पंडितजी आपले आभार मानावेत तेवढे कमीच, आपल्यामुळे आमच्या सारख्या अर्धवट शिकलेल्या विद्यार्थ्यांना घरबसल्या एवढं अमूल्य ज्ञान प्राप्त होतंय.... ह्यातलं थोडं जरी आम्ही आत्मसात करू शकलो तरी आमच्या जीवनाचं सार्थक होईल.....
Excellent sir, for the first time I heard this raag so minutely and so expressively .Your manners of explaining the importance of structure is very very helpful for learners. Many many thanks sirs you both.
I'm still Learning the HIndustani classical music on Sitar, now without any Ustad, Guru Pandit Ji, Advisor in Tokyo. So, this kind of tuition program on TV (RUclips) is very helpful. I'm trying to render the sthayee, antara, etc. on my sitar. A real 'Gayaki' style? Mamy thanks to Anchor saheb, and Pandit Koparkar Ji. I like his performance very much.
आपला हा उपक्रम अतिशय स्तुत्य आहे. असे कार्यक्रम आपण अजून करावेत ही विनंती. आपले सर्व एपिसोड मी पाहिले आहेत. Would love to know more. कोपरकर सरांची विश्लेषण करायची पध्दत खूपच सुंदर. 🙏
This new series is so much helping as these videos are well elaborated in 3-4 long videos. If possible, please provide Written notes of PDFs in your website and attach the link in the description as well. Thank you.
🙏🙏🙏सादर प्रणाम, amazing speechless, 🙏🙏🙏 ..... One humble request 🙏 Why we say रागा,though we know it is word राग Why we say रामा,बुद्धा, no it is राम बुद्ध We know it but we copy westerns
Very much helpful as though sitting in the class of an expert like such renowned musician. It is not so easy to reach to them for one and all. Thanks for this arrangement through net
Sir in the taans why there is no nyass swar or resting note as you explained in the previous part when you have explained the function of each and every note separately?
Thanks are notes sung in quick succession.So the nyaas in taans would bring down the tempo and the mood.Generally long pause or nyaas are taken during Alaaap ,where the pause offers sustenance and stability to the bandish.Sometimes,the pregnant pauses can add beauty to the alaaps.
I would like to take an opportunity to congratulate you regarding your successful efforts to promote classical music in the youth. it is a great method for the new comers to learn music in a very simple to intricate manner. each and every minute detail of the raga is clear. I would like to request you to further reflect upon in detail about the comparative study of the basalt with Part, pure Dhanasri, shri etc.it is very helpful for the students. Many Thanks. Dr Muhammad Zafar Iqbal former Head Musicology Department, NCA, Lahore
In raags like basant, sohani, paraj and bahar, where rishabh is varjya in aroh in madhya saptak, performers use rishabh in taar saptak in aroh also. There isn't any valid reason for this as far as I know and this is followed since generations. Regards 🙏
Guru ji we are very grateful to u for these wonderful lessons,but if Im not incorrect the first taan has an objection to the raga when u added re' ga' ma' ga' re' sa' because you cant go re ga ma in aroh as re is a varjit swar in aroh.
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पंडितजी आपले आभार मानावेत तेवढे कमीच, आपल्यामुळे आमच्या सारख्या अर्धवट शिकलेल्या विद्यार्थ्यांना घरबसल्या एवढं अमूल्य ज्ञान प्राप्त होतंय....
ह्यातलं थोडं जरी आम्ही आत्मसात करू शकलो तरी आमच्या जीवनाचं सार्थक होईल.....
Excellent sir, for the first time I heard this raag so minutely and so expressively .Your manners of explaining the importance of structure is very very helpful for learners. Many many thanks sirs you both.
I'm still Learning the HIndustani classical music on Sitar, now without any Ustad, Guru Pandit Ji, Advisor in Tokyo. So, this kind of tuition program on TV (RUclips) is very helpful. I'm trying to render the sthayee, antara, etc. on my sitar. A real 'Gayaki' style? Mamy thanks to Anchor saheb, and Pandit Koparkar Ji. I like his performance very much.
आपला हा उपक्रम अतिशय स्तुत्य आहे. असे कार्यक्रम आपण अजून करावेत ही विनंती. आपले सर्व एपिसोड मी पाहिले आहेत. Would love to know more. कोपरकर सरांची विश्लेषण करायची पध्दत खूपच सुंदर. 🙏
This is so amazing, priceless, thank you !!!!
