11 Classification of Raag
- No Raag with all 12 notes
- No Raag with less than 6 notes.
- No Raag with two Re (Komal Re and Suddha Re)
- No Raag with two Dha (Komal Dha and Suddha Dha)
- There are Raag with two Ga (Komal Ga and Suddha Ga)
- There are Raag with Tivra Ma and Pa
- There are Raag with two Ni (Komal Ni and Suddha Ni)
- Every Raag must have either Ga, Ma or Pa
- No Raag with presence of Re, but absence of Pa
- No Raag with presence of Re + Kodmal Dha , but absence of Komal G
Nomenclature
- 0 Absent
- 1 Present
- <-> Ascent and vice versa in decent
- <- Decent
Musical Notes
Semi Tone:
1. GA-MA(E-F)
2. (NI-SA) (B-C): They are immediate switch
Minor Tone:
1. SA-RE (C-D). Here we skip one key : Komal G (D#, Eb)
2. RE-GA (D-E) . Here we skip one key : Komal RE (C#, Db)
3. MA-PA (F-G). Here we skip one key : TIVRA MA (F#, Gb)
4. (DHA-NI). Here we skip one key : Komal NI (A#, Bb)
No. | Tone/SemiTone | Fy by SriNivas | Fy by Western | Fy By Manjarikaar | Linear scale | RASA Emotion | ||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|
1 | Do | C | So | Sa | S | षडज | कोमल स्वर Semi Tone | 240 | 240 | 240 | 240.0000 | RUDRA Anger |
C# Db |
R1 | K-R | कोमल रिषभ | 259 1/5 259.2000 |
256 | 254 2/17 254.1176 |
254.2711 | |||||
2 | Re | D | R2, G2 | Re | R | रिषभ | शुद्ध स्वर Tone | 270 | 270 | 270 | 269.3909 | VIR Valor, courage |
D# Eb |
R3, G1 | K-G | कोमल गंधार | 288 | 288 | 288 | 285.4097 | |||||
3 | Mi | E | G2 | Ga | G | गंधार | शुद्ध स्वर Tone | 300 | 301 17/43 301.3953 |
302.3811 | KRUPA & SHAANT, grace and peace | |
4 | Fa | F | M1 | Ma | M | मध्यम | कोमल स्वर Semi Tone | 320 | 320 | 320 | 320.3616 | HASYA, humor |
F# Gb | M2 | T-M | तीव्र मध्यम | 344 8/143 344.0559 |
337.5 | 338 14/17 338.8235 |
339.4113 | |||||
5 | Sol | G | P0 | Pa | P | पंचम | शुद्ध स्वर Tone | 360 | 360 | 360 | 359.5937 | SHRUNGAAR , Romance |
G# Ab | D1 | K-Dh | कोमल धैवत | 388 4/5 388.8000 |
384 | 381 3/17 381.1765 |
380.9763 | |||||
6 | La | A | D2, N3 | Dha | Dh | धैवत | शुद्ध स्वर Tone | 405 | 400 | 405 | 403.6303 | BIBHATS |
A# | D3, N1 | K-N | कोमल निषाद | 432 | 432 | 432 | 427.6314 | |||||
7 | Si | B | N2 | Ni | N | निषाद | शुद्ध स्वर Tone | 452 4/43 452.0930 |
450 | 452 4/43 452.0930 |
453.0597 | BHAY & ___, fear and ___ |
Do | C | Sa | S | 480 | 480 | 480 | 480.0000 |
Consonants of Bhagavad Gita Text
Consonant class
|
Consonants
|
Count
|
Percentage
|
Class
क
|
क, ख, ग, घ, ङ
|
2116
|
6.99
%
|
Class
च
|
च, छ, ज, झ, ञ
|
1746
|
5.77
%
|
Class
ट
|
ट, ठ, ड, ढ, ण
|
650
|
2.15
%
|
Class
त
|
त, थ, द, ध, न, ऩ
|
8611
|
28.45
%
|
Class
प
|
प, फ, ब, भ, म
|
4973
|
16.43
%
|
Unclassified
|
य, र, ऱ, ल, ळ, ऴ, व, श, ष, स, ह,
|
12175
|
40.22
%
|
Total
|
30271
|
30271
|
100
%
|
· The most frequent consonants uttered is त, 3931 times and
· Out of these 30271 constantans, majority of consonants 80.37% of consonants are uttered by the lord Krishna and 13.39 % of constantans are uttered by Arjuna. Here is the detail breakup.
