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Rag Asawari (Asavari)

by David Courtney working tools
Ragmala Painting of Ragini Asawari (reproduction of Mewar school)

Ragmala Painting of Ragini Asawari (reproduction of Mewar school)


Description

Rag Asawari is considered to be the fundamental rag in Asawari that.  There are several film songs in Asavari; one common one is “Mujhe Gale Se Laga Lo Bahut Udas Hun Main “.  Asawvari is a morning rag.  It is Audav – Sampurna due to the ommission of the Ga and Ni in the ascending structure.  It has been suggested that the vadi is Dha and the samvadi is Ga.

There are several rags which share the same thatJaunpuri and Darbari Kanada are two of the most common examples.  Therfore, it is important to pay attention to the pakad to keep from impinging upon them.

There is considerable disagreement concerning the Re.  It seems that there are three schools of thought.  The predominant view is that only shuddha Re is used.  There is another school, which suggests that both shauddha and komal can be used.  Finally, there are those that contend that only the komal Re be used.  For the purposes of this website we will consider the first two to be within the bounds of Asavari, while the last one we will define to be “Komal Re Asavari”


Arohana

Ascending structure for Asavari

(general discussion of arohana)(general discussion of notation)


Avarohana

Descending structure of Asavari

(general discussion of avarohana)


Jati

Audav / Sampurna – (general discussion of jati)


Vadi

Komal Dha – (general discussion of vadi)


Samvadi

Komal Ga – (general discussion of samvadi)


Time

Morning – (general discussion of time and rag)


That

Asawari that – (general discussion of that)


Pakad

pakad for Asavari

(general discussion of pakad)


Drone

Sa – Pa – (general discussion of drone)


Popular Songs

Film songs in Rag Asawari


For more information check out “Elementary North Indian Vocal: Vol 1” and “Elementary North Indian Vocal: Vol 2”



Selected Video



Other Sites of Interest

Indian Classical Music: Tuning and Ragas

Modes and Ragas: More Than just a Scale

Emotional responses to Hindustani Raga music: The role of mus­ical struc­ture

Automatic Raga Recognition in Hindustani Classical Music

Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice

Automatic Tonic Identification in In­dian Art Music: Approaches and Evaluation