Presenting an aurally pleasing raaga - a simple, elegant raag Bhoopali (Bhopali or Bhoop) - I am a Hindustani vocal student, and find the Hindustani style of singing immensely calming. Needless to say the vast improvement in breath control with long singing techniques.
I would like to thank my Hindustani Guru, for her constant guidance and tutelage in accordance with the timeless musical tradition of Gwalior-Kirana Gharana.
Have always been drawn to Pentatonic raags - Bhoop (Mohanam in Carnatic) is one such raag which uses a pentatonic scale (5 ascending and 5 descending). Uses only shuddha swaras, and hence has an inane beauty and simplicity to its tone.
Thaat: Kalyan
Aaroh : Sa Re Ga Pa Dha Sa'
Avaroh : Sa' Dha Pa Ga Re Sa, (Dha) Sa
Pakad (signature phrase) : G R, S (D), S R G, P G, R S, (D) (D) S
P G D P, G R S,
( ) is for lower octave (mandra saptak) notes, ' denotes upper octave (taar saptak) notes
Vaadi: (Predominant sound) Ga Samvaadi (next of importance) Dha
Time (Samay) : 1st quarter of night (Late Evening/Early Night)
I will be singing a traditional Khayal bandish composed by Sadarang (originally Niyamat Khan). Niyamat Khan ji (1670-1748) was one of the pioneers of Khayals of Hindustani classical music and had composed many traditional bandishes and helped formulate the Khayal structure and establishing it to a large extent (along with his nephew Firoz Khan also called Adarang)
I am presenting a brief alaap, a bandish called Itan Joban Par Maan na kariye in Madhyalaya teentaal and also drut teentaal. Raag Bhoopali - A beginning alaap by swaravanshi Raag Bhoopali - Bandish in Madhyalaya Teentaal -Part 1 by swaravanshi Raag Bhoopali- Bandish in Drut Teentaal- Part2 by swaravanshi
Some of the Light songs I have recorded.
One of my favorites: Jyoti Kalash Chhalke, composed by Late Shri. Sudhir Phadke ji
I would like to thank my Hindustani Guru, for her constant guidance and tutelage in accordance with the timeless musical tradition of Gwalior-Kirana Gharana.
Have always been drawn to Pentatonic raags - Bhoop (Mohanam in Carnatic) is one such raag which uses a pentatonic scale (5 ascending and 5 descending). Uses only shuddha swaras, and hence has an inane beauty and simplicity to its tone.
Thaat: Kalyan
Aaroh : Sa Re Ga Pa Dha Sa'
Avaroh : Sa' Dha Pa Ga Re Sa, (Dha) Sa
Pakad (signature phrase) : G R, S (D), S R G, P G, R S, (D) (D) S
P G D P, G R S,
( ) is for lower octave (mandra saptak) notes, ' denotes upper octave (taar saptak) notes
Vaadi: (Predominant sound) Ga Samvaadi (next of importance) Dha
Time (Samay) : 1st quarter of night (Late Evening/Early Night)
I will be singing a traditional Khayal bandish composed by Sadarang (originally Niyamat Khan). Niyamat Khan ji (1670-1748) was one of the pioneers of Khayals of Hindustani classical music and had composed many traditional bandishes and helped formulate the Khayal structure and establishing it to a large extent (along with his nephew Firoz Khan also called Adarang)
I am presenting a brief alaap, a bandish called Itan Joban Par Maan na kariye in Madhyalaya teentaal and also drut teentaal. Raag Bhoopali - A beginning alaap by swaravanshi Raag Bhoopali - Bandish in Madhyalaya Teentaal -Part 1 by swaravanshi Raag Bhoopali- Bandish in Drut Teentaal- Part2 by swaravanshi
Some of the Light songs I have recorded.
One of my favorites: Jyoti Kalash Chhalke, composed by Late Shri. Sudhir Phadke ji
Dil Hoom Hoom Kare, Bhupen HazarikaJi's composition in Bhoop
