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Rubabnawaz

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Reply with quote  #16 
Quote:
Originally Posted by "evening84"
Quote:
Originally Posted by "pbercker"

See if you can better make out the vocals in this possibly clearer version (a zipped mp3 file).

http://www.mediafire.com/download.php?gx3chx9fv4p18qo

Pascal
Thanks Pascal - that helps a bit.
What I heard as XXXXX is now 'aage yyyy bhi hai' - which makes sense in the context.
[Yes - there is Malkauns here. And further along, there will also be yyyy']

yyyy is still unlcear. I hear it as yamak - which does not make sense.
Could be gamak (a vocal ornamentation) perhaps.
Or yaman, less likely, as I do not hear any yaman.

May leave it at that for now. The point is that the lehra embodies flavours of multiple ragas and vocal nuances and is kept fresh throughout the performance.
Hello, im new to this forum and just stumbled upon this thread, thanks very much for this beautiful recording!!

@evening84
what i hear in the questioned part is "arohi amrohi hai"
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jaan e kharabat

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Reply with quote  #17 
Quote:
Originally Posted by "evening84"
Quote:
Originally Posted by "pbercker"
I've listened a bit more carefully but all the changes I hear, at least at the beginning vs. later on is a change in speed of the lehara, but a relatively small change if I've got that right.
Pascal
You are right in that the contour and speed of the melody is the same overall. Take the cycle from 2:45 to 3:00 - it is easy to hear the elaborations that are markedly different. And that happens quite often throughout, albeit more subtle. It is a lehera with life is what I mean to say.
It's pretty much his standard, favourite 'Chandrakauns' lehra with a touch of komal ni on the 8th matra.

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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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pbercker

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Reply with quote  #18 
Quote:
Originally Posted by "jaan
It's pretty much his standard, favourite 'Chandrakauns' lehra with a touch of komal ni on the 8th matra.
I could never have noticed "a touch of komal ni" on my own ... but I'm glad you observed that it is basically the same Chandrakauns that he almost always uses, and pretty much everyone else seems to use (or overuse!) as well.


Pascal

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My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.
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jaan e kharabat

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Reply with quote  #19 
Quote:
Originally Posted by "pbercker"
Quote:
Originally Posted by "jaan
It's pretty much his standard, favourite 'Chandrakauns' lehra with a touch of komal ni on the 8th matra.
I could never have noticed "a touch of komal ni" on my own ... but I'm glad you observed that it is basically the same Chandrakauns that he almost always uses, and pretty much everyone else seems to use (or overuse!) as well.


Pascal
I wasn't reply to you, I hope you understand.

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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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pbercker

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Reply with quote  #20 
Quote:
Originally Posted by "jaan

I wasn't reply to you, I hope you understand.
I completely understand that ... my comment is strictly and genuinely appreciative!

Pascal

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My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.
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evening84

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Posts: 513
Reply with quote  #21 
Thanks RubabNawaz and JeK.
"Aroh-Avaroh hi hai" also makes sense in the context.
Chandrakauns with a touch of komal Ni is what it is.

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http://evening84.blogspot.com/
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hbajpai

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Posts: 892
Reply with quote  #22 
For the collectors, I found some more information about this recording that may be useful for your archives.

The recording date is 1958. It was recorded by Master Krishnarao at his residence on his 60th birthday.
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