Speaker
|
Number of consonants
|
Percentage of
consonants
|
Arjuna
|
4052
|
13.39
%
|
the
lord Krishna
|
24330
|
80.37
%
|
Sanjay
|
1730
|
5.72
%
|
Dhritarashtra
|
42
|
0.14
%
|
None
|
117
|
0.39
%
|
Total
|
30271
|
100
%
|
Please refer https://github.com/mpanchmatia/BhagavadGitaAlphabet/blob/master/output.txt for deatil break-up of all consonants uttered by all characters.
UnPlug
Radio One is active on Facebook. Someone asked on
Facebook, about downloading such programs. Our blog "Express YourSelf !" is the answer for that. Yes, today I will share with you website links about all the Music Day programs from Radio One. You can listen live them on Radio One website. You can download also. Choice is yours.
- Asha Bhosle Listen Download
- Leslie Lewis Listen Download
- Kunal Ganjawala Listen Download
- Mohit Listen Download
- Shaan Listen Download
- Shankar Ehsaan Loy Listen Download
- Jagjit Singh Listen Download
I am sure, this article will be useful for all the music lovers.
Poems from Bollywood
Sharaabi
Kisi pe husna ka gurur, javani ka nasha
Kisi ke dil pe mahobat ki, ravani ka nasha
Kisi ko dekh ke saso se, ubharata hai nasha
Bina piye bhi kai had se, Gujarat hai nasha
Nashe me kaun nahi hai, muje batao jara
Kise hai hosh, mere samane to lavo jara
Nasha hai sab pe, magar rang nashe ka hai juda
Khi khili hue juba pe, hai sabnam ka nasha
Hava pe khushbu ka, badal pe, hai rimzim ka nasha
Kahi surun hai khushiyo ka, kahi gam ka nasha
Nasha Sharab me hota to, nachati bottle
Maikade jumate, paimano me hoti hal-chal
Nasha Sharab me hota to, nachati bottle
Nashe mai kaun nahi hai, muze batao jara
Log kahete hai mai sharabi hu
Tumane bhi shayad, yehi, socha liya hoga….
Veer-Jara
Ek din, jab savere savere,
Surmai se, andher ki chaadar hata ke,
Ek Parabt ke Takiye se,
Suraj ne sar jo uthaya,
To dekha,
Dil ki vadi me, chahat ka mausam aaya
Aur vado ki daliyo par,
Unginat bite lamho ki kaliya,
Mahekane lagi hai
Unkahi unsuni aaraju,
Aadhi soi hui, aadhi jaagi hui,
Aankhe malate huye dekhati hai,
Laher dar laher, Mauj dar mauj,
Baheti hui zindagi
Fir se har pal nai, aur fir bhi vahi,
Ha vahi zindagi
Jis ke daman me, koi mahobat bhi hai
Koi hasart bhi hai
Paas ana bhi hai, dur jana bhi hai
Aur yeh ahesas hai,
Waqt zarane sa bheta huva
Ja raha hai yeh kaheta huva
Dil ki vadi me, chahat ka mausam aaya
Aur vado ki daliyo par,
Unginat bite lamho ki kaliya,
Mahekane lagi hai
Lage Raho Munnabhai
Yeh hai mera aaj ka khayal
Un sab ke liye jo dode ja rahe hai, is shher me,
Shehar ki is daud me daud ke karana kya hai?
