![]() ![]() The rishab serves not only as a location of nyasa but also as a centre of melodic gravity, the point where forays often originate from, point to and terminate at. ![]() ![]() The definitive gestures are now addressed: The enchanting ambience created by Des lies in its special swara prayogas, in particular the potent role assigned to rishab. The shuddha nishad is employed in aroha and the komal nishad in avaroha this hews to the line of the well-established aesthetic principle in Indian music where the higher shade of a swara prevails in ascent. The gandhar and dhaivat are varjit (absent) in arohi movements (although in some older compositions the gandhar is occasionally discerned in aroha), the avaroha is sampoorna. Raga Des falls to the Khamaj that and has the following aroha-avarohana contour: ![]()
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