She is not speaking gibberish. They are notes - Sa Re Ga Ma Pa Dha Ni Sa - which have a specific tone for each - so sometimes she doesn't outright pronounce the notes but says "aa" instead for the whole set keeping the tone intact. Also sometimes she is saying hindi, yes.
Exactly. She is singing the notes Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa, which correspond to Do, Re, Mi, Fa, Sol, La. However, she is enhancing those notes on stage and connecting them in various patterns.
Same Tara, we are stunned by this!! The part where you thought she was 'scatting' is essentially crazy riffs/runs but she is enunciating every single note!! It is known as Alaap/Taan in Hindustani classical music; She was doing alaap the entire time in this piece... The notes in Indian music are Sa Re Ga Ma Pa Dha Ni Sa which corresponds to Do Re Mi Fa So La Ti Do.
These are vocal riffs and licks, every good indian classical vocalist can do that. Just as there r modes , indian and Persian music have ragas, and she is not using all twelve notes. Only those in raga bhimpalasi are being sung. Chromaticism is almost banned in khayals.
Kaushiki Chakraborty’s taans are a stunning display of technical mastery and artistic depth that go far beyond the simplistic interpretation of them as "vibratos moving position." In Hindustani classical music, taans are intricate melodic explorations that require exceptional breath control, vocal agility, and precise microtonal transitions, all of which she executes with unparalleled clarity and speed. Unlike vibrato, which involves oscillations around a single pitch, her taans navigate complex note sequences within the raga framework, adhering to its aesthetic and emotional essence. The diaphragmatic breathing technique she employs provides sustained power and fluidity, enabling her to deliver rapid yet distinct notes with seamless continuity. Her taans also incorporate gamak (oscillations) and meend (glides), adding layers of texture that are unique to the Hindustani tradition. Reducing such a sophisticated technique to a vibrato fails to appreciate the cultural and technical nuances that define her artistry.
Sir, Western *_Do Re Mi Fa So_* is a COPY of Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
The thing she was singing that you thought was gibberish were the 7 notes or "swaras" as we call them in Indian classical music (Sa Ri Ga Ma Pa Dha Ni). it's similar to the solfege. Each raga has a specific set of swaras, and this raga, called "Bhimpalasi" has the notes N S G M P N S in the ascending, and S N D P M G R S in the descending. As you can see, the ascending scale only has 5 notes (no repeats), while the descending has 7. The descending scale corresponds to the western Dorian mode, and the ascending scale has the same notes as well, with the omission of the 2nd and 6th notes. What this essentially means is that, when she is going up the scale, for example in an upwards melody, she is not supposed to sing the 2nd and 6th notes. But while coming down the scale, in a downward melody, she is allowed to sing them. Each raga also has characteristic phrases. For example, take an extremely popular melody, something like "twinkle twinkle little star" -- if the major scale was a raga, this melody would be one of the characteristic "phrases" of the raga: indispensable when you're elaborating the raga. And Raga Bhimpalasi has some characteristic phrases like this too, which Kaushiki, the singer, must incorporate here and there while she is improvising to really bring out the essence of the raga, since these phrases are the hallmark of the raga. This is a very simplified explanation of what's happening there, but she is taking into account all of these rules: the characteristic phrases, the rules of ascending and descending, the specific combination of notes, as well as the time cycle that is provided by the percussion, to improvise within the raga. And that tonic/root note that is constantly in the background is provided by the instrument called the Tanpura. It constantly sounds the root note and the fifth note in succession, so it's easy to perceive the intervals in between. Hope this explanation helped!
@@nskreviews923 No the commentator isn't talking about the harmonium, he/she's talking about the Swarmandal I think. Cz it's the instrument "she" is playing. Hope it helped. ☺
She isn't singing a song, although she did sing the odd verse here and there. She was demonstrating a specific raag - Raag Bhimpalasi - upon which actual songs (i.e. with lyrics) may be based; i.e. the song will follow the basic structure of the raag. Often times, at concerts a classical singer will first demonstrate the raag upon which the song they're going to sing is based on. A raag is a specific note combination; there are formalized rules in Hindustani classical music on how to create such combinations/raags. Another big part of a raag are the gamakas - the vibrato that you were intrigued by - which embellish the raag. There are numerous (formalized) types of gamakas.
Inn vibrato, you're potentially on SAME note, two different frequencies which are very close to each other, one of them exactly on note and one at an adjacent microtone. In indian style what we do is called "Gamak" and it actually jumps on actual notes at that velocity and pace 😅 It takes years - in India 12 years of period is called 1 Tapa, and this kind of precision requires practice of multiple Tapas 😅
Yeah...this is so surprising. Many western musicians out there are totally clueless of the Indian music. We as a music enthusiast are always try to explore the music all around the world so at least we have a basic idea of other music cultures. Western artists on the other hand....I'm not sure if their ignorance is just a coincidence or it's really their pride which precludes them to learn about other civilisation music. Whatever the case maybe...they are really missing something interesting in music if they ignore Indian classical.
Sa re ga ma pa dha ni sa is like Do-Re-Mi-Fa-So-La-Ti She is singing the notes as you play them on a guitar. Her speed, Accuracy, Rhythmic synchronisation are a result of years of practice and dedication. And Indian Classical raga based composition works like a cherry on the top of it. Resulting in sheer bliss. Jai Hind 🇮🇳.
There are videos on RUclips of Kaushiki training along with her father during her childhood days, you can get a perspective of the relentless grind required in Indian classical singing for atleast 15 years atleast.
Hi there, Tara Simon Studios! 😊 At 5:50, what Kaushiki was doing there, was creating her own improvisation of the following notes, Sa Re Ga Ma Pa Dha Ni Sa, which are the notes of the Indian scale. It's exactly like where you have Do Re Mi Fa So La Ti Do in Italian and/or Western Singing, which I'm sure you and most people are more familiar with, but it's exactly like that. Basically what she was doing, was singing random notes of the Indian scale, and creating a really fast improvisation of those notes, which is VERY hard to do, and can only be done by the professionals, with this level of quality! Really hope this helps! ☺️ ❤
1) She is singing the notes of the raag. The notes are permutation combination of different notes. For example, your c d e f g a b c is a raag called bhilawal. Bhimplalasi is (IF we take C as the scale "B C3 D# F G A# C4" (Arog- Going up) and Avarog (Coming down - C4 A# A G F D# D C3) This is Raag Bhimpalasi. She has taken A# as her Sa. So the other notes are corresponding notes to this Sa. It's far more difficult to sing these swaras than your Vibrato (Katka)
The scatting you are hearing is called SARGAM, it is musical scales similar to Do Re Mi Fa So La, ...., In India we refer these scales as Sa Re Ga Ma Pa Dha Ni, In Indian classical singing, singers sing these scales that resonates with the instrument, its like they are vocally translating the rhythm that the instrument is playing or gonna play next.
