Patience is not the word. Orientation is. I'm from the South and I feel that the two main systems, Carnatic and Hindustani, offer different dimensions of (sometimes) overlapping ragas. Deep-diving into the moods of ragas is more the norm in Hindustani, as opposed to vocal range and "harkat" manipulations in Carnatic. My take on it. Cheers.
I sing carnatic music too. I just listened to an interview/performance with Samarth Nagarkar and he sounds really good. I do agree that the feeling is different
I am learning hindustani classical vocal. He first started with slow alaap, which is called anibadh alaap, which is usually done. Exploring the raag without taal. Then he did what is called nom tom. Using syllables "tananana tananana" This would be kind of equivalent to ragam thanam pallavi in carnatic music. And he explored that. Then he started the bandish. In this case he only sang one bandish. " Baalama" is the bandish. He started the bandish slow and then did variations like bolalaaps, thaans, finished singing the bandish did some more alaaps, thaans sped up did some more thaans and wrapped it up. Usually, first part is called vilambit khayal. Khayal is an "urdu" word for imagination. Vilambit means slow. Usually for vilambit khayal singers take taals like ekthal which is a 12 beat cycle, vilambit teental, which is a 16 beat cycle, jhoomra, a 14 beat cycle, or tilwada, another 16 beat cycle, which is a variation of teenthal. It depends on their gharana. Gharana means lineage or tradition of singing. "Ghar" means house or home in hindi. Each lineage has slightly different styles of singing. For example , some sing more sargams, some sing more alaaps and aakars, some sing more bolalaaps (bolalaap is the equivalent of neraval in carnatic music) The second part or third part is called madhyalay or drut khayal which could be in theenthal or ektal. Again depending on the gharana. This will be in medium speed and then transition to speed up to the faster speed, which is the drut. The vilambit is a bandish which a fixed composition in a particular taal. The madhyalay and drut bandish are also fixed compositions in a particular taal. A bandish literally means to tie something together. A bandish consists of two parts: the sthayi and the anthara. The sthayi has the wordings of the lower and middle range. The anthara has the wordings of the higher range above top SA. I hope all of this helps as i have also had training in carnatic music and now for the past 7 years i have been training in hindustani music.
For anyone who wants to know, what samarthji sang in this case is first he explored raag bhimpalasi in aakar form. This is called anibadh alaap and it is sung without rhythm. He explored the lower range , the middle range and the upper range. The equivalent of this would be the raga alapanai of the carnatic music system. It took him a little more than ten minutes to do all of this. Next he did what is called "nom tom" "Nom tom" uses syllables like "thananana" "thananana" for improvisation. He explored raag bhimpalasi using such syllables. Again, he started in the lower range, slowly worked his way through the middle range, and up into the top range and back down again. "Nom tom" is equivalent to the ragam thanam pallavi in the carnatic system. "Nom tom" is also sometimes sung as an attachment on to a composition called "tarana" which is the equivalent to the Carnatic thillana. Then, finally, samarthji sang the bandish called "balama." This is where the rhythmist joined in. And samarthji did lot of variations like bolalap( neraval in carnatic music) , alaaps, thaans etc.. And so, as you can, if you break it down, if you see the structure, you can see the similarities in both systems. What Samarthji sang is structured like a ragam thanam pallavi without the thani avarthanam. They don't have a thani avarthanam. And also after he sang his anibadh alap, he did not leave for the harmonuim artist to play a bit. He immediately went into "nom tom" So those are the differences.
@zorba the geek. you are correct. both hindustani music and carnatic music come from the samaveda. It is just that both systems are sung slightly differently. carnatic music is more bhakthi based and composition based whereas hindustani music is more raag based, hindustani compositions are shorter, carnatic compositions are longer, this is why improvisations are longer in hindustani recitals, hindustani artists will have a maximum of four or five pieces in their recitals whereas carnatic artists will have more pieces etc...
