1-MA, GA, RE
GA, RE, SA
1- Last three fingers are
open and upper “MA” sound produced.
2-3rd last finger closed and lower “GA” sound
3-2nd last finger closed and lower”GA” sound
4- 2nd last finger opens and lower “GA” sound
5-2nd last finger closed and lowers “RE”
6-all fingers are closed and lower”SA” sound produced.
SA, Re, Ga, Ma, Pa, Dha, Ni, Sa is the main sur (Scale).
And after practicing that we can make any finger hole Sa
and change our scale or sur according to the song.
In many songs where the lower “SA”, “RE”, “GA” is
closed, like in “Hum befawah hargis na thay”. In that
song we closed all our lower right three fingers and can
make “SA” in any upper scale.
“Sadha Sur” in which, we open all our three last
fingers. “Billawal” sur is a Sadha sur in which we open
all lower fingers and play it with upper three fingers.
When we place our breath is called “Zaban Ki Thoker”.
In which we do not say with words (lyrics) but produced
sound with our breath. Tongue and breath play an
Universally, there are 7 ragas and with them we can
make 36 ragnies. They all have different timing in
which they are played. We have an evening, morning,
afternoon and night ragas. “Behro” is sunrise raga, raga
“Bhairavi” is also related to raga “Behro” because it is
one of six ragas.
“Sarang” rag is played in the afternoon. After three in
the afternoon, we play raga “Peero”. In this raga we mix
two more ragas and raga “Misher Peero” is formed.
Similarly like Misher Gamajh,Misher Meel, Misher Sarangh,
all these ragas made with other tow ragas so their color
/ impact is changed.
In raga “Malhar” which is a very beautiful raga, if we
mix other ragas in it, it becomes “Miyah Ki Malhar”.
Night ragas include “Purya” and “Puraya-dhu-na Siri”,
then “Mrwa”, “Hindhol” and Basanth. If we add “Bahar” in
“Basanth” raga it becomes “Basanth Bahar” raga.
Similarly like when we add “Bahar” in “Hindhol” ragas,
it becomes “Hindhol Bahar”. There are many ragas like
raga Bhopali, raga Dorgah, Siri raga etc.