Agar yahi jina hai dosto, to fir marana kya hai?
Paheli baris me, train late hone ki fikra hai
Bhul gaye?
Bhigate huve tahelana kya hai?
Serial ke kiradaro ka sara haal hai malum
Par maa kaa haal puchhane ki, furasat kaha hai?
Aap ret pe nange paav tahelate kyo nahi?
Ek so aath hai channel, par dil bahelate kyo nahi?
Internet pe duniya se to touch mai hai
Lekin padosh me kaun raheta hai, janate tak nahi
Mobile, land line sab ki bharam hai,
Lekin zigari dost tak pahuche aise taar kaha hai?
Kab dubate huve suraj ko dekha thaa, yaad hai?
Kab jana tha, shaam ka gujarana kya hai?
To dosto,
Shehar ki is daud me daud ke karana kya hai?
Agar yahi jina hai dosto, to fir marana kya hai?
And one more interesting poem from Coca Cola advertisement. Have a look http://www.youtube.com/watch?v=X7N9z8sh4sQ&feature=youtu.be
Here are the lyrics
Umeedon Waali Dhoop, Sunshine Waali Aasha…
Rone Ke Wajah Kam Hai, Hasney Ke Bahaaney Zyaadaa...
Zidd Hai Muskurayengein, Khush Rehane Ka Hai Waadaa...
Umeedon Waali Dhoop, Sunshine Waali Aasha …
Tum Dil Se Agar Poochhoge, Woh Khush Rehnaa Hi Chahein …
Jab Sachey Man Se Maango, Toh Khul Jaate Hai Raahein …
Toh Khul Ke Khushi Lutao, Yeh Kyaa Aadhaa Aadhaa…
Umeedon Waali Dhoop, Sunshine Waali Aasha
Umeedon Waali Dhoop, Sunshine Waali Aashaaaaa...
Jaydeep Swadiya
Voice of Bangalore - 2010
Venue: Garuda Mall, Bangalore
Time: 6 to 9:30 Oct 10, 2010
- A live talent hunt show by Garuda Mall and Radio City
- 7 intermediate rounds since August 2010,
- More than 6000 participants.
- The auditions at various colleges — including the Jain University, National College, Jyothi Nivas College, Vijaya College, the RV Colleges, and PES Institutions — and also at corporates Infosys and Tesco.
- The 6 finalists : Yaamini, Shwetha, Apoorva Shridhar and Pareekshith Kumar, Krishna T V, Deepak
- Three rounds: Compulsory Kannada song, Hindi song and then duet song.
- Judging panel : Playback singer Udit Narayan, Kannada music director Gurukiran and playback singer Rajesh Krishnan.
Now look at the show, performance, comments from judges.
- O My Love (Apoorva)
- Krishna Mi Jeevan (Yamini S)
- etc.
- Janeja, is dil me tum hi samaaye ho...(Apoorva)
- Is pyaar ko main kya naam du? (Parikshit)
- Man-Mohana from movie Jodha Akabar (Shewata)
- (Krishna)
- Teri Niyat Kharab Hai (Yamini)
- Tu Hi Tu Satrangi re... from movie Dil Se (Deepak)
- Kannada song by Apoorva and Krishna
- Albela Sajan Aayo Re from movie Ham Dil De Chuke Sanam
- Zoobi Doobi from movie 3 Idiots
Udit Narayan sang
- Zee TV, M TV, ...., Bari Holu Bari Holu,
- Papa Kehte Hai (Qayamat Se Qayamat Tak)
- Chand Chupa Badal Mein (Ham Dil De Chuke Sanam)
- Ham Hai Ek Pal Yaha...
- Kunidhu Kunidhu Baare, (Mungaru Male) My favorite song. :-)
- 'Voice of Bangalore' honor.