Ram Kaushik i have been learning hindustani for sometime. So just to summarize what he has done first, he has sung alap without rhythm. Explored rag bhimpalasi. This is called anibadh alaap. It can last anywhere from 5 minutes to 25 minutes. Then he did what is called "nom tom" exploring raag bhimpalasi using syllables like "thanana thanana" This is kind of like ragam thanam pallavi in carnatic music. Then he started the bandish. He started the bandish did some variations like bolalaap, ( bolalaap is equivalent to neraval in carnatic music)sang the bandish completely, did some more bolalaap, did some thaans, sped up, sang more thaans and wrapped it up. A bandish is a fixed composition in a fixed taal like teenthal, ekthal, rupakthal, jhapthal etc. A bandish literally means to tie something together. A bandish has two parts: the sthayi and the anthara. The sthayi consists of wordings of the lower and middle range. The anthara consists of wordings of the middle range to top SA and above top SA. There are different lays sung: ati vilambit, vilambit, madhyalay, drut, and ati drut. Usually artists start with vilambit and for vilambit they usually take taals like ektaal, a 12 beat cycle, vilambit teental, a sixteen beat cycle, jhoomra, a fourteen beat cycle, or tilwada, another 16 beat cycle, which is a variation of teental. It depends on their gharana. Gharana means lineage or style of singing. "Ghar" means house or home in hindi. Then for madhyalay or drut, which is the second part of a presented raag, teental is usually chosen but sometimes ekthal is also chosen. Or jhapthal can also be chosen. For madhyalay and drut. The three major taals that are most common for hindustani classical are ektal which is a 12 beat cycle, teenthal, which is a 16 beat cycle and jhapthal, which is a 10 beat cycle.
A typical hindustani concert will begin with what is known as the "vilambit khayal" or "bada khayal" "khayal" means urdu word for imagination. Vilambit means slow tempo. The bandish that is selected for "vilambit" could be set to ekthal, a 12 beat cycle, vilambit theenthal, a 16 beat cycle, jhoomra, a 14 beat cycle, or tilwada, another 16 beat cycle, which is a variation of theenthal. These taals are meant for singing vilambit. The artist will start with "anibadh alaap" which could last anywhere from 5 minutes to a half hour. Then, after finishing anibadh alap the artist will start the bandish and the rhythmist will join. And the artist has to maintain the taal in his/her mind while doing alaap, bolalaap, and come back to the sam. To do this, the artist will know the important parts of the taal like the sam, khali, thali and remember all this while he/she is singing. For example in ektal: beats 3 and 7 are the khali. in jhapthal beat 6 is the khali. in theenthal beat 9 is the khali. The first beat is always the sam of any taal. In vilambit ektal, beat 5 is 2nd thali, beat 9 is 3rd thali, and beat 11 is 4th thali. In vilambit theenthal beat number 5 is 2nd thali and beat number 13 is 3rd thali. And the artists will also know the tabla tekas. For example: the ekthal teka is "din din dhaage thirakita thunakatha dhaage thirakita dheena" This is 12 matras and used in madhyalay and drut. But in vilambit, each beat is subdivided into four parts. Therefore 12 into 4 you get 48 counts. Theenthal is usually 16 matra. It is used in madhyalay and drut. The usual teka of theenthal is " dha dhin dhin dha , dha dhin dhin dha , dha thin thin tha ,tha dhin dhin dha. But for vilambit, if each beat is subdivided into four parts, 16 into 4 will give 64 counts. There is no fixed teka for vilambit theenthal. So, each tabla artist improvises based on his gharana school of learning. Same 64 counts for tilwada but the teka is different and it is a variation of theenthal. The teka for tilwada could be : Dha thirakita dhin dhin dha dha thin thin tha thirakita dhin dhin dha dha dhin dhin Jhoomra is 14 into 4 and gives 56 counts. teka could be: dhin dha thirakita dhin dhin dha ge thirakita thin tha thirakita dhin dhin dha ge thirakita Therefore, these are the major thals used for vilambit. The artist might sing or play vilambit for at least 40 to 50 minutes. He/she will start with gradual slow aakars, aalaps, bolalaps, express the words, starting in the lower ranges and slowly working toward the middle range and then slowly toward the upper range all the way up to top SA. This will all be on the first part of the vilambit bandish, the sthayi. Once the top SA is reached, either by aakar or by bolalaap the second part of the bandish, the anthara, is introduced. Then the region around top SA in aakar, alaap, bolalaap, is explored. This includes top rishabh, top gandhar, top madhyam, top pancham etc... Then finish anthara fully and come back to sthayi and speed up a bit to either sing fast