What she is singing is "RAGA" and it's a collection of pitches.. i think u should research about ragas.. u'll be amazed once u het to know about them☺️☺️
Sir, Western *_Do Re Mi Fa So_* is a COPY of Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
as someone whose learnt hindustani and also learnt raag bhimplasi(albeit not at this level obvi), what the "vibrato" parts are something called "taan". All of them together being - sa re ga ma pa dha ni sa but every raag has a unique "aaroh" and "avroh" (A unique do re mi fa and reverse do re mi fa), unique in the sense, the difference of major and minor keys, or as we call it shudh, komal and teevra, do and so(sa and pa) don't have komal or teevra, re, mi, la and ti have komal and fa has teevra. Raag Bhimplasi has a komal Ni(ti) and komal Ga(mi). The parts she's singing are called "Sthayi and Antara" Sthayi is the main body of the raag and antara is the para. What you call as vibrato we call as "aakar" as in converting the do re mi fa so la ti do into the sound "a". And usually only high level musicians such as Kaushiki are able to do it so fast. The vibrato in the beginning is the aakar of something called as "taan". Taan is again sargam or do re mi fa etc, set up in different orders, provided it follows the rules of the raag, i.e in this case, the Ga(mi) and Ni(Ti) beeing komal. Other than that it can be basically be in any order and in and can be however logn you want it to be. The later parts that you thought were gibberish were antara taan, where Kaushuki decided to revert back from aakar into orignal sargam. The "tension build up and cleanse" is something we do while saying the taans. It's all about the counts, according to and on which count the taan starts determines till where we need to sing the sthayi/antara. I've not practiced in a long time but I remember Raag Ashavari - here's how this kind of sequence would work. Sthayi - Akhiyan a la a gi, reheta nisha dina, Akhiyan a la a gi, reheta nisha dina Akhiyan a la a gi sa re sa re ni dha sa, re ga pa dha ma pa ga a re sa. I'm not sure if I was able to explain it clearly but I hope this helped.
Kaushiki Cakraborty closes her Tans (improvised melodic patterns) not only right on pitch but also right on time (measured by the Tabla). Deep study for a deep art and culture is needed.
Tara, this is pure Indian classical music. They are notes a.k.a Do, re me so.. in the sound of muaic. She is singing those notes at the proper pitch. Her mastery is such that she can say, prolong, mix the notes, and still be in conformity with tone and the pitch of the raga she is singing. This would take a long time for you to understand.
it is traditional for these indian singers to exercise their voice daily many hours....., and to learn all this under a singing guru ....I love this kind of music!
She is singing the Indian Solfege! Indian music is rarely, if ever, composed prior to the actual performance! There is a very high chance that the musicians playing the percussion (tabla) and the harmonium met for the first time on that stage! Indian classical music is heavily improvised. So all the solfege notes she sings are probably being improvised on spot without prior rehearsals! Also, its not vibrato that she is riding, these are distinct notes sung with "gamakas" and hence the percussion like sound!
"Ja Ja Re Apni Mandirva" in Raga Bhimpilasi is a preexisting composition. The improvisation part comes with exploring the Raga itself. In this case, they're exploring within the "limits" of Bhimpilasri.
No disrespect but one does not take Indian classical music lessons. One dedicates his/her life to it. What you're listening is the result of multiple generations of dedication, her complete surrenderence to her Guru (his father) and having no other goals in life than just to devote oneself to goddess sarasvati. I know I'm sounding tacky here but there's no other way. I have seen it, I know it.
These are naad, souls emotions waves transformed into sound waves called aalaps.Just formating cosmic vibes into audible sound formate , to taste cosmic joy.
If you are impressed by her, also check out her Guru and father, Pandit (title means Master) Ajoy Chakraborty. Also, in Hindustani Clasical music, unless it's a 'Bandish', you can pretty much improvise live while adhering to the grammar of the notes structure. Same as western, there are 12 notes, starting from Sa Re Ga Ma Pa Dha Ni with their respective soft notes (all except Sa and Pa).
These are 7 notes - Sa Re Ga Ma Pa Dha Ni Sa, in which Each note has a specific tone: Just like 7 notes of Do Re Me Fa Sol La Te Do in western music. She was siging different combinations of these notes alsong with their progressions.
The “scatting” is she singing notes which are equivalent to do re mi fa so la ti in classical hindustani, in a specific permutation and combination but keeping to the set of notes of raag bhimpalasi. And, it is not vibrato, vibrato is oscillating at one note, where as she is moving between two notes so fast, for the unfamiliar ears, it can sound like a vibrato. All this while keeping in the pattern of drum rhythm of 16 beats that repeats. So each exploration of set of combinations of notes need to be finished in that 16 beats count
06:00 The Indian equivalent of Western Do.Re.Mi etc is Sa.Re.Ga.Ma.Pa.Dh.Ni. Sa ... In classical Indian singing singers at times use only these syllables in place of words .... This is called as a "saragam_ pronounced as English "sir"+"gum". The other way to express the song in terms of notes is by using the syllable "Aa" and this is called as "Aa-laap". The rapid Sargam and Aa-laap are called as a "taan" ("runs" in Western music). There are several other ways by which a singer replaces the words of a song by such standard syllables. One such popular example is a "Ta.raa.Naa" where Ta and Naa are used to replace the words and play around with notes. In summary in a classical song you have words of the songs, then you have the sargam_s and Aa-laap-s, all mixed together. For ex: in the earlier part of this Song itself the sargam is said and the note sequence ( or the "Raaga") is repeated with Aa-laap where only the syllable Aa is used. As if instead of two instrumentalists jamming with each other the singer/s is jamming with sargam and aalap repeated one after another. BTW, I have no training in classical music apart from some elementary Tabla in my school days. So, if someone tells you something different, most probably they are right. Hope this still has some value!