- Maruti A-Star car,
- Gili diamond jewelery
- Watches
Look at some still photographs here and here
- The Hindu: Yamini and Deepak are the voices of Bangalore
- Deccan Herald: Singing away to glory
- Deccan Herald: Choosing the best
- TV9: Click here and here
- Social Media Facebook
Voice of Bangalore - 2007
Venue: Garuda Mall, Bangalore
Time: 6 to 9:30 Sept 14, 2007
- A live talent hunt show by Garuda Mall and Radio City
- 9 weeks of auditioning, commenced from July 26,
- More than 5500 participants.
- Auditioned by eminent personalities from music industry like, Chandrika Gururaj, Praveen Godkhindi, Pallavi, Sangeetha Katti, Ganesh Desai, Supriya Acharya, Sunitha S, Fayaz Khan, Jimmy Raj, Satyaprakash, Biju Nair and others.
- The auditions at the Garuda Mall, ITPL, WIPRO (Electronic City campus), National College and M S Ramaiah Institute of Technology.
- 17 singers for Semi finals
- The 6 finalists : Shakti Prasad, Divya H, Priyanka Gaharwal, Aniketh Prabhu, Raghupathi and Supriya
- Three rounds: Compulsory Kannada song, Hindi song and then duet song.
- Judging panel : Bollywood singer Kumar Sanu, music director Guru Kiran, Kannada director Indrajit Lankesh and film producer Ashwini Ramprasad.
Now look at the show, performance, comments from judges and winner announcement.
- Ek Radha Ek Mira...Dono Ne Shaam ko Chaaha
- Tadap Tadap Ke Is Dil Se Aah Nikalti Rahi
- Satyam Shivam Sundaram...Title song
- Na Jaane Kabse...Nind Kam Aati Hai...
- Tere Bin Nahi Jina..Nahi Jina...
- Naino Ki Mat Suniyo
- Jai Jai Shiv Shankar. Kanta Lage Na Kankar
- Jane Ja....Dhundata Fir Raha...Main Tumhe Raat Din..
- Aaj Kal Tere Mere Pyar Ke Charche Har Jabaan Par.
- 'Voice of Bangalore' honour
- Music Director Guru Kiran also signed them for his next movie
- An exciting opportunity to sing in Indrajith Lankesh's next Hindi venture, 'Life' starring Shiney Ahuja
- Gili Diamonds worth Rs 1,00,000
- Free stay packages from Country Vacations
At last Kumar Shanu has message for all the participants, who could not win : "Ruk jana nahi tu kahi harke...". Kumar Sanu and Guru Kiran also performed at the show.
Look at some still photographs here
Times of India had covered this event. Click here
Breathless
An evening with a legendary Yoga Guru Dr B K S Iyenger

Bellur Krishnamachar Sundararaja Iyengar popularly known as Yogacharya B. K. S. Iyengar visited
On Teacher’s Day, 5th Sept, in a function organized at
He delivered his speech with standing posture. His speech was scheduled at the end of the function. It was quite late and some people from audience had left. He politely conveyed sorry and he skipped some of the points due to lack of time. He talked in English for the benefits of foreigners. He also acknowledged and appreciated that the foreigners had listened and ‘tolerated’ so far to us, as our programme was in regional Kannada language.
Patanjali Yoga Sutras are divided into 4 chapters or books (Sanskrit pada), containing in all 196 aphorisms.