bolalaaps or fast sargarms. Many artists switch back and fourth between these. After these, sing thaans. And finish vilambit maybe with a tihai, ending three times. Then introduce the madhyalay or drut bandish immediately. This bandish could be in theenthal, ekthal or jhapthal a ten beat cycle. Usually this will be maybe 15 to 20 minutes or so. Usually this bandish will be very brisk. He/she will sing many variations in the sthayi finish singing the sthayi, sing some thaans maybe also sing some sargams in the sthayi, and then sing the anthara finish singing the anthara, sing some thaans in the anthara, maybe also sing some sargams in the anthara, and then come back to the sthayi, speed up sing some more thaans and wrap it up. This is how this piece will be. The whole thing vilambit and madhyalay/drut put together could be 50 to 60 minutes. After that, another madhyalay bandish, maybe set to jhapthal or rupakthal a 7 beat cycle, after the madhyalay bandish, maybe a thumri, and end with a bhajan. This is kind of the basic structure of a hindustani concert. Although there could some variations to this framework
To sing a raag in Hindustani music thoroughly, artists use different types of improvisational techniques such as anibadh alap, nibadh alap, bol alap, swar bhadath, behelawa, sargam, sargam taans, boltaans, taans, sargam, etc.. there are over 300 types of taans that can be sung or played. And artists also use different ornamental techniques like meend, gamak, khatka, murki, andolan, absolute, harkat etc to decorate the improvisational techniques that are used. It depends on the gharana as to which types of improvisational techniques and which types of ornamentational techniques are used. This is what makes Indian classical music so unique and beautiful. No artist will sing the same raag the same way every time. They will come up with new improvisations every time. This makes it interesting for a listener.
Hello my name is Mrs. Pallavisree Vasanth Tambraparni. This composition sung in raag bhimpalasi sung by Samarth Nagarkarji is absolutely beautiful. I can kind of explain what he has sung since i have learnt both the south indian system ( Carnatic system) and the north indian system ( hindustani system) of classical music. And i am continuing to learn advanced hindustani vocal and also some Carnatic vocal. First, Samarthji explored raag bhimpalasi by singing what is called the "anibadh alap." This could be equivalent the "raga alapana" in the south indian style( carnatic style). This is sung with out rhythm. The raag is explored in the lower, middle, and upper ranges. Aakar or the syllable "ah is used in the north indian style ( hindustani style ) to do this. "Tha" "dha" "ree"na" "now" "aa" are some syllables used to express raga alapana in the south indian style( carnatic style). These syllables don't mean anything. They are just used to paint a picture of the raag. Again, this is without rhythm. Next, samarthji did what is called "nom tom" "nom tom" uses syllables like "tananana tananana". It has a somewhat rhythmic pattern to it. Using syllables like "tananana tananana" Samarthji explored raag bhimpalasi , again starting from the lower range, moving to the middle range, and still moving to the higher range and making his way back down. "Nom tom" could probably be the equivalent of the "thaanam" of the "ragam thanam pallavi" piece that is sung in carnatic music ( south indian music). "Thaanam" actually means "anandam"and syllables like "anomtha thaa nom tha tha nom tha nom thom tha "are used to express "thaanam" in carnatic music (south indian music). Again, "thaanam" is explored starting from the lower range, moving to the middle range, then to the higher range and then back down again. After "nom tom" Samarthji sang the bandish( a fixed composition in Hindustani classical music, north indian classical music) called " baalama." And in the bandish, he did lots of variations like bolalaaps(the equivalent to bolalaap in south indian classical music or carnatic music is called neraval), samarthji did alaaps, aakars, thaans, sang the full bandish, sped up, sang more aakars, more thans, and wrapped it up. Bolalaap in hindustani classical music ( north indian classical music) means taking words of the bandish to improvise. Neraval in carnatic classical music ( south indian classical music) means taking a line of wordings to improvise. The few differences are after his anibadh alap samarthji did not leave for the harmonium artist like carnatic artists leave for violinists. And there was no percussion solo or it is called " tani avarthanam" as hindustani artists don't have this concept whereas carnatic artists do this. I hope this kind of gives a picture. If one attends concerts of both styles then one will get a feel of how each style is sung.