Hi Tara, loved your review of one of the most talented singers we have in India, Kaushiki Chakroborty. Hopefully this comment will help you and several others who are interested in Hindustani Classical Music - The parts you referred to as scatting are not infact scatting, but they are permutations and combinations of the notes in the raga (explained later). Sa Re Ga Ma Pa Dha Ni Sa are the notes we sing in Hindustani Classical (akin to Do Re Mi Fa So La Ti Do). The notes she is singing are exactly replicable on the piano if you play exactly what note she is singing - eg: if she sings an interval of Sa - Pa -> this is a perfect fifth interval in Western music (this is so impressive on so many levels, ear training is very rigorous and relative pitch is an extremely important part of Hindustani Music). There's a central theme or motif like phrase which you hear throughout and most of the other parts (yes, the impossible fast parts too) are improvised during the performance, which makes this an infinite times more impressive. Also Raag Bhimpalasi will have certain rules that dictate which notes are sharp/flat and what is the gait of the phrases in this raag (Western Musicians can draw parallels to modes of music with Ragas, but there are a lot more ragas than modes, so not exactly the same). eg: The Lydian Mode is same as Raag Yaman (atleast in structure), both of which have the fourth note raised by a half step. Hope this helps you understand and appreciate Hindustani Music even more, I have learnt so much from your channel when it comes to Western Singing strategies. Keep Going!
No it's not gibberish, she is singing actual notes and also that vibrato thing that you mentioned - I don't think those are vibrato, these are quickly hitting of multiple notes while singing, which might sound like vibrato and these things are definitely not easy and require a lot of practice to increase the flexibility of vocal chords to sing like that.
4:12 on pitch and also in taal (beat cycle). If you know how to count in Hindustani Classical music, then you'd know that she's perfectly doing the whole thing precisely. 💓💓💓💓 I mean I can't explain you that in words. Language barrier. Sorry. Please forgive.
@Satanreincarnation-zg6sl how dare you say that about kaishiki ji? What do you think you are? Do this and upload urself in RUclips then I'd even care ur statements. Otherwise don't even try to spit a single word of ur mouth.
6:03 she's singing the sargams . They are not pre-made, she's preparing the sargams on the spot and delivering them. This requires knowledge of the raag that she's singing and most importantly the chalan of the raag
@tara Simon studios - you should listen to Pandit Bhimsen Joshi, the Hindustani classical vocalist ever imo. I haven’t heard of anyone doing this kind of aalap (voice modulation) better.
She is singing 'Raag Bhimpalasi' which is just one of the over 300 Ragas available in Indian Classical music. So, you need to do more research on how a Raag is sung.
The Sa, Re, Ga...etc are precise notes that match the sound of instruments being played in rythm and pitch! They aren't random at all. Didn't even watch the video fully coz am saving it for later (as a treat after work) but just by reading comments I gotta say this: First off, thank you so much, Tara, for reacting to performances by two of my absolute favorite singers, firstly Shreya Ghoshal and now Kaushiki Chakraborty! (AS I REQUESTED!!!) Both of them are truly unparalleled in their respective genres-Bollywood playback singing and Hindustani classical singing-each of which demands immense skill, rigorous training, and a remarkable natural talent. Both are sopranos who demonstrate extraordinary control, precision, and artistry in their performances. When it comes to Indian classical music, such as Raag Bhimpilasi that Kaushiki Chakraborty sings, it’s important to note that the sounds you hear are not random or improvised gibberish. They are meticulously crafted musical notes (Swaras) from the Sargam (Indian solfège), following the framework of a Raag. Every note is precise, rhythmic, and deliberate, adhering to the rules of the Raag, and cannot simply be replaced or uttered randomly. To be able to execute this with perfect pitch, rhythm, and emotion-often impromptu-requires years of rigorous practice and a deep connection to the music. Thank you for exploring these incredible performances, and I hope you continue to enjoy and appreciate the richness of Indian classical and Bollywood music! In Indian Classical singing using falsetto/head/whistles is prohibited as one can't sing with a 100% control all times as rigorously as in chest/mix. I personally am not a fan of not bein able to experiment but yeah that's sth that I'd like to let you know. Once again thanks! ❤
6:11 no not at allllllllllll Those are actual notes. Just like Do re mi fa so ti. Like you sing and speak the notes at the same time. It takes really years and years.
I don't know about your musical training or background, and this comment is not meant to be a slight. But, as someone who's grown up surrounded by this musical tradition, it's amusing to hear someone casually say singing Hindustani classical is on their bucket list. It's like saying that working for NASA is on your bucket list. You could try, but...
My humble humble request to you would be to please react to Ustad Salamat Ali Khan, (if you search you can find so many recordings of him, but I'd suggest you to listen famous song of him from the movie Jalshaghar, where you'd find a sparkle of his work.) No one on earth has ever done that much perfect and fast Taans (vibrato(?)).
4:45 - Whenever we take names of great personality, we touch our years as humbleness, respecting the greatness of the personality and request to forgive for any mistake. FYI - 'Pandit' or 'Ustad' are bestowed upon a very senior musician who are Gurus/teachers, scholar, genius and powerful subject matter expert. So, it definitely makes sense to take their name with the correct gesture.
What you are perceiving as vibrato is her very meticulously hitting different notes in very quick succession. You are not allowed to use vibrato in pure Indian classical music. What she is being able to achieve requires rigorous training from a very tender age that allows muscles to develop in a way that someone cannot achieve after puberty.
I think you need to react to videos that explain indian carnatic/hindustani singing and understand the basics of raag, sargham, and swara. She was actually reciting notes of the specific identity of the Raag/Ragam which is something like a mode or scale in western music. the Sa Re Ga Ma Pa Da Ni Sa is called Sargham kind of like Solfege Do re mi fa sol...
May be it's bcoz of the accent it's easy to learn and do this kind of vibrato coz shez Indian.. foreigners used to roll toungues while speaking.. i hope u get it . And it's not a song.. Raag is compulsory while learning classical music..
