28:00.001-08:00

Lakshan Geet

Its a raga geet and its verses show the mood and the details of particular raga. It also teaches the way of singing raga and completely depicts the picture of the raga. Lakshan Geet is probably the most typical fixed composition used for vocal instruction. This is a style of singing where the lyrics of the song actually describe the features of the raga.

If the lakshan geet is memorized, one will never forget the raga. Throughout ones life, whenever the raga is heard the words keep coming back. Below given raga asavari lakshan geet is sung in a beautiful style by Iqbal Yousuf Ramzi (ghazal geet singer). This geet will show what is real mood and properties of raga asavari and you will be able to play raga asavari songs in a better way shortly after listening lakshan geet.

Sargam Lessons

2010-01-25T03:27:00.000-08:00

Sargam Lessons

Natural notes (pure or major) are called Shudh notes which are shown as S, R, G, m, P, D, N. The notes, or swars, are Khraj/Shadj, Rekhab, Gandhar, Madhyam, Pancham, Dhaivat and Nikhad. When singing these become Sa, Re, Ga, Ma, Pa, Dha, Ni, and sargam stands for "Sa-Re-Ga-Ma". Only these syllables are sung, and further designations are never vocalized. When writing these become, S, R, G, m, P, D, N. A sign of apostrophe on the right side of a letter (S') indicates the octave higher, a sign of apostrophe on the left side of a letter ('S) indicates the octave lower. Re, Ga, Dha, and Ni may be either shudh or komal; Ma may be either shudh or tivar and is then called tiver Ma. Sa and Pa are immovable (once Sa is selected),

Don't think there is anything that you can practice that will have as much an impact on your playing as sargam. Take the sargam challenge. Play the sargam every night for one month and then re-assess your playing skills afterward.

In other words Sargam is the collection of music notes or the swar of the scale. It has been mentioned earlier how notes of the sargam relate to the western scale. Practicing to play sargam in music is bit like weight training. Basic rules of weight training are to start with simple exercises with lightweights. As you get comfortable with lightweights, you increase repetitions or increase the weight you are lifting. You also focus on muscle group you work on. You go to heavier and more complex exercises after you feel comfortable with the basic exercises. When we say sargam, we don't just mean a scale of notes but it means the act of playing the sargam. Playing the sargam is the single most important thing you can do when you are learning harmonium or keyboard. When beginning to learn harmonium, the teachers should not stress the playing of the sargam too much or enforce it. After all, there is nothing joyous about playing one note after the other in succession, over and over again. Students tend to hate sargam for this very reason. Getting students into sargam is a challenge.

Sargam fixes everything. If your right hand is not strong enough, sargam fixes that. If you are not confident in class, sargam fixes that. If you don't know where the notes are at the beginning, or how to sit properly for long periods of time or need discipline or you are trying to increase your speed or clarity or timing or rhythm or etc; sargam fixes all. Sargam needs great practice, but it doesn't have to be boring. Nothing is more boring than playing the same notes over and over again, so spice up your sargam with some of the variations. This will sound like you are actually playing something.

There are various books written on harmonium or keyboard but no suitable book is available on basics. These books were for advance learning and lessons were difficult to follow. This lesson of sargam is the first effort to produce sargam lessons in easy and with simplified exercises. With these lessons you will be able to play and sing-along with your harmonium or keyboard. All the exercises are produced with simple diagrams and notations. Thanks to great music composer Nisar Bazmi Sahib and all those colleagues who cooperated with me in compiling these fundamental lessons

About Harmonium

2010-01-25T02:58:00.000-08:00

About Harmonium

Harmonium or Reed Organ is a musical keyboard instrument similar to a pipe organ. It consists of reed pipes and sound is produced by air being pushed or sucked over reeds resulting in a sound similar to that of an accordion. The sound from a harmonium is produced, as with the accordion family, by a stream of air being blown (or sucked in the case of an American Organ) through a reed.

However, harmonium is a keyboard, and so these lessons apply equally to the harmonium as well as to the electronic synthesizer keyboard. The important difference between keyboard and harmonium is that you can - and do play the keys with your left hand also; but for harmonium, your left hand is used in pumping the bellow to force air under pressure into the inside of the harmonium. In keyboard our left hand is used for chords. An ordinary keyboard is sufficient to master all the lessons that will follow. If you already have a keyboard, you do not need to buy anything else as of now. For solo performances, you may use a synthesizer keyboard or a harmonium, depending upon your taste, convenience and availability. Harmonium traditionally suits better for accompaniment during performance of Ghazals, Thumri, Indian Pakistani classical music, and some other types of Indian music.

