HAMSADHWANI

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HAMSADHWANI 2017-04-02T07:43:25+00:00

Raga Hamsadhwani For Bansuri Flute Learning

Raga Hamsadhwani is a raga which came from the Carnatic or South Indian system of music. Its flow is that of a simple pentatonic raga. Some will try to place it in the Bilavala Thāt while it has many properties and flows of the Kalyan Thāt. Nonetheless, it is a raga many musicians use in Hindustani music using Hindustani methods of rendering a raga.

Raga Name: Hamsadhwani, That Name: Bilavala

Aroha: S R G P N S’,  Avaroha: S’ N P G R S

Vadi: R,  Samvadi: P,  Time: 6 PM to 9 PM

A composition in raga Hamsadhwani which is composed in Teen taal (16 beats ) is given here. The composition, detailed Alaap and the Taans are given. All are accompanied with the Flute audio.

In Indian classical music The composition is divided in two parts: Sthayi and Anthara. While improvising the Raaga in the lower and middle octave we have to play Sthayi. While improvising the Raaga in the higher octave we have to play Anthara.

Raga Hamsadhwani In Bansuri: Alaap

A detailed alaap is usually rendered in the beginning of the raga. This alaap is rendered before the taal/rhythmic cycle begins.

We start improvising in the lower octave first and later on we move up the octave note by note.

S > > > .N .P S > > > >
.P S .N > > S .N .P > > >
.N R S > > > >
.N .P .N R > > > >
S .N .P .N R > > > >
R S .N > > S .N .P > >
.N R S > > >
.N .P .N R > > R .N .P > >
.P .N S G R > G R .N .P >
.N R S .N S >
.P S .N R >  .N R S G >
G R .N .P > > > .N S R >
S R G > R G P > G P N P
G R > > G R .N .P S > > >

Raga Hamsadhwani In Bansuri: Composition – Bandish

A composition or ‘Bandish’ in a raga is composed in a taal/rhythmic cycle. A composition consists of two parts 1.Sthayi and 2.Anthara

Sthayi usually contains a primary part and a secondary part. Similarly Anthara also contains a primary part and a secondary part. Sthayi is played when we do improvisation in lower and middle octave. Anthara is played when we do improvisation in middle and higher octave. This composition is composed in Teen taal (a 16 beat cycle). In the following style this composition is played..

Primary part of the Sthayi twice – Secondary part of the Sthayi once – Primary part of the Sthayi once.

Primary part of the Anthara twice – Secondary part of the Anthara once – Primary part of the Sthayi once.

Dha Dhin Dhin Na Dha Dhin Dhin Na Dha Thin Thin Na Ta Dhin Dhin Na
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Primary Part of the Sthayi

G P > N P G R S
R > G P G R S >

Secondary Part of the Sthayi

.N S G R P G N P
S’ N P G R S .N S

Primary Part of the Anthara

P P G R G P N P
S’ > S’ S’ N R’ S’ >

Secondary Part of the Anthara

N S’ G’ R’ S’ N P G
RG PN S’R’ G’R’ S’N PG RS .NS

Raga Hamsadhwani In Bansuri: Alaap In Sthayi

Alaaps are systematic improvisation of the raga. Usually we begin with lower octave notes in aalap and one after the other we introduce the new notes progressively in the octave.

Alaap in Sthayi means improvisation in lower and middle octave of the raga. We need to play the Primary part of the sthayi after each of the aalaps below.

In Indian music all the improvisations are played spontaneously. Here we have given the pre-composed improvisations which are intended for the beginners and intermediate learners of Indian classical music to understand and play improvisations in a Raga.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
S .N S > > > > >
.N .P S > > > > > S .N .P > > > > >
.N R S > > > > >
S .N R > > > > >
.P .N R > > > > > .P .N S G R > > >
S .N .P .N S > > >
.P .N S R G > > >
.N S R R G > > > G R S .N R > > >
.N .P .N R S > > >
.N S R G P > > >
G R G G P > > > .P .N S .N S R G G
P > > > R G P N P > > > P G R S
R > > > .N .P S >
S R G, R G P, G P
N > > > S G R P G N P S’ N > > >
S’ N P G R S .N S

Raga Hamsadhwani In Bansuri: Alaap In Anthara

Alaaps are systematic improvisation of the raga. Usually we begin with lower octave notes in aalap and one after the other we introduce the new notes progressively in the octave.

