Chaiti 2 Rag Mishra Khamaj "Baaje Re Abadh Main Badhiya"

Chaiti is semi classical style of Hindustani music. It has derived from the folk music of the Indian state of Uttar Pradesh and based on chaitra month i.e. the mid-March of English calendar. Semi-classical “Bandish” (Determined melody structure) are sung in it. Love, beauty of nature and the Holi festival (the Indian festival of colors) are the prominent themes of Chaiti. Chaitra month is also considered as the birth month of Shri Rama and thus, the scriptural descriptions of the childhood of Shri Rama are included in the singing structure of Chaiti. It is mainly composed in Rag Bhairvi, Peelu, Des and Khamaj etc. The taal (Beat) is mainly in Dadra and Kaharwa. Before listening to the Chaiti based on Rag Khamaj let us have some information about Rag Khamaj. The Wadi swara of Rag Khamaj is Gandhar (Me) and Samwadi swara is Nishad (Ti). It is sung at the first watch of the day but also may be sung and played in the even time. In Rag khamaj all notes are applied. Rag Khamaj is incepted fron the Khamaj family. Re (Re) is forbidden. It comes from the shadav Sampurna. 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)