This new series is so much helping as these videos are well elaborated in 3-4 long videos. If possible, please provide Written notes of PDFs in your website and attach the link in the description as well. Thank you.
Thank you so much 🙏
Pt. Vijay Koparkar thank you very much🙏🏻🙏🏻
🙏🙏🙏सादर प्रणाम, amazing speechless, 🙏🙏🙏
.....
One humble request 🙏
Why we say रागा,though we know it is word राग
Why we say रामा,बुद्धा, no it is राम बुद्ध
We know it but we copy westerns
Vasanta raga is so nice melody
इस तरह की video के लिए आभार
गुरुजनों को सादर प्रणाम 🙏🙏🙏🙏🙏
Very much helpful as though sitting in the class of an expert like such renowned musician. It is not so easy to reach to them for one and all. Thanks for this arrangement through net
Thank you very very much Sir bpth of you. God bless you sir
Thanks to all. Special thanks for Guru.
जय गुरुदेव नमस्कार बहुत सुन्दर सादर प्रणाम 🙏🙏
प्रणाम गुरुजी ! शुद्ध मध्यम's role in this raaga noted !
Really very helpful ..we are greatful to you sir...
salute sir heart tucking raag
Thanks Guru vijay koparkar ji... I am flute student..
Very nice and effective lessons.thanks to all.plz continue more lessons.l am grateful to all of you.
Amazing! Great explanation
We want more lessons on other raags , too by the respected Guru PT v kopkar. Panam Guru Jee.
Sir in the taans why there is no nyass swar or resting note as you explained in the previous part when you have explained the function of each and every note separately?
Thanks are notes sung in quick succession.So the nyaas in taans would bring down the tempo and the mood.Generally long pause or nyaas are taken during Alaaap ,where the pause offers sustenance and stability to the bandish.Sometimes,the pregnant pauses can add beauty to the alaaps.
Such good explanation of this raga thank you 🙏
This is so useful 🙏🙏 Thank you Pandit ji 🙏🙏🙏
I would like to take an opportunity to congratulate you regarding your successful efforts to promote classical music in the youth. it is a great method for the new comers to learn music in a very simple to intricate manner. each and every minute detail of the raga is clear. I would like to request you to further reflect upon in detail about the comparative study of the basalt with Part, pure Dhanasri, shri etc.it is very helpful for the students. Many Thanks. Dr Muhammad Zafar Iqbal
former Head Musicology Department, NCA, Lahore
Soulful singing guruji🙏🏻🙏🏻🙏🏻
Too good in every respect....
Thanks a ton sir...
🙏🙏
👍👍
Thanku ..... Pandit ji
Thank you 🙏🏻🙏🏻
Superb!!
Namaste sir..
Plz ..teach us about boltaan and bolbanav ...how to practice boltaan?
Just amazing, my salute sir pranaam
Kamal ka explain kiya ha ap ne
छान सर जी 🙏⚘️
Excellent way of teaching
Wonderful
In taar sthayi why is d N r G being used when r is varjit in aroh?. kindly explain if it is an exception which is permitted. regds
In raags like basant, sohani, paraj and bahar, where rishabh is varjya in aroh in madhya saptak, performers use rishabh in taar saptak in aroh also.
There isn't any valid reason for this as far as I know and this is followed since generations.
Regards 🙏
Beyond words
Its very difficult to say who is good -the host or the guedt
Thank You For the Video 😊
Koti koti pranam sir.
नमस्कार🙏🙏
शुद्ध मध्यम दाखविला नाही......
So helpful explanation✨🙏🏼
छान
यह सब हिंदी में होना चाहिए
Uttama!
Gurujina namskar
Pranam Guruji,🙏🙏🙏🙏🙏
Superb
Lecture bahut bahut jayda ho gaya
Guide us about aara chautaal
Guru ji we are very grateful to u for these wonderful lessons,but if Im not incorrect the first taan has an objection to the raga when u added re' ga' ma' ga' re' sa' because you cant go re ga ma in aroh as re is a varjit swar in aroh.
Guru g i love you
I am sorry to say but it is not advisable to sing sa ni re sa in basant as it gives a feeling of puriya dhanashree
Nnnn 23:51
Tujhse achchha to upendra bhatt ne basant raag gaya hai
presenter's voice is lill rude anyhow!
🙏🙏🙏