Alaap in Anthara means improvisation in middle and higher octaves of the raga. We need to play the first part of the anthara after each of the alaaps below. After completion of the all the alaaps, play the first and second part of the anthara and come back to the sthayi.

In Indian music all the improvisations are played spontaneously. Here we have given the pre-composed improvisations which are intended for the beginners and intermediate learners of Indian classical music to understand and play improvisations in a Raga.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
N P G R S R G P
N > > > R G P N S’ > > > S R G, R
G P N R’ S’ > > >
S’ N S’ > N P G P
G P N S’ R’ > > > S’ N P N R’ > > >
N P N S’ N P G R G P N S’ R’ > > >
G P N R’ S’ > > >
P S’ N S’ N P G P
R G P N S’ > G P N S’ R’ > P N S’ R’
G’ > > > R’ R’ S’, N P G, S’ S’ N, P G R
S R G P N R’ S’ >

Raga Hamsadhwani In Bansuri: Taan In Sthayi

Taans are faster improvisation of the raga. Usually we begin with lower and middle octave notes in taan and one after the other we introduce the new notes progressively in the octave.

Taan in Sthayi means improvisation in lower and middle octave of the raga. We need to play the first part of the Sthayi after each of the taan below.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
S.N .P.N S > > > > >
.N.P .NS .N > > > > > S.N .P.N .P > > > > >
.N.P .NR S > > > > >
S.N .P.N R > > > > >
.N.P .NS R > > > > > GR S.N .P.N SG R > > >
GR S.N .P.N SR S > > >
GR S.N .P.N SR G > > >
RS .N.P .NS RR G > > > RG SR .NS .P.N .P.N SR G >
RS .NS R > S.N .P.N S >
.P.N SG RS .NS .NS RP GR SR
SR GR G RG P > > > NN PG RS .NS PP GR S.N .P.N
.PS .NR SG RP .NR SG RP GN P > > > N S’ NP GR
NN P,G GR, S.N .P.N SR S >

Raga Hamsadhwani In Bansuri: Taan In Sthayi Continued

Taans are faster improvisation of the raga. Usually we begin with lower and middle octave notes in taan and one after the other we introduce the new notes progressively in the octave.

Taan in Sthayi means improvisation in lower and middle octave of the raga. We need to play the first part of the Sthayi after each of the taan below.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
.P.N SR .NS RG SR GP GR SR
.NS RG SR GP RG PN PG RG SR GP RG PN GP NS’ NP GP
NP S’N R’S’ NP S’N PG RS .NS .NS RG P P SR GP N N
RG PN S’ S’ {S’N P,N PG, PG R,G RS .N S R > S’N P,N
PG, PG R,G RS .N S R > S’N P,N PG, PG R,G RS .N S
R} > G P G R S > Tihay
SG RG RS .NS RP GP GR SR
SR GP NR’ S’N S’N PG RS .NS .P.N SR G .NS RG P SR GP
N > > > > S’N PN R’S’ N > > > NS’ >S’ NP GP
PN >N PG RG RG >G RS .NS {.P.N SG R .P.N SG R .P.N SG
R} > G P G R S >  Tihay
.NS .NS .NR SR SG RG RS .NS
SR SR SG RG RP GP GR SR SR GG RS .NS RG PP GR SR
SR GP NS’ R’S’ N > > > NS’ PS’ GP S’ NP GP N PG
RG P GR SR G RS .NS >

Raga Hamsadhwani In Bansuri: Taan In Anthara

Taans are faster improvisation of the raga. Usually we begin with middle and higher octave notes in taan and one after the other we introduce the new notes progressively in the octave.

Taan in Anthara means improvisation in middle and higher octaves of the raga. We need to play the first part of the anthara after each of the alaaps below. After completion of the all the alaaps, play the first and second part of the anthara and come back to the sthayi.

1

2

3

4

5

6

7

8

9

10

11

12

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