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Rag Desh - General (Instrumentation (Voice - Most highly regarded…
Rag Desh - General
Background and context
Gods are often worshipped through performances of raga, both vocal and instrumental
The set work is from the North Indian, Hindustani tradition.
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Instrumentation
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Sarod - similar to sitar - 2 sets of strings - metal fingerboard - no frets - lower range, heavier tone
Sitar - plucked string instrument - 7 strings, 2 used for drone notes - underneath are sympathetic strings that vibrate when top strings are plucked
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Tambura - simple, 4 strings - resonator - plays drone accompaniment
Pakhawaj - barrel shaped, 2 headed drum
Tabla, set of 2 drums - small one is tabla, larger one is baya. - skin heads - used to play rhythmic cycle aka tala - used for improvising
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Version 1
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ALAP - slow and unmetred. Sitar (unaccompanied explores notes of raga). Free rhythms sound improvised due to lack of a regular pulse. Some decoration to melody.
GAT 1 - sitar plays fixed composition rather than improvisation. The melody is decorated with ornaments and flourishes. Medium tempo.Tabla plays 10 beat Jhaptal tala with decoration. Dialogue between sitar and tabla
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JHALLA - drone strings used on guitar - these are strummed providing a striking rhythmic effect. Piece ends with a tihai (phrase played thrice across the beat ending on the first beat of cycle).
Version 3
ALAP – slow and unmetred. Drone is established by Tambura playing the notes C (sa) and G (pa). Bansuri enters exploring the notes of the raga
GAT1 – slow tempo, Bansuri plays lyrical, unaccompanied melody and the tabla enters playing RUPAK tala (7 beats).
Bansuri and tabla player embellish and improvise upon their original patterns. Instruments then swap Bansuri improvises, Tabla accompanies
GAT2 – Fast tempo. Tabla now uses EKTAL tala (12 beats).
Bansuri plays an elaborate melody with wide-ranging pitch, fast scale passages (tans) and slides.
Several TIHAIS bring the music to a close.
Drone continues shortly after melody ends.
Version 2
ALAP – short introduction as the Sarod player, then the singer, vocalises a melody in free time based on the notes of the raga. This is a version of the chorus from the song.
BHAJAN – a “fixed” composition –
song in verse form with the first line used as a refrain (chorus)
Tabla enters playing KEHERWA tala (8 beats).
Sarod and Sarangi play solo passages between verses.
Dynamics and tempo increase and the music becomes faster and more exciting; cymbals play more frequently. This is a Hindu devotional song from Rajasthan telling of the arrival of Lord Krishna in the morning.