Recording
1
The huge variety of voices, temperaments
and cultural attitudes found across India
have greatly enriched our music. A sample
of this variety:
- Ustad Faiyyaz Khan - Raga
Todi
- Ustad Abdul Karim Khan - Raga
Bhairavi
- Pt. Ramkrishnabuva Vaze - Raga
Miya Malhar
- Ustad Bade Ghulam Ali Khan - Raga
Kamod
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Recording
2
Because of the concept of khali-bhari,
it becomes possible to use the mukhada
to approach the sum of the avartan
while filling the remaining space in your
own way by developing and improvising
around the melody of the bandish
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Recording
3
The shrutis in our music are not
predefined. They change according the
the raga being sung. This example has
a demonstration of three shrutis
of komal gandhar as sung in the
ragas Darbari, Miya Malhar
and Dhani.
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Recording
4
- The shrutis in South Indian
music are very different.The Krutis
of South Indian music are precomposed.
Unlike our bandishes, they can
be sung simultaneously by more than
one person.
Example: Jagadanand
Karaka
- The South Indian instrument Nadasvaram.
Example: Nadaswaram
recording
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Recording
5
There can be many bandishes in
Raga Gaud Malhar but that entire
raga cannot be accommodated into one bandish.
Examples:
- 'Kisko
Aisi Baat' - Madhyalaya Teental
- 'Jaani
Jaani' - Drut Teental
- 'Ban
Mein' - Drut Ektal
These are samples of three very different
bandishes in Gaud Malhar
from Pt. Satyasheel Deshpande's album
'Kahen'. Click
here for more about this album.
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Recording
6
An archive teaches one to appreciate
every artist's music from that artist's
emotional standpoint. Example: Raga Puriya
as sung by:
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Recording
7
An archive can offer an artist an environment
of music that is not available in society.
This gives the artist the ability to change
his attitude, aesthetics and even his
voice culture accordingly.
Example: Sample of Satyasheelji's voice
in his album 'Thumri Katha'. Compare this
with his voice in 'Kahen' (Recording 5).
Click
here for more about Thumri Katha. |
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Recording
8
Different artists interpret the notation
of the same composition in different ways.
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Recording
9
The svaras of morning ragas as
compared to the svaras of evening
ragas.
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