Raga Naamheen (Gulabvanti), Farhan Amin

[@FarhanAmin1994]

Here is an instrumental rendition of the song that inspired this composition: kzbin.info/www/bejne/rIvJoXpte7R-bdU

[@soppimathss]

Wah…. Wish to hear more 😁😁

[@suryasannagadde7967]

Very nice 👍 sarjee

[@FarhanAmin1994]

😊🙏

[@chandruweekendmasthi6377]

Waah waah waah.....

[@FarhanAmin1994]

Also, the related image is taken from wagwalking.com/condition/spring-season-allergies. :p

[@akakirde9452]

Seasonal allergies XD

[@FarhanAmin1994]

XD

[@ajitnadgauda1894]

Badiya. It has come nicely. Which raag inspired u. Thanks for putting up the lyrics also

[@FarhanAmin1994]

Thanks for the appreciation! Do see the pinned comment for the link to the inspiration for this song.

[@ayanbiswas2943]

❤️❤️

[@FarhanAmin1994]

(: zank you

[@akakirde9452]

There seems to be a kalyan ang, perhaps Bhoop is mixed in?

[@akakirde9452]

Or perhaps deshkar? there is also a focus on the dha, but that is often preceded by a ni or other swaras outside of deshkar (which makes it a very interesting raag)?

[@FarhanAmin1994]

Really glad you liked it! Even I can’t say if it is more Bhoop or Deshkar, but it is basically what I could do to make a Hindustani tune out of the scale of _The Last Rose of Summer_ (I mention it in the Description too), which is a tune I first heard played on the piano as a small boy. From an HCM perpsective, the 'scale' of Last Rose is *SRGPDN* with a measured proportion of komal d also being used in a chromatic phrase *DdD* . I tried to bring out all these features in this bandish. As an _obiter dictum_ : In HCM, one does hear the *DdD* kind of phrases in thumri. Abdul Karim Khan’s _Piya bin nahi aavat chaina_ has the phrase slipped in snugly in the middle somewhere. Vasantrao also dabbles in such phrases in his rendition of the thumri _Eri sakhi kal na pare_ .

[@akakirde9452]

@@FarhanAmin1994 I was going to mention the DdD phrase - one doesn't hear such chromatic phrases in khyal a whole lot. Though we often hear Sr or Gm or Pd*, but rarely do we hear the same swara in it's komal and shuddha form at the same time - a few examples being the MmG in Lalit, SRgGg in Phulambrikar's Shiv Kalyan or maybe, to a lesser extent, the nDNS in Bahar (I say to a lesser extent since nDNS is strictly chromatic). These phrases add such a brilliant and enchanting lustre to the raags that aren't found a lot in simpler raags such as bhoop, deshkar and Todi. The DdD isn't much heard in Khyal (though in thumri it is found in many places) as you noted - so I think the DdD phrase adds extra intensity to the raag - Brilliant composition well done! *upper case denotes shuddha swara and lower case denotes komal swara, except in the case of m, where M is teevra

[@FarhanAmin1994]

Astutely observed, man! And I agree on all scores. I’d add one more raga to the chromatic list, which, I suspect you too would have heard sometime: Kumar’s Lagan Gandhar. Among well known but Bhavageet-esque tunes that use chromatic interplay is the famous _GhananiLa laDivaLa_ composed by Shri Sudhir Phadke. I’ve recently tried composing a few similar tunes with the gG pairing; I’ll post a nice version when I can, hehe.

[@akakirde9452]

@@FarhanAmin1994 I was going to mention Lagan Gandhar but hadn't listened to it enough to confidently say there was a chromatic swara pairing! If I am not mistaken, Lagan Gandhar also has two shrutis of komal gandhar, You should definitely post a few more of those tunes that you compose, would love to hear them!

[@devanshphadke]

Der se aaye parantu durust aaye 😄..

[@devanshphadke]

Iss raga ke bare me bhi batao.. naamheen!

[@FarhanAmin1994]

Hehe. Try to see what notes are in common with existing ragas ;) And what key feature comes from the 'dhun'.