How can we find chords in Indian songs

2010-01-25T02:57:00.000-08:00

When any beginner start playing the keyboard, he have absolutely no clue about chords. Beginners used to wonder how do people play using both their hands. Go to ragatracks chords section this website and it will yields good results. As we know music has form like the skeleton that holds your flesh, muscles, and skin up. If you had no bones, no skeleton, your flesh and all the other parts of our body would fall on the floor. Because you have a skeleton so you are able to walk around and pretty accurately predict which way your next step will take you.

It's the same in music. Music has form like a skeleton to hold it up. And that skeleton is made out of chords (harmony) the tonal center of the song or piece. In any given key or scale you can play in, there are primary chords. They are like family members of that particular key. In any given scale in Indian keyboard or desi keyboard, there are 3 "family members" that are residents of that key, the I chord, the IV chord, and the V chord. They are far the most likely chords to occur in any given key. For example, if I am playing in the Key or scale of C, and the first chord is the C chord and I have to guess what the next chord is, I would guess that it would be either the F chord or the G chord. Why? Because those are the other "family members". To see all family members and to find other family members click the link Indian Indian chords. Indian keyboards or desi keyboards terms are only used to show that we are dealing with Indian music.

Keyboard VS. Piano

2010-01-25T02:56:00.000-08:00

Keyboard VS. Piano

Keyboard is an electric version of the piano. The sounds from a piano are made by the mechanical action of the keys hitting mallets on strings. In other words we can say a keyboard is electronic whereas a piano is a percussion instrument meaning it makes it's music by being struck. Pianos are referred to as an acoustic instrument which produces its own unique sound. Keyboards usually refers to electronic instrumentation, however the keys are laid out the same as the piano.

Even a high quality keyboard isn't a substitute for the sound of a good piano, but it's an affordable way to get started playing with keyboard, and has the advantage of portability. If you're considering buying a keyboard, I would suggest going for one with full size keys, as opposed to the "miniature" options out there. You don't have to have the full 88-key range of the keyboard but 61 key keyboard is better selection. It is important that the keys themselves should be the same size as piano keys.

Keyboard or Piano

2010-01-25T02:52:00.000-08:00

Music Keyboard offers a wide variety of instrumental sounds, in addition to the basic piano sound. Even fairly inexpensive ones usually also offer preprogrammed rhythms or styles and "auto-chord" accompaniment, which provides a harmonic background against which you can play a melody. Higher end keyboards have touch sensitivity, allowing you to vary your volume by how hard you strike a key, and midi capacity, which lets you connect your keyboard to your computer to use music-writing and practice with software.

The instrumental sound you choose is called a voice. Before you play a song, choose a voice that you like. Practice selecting different voices, and remember the setting for the ones you prefer. Look your keyboard owner's manual to help you. When you play the songs you can use any sound you wish. The rhythm controls provide drumbeats to play along with.

The drum rhythms can be changed to suit the kind of song you are playing. Moreover you will find tabla styles like kehrva, dadra, teentaal, rupak and jhaptaal in our website. If you have a keyboard equipped with floppy drive or USB then you may copy these styles in your keyboard user memory to play along music. Melody keys are used to play the tune of the song with your right hand. The chord keys are used to play chords with your left hand. This makes the song sound full and beautiful. If you do not know how to play chords then you may use auto chord along with the melody. A MIDI keyboard is a piano-style digital keyboard device used for sending MIDI signals or commands to other devices connected to the same interface as the keyboard. MIDI is an acronym for Musical Instrument Digital Interface (protocol). The basic MIDI keyboard does not produce sound. Instead, MIDI information is sent to an electronic module capable of reproducing an array of digital sounds or samples that resemble traditional analog musical instruments. These samples are also referred as voices. An encoding scheme is used to map a MIDI value to a specific instrument sample.

