Thumri 1 Rag Mishra Khamaj "Manmohan Ki Baji Venu"

Thumri is one of the styles of Hindustani music having parts and sub parts. It comes under semi classical music. Expression of emotions is more emphasized in it in comparison to the purity of Rag. So is the reason that it is categorized under semi classical singing. The “Bandish” (Determined melody structure) is short in Thumri with prominence of essence of adornment and ornamentation. However devotion based Bandish is also sung in Thumri. The Ragas used in Thumri are generally of fickle tendencies such as Khamaj , Peelu, Bhairwi, Kafi, Gaurh Sarang and Des etc. Thumri is normally sung in short spanned beats having less intervals in which Kaharwa, Rupak and Teen Taal are prominent. Other than this, Deepchandi and Jat taal are also much prevalent in Thumri. This discipline allows freedom of transition from one Taal to the another taal. Presented here is Thumri based on Rag Mishra Khamaj in Jat Taal. Let us know first in short regarding Jat Taal. Rag Khamaj is incepted from Khamaj family. Re (Re English) note is restricted in this Rag. Its category is Shadaj sampurna. The Wadi swara of Rag Khamaj is Gandhar(Ga or Mi) and Samwadi swara is Nishad (Ni or Ti) Note- Wadi is the primary note of any rag whereas usually the 5th note is Samvadi. The singing time of Rag khamaj is the 2nd watch of night. Salient features- Category – Shadav Sampoorn i.e. 6 notes are used. Family- Khamaj Restriction- Re (Re in English) is forbidden in it’s ascension. The fundamental genre of Rag Mishra Khamaj is changed in western style of presentation though the basic rendering of Rag Mishra Khamaj remains the same, with having freedom of divergence of different ragas. Hindustani Ragas can be well played in western musical instruments as well. This must be taken into account that if the same Bandish is sung in any other tune, the Rag will remain the same but it shall cease to be Thumri. Music is not confined to the geographical boundaries. Indian Ragas can be played not only in Indian musical instruments but in western musical instruments as well. Indian music and ragas are being played globally in all other instruments of many cultures and countries. Indian music is being propagated all over the world and liked so much by different world communities. Moreover, nowadays a revolutionary flavor of music has emerged called “Fusion music” a mix of traditional Indian and western musical instruments. Glossary of Indian-Western Music Sargam- Sa Re Ga Ma Pa Dha Ni (Saptak) Notation - Doh Re Mi Fa Soh La Ti Doh (Octave) {In Hindustani music there are 7 notes shown called Saptak i.e. 7} {In Western music there are 8 notes shown thus called Octave i.e. 8 } Aaroh- Ascension (Lower to higher notes) Avroh- Dissention (Higher to lower notes) Pakad – Insignia/ Recognition/Restricted melody grip Bandish/Rachna- Determined melody structure Shuddh Swara- Natural Note, Tonic Komal Swara - Flat (b)- One semitone lower in frequency Teevra- Sharp (#)- 1 semitone higher in frequency Taal- Beat Shaili- Style/Genre Audav- Pentatonic Scale with 5 pitches or notes per octave Shadav- Hexatonic scale with 6 pitches or notes per octave Sampurna- Septatonic scale with 7 notes or pitches per octave Thhat- Family Wadi is the primary note of any rag whereas usually the 5th note is Samvadi. Chord- Notes - Sa, Ga, Pa, Sa- (Doh, Me, Soh, Doh) All Natural notes=Major. If Ga (Me) is one semitone flat (Komal) it is Minor chord. Example- If any note is to be shown as Komal (flat), it is denoted as the sign of small b If any note is to be shown as Teevra (Sharp ), it is denoted as the sign # The rendering of any Rag may be in Major or in Minor chord regardless of any scale. Major chord means= All notes are natural; Example- Formation of Major chord- Sa, Ga, Pa, Sa {naturel} Minor means=One or more than one notes are either flat or sharp for one semitone. Formation of Minor chord= Sa(Natural). Re (Sharp or Teevra), Ga (Natural), Pa (Natural)