Great that you are trying to interpret it and got to.some distance with your understanding. However let me explain, it is not vibrato. Vibrato is vibrating the same note. This is called as harkaths or alaaps in Hindustani music. Now, how to execute this, lets say you have a group of notes, for example say 7 notes of C major. Now, try to sing these seven notes slowly but without any words, just use the word or the sound aa to sing any note. Now, once you get it, try to increase the speed slowly for the same exercise. Also, try the same thing with different combination of notes, for example in the same C major scale, sing the first, third and fisth note again with aa sound. Then 1st, 2nd, 4th and 5th and also the descending like 5th, 4th, 2nd and 1st. Like this try different combinations of your choice withing the same scale and all you need to sing with aa sound. Once you are able to sing these type of combinations very fast with the aa sound, then you will sound this way. This same concept exists in Carnatic classical music called as gamakas but the execution is slightly different. Best of luck with your practice in case if you read my comment, understand it and want to try it out!!
If you have to sing names of the notes Do Re Mi Fa So La Ti in any scale fast that would sound like gibberish too.. Indian music, may it be classical, film, folk have these notes that are singable.. Sa Re Ga Ma Pa Da Ni, the names of the notes is well thought out for centuries. When you sing these notes like she's singing, fast, it'll sound exquisite. Yes, they are gibberish to an untrained ear, but for us, it's nothing less than divine harmony. Fun exercise, try to sing a song, a simple song, just by the names of the notes with melody. See if it works for you. See if you can freely improvise the song without losing its integral phrasings and identity.
That's not vibrato. She is singing a raag and that is called taan(ah sound but hitting different note sa re ga ma like ( do re mi fa )this kinda notes so many in a one phrase)
The one raag is a one world In a raag very defferent singing skill Like Dhrupad - slow spped Dhamar Khayal - who s you was lissen this is a khyal Tarana - fast speed Thumri - my personal feveret skill by Shubha Mudgal Note - Indian classical music is not for manoranjan( yor body Injoyment) Its for your soul enjoyment You can seen this Indian classical singer - Sobha mudgal , Kisori amonkar, Pandit Bhimsen joshi , Pandit Jasraj and many more hindustani and karnatak music styal And if you should have some knowledge of Raag So yoy can see Anuja Kamat videos so you understand raag i hope you wil try this SUVP. By Parmanand giri
Oh please decode more Live Indian classical performances please! Few of my favorite ones: Dil Ki Tapish By Rahul Deshpande Live HappyLucky (ruclips.net/video/HjWGl8FytK8/видео.html) Brilliance of Shubha Mudgal | Raag Bhimpalasi (ruclips.net/video/Yh8QfWlSv9Q/видео.html) Nina Burmi | Mishra Bhairavi Thumri (ruclips.net/video/kfBvz2rG-NI/видео.html) Berklee Indian Ensemble - Unnai Kaanadhu Naan (ruclips.net/video/ySo9IDdRuck/видео.html) Berklee Indian Ensemble ft Shankar Mahadevan - 5 Peace Band (ruclips.net/video/dn_1O3J56E8/видео.html)
Lol what? She is using the name 7 notes Do Re Mi Fa So La Ti... just called Sa Re Ga Ma Pa Dha Ni... it's a highly evolved type of singing where only pitch-perfect singers can sing the accurate notes at that rapid pace
hi i am indian i can camment few songs 1.k. j. Harimuralirevam 2.His Highness Abdullah's Devasabathalam from the movie Aramthamburan sung by Yesudas. 3. Harivarasanam. 4 Ramakatha Ganaleyam from Bharatam movie. If you like all this, you can comment more songs and react pls
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She is not speaking gibberish. They are notes - Sa Re Ga Ma Pa Dha Ni Sa - which have a specific tone for each - so sometimes she doesn't outright pronounce the notes but says "aa" instead for the whole set keeping the tone intact. Also sometimes she is saying hindi, yes.
Exactly. She is singing the notes Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa, which correspond to Do, Re, Mi, Fa, Sol, La. However, she is enhancing those notes on stage and connecting them in various patterns.
Same Tara, we are stunned by this!! The part where you thought she was 'scatting' is essentially crazy riffs/runs but she is enunciating every single note!! It is known as Alaap/Taan in Hindustani classical music; She was doing alaap the entire time in this piece... The notes in Indian music are Sa Re Ga Ma Pa Dha Ni Sa which corresponds to Do Re Mi Fa So La Ti Do.
These are vocal riffs and licks, every good indian classical vocalist can do that. Just as there r modes , indian and Persian music have ragas, and she is not using all twelve notes. Only those in raga bhimpalasi are being sung. Chromaticism is almost banned in khayals.
I'm surprised that someone who has listened to Indian classical vocal music for years would have thought that was gibberish!
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it.
Kaushiki Chakraborty’s taans are a stunning display of technical mastery and artistic depth that go far beyond the simplistic interpretation of them as "vibratos moving position." In Hindustani classical music, taans are intricate melodic explorations that require exceptional breath control, vocal agility, and precise microtonal transitions, all of which she executes with unparalleled clarity and speed. Unlike vibrato, which involves oscillations around a single pitch, her taans navigate complex note sequences within the raga framework, adhering to its aesthetic and emotional essence. The diaphragmatic breathing technique she employs provides sustained power and fluidity, enabling her to deliver rapid yet distinct notes with seamless continuity. Her taans also incorporate gamak (oscillations) and meend (glides), adding layers of texture that are unique to the Hindustani tradition. Reducing such a sophisticated technique to a vibrato fails to appreciate the cultural and technical nuances that define her artistry.
You are correct. C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
She is singing the Hindustani classical version of Do Re Mi Fa So.....that is also called alaap....
Sir,
Western *_Do Re Mi Fa So_*
is a COPY of
Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
Not aalaap. Taans.
@@awhig2474, C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
The thing she was singing that you thought was gibberish were the 7 notes or "swaras" as we call them in Indian classical music (Sa Ri Ga Ma Pa Dha Ni). it's similar to the solfege.
Each raga has a specific set of swaras, and this raga, called "Bhimpalasi" has the notes N S G M P N S in the ascending, and S N D P M G R S in the descending.
As you can see, the ascending scale only has 5 notes (no repeats), while the descending has 7.
The descending scale corresponds to the western Dorian mode, and the ascending scale has the same notes as well, with the omission of the 2nd and 6th notes.
