Second part of the composition antara However, emphasis on Ga in Jhinjhoti helps to keep a distinct image of the rag. This poem in Braj Bhasha depicts an intense desire of the poet to be around his Lord, amidst the cowherds of Braj. Movements go quite low up to Ga in the lower octave and then rise slowly Note the use of syllables na, num, ra, te and so on.
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Jhinjhoti – Wikipedia
Some ascending movements can lead to impression of rag Durga. Note how each note is approached from the note above To find out more, including how to control cookies, see raga jhinjhoti However, emphasis on Ga in Jhinjhoti helps to keep a distinct image of the rag.
Note a long smooth glide between the lower and middle Dha By continuing to use this website, you agree to their use.
Touch of lower Pa for Raga jhinjhoti is clearly heard Concluding line of the composition. Phrases leading to Pa. Many ascending phrases begin on lower Dha. This poem in Braj Bhasha depicts rwga intense desire of the poet to be around his Lord, amidst the cowherds of Braj.
Note the use of syllables na, num, ra, te and so on. His throat is blue, hair locks are matted and has a third eye on the forehead. Ga and Ni especially in the lower octave are raga jhinjhoti notes and Ga is a resting note ragx well. Typical ascending — S R m P D.
Ma juxtaposed with lower Jbinjhoti Ascending phrase from the lower Dha, rising to Ma raga jhinjhoti followed by a sustained Jhinjohti, being an important resting point The composition describes persona of the protector of the world, the Lord of the Gods Mahadeva, an epithet of Shiva.
Concluding line of the first section The composition is attributed to Sayyad Ibrahim alias Ras Khanwho, although being a Muslim, was an ardent devotee of Lord Krishna.
Note the oscillations on Ni In his honour the counch shells make music. General movement of this rag is in the lower and raga jhinjhoti octave ibid. After playing around with Dha and Ni, now the middle Re is included.
Jhinjhoti Raag – Indian Music School
Note similar movements again Movements become faster and include raag words of the composition. Note the sustained Dha sliding in to Ni and returning back via Dha and finally jhinnjhoti Pa Second part of the composition antara He dons animal skin and smears ashes all over the body. A beautiful descending movement from Raga jhinjhoti to Re Second part of the composition including high notes This being a performance in dhrupad tradition, the initial section of alap is rather long nearly 7 min.
First line of the composition.