|Swaras||Rishabh & Pancham forbidden (varjya) in Aaroh, Both Madhyam, rest all Shuddha Swaras|
|Jati||Audhav - Sampurna Vakra (occasional deployment of komal Nishad n in Avroh)|
|Time||(9 PM - 12 Night) : 2nd Prahar of the Night : Ratri ka Dwitiya Prahar|
|Vishranti Sthan||S D S' - S' D P R|
|Mukhya-Ang||P - G m ND s - D P - G m P G m SR S|
|Aaroh||S G m ND - N D S'|
|Avroh||S' N D P - M P D P - G m P G m R S|
Vishesh : This is a powerful melody of Veer-Rasa (fills one with
enthusiasm & courage of warriors) and is very dynamic. The combinations
G M ND - D D P alone instantly kindle the melodic form. The notes
bear a strong Shadja-Pancham relationship in 13 Shruti-span consonance
called Shadja-Pancham Bhav e.g. S-P - R-D - G-N - M-S'.
The much quoted and misused framework of Vadi-Samvadi notes in a Raag is not effective in Raag delineation and besides the Mukhya Ang the S-P , S-M & P-R , R -P Bhavas are more powerful in this respect.
Employment of Meend and Khatka in arriving at Dhaivat from Nishad adds to tonal beauty. The following combinations illustrate the Raag effectively.
R R S - P - G mP G m R ,N S - R S G m ND D P - PM DP MP G m R - R G m D P G m R S - G m ND N s D - D N S' - S'R' S's D D P G mP G m R S.
R G m D P G m R S In such fashion an occasional deployment of Rishabh in Aaroh is permissible for beautification of the melodic form.