Raag Hamsakinkini /Hansakinkini Self Composed Tintal. Tutorial coming soon. Shaam Aaye Naa Aaye [The evening of my Life may or may not come] Tum Aao More Shyaam [But my Lord you have to come to me] Ojal Naa Aaye [My life may not be lustrous] Tum Aao More Dhaam [But Lord, your presence is sought at my place] Shaam Aaye Naa Aaye Tum Aao More Shyaam Ojal Naa Aaye Tum Aao More Dhaam #hansakinkini #hamsakinkini #hamsakinkinimoumitamitra #hamsakinkinitintal #hansakinkinitintal #selfcomposedmoumitamitr
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Raag Hamsakinkini /Hansakinkini Self Composed Tintal. Tutorial co…
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Raag Shivranjani Tutorial. Chalan of Shuddha and Mishra Shivrajani discussed. Followed by Shivranjani in Jhaptal and same bandish in Mishra Shivranjani in Jhaptal. Till 9:23 Shivranjani Tutorial 9:24 Mishra Shivranjani Tutorial 15:47 Shivranjani Jhaptal 25:57 Mishra Shivranjani Jhaptal S R g P D S' . Vadi samvadi P S Nyaas on almost all swaras. A Kan of Shuddha Ma often used like P Mg- R MgPMg In Mishra Shivranjani almost all other swaras could be used, I have discussed their use. Only Komal Re
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Raag Shivranjani Tutorial. Chalan of Shuddha and Mishra Shivrajani di…
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Raag Parameshwari Tutorial. Chalan followed by a self composed bandish in Jhaptal. Raag created by Pandit Ravi Shankar. S r g M D n S' Vadi Samvadi M S In my opinion D r also suits. Nyaas on S r d Similar to Ahiri Todi sans P and Todi Ang(rgrS) Also similar to Carnatic Raag Natakapriya sans P. [Musician Ajit Damle ji mentioned it is same as Carnatic Raagam Alankar Priya] Jhaptal self composed Bandish Lyric Ub To Aawo Baalamwaa Tumre Sandes Naa Laaye Pathikwaa Pankh Lagaake Uri Jaau Bideswaa Naa
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Raag Parameshwari Tutorial. Chalan followed by a self composed band…
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Raag Bahaar Tutorial. Chalan, differences with similar Raagas like Suha, Sughrai, Sahana, Miyan Malhar discussed. Alaap followed by Tintal bandish. Kafi Thaat Ma Sa Vadi Samvadi S M P Nyaas Basant Ritu or Madhya Ratri ,n S g M P g M D N S'/ ,N S g M P g M n D N S' S' n P M P g M R S / S' n D n P M P g M R S PakaD S M P g M n --- D N S' Additional phrase with Re in Arohi D N S' R' g' R' S' Occasionally Komal Ni to reach Sa, mostly shuddha Ni is used. When both Ni-s are used in a phrase, n is made
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Raag Bahaar Tutorial. Chalan, differences with similar Raagas lik…
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Raag Asavari Tutorial. PART 1 Description of 3 kinds of Asavari followed by a Teentaal bandish in each variety. 1. Komal Re Asavari/ Asavari Todi 1:53 onwards Avroh similar to Bilaskhani Todi (differences discussed) S r M P d S' r' n d M g R S Bhairavi Thaat Dha Komal Re Vadi Samvadi 2. Asavari ( Shuddh Re) 16:23 onwards similar to Jaunpuri (differences discussed) S R M P d S' S' n d P M g R S Asavari Thaat Dha Komal Ga Vadi Samvadi 3. Asavari ( Two Re) 32:24 onwards similar to Two Rishabh Gandh
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Raag Hindol Tutorial. Chalan followed by Ektal Drut. Lyric from Kramik Pustak Malika originally in Tintal, recomposed in Ektal by myself. Kalyan Thaat S G m D S' / S G m D N D S' S' N D m G S Morning 1st Prahar. D G Vadi Samvaadi. Nyaas S G D occasionally m Ektal Drut Lyric Baran Baran ke Phule Phule Sakhiyaa Manbhaaye Lyaayeri Kaahuke Sees Motiyanko Sera Dujike Gar Sohat Mohan Maalaa #hindol #hindolmoumitamitra #hindoltutorial #hindoltutorialmoumitamitra #ragatutorialseries #ragatutorialseriesm
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Raag Paraj Tutorial. Chalan followed by an Alap and Teentaal Bandish. Aroh Avroh S G m d N S' S' N d P m P G M G r S Or ,N S G m P m d N S' S' N d P m P G M G m G r S ThaaT - Poorvi Poorvang Poorvi/KalingRa Uttarang Basant Vadi Samvadi S' P or G N Time: 4th Prahar of Night. 3-6 am Use of shuddha Ma - M is said to be either like Purvi or KaingRa Occasionally KalingRa like GM PMPM GMG used. Use of P and r in Avrohi phrases However some artists choose to use phrases like PdN or mPdN mPdP etc.. Usua
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