soul penetrating and from eternal world.Bhimplasi at its peak.Never heard such deepen like this before ,else than Abdul karim Khan Saheb.Sometime feeling of Fayaz Khan alao comes during the rendition.Heartiest greetings.Supriya ji's face expressions during rendring give more value to this performance.I salute all the performers.
Also, hindustani musicians follow what is known as "raag samay" Meaning each raag is sung or played at a particular time. So, if you have a performance in the morning, then morning raags are played or sung. If you have a performance in the afternoon, then afternoon raags are played or sung. If you have an evening performance, then evening raags are played or sung. If you have a night performance, then night raags are played or sung. If you have late night performance, late night raags are performed. If you have early morning performance, then early morning raags are performed. This is because raags performed at their correct times will have the most greatest effects.
Hello. My name is Mrs. Pallavisree Tambraparni and i can kind of tell what samarthji has sung here. Hindustani classical music is gharana based and samarthji has rigorously trained in 3 gharanas: the gwalior gharana, the Agra gharana and the jaipur gharana styles of hindustani classical music. In this clip of raag bhimpalasi samarthji has shown the agra gharana style with the long "Nom tom" alaap in the beginning. The long "nom tom alaap is one of the hallmarks of the agra gharana. The "nom tom" alaap has four parts: the sthayi, the anthara, the sanchaari, and the aabhog. The sthayi part of the " nom tom" alaap explores the lower and middle parts of the octave, the anthara part of the "nom tom" alaap explores the higher part of the octave, both of these sections of the "nom tom" alaap are free flowing, the sanchaari part of the "nom tom" alaap brings in the rhythm, and the aabhog doubles in rhythm. Gamaks and other ornamentations can also be added in the "nom tom" alaap. The "nom tom" alaap is sung without tabla accompaniment. This can be up to ten minutes long or even longer. In this clip, Samarthji did "nom tom" alaap for a little more than 10 minutes. After the completion of "nom tom" alaap, it can either go into a vilambit composition or a madhyalay or a drut composition. Here, in this clip, after he finished "nom tom" alaap, i would say that samarthji sang maybe a madhyalay/drut composition. Not too slow and not too fast.
Some artists might sing or play their second piece as madhyalay/drut piece. Then do another madhyalay piece and end with a bhajan in raag bhairavi. Other artists might sing or play their second piece as a madhyalay/drut piece, then sing a thumri for their third piece and end with a bhairavi bhajan. To show versatility. So any combination is possible.
Simply Superb !
Especially supriya ji has played very good roll in the performance. I salute.
Perfect work done by Nagarkar ji and all other members of the team, marvelous rendering
Listening this requires a lot of patience. As I am familiar with only carnatic, this sounds very slow for me. But the feeling is totally different
Patience is not the word. Orientation is.
I'm from the South and I feel that the two main systems, Carnatic and Hindustani, offer different dimensions of (sometimes) overlapping ragas. Deep-diving into the moods of ragas is more the norm in Hindustani, as opposed to vocal range and "harkat" manipulations in Carnatic.
My take on it.
Cheers.