- Samadhi Pada (51 sutras)
- Sadhana Pada (55 sutras) – means to achieve Yoga
- Vibhuti Pada (56 sutras) – the power that the yogi comes across in his quest
- Kaivalya Pada (34 sutras) – the absolution
"Yogaś chitta-vritti-nirodhaḥ - Yoga is the restraint of mental modifications. Chitta (the mind) is like ocean. It is deep, steady and silent. However on the surface it has waves. The mind is attached with the gross body with five senses. These senses are outer side. So chitta has mental modifications or distortions. We need to direct these senses towards inside. There is something inside us, that is so powerful, wonderful - our consciousness, our spirit, Atma.” (Footnote 1)
"As per Patanajali, the mind has five types of distortions/modifications which create pleasure or pain. PRAMAN (proof), VIPARYAY (wrong logic), VIKLPA (Imagining), NINDRA (sleep) and SMIRTI (memory). However, I would like to say memory is not separate. It is combination of all the above four. Patanjali is suggesting two methods to overcome these distortions - ABHYASA and VAIRAGYA. ABHYASA is constant and determined practice. The practice of long duration, uninterrupted, with full love and devotion is essential for strong foundation. This will make the mind calm and tranquil.” (Footnote 2)
Dr. Iyengar continued, “VAIRAGYA is non-attachment or freedom from desires. VAIRAGYA is not renunciation. Many times VAIRAGYA is wrongly interpreted as renunciation. These two methods are like support. Just now you saw how Arunji demonstrated Yogasana with support of chair. Same way with this two supports we can overcome five (or four) modifications/distortions of mind.
ABHYASA also means awareness. Awareness about our body, breath. When you read
Avidya (ignorance), Asmita (the feeling of individuality which limits a person and distinguishes him from a group), Raga (attachment or passion), Dvesa (aversion) and Abhinivesa (the instinctive clinging to worldly life) (Footnote 3) are the causes which create Klesa - pain.
He explained different distractions and obstacles which hinder the aspirant’s practice of Yoga. These are Vyadhi (sickness), Styana (languor), Samsaya (doubt), Pramada ( insensibility), Alasya (laziness), Avirati (sensuality), Bhranti Darsana (illusion), Alabdha Bhumikatva (failure to concentrante) and Anavasthitattva (instability)
Along with this he also explained fourfold remedies that Patanjali has offered to overcome the obstacles. These are Maitri (friendliness), Karuna (compassion), Mudita (delight), Upeksa (disregard). He explained this with very simple example - “In this journey of spiritual path, you may face some obstacles, for example, your body may feel pain at the beginning when you start practicing Yogasana. Some people may get stuck at this body aspect of Yoga. You need to find out whether this pain can be overcome by practice or not. If yes, you continue to practice. If no, you need to be indifferent to it. Be aware about that pain, accept that pain and raise yourself above it. This Maitri and Upeksa will lead you to happiness. Be Happy. Remain happy. Yoga is not about merely theory for the scholar people. It is about practice, consistent practice. Some intellect people may get stuck at the logic, theory. You need to go beyond that also.”
He continued with few more warnings for all Sadhakas (seekers) about such obstacles. “Prior to applying these two tools namely Abhyasa and Vairagya, we need devotion, faith in God (Ishwara Pranidhana). It is the first step for spiritual journey. Thus Patanjali’s Yoga Sutra, looks like it talks about knowledge (GYAN YOGA). However it covers all the Yoga - Devotion (BHAKTI YOGA), Action (KARMA YOGA), and RAJ YOGA.” He also mentioned about different types of SAMAADHIs and he explained all of them.
Dr. B.K.S. Iyengar talked about Guru (the master). "Yes we all have Guru Parmpara (Guru, then Guru's Guru, Guru's Guru's Guru and so on). When we track it backwards, the first Guru is nothing but sound of OM. OMKARA, PRANAV sound. A+OO+M. Even Patanjali says, ’I am that first Guru and I am the God’...."
Then he explains the three aspects. "
"In fact, we need to regroup some of the SLOKAs (SUTRAs) in Patanjali Yoga Sutra, for the benefits of novices. For example:
Maitri, Karuna, Muditopekshaanaam....
Here Maharshi Patanjali talks about four attitudes: Friendship, mercy (compassion), gladness, indifference and then he talks about Pranayama (breathing exercise). Here also Patanajali is talking about eight limbs of Astang Yoga only. Here Maitri Friendship, Karuna Compassion etc are corresponding to Yama and Niyama limbs of Astang Yoga. And remaining limbs follows in the same sutra.....