Yeh na thee Hamari qismat - Ghalib by Habib Wali Muhammad

2010-01-24T13:14:00.002-08:00

Bhimpalasi

Yeh na thee Hamari qismat - Ghalib by Ustad Amanat Ali Khan

2010-01-24T13:14:00.001-08:00

Bhimpalasi

Yeh Na Thi Hamari Qismat Keh Visaal-E-Yaar Hota - Usha Mangeshkar Version

2010-01-24T13:14:00.000-08:00

Bhimpalasi

Mera Saaya - Naino Mein Badra Chaye

2010-01-24T13:13:00.001-08:00

Bhimplasi

Maine chand aur sitaron (audio -pictures)

2010-01-24T13:13:00.000-08:00

Bhimplasi

Aab-e-Hayat - Main Gareebon Ka Dil Hoon

2010-01-24T13:11:00.000-08:00

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MEHDI HASAN - ZINDAGI MEIN TU SABHI - AZMAT

2010-01-24T13:10:00.002-08:00

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Ye Aaine Se

2010-01-24T13:10:00.001-08:00

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Begum Akhtar - 115 - Yeh na thi hamaari qismat

2010-01-24T13:10:00.000-08:00

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Tu mile Dil Khile [Criminal]

2010-01-24T13:08:00.001-08:00

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Tou hai "phool mere gulshan ka" to hai chand mere angan...

2010-01-24T13:08:00.000-08:00

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tere sadke balam lata mangeshkar film amar naushad ali

2010-01-24T13:07:00.001-08:00

Bhimplasi

samay dheere chalo

2010-01-24T13:07:00.000-08:00

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Mera Saaya - Naino Mein Badra Chaye

2010-01-24T13:06:00.000-08:00

Bhimplasi

Man Mor Hua Matwala Suraiya Afsar 1950

2010-01-24T13:05:00.000-08:00

Bhimplasi

Aab-e-Hayat - Main Gareebon Ka Dil Hoon

2010-01-24T13:03:00.002-08:00

Bhimplasi

Aab-e-Hayat - Main Gareebon Ka Dil Hoon

2010-01-24T13:03:00.001-08:00

Bhimplasi

Maine chand aur sitaron (audio -pictures)

2010-01-24T13:03:00.000-08:00

Bhimplasi

Raaga Bhimpalasi

2010-01-24T13:02:00.000-08:00

Raaga Bhimpalasi

Thaat	Kafi	Vaadi/Samvaadi	m/S
Prahar	4 (3 pm - 6 pm)	Important Anuvaadi
Aaroha	’n-S-g-m-P-n-S’	Bhaav	Shadj-Madhyam
Avaroha	S’-n-D-P-m-g-R-S	Saptak-pradhaanata	Mandra-Madhya
Alt. Avaroha	S’-n-D-P, D-m-P-g, m-g-R-S
Pakad	’n-S-g-m-P-g, m-g-R-’n-S	Tanpura Tuning	P
Jaati	Audav-Sampoorn	Notation Help	Click here

Other Characteristics

Similar Raagas	Patdeep

Popular Film Songs	1. Ai ri main to prem diwani mera dard na jaane koi Film: Navbahar Singers: Taala: Keharva Music Director: Poet: 2. Main gareebon ka dil hoon watan ki zubaan Film: Ab-e-hayat Singers: Hemant Kumar Taala: Keharva Music Director: Poet: 3. Maine chaand aur sitaaron ki tamanna ki thi Film: Singers: Mohammad Rafi Taala: Dadra Music Director: Poet: 4. Nainon mein badara chhaye, bijali si chamke haaye Film: Mera Saaya Singers: Lata Mangeshkar Taala: Keharva Music Director: Madan Mohan Poet: Raja Mehdi Ali Khan 5. Ye na thi hamari kismat ki visaal-e-yaar hota Film: Mirza Ghalib Singers: Suraiyya Taala: Music Director: Ghulam Mohammad Poet: Mirza Ghalib

Non-Film Songs	1. Zindagi mein to sabhi pyaar kiya karate hain (Geet) Singers: Mehdi Hassan Taala: Dadra Music Director: Poet:

BEST COUPLE HINDI SONG - kismet se tum hum ko mile

2010-01-24T13:01:00.000-08:00

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khilte hai gul yahan

2010-01-24T13:00:00.000-08:00

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kehta hai mera yeh dil

2010-01-24T12:58:00.000-08:00

Bhimplasi

aye ri main to prem diwani lata film naubahar music by roshan lal

2010-01-24T12:57:00.000-08:00

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Eli Re Eli Kya Hai ye Paheli