What this essentially means is that, when she is going up the scale, for example in an upwards melody, she is not supposed to sing the 2nd and 6th notes. But while coming down the scale, in a downward melody, she is allowed to sing them.
Each raga also has characteristic phrases. For example, take an extremely popular melody, something like "twinkle twinkle little star" -- if the major scale was a raga, this melody would be one of the characteristic "phrases" of the raga: indispensable when you're elaborating the raga.
And Raga Bhimpalasi has some characteristic phrases like this too, which Kaushiki, the singer, must incorporate here and there while she is improvising to really bring out the essence of the raga, since these phrases are the hallmark of the raga.
This is a very simplified explanation of what's happening there, but she is taking into account all of these rules: the characteristic phrases, the rules of ascending and descending, the specific combination of notes, as well as the time cycle that is provided by the percussion, to improvise within the raga.
And that tonic/root note that is constantly in the background is provided by the instrument called the Tanpura. It constantly sounds the root note and the fifth note in succession, so it's easy to perceive the intervals in between.
Hope this explanation helped!
Please ,do pin this comment .
Perfectly explained 👏
Perfect explanation ❤️
Wow
No need to tell this arrogant p o s
I have a feeling that she's singing what the instrument is playing and she's so accurately on point
YES!!
Exactly
That's true.
Its other way around , the instrument ( Harmonium ) is playing what she is singing. Its an accompany instrument not the lead
@@nskreviews923 No the commentator isn't talking about the harmonium, he/she's talking about the Swarmandal I think. Cz it's the instrument "she" is playing. Hope it helped. ☺
Indian classical music generates joy within.U can feel vibration of positive energy when listening to such well neat music.
Thats like telling a Monkey the diamonds worth….no point. She is here to show off pretending to know Hindustani music..just ignore her
She isn't singing a song, although she did sing the odd verse here and there. She was demonstrating a specific raag - Raag Bhimpalasi - upon which actual songs (i.e. with lyrics) may be based; i.e. the song will follow the basic structure of the raag. Often times, at concerts a classical singer will first demonstrate the raag upon which the song they're going to sing is based on. A raag is a specific note combination; there are formalized rules in Hindustani classical music on how to create such combinations/raags. Another big part of a raag are the gamakas - the vibrato that you were intrigued by - which embellish the raag. There are numerous (formalized) types of gamakas.
As a music student
she is my inspiration ❤🇮🇳🇮🇳
She is God-gifted. It's not possible for everybody even if he/she practises the whole day.
If i remember correctly, this artist and video was featured in your try not to say wow challenge
Inn vibrato, you're potentially on SAME note, two different frequencies which are very close to each other, one of them exactly on note and one at an adjacent microtone.
In indian style what we do is called "Gamak" and it actually jumps on actual notes at that velocity and pace 😅
It takes years - in India 12 years of period is called 1 Tapa, and this kind of precision requires practice of multiple Tapas 😅
She so interested in this kind of music since her high school time not knowing if sa re ga ma are language or notes😅😅
Yeah...this is so surprising. Many western musicians out there are totally clueless of the Indian music. We as a music enthusiast are always try to explore the music all around the world so at least we have a basic idea of other music cultures. Western artists on the other hand....I'm not sure if their ignorance is just a coincidence or it's really their pride which precludes them to learn about other civilisation music. Whatever the case maybe...they are really missing something interesting in music if they ignore Indian classical.
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
Greate presentation. THANKS
Sa re ga ma pa dha ni sa is like Do-Re-Mi-Fa-So-La-Ti
She is singing the notes as you play them on a guitar. Her speed, Accuracy, Rhythmic synchronisation are a result of years of practice and dedication. And Indian Classical raga based composition works like a cherry on the top of it. Resulting in sheer bliss. Jai Hind 🇮🇳.
There are videos on RUclips of Kaushiki training along with her father during her childhood days, you can get a perspective of the relentless grind required in Indian classical singing for atleast 15 years atleast.
may be even more, if one wants to sing at her level.
Hi there, Tara Simon Studios! 😊 At 5:50, what Kaushiki was doing there, was creating her own improvisation of the following notes, Sa Re Ga Ma Pa Dha Ni Sa, which are the notes of the Indian scale. It's exactly like where you have Do Re Mi Fa So La Ti Do in Italian and/or Western Singing, which I'm sure you and most people are more familiar with, but it's exactly like that. Basically what she was doing, was singing random notes of the Indian scale, and creating a really fast improvisation of those notes, which is VERY hard to do, and can only be done by the professionals, with this level of quality! Really hope this helps! ☺️ ❤
1) She is singing the notes of the raag. The notes are permutation combination of different notes. For example, your c d e f g a b c is a raag called bhilawal. Bhimplalasi is (IF we take C as the scale "B C3 D# F G A# C4" (Arog- Going up) and Avarog (Coming down - C4 A# A G F D# D C3)
This is Raag Bhimpalasi. She has taken A# as her Sa. So the other notes are corresponding notes to this Sa. It's far more difficult to sing these swaras than your Vibrato (Katka)
You’ve wasted your breath. I don’t think she is keen to know. I can see she is being disrespectful
The scatting you are hearing is called SARGAM, it is musical scales similar to Do Re Mi Fa So La, ...., In India we refer these scales as Sa Re Ga Ma Pa Dha Ni, In Indian classical singing, singers sing these scales that resonates with the instrument, its like they are vocally translating the rhythm that the instrument is playing or gonna play next.
