Ragamala shows the beauty of the painting season and its association with music

A iconic composition in Raga Besant, ‘Fagwa Brij Dekhan Ko Chalo Ri …’ sung by PT. Bhimsen Joshi still rings in my ears around Basant Panchami (2 February), after more than 40 years I heard it. Notes and song Verdant Vrindavan were so stimulated of spring.

PT. Bhimsen Joshi | Photo Credit: Hindu Archives

Basant Panchami, which manipulates the spring season, is a day sacred for musicians. This is the day when Saraswati, the goddess of art, is worshiped. Spring new beginnings, time to promote life and hope of hope. Indian music tradition that designed the music for every feeling uniquely (Rasa) And all the time of the day (Stab), There is also a special music for this important season. Perhaps, excessive change in temperature in North India, scattered by the heat of spring with cold cold winter, is observed and welcomed. Somewhere else, this change in weather is special. Specific raags for spring have been created and popular.

There are four main ragas in spring – spring, Bahar, Hindol and Paraj. During this season, a lot is also provided to the raga. Besant season lasts till Holi, which is again celebrated with songs. Much is also a favorite option for Holi. The attraction with these ragas associated with the seasons shows them beautifully with the visual area along with the visual area. Raga Hindol was always depicted as a swing (Hindola), And bassive as a garden with flowers, peacocks, birds and dancing girls.

There is a similarity of Mian’s Malhar produced by 16th century composer-musician Mian Tansen in Raga Bahar.

While Basant, Hindol and Paraj are considered traditional ragas, Bahar has been attributed to the 13th-century composer-poet Amir Khusru. It is interesting that the 16th-century composer-musician Mian Tansen’s Malhar is a similarity, and it cannot be considered a coincidence. In the note structure, Mian’s Malhar is different from other existing Malhars, so it was probably inspired by outside, although some say that reverse is true.

Ustad Vasifuddin Dagar, whose families have been a physician of Dhrupad for 20 generations, confirm that traditional dhrupadas have been composed in Bahar, although it is impossible to hold a time limit responsible for his composition.

Gwalior Gharana Exocant PT. LK Pandit remembered a lot of compositions in Bahar by Nawab Wajid Ali Shah, which composed Penn named ‘Akhtar Piya’. In Gharana, senior house of vocal music is considered, Ashtapadis have been composed in Bahar. Over time, outside was also associated with auspicious occasions, and was not limited to spring. There are many compositions in Bahar, which talk of weddings, grooms and Sehras,

Gwalior Examnt PT. LK Pandit. Gharana has composed Ashtapadis in Raga Bahar, photo credit: Special arrangement

However, the primary raga of spring spring remains, and can be provided at any time of the day. Adi Basant is considered the basic form of the Basant, and Shuddha Basant is considered another version. Earlier, every concert held in February and March was always shown raga basant or a version. However, this practice has been abandoned since then. Basant Bahar and Hindol are presented in separate combinations, as well as with other ragas, produce about 25–30 variations. The popular Vasant Raga includes Bhairav ​​Bahr, Basant Bahar, Hindol Bahar and Hindol Basant. Typically, the songs of compositions in these ragas reflect the weather, talk of flowers, wind, bees and romance.

Recently, the song ‘Sakal Ban Phool Rahi Sarsan’ in Bahar, blamed Amir Khusru from the web series Made Waves.

Here the rags heroing is eager to listen to the spring.