I sing carnatic music too. I just listened to an interview/performance with Samarth Nagarkar and he sounds really good. I do agree that the feeling is different
I am learning hindustani classical vocal. He first started with slow alaap, which is called anibadh alaap, which is usually done. Exploring the raag without taal. Then he did what is called nom tom. Using syllables "tananana tananana" This would be kind of equivalent to ragam thanam pallavi in carnatic music. And he explored that. Then he started the bandish. In this case he only sang one bandish. " Baalama" is the bandish. He started the bandish slow and then did variations like bolalaaps, thaans, finished singing the bandish did some more alaaps, thaans sped up did some more thaans and wrapped it up. Usually, first part is called vilambit khayal. Khayal is an "urdu" word for imagination. Vilambit means slow. Usually for vilambit khayal singers take taals like ekthal which is a 12 beat cycle, vilambit teental, which is a 16 beat cycle, jhoomra, a 14 beat cycle, or tilwada, another 16 beat cycle, which is a variation of teenthal. It depends on their gharana. Gharana means lineage or tradition of singing. "Ghar" means house or home in hindi. Each lineage has slightly different styles of singing. For example , some sing more sargams, some sing more alaaps and aakars, some sing more bolalaaps (bolalaap is the equivalent of neraval in carnatic music) The second part or third part is called madhyalay or drut khayal which could be in theenthal or ektal. Again depending on the gharana. This will be in medium speed and then transition to speed up to the faster speed, which is the drut.
The vilambit is a bandish which a fixed composition in a particular taal. The madhyalay and drut bandish are also fixed compositions in a particular taal. A bandish literally means to tie something together.
A bandish consists of two parts: the sthayi and the anthara. The sthayi has the wordings of the lower and middle range. The anthara has the wordings of the higher range above top SA.
I hope all of this helps as i have also had training in carnatic music and now for the past 7 years i have been training in hindustani music.
For anyone who wants to know, what samarthji sang in this case is first he explored raag bhimpalasi in aakar form. This is called anibadh alaap and it is sung without rhythm. He explored the lower range , the middle range and the upper range. The equivalent of this would be the raga alapanai of the carnatic music system. It took him a little more than ten minutes to do all of this. Next he did what is called "nom tom"
"Nom tom" uses syllables like "thananana"
"thananana" for improvisation. He explored raag bhimpalasi using such syllables. Again, he started in the lower range, slowly worked his way through the middle range, and up into the top range and back down again.
"Nom tom" is equivalent to the ragam thanam pallavi in the carnatic system. "Nom tom" is also sometimes sung as an attachment on to a composition called "tarana" which is the equivalent to the Carnatic thillana. Then, finally, samarthji sang the bandish called "balama." This is where the rhythmist joined in. And samarthji did lot of variations like bolalap( neraval in carnatic music) , alaaps, thaans etc.. And so, as you can, if you break it down, if you see the structure, you can see the similarities in both systems. What Samarthji sang is structured like a ragam thanam pallavi without the thani avarthanam. They don't have a thani avarthanam. And also after he sang his anibadh alap, he did not leave for the harmonuim artist to play a bit. He immediately went into "nom tom" So those are the differences.
@zorba the geek. you are correct. both hindustani music and carnatic music come from the samaveda. It is just that both systems are sung slightly differently. carnatic music is more bhakthi based and composition based whereas hindustani music is more raag based, hindustani compositions are shorter, carnatic compositions are longer, this is why improvisations are longer in hindustani recitals, hindustani artists will have a maximum of four or five pieces in their recitals whereas carnatic artists will have more pieces etc...
Beautiful rendition of one of my favourite Raags. Sublime!
Existence has showered maximum blessings for all performers involved in this rendition.Nothing can b said more than this.
Beautiful and poised Bhimpalasi, rendered sensitively - thanks to Samarthji and team.