Indian Classical Music stands tall among everything ❤
What she is singing is "RAGA" and it's a collection of pitches.. i think u should research about ragas.. u'll be amazed once u het to know about them☺️☺️
Infinite permutations and combination of :-
Do = Sa
Re = Re
Mi = Ga
Fa = Ma
So = Pa
La = Dha
Ti = Ni
Do = Sa
Sir,
Western *_Do Re Mi Fa So_*
is a COPY of
Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
@@awhig2474correction it is Saamaveda which documents music
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it.
as someone whose learnt hindustani and also learnt raag bhimplasi(albeit not at this level obvi), what the "vibrato" parts are something called "taan". All of them together being - sa re ga ma pa dha ni sa but every raag has a unique "aaroh" and "avroh" (A unique do re mi fa and reverse do re mi fa), unique in the sense, the difference of major and minor keys, or as we call it shudh, komal and teevra, do and so(sa and pa) don't have komal or teevra, re, mi, la and ti have komal and fa has teevra. Raag Bhimplasi has a komal Ni(ti) and komal Ga(mi). The parts she's singing are called "Sthayi and Antara" Sthayi is the main body of the raag and antara is the para. What you call as vibrato we call as "aakar" as in converting the do re mi fa so la ti do into the sound "a". And usually only high level musicians such as Kaushiki are able to do it so fast. The vibrato in the beginning is the aakar of something called as "taan". Taan is again sargam or do re mi fa etc, set up in different orders, provided it follows the rules of the raag, i.e in this case, the Ga(mi) and Ni(Ti) beeing komal. Other than that it can be basically be in any order and in and can be however logn you want it to be. The later parts that you thought were gibberish were antara taan, where Kaushuki decided to revert back from aakar into orignal sargam. The "tension build up and cleanse" is something we do while saying the taans. It's all about the counts, according to and on which count the taan starts determines till where we need to sing the sthayi/antara. I've not practiced in a long time but I remember Raag Ashavari - here's how this kind of sequence would work.
Sthayi - Akhiyan a la a gi, reheta nisha dina, Akhiyan a la a gi, reheta nisha dina
Akhiyan a la a gi sa re sa re ni dha sa, re ga pa dha ma pa ga a re sa.
I'm not sure if I was able to explain it clearly but I hope this helped.
Sorry but You’ve wasted your time…she is not here to explore our music. She is here to give her own arrogant explanation. So no point..
Kaushiki Cakraborty closes her Tans (improvised melodic patterns) not only right on pitch but also right on time (measured by the Tabla). Deep study for a deep art and culture is needed.
Mam , she is singing indian classical music a raag called bhimpalasi, she is doing taan sargam . And doing it in aakaar as well
Her father is not a bengali singer, he is an Indian classical singer
Tara, this is pure Indian classical music. They are notes a.k.a Do, re me so.. in the sound of muaic. She is singing those notes at the proper pitch. Her mastery is such that she can say, prolong, mix the notes, and still be in conformity with tone and the pitch of the raga she is singing. This would take a long time for you to understand.
She singing musical notes every single one on point..... 🔥
There are a lot of tutors for Hindustani classical and Carnatic classical even in the USA that even do virtual lessons.
Long way to go before one can / should react !!!
Tara meaning Stars in our language such as Sanskrit Hindi Malayalam etc.
it is traditional for these indian singers to exercise their voice daily many hours....., and to learn all this under a singing guru ....I love this kind of music!
Absolutely love your channel!
Kausaki Chakroborty is one of the best Classic Singers in India in recent times, The voice control she has is amazing
At 3 minutes:
That continues note i believe is actually the sound of the taanpura that shows the scale she is singing in
Raag or Raaga is a set of notes / notation (out of 7) in a certain order which defines a specific 'mood'.
She is singing the Indian Solfege! Indian music is rarely, if ever, composed prior to the actual performance! There is a very high chance that the musicians playing the percussion (tabla) and the harmonium met for the first time on that stage! Indian classical music is heavily improvised. So all the solfege notes she sings are probably being improvised on spot without prior rehearsals! Also, its not vibrato that she is riding, these are distinct notes sung with "gamakas" and hence the percussion like sound!
"Ja Ja Re Apni Mandirva" in Raga Bhimpilasi is a preexisting composition. The improvisation part comes with exploring the Raga itself. In this case, they're exploring within the "limits" of Bhimpilasri.
No disrespect but one does not take Indian classical music lessons. One dedicates his/her life to it. What you're listening is the result of multiple generations of dedication, her complete surrenderence to her Guru (his father) and having no other goals in life than just to devote oneself to goddess sarasvati. I know I'm sounding tacky here but there's no other way. I have seen it, I know it.
it's not vibrato. It's technically singing individual notes with high speed and accuracy
Love her singing,,, She is a genius
These are naad, souls emotions waves transformed into sound waves called aalaps.Just formating cosmic vibes into audible sound formate , to taste cosmic joy.
If you are impressed by her, also check out her Guru and father, Pandit (title means Master) Ajoy Chakraborty. Also, in Hindustani Clasical music, unless it's a 'Bandish', you can pretty much improvise live while adhering to the grammar of the notes structure. Same as western, there are 12 notes, starting from Sa Re Ga Ma Pa Dha Ni with their respective soft notes (all except Sa and Pa).
These are 7 notes - Sa Re Ga Ma Pa Dha Ni Sa, in which Each note has a specific tone: Just like 7 notes of Do Re Me Fa Sol La Te Do in western music. She was siging different combinations of these notes alsong with their progressions.
The “scatting” is she singing notes which are equivalent to do re mi fa so la ti in classical hindustani, in a specific permutation and combination but keeping to the set of notes of raag bhimpalasi. And, it is not vibrato, vibrato is oscillating at one note, where as she is moving between two notes so fast, for the unfamiliar ears, it can sound like a vibrato. All this while keeping in the pattern of drum rhythm of 16 beats that repeats. So each exploration of set of combinations of notes need to be finished in that 16 beats count
খুব ভাল লাগল
Hair looks great here Aunt Tara!
06:00 The Indian equivalent of Western Do.Re.Mi etc is Sa.Re.Ga.Ma.Pa.Dh.Ni. Sa ... In classical Indian singing singers at times use only these syllables in place of words .... This is called as a "saragam_ pronounced as English "sir"+"gum". The other way to express the song in terms of notes is by using the syllable "Aa" and this is called as "Aa-laap". The rapid Sargam and Aa-laap are called as a "taan" ("runs" in Western music). There are several other ways by which a singer replaces the words of a song by such standard syllables. One such popular example is a "Ta.raa.Naa" where Ta and Naa are used to replace the words and play around with notes. In summary in a classical song you have words of the songs, then you have the sargam_s and Aa-laap-s, all mixed together. For ex: in the earlier part of this Song itself the sargam is said and the note sequence ( or the "Raaga") is repeated with Aa-laap where only the syllable Aa is used. As if instead of two instrumentalists jamming with each other the singer/s is jamming with sargam and aalap repeated one after another.
