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Khamaj (raga)
Khamaj () is a Hindustani classical Music raga within the Khamaj thaat which is named after it. Many ghazals and thumris are based on Khamaj. It utilises the shuddha (pure) form of Ni on the ascent, and the komala (flat) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance. This raga has been explored more in the lighter forms of Hindustani Classical Music such as Thumri, Tappa etc. Yet a many compositions in Dhrupad and Khayal are found as well. Harikambhoji is the equivalent rāgam in Carnatic music. Theory aag Shashtra/h1> Arohana: Avroha: Vadi Swar: Samavadi Swar: Compositions In Dhrupad, Sadra, Khayal, Thumri & Tappa styles : *Sudhi Bisara Gayi...(Sadra form – in 10 beat cycle of Jhaptal. Sung by Abdul Karim Khan of Kirana Gharana) *"Ban Ban Dhunda liyo banvari......"(Set in TeenTal, composed by Acharya Dr Pandit Gokulotsavji Maharaj) *"nand ghar aaj baje badhai......"(Set in TeenTal, composed by Acharya Dr P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khamaj (thaat)
Khamaj () is one of the ten thaats (parent scales) of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. The Khamaj thaat can be obtained by replacing the Shuddha Nishad of Bilaval by Komal Nishad. The ragas of this thaat are full of Shringara Rasa (romantic) hence this raga is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raga Khamaj is considered to be a 'flirtatious' raag. There is a theory which assumes that in the past, the Khamaj scale found its way in the Ch'in music of late medieval China. Description The parent-scale or Thaat of Khamaj, notated in sargam notation, has the following structure: Sa Re Ga Ma Pa Dha Sa'. In Western terms, assuming the tonic (Sa) to be at C, the scale would be: C D E F G A B-flat C. Khamaj thaat is thus equivalent to the mixolydian mode in Western classical music. The Carna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samavadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitc ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termino ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dadra
Dadra is associated with the Hindustani classical music of the Indian subcontinent. Dadra tala This is a Hindustani classical '' tala'' (rhythmic cycle), consisting of six beats in two equal divisions of three. The most commonly accepted theka or basic pattern for this tala is ''dha dhi na, dha tu na''. There is a higher emphasis laid on the first swar in comparison the following two, that is, ''dha'' - higher emphasis following ''dhi'' ''na'' and again a higher emphasis on ''dha'' following ''tu'' ''na''. Theka of Dadra Tala मात्रा भाग : 3-3. धा धिं ना - धा तीं ना It has a characteristic pattern of bols (theka). This can also be shown using the following figure Dadra (genre) In this context ''dadra'' is a light classical vocal form in Hindustani classical music, mostly performed in Agra and in Bundelkhand region. It was originally accompanied by dadra tala (from where the term for the genre was borrowed), but later dadra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Patiala Gharana
The Patiala ''gharana'' (, ) is one of the vocal (tradition, school, or style of music) of Hindustani classical music, named after the city of Patiala in Punjab, India where it was established. The ''gharana'' was founded in the mid to late 19th century by Mian Kallu (also known as Kalu-miya Khan), a sārangi player of the Jaipur durbar. He received his musical training from the last Mughal king Bahadur Shah Zafar’s court musician Qutub Bakhsh ‘Tanras’ Khan ( Delhi ''gharana'') and went on to become the court musician to the Maharaja of Patiala. Eventually, the mantle was passed on to his son, ‘General’ Ali Baksh Khan and his close friend ‘Colonel’ Fateh Ali Khan, both of whom became court musicians in the court of Maharaja Rajinder Singh. The titles of 'general' and 'colonel' of music were bestowed upon them by the Victor Alexander Bruce, the 9th Earl of Elgin, after the duo had enthralled him with their performance. Their pairing was popularly referred to as 'A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ajoy Chakrabarty
Pandit Ajoy Chakrabarty (born 25 December 1952) is an Hindustani classical vocalist, composer, lyricist and an exponent of the Patiala-Kasur gharana. He was given Padma Bhushan Award, the third highest civilian award in India in 2020. Early life Ajoy Chakrabarty was born in Kolkata, West Bengal. He was raised with his brother in Shyamnagar. His younger brother, Sanjay Chakrabarty, is a lyricist and composer. He graduated top of his class in music, both in B.A and M.A. from the Rabindra Bharati University in Kolkata and joined the ITC Sangeet Research Academy in 1978 as its first scholar. Today he is one of the youngest gurus of this academy. His father, Ajit Chakrabarty, was his first Guru. He then studied with Pannalal Samanta, Kanaidas Bairagi and Jnan Prakash Ghosh. Besides that, he had learnt from Latafat Hussain Khan, Nibruttibua Sarnaik, Hirabai Barodekar and in Carnatic styles from M. Balamuralikrishna, that kept enriching his musical expression and repertoire. Despit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rampur-Sahaswan Gharana
Rampur-Sahaswan gharana is a gharana (musical heritage) of Hindustani classical music centred in the North-Uttar Pradesh towns of Rampur and Sahaswan. Ustad Inayat Hussain Khan (1849–1919) was the founder of this gharana. History The gharana find its origins in Mehboob Khan, the chief khayal singer in the royal court of Rampur State (in present Uttar Pradesh), his tradition was followed by his son Inayat Hussain Khan (1849–1919) and in turn by Inyat's brothers-in-law, Haider Khan (1857–1927), Ustad Fida Hussain Khan and Padma Bhushan Ustad Mushtaq Hussain Khan (1878–1964; first recipient of the Padma Bhushan Award), thus all the singers were connected with each other, and gharana was named after their ancestral place, Sahaswan, in present Badaun district. Wade. p. 136 Amongst most famous and relevant vocalists of the Gharana are Mushtaq Hussain Khan, Nissar Hussain Khan, Ghulam Mustafa Khan, Ghulam Sadiq Khan and Rashid Khan. Inayat Hussain Khan was a child ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Agra Gharana