He suggested some sequence, about what portion (how many sutras) from which chapter one should read and after that other sutras from other chapter and so on....so that it will make more sense. "I am working on a book about Patanjali Yoga Sutra. There I have regrouped some sutras or content." Later on I found on Wikipedia, that he has written one book : Iyengar, B.K.S. (1993, 2002). Light on the Yoga Sūtras of Patañjali. Hammersmith,
He remembered his Guru. Sri Tirumalai Krishnamacharya "On those days, Yoga was not popular. So they faced a difficult time and financial trouble. Today, I am proud of myself that I have made Yoga as means to earn livelihood for many people."
He concluded that "the complete programme consists of three BHRAMAs. First was classical music that was SHABDA BHRMA, second this knowledge session - GYAN BHRMA. Next you all are welcome for dinner. It is ANNA BHRMA"
Now let me provide some context about the event. It was silver jubilee function of Prashant Yogashraya, Bangalore. Dr B K S Iyenger had specially come from Pune to bless the occasion. The institute invited all the students and alumni from across the globe. This function was open to public and I am thankful to Dr. Sejal Shah for informing me about it and inviting for it. She is a Yoga teacher. The programme began at
Later on, Dr. Sejal informed me some key takeaway points from previous session. Again this is not verbatim. On 4th Sept, Dr. B.K.S. Iyengar inaugurated Yoga Nikaya. Shri Mouli Raman (Co-founder and CTO, OnMobile Global Ltd.) - a student of Arun Sir - built this beautiful and sacred place - YOGA NIKAYA to promote Yoga and health. Dr. B.K.S Iyenger while inaugurating Yoga Nikaya, emphasized and appealed to all the people to make use of this place to its full potential. This place is at Hosur, boundary of
Dr. Iyengar delivered another lecture at Prashant Yogashraya. He stressed on being very watchful while performing Yogasana. “Yogasana is not just physical exercise similar to work out at gym. One should not perform Yogasana mechanically. You need to be watchful, attentive and alert when doing asana. Be aware and involved. Your awareness should pervade in your entire body including tips of your fingers and toes. This will help you to correct yourself if you observe that you are doing something wrong. This correction is very important. Make sure, your left and right hands are aligned when you raise them both. Make sure, all center points of body remains in one line. You should be actively working on your muscles. Observe your body and keep doing self correction, by paying attention. This it self is meditation. Be as perfect, graceful and steady as possible. Yes, flexibility of body and physical perfection for Yogasana is important. However more important is the state of your mind, Meditative mind. Your flexibility might be excellent but if your mind is not attentive, you are merely doing some physical exercise, not Yoga. With this kind of meditative practice once you achieve sufficient mastery over asanas, and then prefer to move to next stage of Pranayama and Dhyana. If you just do pranayama or dhyana and not do asanas, it won’t help you much and may harm also. Pranayama generates the energy, while asanas distributes it in the entire body. Avoid rushing to higher stage without preparing your body for it. Prepare your body and mind with Asanas, Yama, Niyama first..” He requested Arun sir to perform Shirsasna and then he asked him to do some corrections to demonstrate what meditative Shirsasna is.
I wish that all readers and the yoga sadhakas find this article useful. I have given some hyperlinks for the benefit of more interested readers. Also look at the left side bar, at the top. I have put slideshow of this event and Dr. B.K.S. Iyneger images.
Footnote 1: This reminds me, Sri Sri Ravishankar’s statement from his commentary on Patanjali Yoga Sutra. “You become object of your perception”
Footnote 2: Yes, I can recall, Sri Sri Ravishankar told this point in very convincing way in his commentary on Patanjali Yoga Sutra VCDs. “Even we need regular exercise, practice to build our body at gym for several months/years. So our mind needs regular practice for even longer duration. We can not achieve mind control, over night.”
Footnote 3: Yes, I can recall, Sri Sri Ravishankar explained this word ABHINIVESAAtma does not loose his/her(?) body accidentally. in unique way. It is like… little fear. So that any Atma does not loose his/her body accidentally.