BTW, I have no training in classical music apart from some elementary Tabla in my school days. So, if someone tells you something different, most probably they are right. Hope this still has some value!
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it.
Her father Pandit Ajoy Chakraborty is a great maestro of Indian Vocal Classical Music. She is his student.
correction it's not ha ha ha...it's aa aa .. she is singing .. please correct yourself
Hi Tara, loved your review of one of the most talented singers we have in India, Kaushiki Chakroborty. Hopefully this comment will help you and several others who are interested in Hindustani Classical Music - The parts you referred to as scatting are not infact scatting, but they are permutations and combinations of the notes in the raga (explained later). Sa Re Ga Ma Pa Dha Ni Sa are the notes we sing in Hindustani Classical (akin to Do Re Mi Fa So La Ti Do). The notes she is singing are exactly replicable on the piano if you play exactly what note she is singing - eg: if she sings an interval of Sa - Pa -> this is a perfect fifth interval in Western music (this is so impressive on so many levels, ear training is very rigorous and relative pitch is an extremely important part of Hindustani Music). There's a central theme or motif like phrase which you hear throughout and most of the other parts (yes, the impossible fast parts too) are improvised during the performance, which makes this an infinite times more impressive. Also Raag Bhimpalasi will have certain rules that dictate which notes are sharp/flat and what is the gait of the phrases in this raag (Western Musicians can draw parallels to modes of music with Ragas, but there are a lot more ragas than modes, so not exactly the same). eg: The Lydian Mode is same as Raag Yaman (atleast in structure), both of which have the fourth note raised by a half step. Hope this helps you understand and appreciate Hindustani Music even more, I have learnt so much from your channel when it comes to Western Singing strategies. Keep Going!
No it's not gibberish, she is singing actual notes and also that vibrato thing that you mentioned - I don't think those are vibrato, these are quickly hitting of multiple notes while singing, which might sound like vibrato and these things are definitely not easy and require a lot of practice to increase the flexibility of vocal chords to sing like that.
😂😂 its kind of like me giggling constantly, it actually sounds pretty spot on😂😊
this is indian noteion, sa re ga ma pa dha ni, english, du re mi fa, use in singing, ❤❤
4:12 on pitch and also in taal (beat cycle). If you know how to count in Hindustani Classical music, then you'd know that she's perfectly doing the whole thing precisely. 💓💓💓💓
I mean I can't explain you that in words. Language barrier. Sorry. Please forgive.
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
@Satanreincarnation-zg6sl how dare you say that about kaishiki ji? What do you think you are? Do this and upload urself in RUclips then I'd even care ur statements. Otherwise don't even try to spit a single word of ur mouth.
6:03 she's singing the sargams .
They are not pre-made, she's preparing the sargams on the spot and delivering them.
This requires knowledge of the raag that she's singing and most importantly the chalan of the raag
@tara Simon studios - you should listen to Pandit Bhimsen Joshi, the Hindustani classical vocalist ever imo. I haven’t heard of anyone doing this kind of aalap (voice modulation) better.
She is singing 'Raag Bhimpalasi' which is just one of the over 300 Ragas available in Indian Classical music.
So, you need to do more research on how a Raag is sung.
The Sa, Re, Ga...etc are precise notes that match the sound of instruments being played in rythm and pitch! They aren't random at all.
Didn't even watch the video fully coz am saving it for later (as a treat after work) but just by reading comments I gotta say this:
First off, thank you so much, Tara, for reacting to performances by two of my absolute favorite singers, firstly Shreya Ghoshal and now Kaushiki Chakraborty! (AS I REQUESTED!!!) Both of them are truly unparalleled in their respective genres-Bollywood playback singing and Hindustani classical singing-each of which demands immense skill, rigorous training, and a remarkable natural talent. Both are sopranos who demonstrate extraordinary control, precision, and artistry in their performances.
When it comes to Indian classical music, such as Raag Bhimpilasi that Kaushiki Chakraborty sings, it’s important to note that the sounds you hear are not random or improvised gibberish. They are meticulously crafted musical notes (Swaras) from the Sargam (Indian solfège), following the framework of a Raag. Every note is precise, rhythmic, and deliberate, adhering to the rules of the Raag, and cannot simply be replaced or uttered randomly.
To be able to execute this with perfect pitch, rhythm, and emotion-often impromptu-requires years of rigorous practice and a deep connection to the music. Thank you for exploring these incredible performances, and I hope you continue to enjoy and appreciate the richness of Indian classical and Bollywood music!
In Indian Classical singing using falsetto/head/whistles is prohibited as one can't sing with a 100% control all times as rigorously as in chest/mix. I personally am not a fan of not bein able to experiment but yeah that's sth that I'd like to let you know.
Once again thanks! ❤
It is Indian Do Re Mi ... as Sa Re Ga ... moving among those notes fast and in a nonlinear undulating fashion.
Check the status of Tansan !! You will love it!!
6:11 no not at allllllllllll
Those are actual notes. Just like Do re mi fa so ti. Like you sing and speak the notes at the same time. It takes really years and years.
I don't know about your musical training or background, and this comment is not meant to be a slight. But, as someone who's grown up surrounded by this musical tradition, it's amusing to hear someone casually say singing Hindustani classical is on their bucket list. It's like saying that working for NASA is on your bucket list. You could try, but...
My humble humble request to you would be to please react to Ustad Salamat Ali Khan, (if you search you can find so many recordings of him, but I'd suggest you to listen famous song of him from the movie Jalshaghar, where you'd find a sparkle of his work.) No one on earth has ever done that much perfect and fast Taans (vibrato(?)).
She is singing raga 'bheemplasi'
We want more reactions videos for faouzia 🙌🏻🙌🏻🙌🏻🙌🏻
4:45 - Whenever we take names of great personality, we touch our years as humbleness, respecting the greatness of the personality and request to forgive for any mistake. FYI - 'Pandit' or 'Ustad' are bestowed upon a very senior musician who are Gurus/teachers, scholar, genius and powerful subject matter expert. So, it definitely makes sense to take their name with the correct gesture.