Ram Kaushik i have been learning hindustani for sometime. So just to summarize what he has done first, he has sung alap without rhythm. Explored rag bhimpalasi. This is called anibadh alaap. It can last anywhere from 5 minutes to 25 minutes. Then he did what is called "nom tom" exploring raag bhimpalasi using syllables like
"thanana thanana" This is kind of like ragam thanam pallavi in carnatic music. Then he started the bandish. He started the bandish did some variations like bolalaap, ( bolalaap is equivalent to neraval in carnatic music)sang the bandish completely, did some more bolalaap, did some thaans, sped up, sang more thaans and wrapped it up. A bandish is a fixed composition in a fixed taal like teenthal, ekthal, rupakthal, jhapthal etc. A bandish literally means to tie something together. A bandish has two parts: the sthayi and the anthara. The sthayi consists of wordings of the lower and middle range. The anthara consists of wordings of the middle range to top SA and above top SA. There are different lays sung: ati vilambit, vilambit, madhyalay, drut, and ati drut. Usually artists start with vilambit and for vilambit they usually take taals like ektaal, a 12 beat cycle, vilambit teental, a sixteen beat cycle, jhoomra, a fourteen beat cycle, or tilwada, another 16 beat cycle, which is a variation of teental. It depends on their gharana. Gharana means lineage or style of singing. "Ghar" means house or home in hindi.
Then for madhyalay or drut, which is the second part of a presented raag, teental is usually chosen but sometimes ekthal is also chosen. Or jhapthal can also be chosen. For madhyalay and drut. The three major taals that are most common for hindustani classical are ektal which is a 12 beat cycle, teenthal, which is a 16 beat cycle and jhapthal, which is a 10 beat cycle.
Teenthal is adithalam, the closest thalam to jhapthal is khanda chaapu
I hope this information helps
Also you can consider anibadh alap an equivalent to the raga alapanai in carnatic music. I would say
I have also learnt carnatic music for many years and now i have been learning hindustani for many years
Repeatedly listened many time but couldn't get satisfied. Really beyond words to express. Bhimplasi at its peak.From eternal world.
Beautiful rendition and an exquisite nom-tom alaap !!
A typical hindustani concert will begin with what is known as the "vilambit khayal" or "bada khayal" "khayal" means urdu word for imagination. Vilambit means slow tempo. The bandish that is selected for "vilambit" could be set to ekthal, a 12 beat cycle, vilambit theenthal, a 16 beat cycle, jhoomra, a 14 beat cycle, or tilwada, another 16 beat cycle, which is a variation of theenthal. These taals are meant for singing vilambit. The artist will start with "anibadh alaap" which could last anywhere from 5 minutes to a half hour. Then, after finishing anibadh alap the artist will start the bandish and the rhythmist will join. And the artist has to maintain the taal in his/her mind while doing alaap, bolalaap, and come back to the sam. To do this, the artist will know the important parts of the taal like the sam, khali, thali and remember all this while he/she is singing. For example in ektal: beats 3 and 7 are the khali. in jhapthal beat 6 is the khali. in theenthal beat 9 is the khali. The first beat is always the sam of any taal. In vilambit ektal, beat 5 is 2nd thali, beat 9 is 3rd thali, and beat 11 is 4th thali. In vilambit theenthal beat number 5 is 2nd thali and beat number 13 is 3rd thali. And the artists will also know the tabla tekas. For example: the ekthal teka is
"din din dhaage thirakita thunakatha dhaage
thirakita dheena"
This is 12 matras and used in madhyalay and drut.
But in vilambit, each beat is subdivided into four parts. Therefore 12 into 4 you get 48 counts.
Theenthal is usually 16 matra. It is used in madhyalay and drut. The usual teka of theenthal is " dha dhin dhin dha , dha dhin dhin dha , dha thin thin tha ,tha dhin dhin dha. But for vilambit, if each beat is subdivided into four parts, 16 into 4 will give 64 counts. There is no fixed teka for vilambit theenthal. So, each tabla artist improvises based on his gharana school of learning. Same 64 counts for tilwada but the teka is different and it is a variation of theenthal. The teka for tilwada could be :
Dha thirakita dhin dhin dha dha thin thin tha thirakita dhin dhin dha dha dhin dhin
Jhoomra is 14 into 4 and gives 56 counts.
