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Yaman (raga)
Yaman (also known as kalyaan, Iman, Aiman,'Eman', ' Kalyani' in Carnatic classical music) is a heptatonic ( Sampurna) Indian classical raga of Kalyan Thaat. Its signature phrase (Pakad) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma#-Ga-Re/ni-Re-Sa' (Ma is teevra). Tonal movements of the notes mostly reflect zigzag motion ''with gap of one or several notes'' usually that prefer reverse order very often like DNS' mDN GmD RGm N,GR or MDNS' GmDN RGmD N,RGm D,N,GR etc. Ideally yaman should not use PR combination but can use P~R showing colour of m or G while gliding from P to R, for PR is one of the specific identification of raag kalyaan. Description Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic ragas in Hindustani tradition, it is thus often one of the first ragas taught to students. Mechanics Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kalyani (raga)
Kalyani is a melakarta raga (parent musical scale) in the Carnatic music. It was called Kalyan but is now more popularly called Yaman (raga), Yaman in Hindustani Music. Its Western equivalent is the Lydian mode. Kalyani in Carnatic music In South Indian weddings it is a very prominently played raga. The word ''Kalyani'' means ''she who causes auspicious things''. It is the 65th melakarta raga under the Katapayadi Katapayadi sankhya, sankhya. It is also called ''Mechakalyani''. The notes for Kalyani are S R2 G3 M2 P D2 N3. Kalyani is the first Prathi Madhyama raga that was ever discovered. It was obtained by the process of Graha Bhedam or modal shift of tonic of the ancient Shadja Grama. Specifics on this raga Kalyani has scope for elaborate alapana. One should not remain too long on panchamam (pa) or alternate between shadjamam and panchamam too frequently. Kalyani is prominently known among the public. It is often performed at the beginning of concerts because it is conside ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gorakh Kalyan
Gorakh Kalyan is a raga in Hindustani classical music. Its name is attributed to its origins in a regional type of song of Gorakhpur in Uttar Pradesh. Since it does not resemble Kalyan Kalyan (Pronunciation: əljaːɳ is a city on the banks of Ulhas River in Thane district of Maharashtra state in Konkan division. It is governed by Kalyan-Dombivli Municipal Corporation. Kalyan is a subdivision (Taluka) of Thane district ... very much, some musicians prefer to just call it ''Gorakh''. References Hindustani ragas {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zia Mohiuddin Dagar
Zia Mohiuddin Dagar (14 March 1929 – 28 September 1990), popularly known as Z. M. Dagar, was a North Indian ( Hindustani) classical musician, one of the 19th generation of Dagar family dhrupad musicians. He was largely responsible for the revival of the rudra vina as a solo concert instrument.Tribute to a Maestro, Zia Mohiuddin Khan Dagar ITC Sangeet Research Academy website, Retrieved 5 January 2022 Early life and the choice of veena Z. M. Dagar was born in the town of , on 14 March 1929 and began musical study with his father, Ust ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tala (music)
A tala ( IAST ''tāla'') literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with ''raga'' which forms the fabric of a melodic structure, the ''tala'' forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. ''Tala'' is an ancient music concept traceable to Vedic era texts of Hinduism, such as the '' Samaveda'' and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the ''raga'' and ''tala'' systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ravi Shankar
Ravi Shankar (; born Robindro Shaunkor Chowdhury, sometimes spelled as Rabindra Shankar Chowdhury; 7 April 1920 – 11 December 2012) was an Indian sitarist and composer. A sitar virtuoso, he became the world's best-known export of North Indian classical music in the second half of the 20th century, and influenced many musicians in India and throughout the world. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999. Shankar was born to a Bengali Brahmin family in India, and spent his youth as a dancer touring India and Europe with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the ''Apu Trilogy'' by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956. In 1956, Shankar began to tour Europe and the Americas playing Indian classical music and incr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ektal
Ektal or Ektaal is a tala in Indian music. It is commonly used in classical music like kheyal, and semi-classical forms like Rabindra Sangeet. In ''ektal'' the 12 matras are divided into 6 vibhags of two matras each. Ektal is played in Drut gatti ( fast speed ). This tala is mostly played by the use of tabla. One more tala similar to Ektal is Chowtal which is played with the use of Pakhavaj,Ektaal is the tabla counterpart of Chowtaal. Many beautiful Kaida are played in Ektal. But Ektal is mostly played for Vilambit (slow pace of any Tal) . Basic information on tal Ektal : Name - Ektal Sum - 1st matra Tali (claps) - 1, 5, 9, 11 matras Khali (wave) - 3, 7 matras Similar talas - Chowtal, Dadra, Garba (tal) Related instruments - Tabla Related to - Hindustani music The form of Ektal is as follows: clap, tap, wave, tap, clap, tap, wave, tap, clap, tap, clap, tap It has a characteri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vilambit