If you want to listen, then listen to ustad salamat ali khan sahab's taan... that's just out of this world🌹
What you are perceiving as vibrato is her very meticulously hitting different notes in very quick succession. You are not allowed to use vibrato in pure Indian classical music. What she is being able to achieve requires rigorous training from a very tender age that allows muscles to develop in a way that someone cannot achieve after puberty.
i am sirry but that sounds like a cold starting engine.😂 no just kidding. thats amazingl
You want to see how to teach her father when she was child then check out its available on RUclips.
I think you need to react to videos that explain indian carnatic/hindustani singing and understand the basics of raag, sargham, and swara.
She was actually reciting notes of the specific identity of the Raag/Ragam which is something like a mode or scale in western music. the Sa Re Ga Ma Pa Da Ni Sa is called Sargham kind of like Solfege Do re mi fa sol...
Stop making money from likes on such a respected classical songs.. first have a knowledge on what she is singing
May I recommend reacting to Lovebites from Japan, perhaps their song Holy War? Or Jenner from Serbia, perhaps their song Not Even You?
she sang what u call do re mi fa so its called sargam sa re ga ma pa dha ni sa
You should also react to Dhrupad 🙏🏻
At 6:06 not scatting. It is called as sargam. Instead of just vocal aa,..aa.. she is actually saying the notes ga ma pa etc.
Hey 👋
Kindly do a video on Indian Classical Giants Pandit Bhimsen Joshi and Pandit Jasraj
May be it's bcoz of the accent it's easy to learn and do this kind of vibrato coz shez Indian.. foreigners used to roll toungues while speaking.. i hope u get it . And it's not a song.. Raag is compulsory while learning classical music..
You have to have a reincarnation to appreciate the notes properly. You are unable to follow the rendering.
Great that you are trying to interpret it and got to.some distance with your understanding. However let me explain, it is not vibrato. Vibrato is vibrating the same note. This is called as harkaths or alaaps in Hindustani music. Now, how to execute this, lets say you have a group of notes, for example say 7 notes of C major. Now, try to sing these seven notes slowly but without any words, just use the word or the sound aa to sing any note. Now, once you get it, try to increase the speed slowly for the same exercise. Also, try the same thing with different combination of notes, for example in the same C major scale, sing the first, third and fisth note again with aa sound. Then 1st, 2nd, 4th and 5th and also the descending like 5th, 4th, 2nd and 1st. Like this try different combinations of your choice withing the same scale and all you need to sing with aa sound. Once you are able to sing these type of combinations very fast with the aa sound, then you will sound this way. This same concept exists in Carnatic classical music called as gamakas but the execution is slightly different. Best of luck with your practice in case if you read my comment, understand it and want to try it out!!
If you have to sing names of the notes Do Re Mi Fa So La Ti in any scale fast that would sound like gibberish too.. Indian music, may it be classical, film, folk have these notes that are singable.. Sa Re Ga Ma Pa Da Ni, the names of the notes is well thought out for centuries. When you sing these notes like she's singing, fast, it'll sound exquisite. Yes, they are gibberish to an untrained ear, but for us, it's nothing less than divine harmony.
Fun exercise, try to sing a song, a simple song, just by the names of the notes with melody. See if it works for you. See if you can freely improvise the song without losing its integral phrasings and identity.
That's not vibrato. She is singing a raag and that is called taan(ah sound but hitting different note sa re ga ma like ( do re mi fa )this kinda notes so many in a one phrase)
She singing do ra fa so in between lyrics on different scales and rythems . It is oneness/ synchronization and face off between music and singer.
it is sa re ga ma pa dha ni saa just like your do re mi fa si la to...
The one raag is a one world
In a raag very defferent singing skill
Like
Dhrupad - slow spped
Dhamar
Khayal - who s you was lissen this is a khyal
Tarana - fast speed
Thumri - my personal feveret skill by Shubha Mudgal
Note - Indian classical music is not for manoranjan( yor body Injoyment)
Its for your soul enjoyment
You can seen this Indian classical singer - Sobha mudgal , Kisori amonkar,
Pandit Bhimsen joshi , Pandit Jasraj and many more hindustani and karnatak music styal
And if you should have some knowledge of Raag
So yoy can see Anuja Kamat videos so you understand raag i hope you wil try this
SUVP. By Parmanand giri
Oh please decode more Live Indian classical performances please!
Few of my favorite ones:
Dil Ki Tapish By Rahul Deshpande Live HappyLucky (ruclips.net/video/HjWGl8FytK8/видео.html)
Brilliance of Shubha Mudgal | Raag Bhimpalasi (ruclips.net/video/Yh8QfWlSv9Q/видео.html)
Nina Burmi | Mishra Bhairavi Thumri (ruclips.net/video/kfBvz2rG-NI/видео.html)
Berklee Indian Ensemble - Unnai Kaanadhu Naan (ruclips.net/video/ySo9IDdRuck/видео.html)
Berklee Indian Ensemble ft Shankar Mahadevan - 5 Peace Band (ruclips.net/video/dn_1O3J56E8/видео.html)
6:10 she is just saying the notes like do ro pa so (sa re ga ma)
We’re waiting for wicked reactions Tara……..
Sa re ga ma pa dha ni sa ni tha pa ma ga re sha....
Listen pandit bhimsen joshi ji .
Can you sing E B G D A E ? But in Indian music that is possible... That is not gibberish 😂😂😂
Very insulting to say jibberish, anything for views!
Please react to Best Arab Vocals.
#NotificationSquad!❤
Western harmony is based on the overtone series found in nature. It's rational
Lol what? She is using the name 7 notes Do Re Mi Fa So La Ti... just called Sa Re Ga Ma Pa Dha Ni... it's a highly evolved type of singing where only pitch-perfect singers can sing the accurate notes at that rapid pace
In india we have specal raag or music for every 4 hour intervel 😂
I suggest you to listen to songs of Ajay Kadkade
hi i am indian i can camment few songs 1.k. j. Harimuralirevam 2.His Highness Abdullah's Devasabathalam from the movie Aramthamburan sung by Yesudas. 3. Harivarasanam. 4 Ramakatha Ganaleyam from Bharatam movie. If you like all this, you can comment more songs and react pls
Tara, please react on Bella Taylor Smith - Ave Maria. Pleaseee.
React to Sohyang Dream.
What on earth. Please do put in some effort before deciding on the adjectives you use.
These are notes 'do ,re me,pha,sol,la,se ,do.