teka could be: dhin dha thirakita
dhin dhin dha ge thirakita
thin tha thirakita
dhin dhin dha ge thirakita
Therefore, these are the major thals used for vilambit. The artist might sing or play vilambit for at least 40 to 50 minutes. He/she will start with gradual slow aakars, aalaps, bolalaps, express the words, starting in the lower ranges and slowly working toward the middle range and then slowly toward the upper range all the way up to top SA. This will all be on the first part of the vilambit bandish, the sthayi. Once the top SA is reached, either by aakar or by bolalaap the second part of the bandish, the anthara, is introduced. Then the region around top SA in aakar, alaap, bolalaap, is explored. This includes top rishabh, top gandhar, top madhyam, top pancham etc... Then finish anthara fully and come back to sthayi and speed up a bit to either sing fast bolalaaps or fast sargarms. Many artists switch back and fourth between these. After these, sing thaans. And finish vilambit maybe with a tihai, ending three times. Then introduce the madhyalay or drut bandish immediately. This bandish could be in theenthal, ekthal or jhapthal a ten beat cycle. Usually this will be maybe 15 to 20 minutes or so. Usually this bandish will be very brisk. He/she will sing many variations in the sthayi finish singing the sthayi, sing some thaans maybe also sing some sargams in the sthayi, and then sing the anthara finish singing the anthara, sing some thaans in the anthara, maybe also sing some sargams in the anthara, and then come back to the sthayi, speed up sing some more thaans and wrap it up. This is how this piece will be. The whole thing vilambit and madhyalay/drut put together could be 50 to 60 minutes. After that, another madhyalay bandish, maybe set to jhapthal or rupakthal a 7 beat cycle, after the madhyalay bandish, maybe a thumri, and end with a bhajan. This is kind of the basic structure of a hindustani concert. Although there could some variations to this framework
To sing a raag in Hindustani music thoroughly, artists use different types of improvisational techniques such as anibadh alap, nibadh alap, bol alap, swar bhadath, behelawa, sargam, sargam taans, boltaans, taans, sargam, etc.. there are over 300 types of taans that can be sung or played. And artists also use different ornamental techniques like meend, gamak, khatka, murki, andolan, absolute, harkat etc to decorate the improvisational techniques that are used. It depends on the gharana as to which types of improvisational techniques and which types of ornamentational techniques are used. This is what makes Indian classical music so unique and beautiful. No artist will sing the same raag the same way every time. They will come up with new improvisations every time. This makes it interesting for a listener.
Beautiful.
Appreciation beyond words for all team members.Anand vibhor.
Hello my name is Mrs. Pallavisree Vasanth Tambraparni. This composition sung in raag bhimpalasi sung by Samarth Nagarkarji is absolutely beautiful. I can kind of explain what he has sung since i have learnt both the south indian system ( Carnatic system) and the north indian system ( hindustani system) of classical music. And i am continuing to learn advanced hindustani vocal and also some Carnatic vocal. First, Samarthji explored raag bhimpalasi by singing what is called the "anibadh alap." This could be equivalent the "raga alapana" in the south indian style( carnatic style). This is sung with out rhythm. The raag is explored in the lower, middle, and upper ranges. Aakar or the syllable "ah is used in the north indian style ( hindustani style ) to do this. "Tha" "dha" "ree"na" "now" "aa" are some syllables used to express raga alapana in the south indian style( carnatic style). These syllables don't mean anything. They are just used to paint a picture of the raag. Again, this is without rhythm.