2010-01-24T12:56:00.000-08:00

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Dil Mein Tujhe Bitha Ke

2010-01-24T12:54:00.000-08:00

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dil ke tukde karke (Dada)

2010-01-24T12:52:00.001-08:00

Bhimplasi

Ai Ajnabi - From Dil Se - Hindi Movie

2010-01-24T12:52:00.000-08:00

Bhim Plasi

Humein Koi Gham Nahin Tha - Shab-Ba-Khair

2010-01-24T12:48:00.001-08:00

Humein Koi Gham Nahin Tha - Shab-Ba-Khair

2010-01-24T12:48:00.000-08:00

Meri Veena Tum Bin Roye - musicworldofindia.com

2010-01-24T12:44:00.000-08:00

Meri Veena Tum Bin Roye - musicworldofindia.com

2010-01-24T12:43:00.000-08:00

Aahir Bhairav Meri Beena Tum Bin Roye on Electric Mandolin

2010-01-24T12:42:00.001-08:00

Shreya Ghoshal Sings - Meri Veena Tum Bin Roye - Saregama

2010-01-24T12:42:00.000-08:00

Parthiv Gohil - SaReGaMa Final- Round 2

2010-01-24T12:41:00.000-08:00

Pandit Nikhil Banerjee, Raag Ahir Bhairav, part 2

2010-01-24T12:38:00.000-08:00

Pandit Nikhil Banerjee, Raag Ahir Bhairav, alaap

2010-01-24T12:37:00.000-08:00

Raag Ahir Bhairav- Alap

2010-01-24T12:36:00.000-08:00

Raag Ahir Bhairav - Composition

2010-01-24T12:35:00.000-08:00

ahir bhairav

2010-01-24T12:34:00.000-08:00

Ahir bhairav aalaap

2010-01-24T12:30:00.000-08:00

Ahir Bhairav - Pt. Jasraj

2010-01-24T12:29:00.000-08:00

Ashwini Varaghur's Bindu Malin

2010-01-17T13:46:00.001-08:00

Ashwini's Title Composition

2010-01-17T13:46:00.000-08:00

Ashwini's Carnatic Flute - Rajani Mala

2010-01-17T13:43:00.000-08:00

Carnatic - Flute Duet - Valaji Varnam

2010-01-17T13:40:00.000-08:00

Kalai Gnyanam Arul Vaaye

2010-01-17T13:39:00.001-08:00

Indian Music - classical instrumental - Flute

2010-01-17T13:39:00.000-08:00

Baqir Abbass (Flute Player) post by Zagham

2010-01-12T02:57:00.004-08:00

Baqir Abbass (Flute Player) post by Zagham

2010-01-12T02:57:00.003-08:00

Baqir Abbass (Flute Player) post by Zagham

2010-01-12T02:57:00.002-08:00

Baqir Abbass (Flute Player) post by Zagham

2010-01-12T02:57:00.001-08:00

jis din se piya dil le gaye - noor jehan

2009-12-15T03:16:00.004-08:00

RAG Mian Ki Todi

jis din se piya dil le gaye - noor jehan

2009-12-15T03:16:00.003-08:00

RAG Mian Ki Todi

jis din se piya dil le gaye - noor jehan

2009-12-15T03:16:00.002-08:00

RAG Mian Ki Todi

jis din se piya dil le gaye - noor jehan

2009-12-15T03:16:00.001-08:00

RAG Mian Ki Todi

Jis Din Se Piya Dil Ley Gaye Dukh Dey Gaye - Noor Jehan In Tarannum

2009-12-15T03:14:00.004-08:00

RAGA Mian Ki ToDI

Jis Din Se Piya Dil Ley Gaye Dukh Dey Gaye - Noor Jehan In Tarannum

2009-12-15T03:14:00.003-08:00

RAGA Mian Ki ToDI

Jis Din Se Piya Dil Ley Gaye Dukh Dey Gaye - Noor Jehan In Tarannum

2009-12-15T03:14:00.002-08:00

RAGA Mian Ki ToDI