''Vilambit'' (Hindi: ; also called ''vilambit laya'') is an introductory slow tempo, or ''laya'', between 10 and 40 beats per minute, used in the performance of a raga in Hindustani classical music. For major ragas, the vilambit portion generally takes up two-thirds or more of the performance, and is followed by a short drut to conclude the performance. Vocalists use a slower definition of time than instrumentalists (Gottlieb 1977a:41). See also *Khyal *Madhyalaya Madhya laya or Madhyalaya is a medium tempo of a rhythm in Indian classical music. Medium tempo, a speed between 80 and 160 mātrās per minute. While Madhya laya is sometimes confused with Vilambit and vice versa, it is about two beats per second. ... Hindustani music terminology Formal sections in music analysis {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bandish
Bandish, cheez or gat is a fixed, melodic composition in Hindustani vocal or instrumental music. It is set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhawaj, a steady drone, and melodic accompaniment by a sarangi, violin or harmonium. There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharanas protected their bandishes from moving out of the family with gross incoherent vocal renditions. In the realm of vocal music, it is often known as ''cheez''. Etymology The word ''bandish'' is derived from the Hindi language Hindi (Devanāgarī: or , ), or more precisely Modern Standard Hindi (Devanagari: ), is an Indo-Aryan language spoken chiefly in the Hindi Belt region encompassing parts of northern, central, eastern, and western India. Hindi has been de ..., and literally means "binding together". Sections '' Sthāyī'' or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rashid Khan (musician)
Ustad Rashid Khan (born 1 July 1968) is an Indian classical musician in the Hindustani music tradition. He belongs to the Rampur-Sahaswan gharana, and is the great-grandson of gharana founder Inayat Hussain Khan. He is married to Soma Khan. In a story told in several versions, Pandit Bhimsen Joshi once remarked that Rashid Khan was the "assurance for the future of Indian vocal music". The SRA site gives the Bhimsen Joshi accolade as: "One of the most notable torchbearers of the Hindustani classical tradition in the twenty first century" He was awarded the Padma Shri, as well as the Sangeet Natak Akademi Award in 2006. He was awarded the Padma Bhushan, India's third highest civilian award, in 2022 by the Indian Government in the field of Art. Early life Born in Sahaswan, Badayun, Uttar Pradesh. He received his initial training from his maternal grand-uncle, Ustad Nissar Hussain Khan (1909–1993). He is also the nephew of Ustad Ghulam Mustafa Khan. As a child he had little i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imrat Khan
Imrat Khan (17 November 1935 – 22 November 2018) was an Indian sitar and surbahar player and composer. He was the younger brother of sitar maestro Ustad Vilayat Khan.Farrell, Gerry (2001)"Khan, Imrat" ''Grove Music Online''. (subscription required for full text). Training and early career Imrat Khan was born in Calcutta on 17 November 1935 into a family of musicians tracing its roots back for several generations, to the court musicians of the Mughal rulers. The training in music traditionally has been passed down from father to son for nearly 400 years. He belonged to Etawah gharana also known as Imdadkhani gharana of classical musicians. Imrat Khan's father was Enayat Khan (1895–1938), recognised as a leading sitar and surbahar player of his time, as had been his grandfather, Imdad Khan (1848–1920), before him. Imrat Khan's father died when Imrat was a child, so he was raised by his mother, Bashiran Begum and her father, singer Bande Hassan Khan. In 1944, the family m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amir Khan (singer)
Ustad Amir Khan (; 15 August 1912 – 13 February 1974) was one of the greatest and most influential Indian vocalists in the Hindustani classical tradition. He was the founder of the Indore gharana. Early life and background Amir Khan was born in a family of musicians in Kalanaur, India. His father, Shahmir Khan, a sarangi and veena player of the Bhendibazaar gharana, served at the court of the Holkars of Indore. His grandfather, Change Khan, was a singer in the court of Bahadurshah Zafar. Amir Ali's mother died when he was nine years old. He had a younger brother, Bashir, who went on to become a sarangi player at the Indore station of All India Radio. He was initially trained in the sarangi by his father. However, seeing his interest in vocal music, his father gradually devoted more time to vocal training, focusing on the merukhand technique. Amir Khan was exposed at an early age to many different styles, since just about every musician who visited Indore would come to their ho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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