The Agra gharana is a tradition of Hindustani classical vocal music descended from the Nauhar Bani. So far, Nauhar Bani has been traced back to around 1300 AD, during the reign of Emperor Allauddin Khilji of Delhi. The first known musician of this tradition is Nayak Gopal. The style prevalent then in the Gharana was "Dhrupad- Dhamar". Ghagghe Khudabuksh (1790–1880 AD) introduced the "Khayal" style of Gwalior Gharana into Agra gharana which Khudabaksh learnt from Natthan Paribaksh of Gwalior. Pedagogical genealogy The following maps are based on recorded accounts by Vilayat Hussain Khan and Yunus Hussain Khan. Ancestral Lineage Distinguishing characteristics The gayaki (style of singing) of the Agra Gharana is a blend of khayal gayaki and dhrupad-dhamar. In training, both the khayal and dhrupad components run hand in hand and are not taught in an isolated fashion. This is obvious from the method of singing notes of the Agra Gharana which dema ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Faiyaz Khan
Ustad Faiyaz Khan (8 February 1886 5 November 1950) was an Indian classical vocalist, an exponent of the Agra gharana of Hindustani classical music. According to SwarGanga Music Foundation website, "By the time he died at Baroda, he had earned the reputation of being one of the greatest and most influential vocalists of the century." Early life Born at Sikandara in the North-Western Provinces in 1886, he was the son of Safdar Hussain, who died four months before his birth. He was brought up by his maternal grandfather, Ghulam Abbas (1825-1934), who taught him music up to the age of 25. He was also a student of Ustad Mehboob Khan "Daraspiya", his father-in-law, Natyan Khan and his uncle Fida Hussain Khan. According to an article on a music website titled, 'Great Masters of Hindustani Music', "Faiyaz Khan's musical lineage goes back to Tansen himself. His family is traced back to Alakhdas, Malukdas and then to Haji Sujan Khan (son of Alakhdas who became a Muslim)." Singing caree ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gokulotsavji Maharaj
Gokulotsavji Maharaj is a Hindustani classical musician, specializing in Khayal, Dhrupad Dhammar, Prabandh Gayaki and various other ancient indian musical styles. He is also a singer-cum-composer, writer, poet, and musicologist. He composes music under the pen name MadhurPiya. He has created more than 5,000 compositions in Khayal, Dhrupad Dhammar, Prabandha Gayan, etc. in Sanskrit, Hindi, Braj Bhasha, Persian, Urdu. He belongs to the SamVeda(mother of Indian Music) and Krishna Yajurveda parampara radition He has received Padma Bhushan, Padma Shri by the Central Government of India. He has also received National Tansen Samman Award 7 December 2007, Dhrupad Ratna from Darbhanga Gharana of Dhrupad Virtuosos Pt Kshtipal Mallick Dhrupad Society. He is the top grade artist of All India Radio(Aakashwani) and DoorDarshan. He has also created several new Raagas such as Bhaat Kalyan, AdhbhutRanjini, Hem Gaud, Madhur Malahar, Divya Gandhar, Khat Shringar, Prasanna Padaa, etc. He sing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Teental
Teentaal (alternatively spelled tintal, teental, or tintaal, and also called trital; Hindi: तीन ताल) is the most common '' taal'' of Hindustani Classical Music, and is used for ''drut'' (fast tempo). It is symmetrical and presents a very simple rhythmic structure against which a performance can be laid. It is played on the Tabla as well as on other percussion instruments. Arrangement Teentaal has sixteen (16) beats in four equal divisions (Vibhag). The period between every two beats is equal. The first beat out of 16 beats is called ''sam'' and the 9th beat is called ''khali'' ('empty'). To count the Teentaal, the audience claps on the first beat, claps on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps (Hindi ''teen'' 'three' + ''taal'' 'clap') give the rhythm its name. Uses Teentaal can be used for both accompaniment and solo. There are various Kaidas and Parans based on it. Teentaal is the most widely used taal. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kirana Gharana
Kirana gharana is one of the Indian classical khyal gharanas, and is concerned foremost with perfect intonation of notes (swara). Singing style The central concern of the Kirana style is swara, or individual notes, in particular precise tuning and expression of notes. In the Kirana Gayaki (singing style), the individual notes (swaras) of the raga are not just random points in the scale, but independent realms of music capable of horizontal expansion. Emotional ''pukars'' in the higher octaves form a part of the musical experience. Another unique feature of this gharana is the intricate and ornate use of the ''sargam taan'' (weaving patterns with the notations themselves) introduced by Abdul Karim Khan under influence from the Carnatic classical style. In the late nineteenth century Abdul Karim Khan and Abdul Wahid Khan revolutionized the khayal gayaki by introducing the vilambit (a slow tempo section) to delineate the structure of the raga note by note. Frequently performed r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abdul Karim Khan
Ustad Abdul Karim Khan (Devanagari: उस्ताद अब्दुल करीम ख़ान, Persian: ) (11 November 1872 – 27 October 1937)Profile of Ustad Abdul Karim Khan on veethi.com website Updated 19 February 2014. Retrieved 9 January 2022 was an singer and, along with his cousin , the founder of the Kairana gharana of classical music. Early life ...
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