Next, samarthji did what is called "nom tom"
"nom tom" uses syllables like
"tananana tananana". It has a somewhat rhythmic pattern to it. Using syllables like
"tananana tananana" Samarthji explored raag bhimpalasi , again starting from the lower range, moving to the middle range, and still moving to the higher range and making his way back down. "Nom tom" could probably be the equivalent of the "thaanam" of the
"ragam thanam pallavi" piece that is sung in carnatic music ( south indian music). "Thaanam" actually means "anandam"and syllables like "anomtha thaa nom tha tha nom tha nom thom tha "are used to express "thaanam" in carnatic music (south indian music). Again, "thaanam" is explored starting from the lower range, moving to the middle range, then to the higher range and then back down again. After "nom tom" Samarthji sang the bandish( a fixed composition in Hindustani classical music, north indian classical music) called " baalama." And in the bandish, he did lots of variations like bolalaaps(the equivalent to bolalaap in south indian classical music or carnatic music is called neraval), samarthji did alaaps, aakars, thaans, sang the full bandish, sped up, sang more aakars, more thans, and wrapped it up.
Bolalaap in hindustani classical music
( north indian classical music) means taking words of the bandish to improvise. Neraval in carnatic classical music
( south indian classical music) means taking a line of wordings to improvise.
The few differences are after his anibadh alap samarthji did not leave for the harmonium artist like carnatic artists leave for violinists. And there was no percussion solo or it is called " tani avarthanam" as hindustani artists don't have this concept whereas carnatic artists do this.
I hope this kind of gives a picture. If one attends concerts of both styles then one will get a feel of how each style is sung.
soul penetrating and from eternal world.Bhimplasi at its peak.Never heard such deepen like this before ,else than Abdul karim Khan Saheb.Sometime feeling of Fayaz Khan alao comes during the rendition.Heartiest greetings.Supriya ji's face expressions during rendring give more value to this performance.I salute all the performers.
gloria
It seems sometime Abdul Karim Khan Sahib is singing to some extent. Very sweet voice.
Also, hindustani musicians follow what is known as "raag samay" Meaning each raag is sung or played at a particular time. So, if you have a performance in the morning, then morning raags are played or sung. If you have a performance in the afternoon, then afternoon raags are played or sung. If you have an evening performance, then evening raags are played or sung. If you have a night performance, then night raags are played or sung. If you have late night performance, late night raags are performed. If you have early morning performance, then early morning raags are performed. This is because raags performed at their correct times will have the most greatest effects.
Hello. My name is Mrs. Pallavisree Tambraparni and i can kind of tell what samarthji has sung here. Hindustani classical music is gharana based and samarthji has rigorously trained in 3 gharanas: the gwalior gharana, the Agra gharana and the jaipur gharana styles of hindustani classical music. In this clip of raag bhimpalasi samarthji has shown the agra gharana style with the long "Nom tom" alaap in the beginning. The long "nom tom alaap is one of the hallmarks of the agra gharana. The "nom tom" alaap has four parts: the sthayi, the anthara, the sanchaari, and the aabhog. The sthayi part of the " nom tom" alaap explores the lower and middle parts of the octave, the anthara part of the "nom tom" alaap explores the higher part of the octave, both of these sections of the "nom tom" alaap are free flowing, the sanchaari part of the "nom tom" alaap brings in the rhythm, and the aabhog doubles in rhythm. Gamaks and other ornamentations can also be added in the "nom tom" alaap. The "nom tom" alaap is sung without tabla accompaniment. This can be up to ten minutes long or even longer. In this clip, Samarthji did "nom tom" alaap for a little more than 10 minutes. After the completion of "nom tom" alaap, it can either go into a vilambit composition or a madhyalay or a drut composition. Here, in this clip, after he finished "nom tom" alaap, i would say that samarthji sang maybe a madhyalay/drut composition. Not too slow and not too fast.
Very informative description.Thanks from all of my heart for passing this information .❤️ regards
Some artists might sing or play their second piece as madhyalay/drut piece. Then do another madhyalay piece and end with a bhajan in raag bhairavi. Other artists might sing or play their second piece as a madhyalay/drut piece, then sing a thumri for their third piece and end with a bhairavi bhajan. To show versatility. So any combination is possible.
beautiful
sorry i would say it is a vilambit/madhyalay composition. not a very slow vilambit composition that was sung after the "nom tom" alaap.