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Christianamr

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Reply with quote  #1 
One of my favourite vocal styles are Taranas , so this topic will be dealing with different renditions for a specific raga , lyrics , vocalists ...

I

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David Russell Watson

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Reply with quote  #2 
Quote:
Originally Posted by "Christianamr"

[edit]

This one is quite mellow and relatively easy to follow ( still , anything in Poorvi thaat will be difficult to sing along ... )
Just curious, but why do you say that anything in Purvi that will be difficult to sing along with?
Quote:
Originally Posted by "Christianamr"

[edit]

Does it not sound very similar to the second tarana in Puriya Dh. ( except for the shuddha ma ) ? I even feel that the second tarana in Puriya Dhanashree sounds more similar to the Basant tarana than to the first Puriya Dh tarana ....

I might also be wrong , and the second tarana has a way of rendering Puriya Dh , which I am not aware of ; rather than suspecting it is a kind of Basant ...
There's a fine line between many rags, and some less-than-great musicians might not always keep the distinctions as clear as we would like

You might enjoy Parrikar's nice article on the Purvi group and the important distinctions between its members, at http://www.parrikar.org/hindustani/poorvi/

David
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Christianamr

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Reply with quote  #3 
Quote:
Originally Posted by "David
Just curious, but why do you say that anything in Purvi that will be difficult to sing along with?
It

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David Russell Watson

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Reply with quote  #4 

It
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jaan e kharabat

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Reply with quote  #5 
If you want my advice, you should stick with the NHK rendition. He was a tarana expert and an obvious all round master, so he's raagdaari wouldn't be questioned.

Try to cull the basic form of the bandish from the recording, side stepping the pyrotechnics as best you can, and work on that. I'm sure it will be a rewarding experience, if a difficult and painstaking one.

Concentrate on the passage from 0:33 - 0:48, where he sings the asthayi in its entirety for the first time.

As far as I can make out, the bols go something like :

ta na na na na na (starts on 10th matra and has a basic descending feel of P G rr SS)

biya biya (starts on sam)

o daani daani ta de

ta de re tadre daani

na dir dir daani tum dir dir dani

NB: something crashed on my computer and I lost my audio. I'll try to get back to this when I sort that out...

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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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Christianamr

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Reply with quote  #6 
Quote:
Originally Posted by "jaan
If you want my advice, you should stick with the NHK rendition. He was a tarana expert and an obvious all round master, so he's raagdaari wouldn't be questioned.

Try to cull the basic form of the bandish from the recording, side stepping the pyrotechnics as best you can, and work on that. I'm sure it will be a rewarding experience, if a difficult and painstaking one.

Concentrate on the passage from 0:33 - 0:48, where he sings the asthayi in its entirety for the first time.

As far as I can make out, the bols go something like :

ta na na na na na (starts on 10th matra and has a basic descending feel of P G rr SS)

biya biya (starts on sam)

o daani daani ta de

ta de re tadre daani

na dir dir daani tum dir dir dani

NB: something crashed on my computer and I lost my audio. I'll try to get back to this when I sort that out...
Sorry for the late reply .
I wanted to thank you for taking the time for kindly writing down the sthayi and also for your advices .
It has helped me concentrating on the essentials and slowly working myself forward in this masterpiece .
You are right about his raagdaari , I just don

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Christianamr

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Reply with quote  #7 
Unnecessary double post :? :roll: :arrow:
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Christianamr

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Reply with quote  #8 
Quote:
Originally Posted by "David
No. What I mean is that not all musicians are perfect, and so not every performance of rag Puriya Dhanashri, for example, is going to be as perfectly delineated from rag Vasant as might be ideal. So it's not necessarily a matter, as you wondered, of your hearing an unknown version of P. Dhanashri, or Vasant, or whichever rag it was.
Your explanation works for me .
I might not be doubting these musician

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Christianamr

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Reply with quote  #9 
Quote:
Originally Posted by "AsianGirl"
Here's another Puriya Dhanasri Tarana:
Thank you for contributing , AsianGirl .

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Christianamr

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Reply with quote  #10 
I
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Christianamr

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Reply with quote  #11 
Quote:
Originally Posted by "ZauyaHayaath"
Here's a lovely Tharaana of the Raag Yaman Kalyaan:
...
Thanks for this nice addition .!
This item sounds like molded as an accompaniment for a Kathak dance . Some nice overlappings from one bar to the next .

Speaking about the raag , I know that there are different nomenclatures . What some peolpe call Yaman , others call Yaman Kalyan .
I use the one treating Yaman Kalyan with both Ma

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Christianamr

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Reply with quote  #12 
Looking for a Tarana in raag Desh , this one by Pakistani singer Fareed Ayaz and party was the one I liked most :



Since they are mainly Qawwali singers , this energetic style is highly felt in this rendition , unlikey the Khayal style of rendering Taranas .

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Christianamr

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Reply with quote  #13 
While looking for a tarana in Patdeep , this one by Shruti Sadolikar is almost the only one that comes up in the search results :

Ektaal , second part of the tune :
http://mio.to/#/album/183-Classical_Hindustani_Hindustani_Special/24864-Afternoon_Ragas_Vol_3/

It

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Christianamr

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Reply with quote  #14 
Rageshri tarana by Ud Yunus Hussain Khan :

http://mio.to/#/album/24-Classical_Hindustani_Vocal/35815-Darpan_Vol_2/

It

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