Jis Din Se Piya Dil Ley Gaye Dukh Dey Gaye - Noor Jehan In Tarannum

2009-12-15T03:14:00.001-08:00

RAGA Mian Ki ToDI

Muddat howee hain yaar ko- Mohammad Rafi Ghazal

2009-12-14T11:00:00.004-08:00

Raga Puria Dhanasri

Muddat howee hain yaar ko- Mohammad Rafi Ghazal

2009-12-14T11:00:00.003-08:00

Raga Puria Dhanasri

Muddat howee hain yaar ko- Mohammad Rafi Ghazal

2009-12-14T11:00:00.002-08:00

Raga Puria Dhanasri

Muddat howee hain yaar ko- Mohammad Rafi Ghazal

2009-12-14T11:00:00.001-08:00

Raga Puria Dhanasri

YEH NA THI HAMARI KISMAT - HAMID ALI KHAN

2009-12-14T10:50:00.004-08:00

YEH NA THI HAMARI KISMAT - HAMID ALI KHAN

2009-12-14T10:50:00.003-08:00

YEH NA THI HAMARI KISMAT - HAMID ALI KHAN

2009-12-14T10:50:00.002-08:00

YEH NA THI HAMARI KISMAT - HAMID ALI KHAN

2009-12-14T10:50:00.001-08:00

YEH ARZOO THI (HAMID ALI KHAN)

2009-12-14T10:49:00.004-08:00

YEH ARZOO THI (HAMID ALI KHAN)

2009-12-14T10:49:00.003-08:00

YEH ARZOO THI (HAMID ALI KHAN)

2009-12-14T10:49:00.002-08:00

YEH ARZOO THI (HAMID ALI KHAN)

2009-12-14T10:49:00.001-08:00

Insha Ji Utho Ab Kooch Karo, Ustad Amanat Ali, Nice Ghazal

2009-12-14T10:45:00.004-08:00

Insha Ji Utho Ab Kooch Karo, Ustad Amanat Ali, Nice Ghazal

2009-12-14T10:45:00.003-08:00

Insha Ji Utho Ab Kooch Karo, Ustad Amanat Ali, Nice Ghazal

2009-12-14T10:45:00.002-08:00

Insha Ji Utho Ab Kooch Karo, Ustad Amanat Ali, Nice Ghazal

2009-12-14T10:45:00.001-08:00

Doob Gayen Sab Yaadein - Asad Amanat Ali Khan

2009-12-14T10:43:00.004-08:00

Doob Gayen Sab Yaadein - Asad Amanat Ali Khan

2009-12-14T10:43:00.003-08:00

Doob Gayen Sab Yaadein - Asad Amanat Ali Khan

2009-12-14T10:43:00.002-08:00

Doob Gayen Sab Yaadein - Asad Amanat Ali Khan

2009-12-14T10:43:00.001-08:00

kachchii ja'ii terii taNd yaarii - part two - asad amanat

2009-12-14T10:38:00.004-08:00

kachchii ja'ii terii taNd yaarii - part two - asad amanat

2009-12-14T10:38:00.003-08:00

kachchii ja'ii terii taNd yaarii - part two - asad amanat

2009-12-14T10:38:00.002-08:00

kachchii ja'ii terii taNd yaarii - part two - asad amanat

2009-12-14T10:38:00.001-08:00

payaar nahii.n hai sur say jis ko - asad amanat

2009-12-12T12:33:00.004-08:00

RAGA Malkouns

payaar nahii.n hai sur say jis ko - asad amanat

2009-12-12T12:33:00.003-08:00

RAGA Malkouns

payaar nahii.n hai sur say jis ko - asad amanat

2009-12-12T12:33:00.002-08:00

RAGA Malkouns

payaar nahii.n hai sur say jis ko - asad amanat

2009-12-12T12:33:00.001-08:00

RAGA Malkouns

Begum Parveen Sultana: Queen of Indian classical music

2009-12-10T19:34:00.009-08:00

Begum Parveen Sultana, Awesome Bhajan

2009-12-10T19:34:00.008-08:00

Begum Parveen Sultana: Queen of Indian classical music

2009-12-10T19:34:00.007-08:00

Begum Parveen Sultana, Awesome Bhajan

2009-12-10T19:34:00.006-08:00