General movement of this rag is in the lower and middle octave ibid. Phrases leading to Pa. To find out more, including how to control cookies, see here: Touch of lower Pa for Dha is clearly heard Ascending phrase from the lower Dha, rising to Ma and followed by a sustained Ga, being an important resting point A beautiful descending movement from Dha to Re
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This poem in Braj Bhasha depicts an intense desire of the poet to be around his Lord, amidst the cowherds of Braj. Jhinjjhoti line of the composition.
This being a performance in dhrupad tradition, the initial section of alap is rather long nearly 7 min. In his honour the counch shells make music. Phrases leading to Pa. General movement of this rag is in raaag lower and middle octave ibid.
High Sa is held. However, emphasis on Ga in Jhinjhoti helps to keep a distinct image of the rag.
Touch of lower Pa for Dha is clearly heard Last hjinjhoti of the first part sthayi Although the ascent is pentatonic without Ga, the note can occur in ascending movement like S R G m G. Movements become faster and include the words of the composition.
Jhinjhoti – Wikipedia
A beautiful descending movement from Dha to Re The composition is attributed to Sayyad Ibrahim alias Ras Khanwho, although being a Muslim, was an ardent devotee of Lord Krishna. Ma juxtaposed with lower Ni First line of the composition.
Note similar movements again Note the sustained Dha sliding in to Ni and returning back via Dha and jhinjhtoi to Pa Concluding line of the first section After playing around with Dha and Ni, now the middle Re is included. Note how each note is approached from the note above Typical ascending — S R m P D.
Jhinjhoti « MUSIC IN MOTION
Ascending phrase from the lower Dha, rising to Ma and followed by a sustained Ga, being an important resting point He dons animal skin and smears ashes all over the body. Ga and Ni especially in the lower octave are important notes and Ga is a jhinhoti note as well.
Jhinjhoti Raag – Indian Music School
Note the use of syllables na, num, ra, te and so on. Second part of the composition antara Some ascending movements can lead to impression of rag Durga. Movements go quite low up to Ga in the lower octave and then rise slowly