Sohni

Sohini is a raga in Hindustani classical music in the Marwa thaat. Alternate transliterations include Sohani and Sohini. Like Bahar, it is a small raga, with not much space for elaboration. It emotes the feel of longing, of passive sensuousness.

Sohni
ThaatMarva
Time of dayBefore sunrise
ArohanaSa Ga Ma# Dha Ni Sa
AvarohanaSa Ni Dha, Ga Ma# Dha Ga Ma# Ga Re(b) Sa
Pakad
  • Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga
  • Sa Ni Dha, Ni Dha Ga Ma#, Ga Ma#, Ga Re(b) Sa
VadiDha
SamavadiGa
Synonym
  • Sohani
  • Sohini
Hindustani classical music
Concepts
Genres
Thaats

Technical Description
Tall, virgin, charming, her eyes like lotuses, ears clustered with celestial flowers, Sohini is a lovely form. She holds a lute and her songs are amorous

Rāga kalpa druma, p. 19[1]

The raga is of audav-shadav nature, i.e., it has five swaras (notes) in the arohana (ascent) and six in the avarohana. Rishabh (Re) is komal (half step DOWN from natural) and Madhyam (Ma) is Tivra (half a step UP from natural), (denoted below by Re(b) and Ma#), while all other swaras are shuddha. Pancham (Pa) is not used.

Arohana: Sa Ga Ma# Dha Ni Sa.

Avarohana: Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga Re(b) Sa.

Pakad: 1. Sa Ni Dha, Ga Ma# Dha Ga Ma# Ga. 2. Sa Ni Dha, Ni Dha Ga Ma#, Ga Ma#, Ga Re(b) Sa.

The vadi swara is Dha, and samvadi is Ga. The rishabh is weak, but Gandhar (Ga) is strong, unlike Marwa. It is an Uttaranga pradhan raga, with the higher notes on the saptak (octave) being used more frequently.

Samay (Time)

Raga Sohini is associated with very late night / pre-dawn, the last or eighth period of day, roughly from 3-6AM. (3 AM - 6 AM) : 4th Prahar of the Night : Sandhi-Prakash Raag[2]

Film Songs

Language:Tamil
Song Movie Composer Singer
Thesulaavudhe Then Malaraale Manaalane Mangaiyin Baakkiyam P. Adinarayana Rao Ghantasala,P. Susheela
Kaalaiyum Neeye Then Nilavu A. M. Rajah A. M. Rajah,S. Janaki
Ninaithal Podhum Aaduven Nenjirukkum Varai M. S. Viswanathan S. Janaki
Ennakoduppan Karnan Viswanathan–Ramamoorthy P. B. Sreenivas
Ezhumalai Irukka Thirumalai Deivam Kunnakudi Vaidyanathan K. B. Sundarambal
Vedham Anuvilum Salangai Oli Illayaraja S. P. Balasubrahmanyam,S. P. Sailaja
Nee Paadum Paadal Enkeyo Ketta Kural S. Janaki
Putham Puthu Thalapathi K.J. Yesudas,S. Janaki
Or Poomalai Iniya Uravu Poothathu Mano,K. S. Chithra
Raaga Theebam Yetrum Payanangal Mudivathillai S. P. Balasubrahmanyam
Oru Pooncholai Vaathiyaar Veettu Pillai S. P. Balasubrahmanyam,K. S. Chithra
Ganakkuyilae Pooncholai S. P. Balasubrahmanyam,Bhavatharini
Raathiriyil Poothirukum Thanagamagan S. P. Balasubrahmanyam,S. Janaki
Vaanam Niram Maarum Dhavani Kanavugal
Devi Devi Naan Adimai Illai Vijay Anand
Pottu Vaithu Poomudikkum Ninaithen Vandhai Deva S. P. Balasubrahmanyam,Swarnalatha
Anbe Anbe Chinna Raja P. Unnikrishnan
Oh Vennila Senbaga Thottam Sirpy K.J. Yesudas
O Kannukkul Dhinamdhorum Oviyan P. Unnikrishnan,Swarnalatha

Further information

It is somewhat similar to Marwa and Puriya ragas in the same thaat,[3] and also to Basant in the Poorvi thaat.

gollark: Well, as I said, I'm using various shades of blue for the four (eventually five) different link types.
gollark: BUT WHAT NON-BLUEHOW DO I MAKE IT LOOK REASONABLE
gollark: I can also apply bold/italic/underline to make stuff clearer.
gollark: <@332271551481118732> HELP I NEED COLOR SCHEME ADVICE
gollark: Obviously having various nigh-identical shades of blue is unhelpful.

References
  1. Daniélou, Alain (1968). The Rāgas of northern Indian music. Barrie and Rockliff, London. pp. 334–334. ISBN 0-214-15689-3.
  2. http://www.tanarang.com/english/sohani_eng.htm
  3. Parrikar, Rajan (18 February 2002). "The Marwa Matrix". The South Asian Women's Forum. Archived from the original on 16 December 2009. Retrieved 16 December 2009.


This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.