Indian Classical Jugalbandhi between Siddha Veena and Tabla
This #Jugalbandhi is what people come to see and #IHC #audiences got glimpse of the two greats coming together last evening at IHC #delhi. The #SiddhaVeena ( Localturnon #artist Siddhartha Banerjee ) and #Tabla (#Dipankar Das) set-up the perfect mood last evening with their awesome style of #Indian #Classical Music …of raagas and alaps and dhuns … leaving the audiences wanting more.
We @ #localturnon will eagerly await the next session from them . Video courtesy Madhav Sharmå
About Ragaas, Alaps and Dhuns
A raga is akin to a melodic mode in Indian classical music. While the raga is a remarkable and central feature of classical Indian music tradition, it has no direct translation to concepts in the classical European music tradition.Each raga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to “color the mind” and affect the emotions of the audience.
A raga consists of at least five notes, and each raga provides the musician with a musical framework.The specific notes within a raga can be reordered and improvised by the musician, but a specific raga is either ascending or descending. Each raga has an emotional significance and symbolic associations such as with season, time and mood. The raga is considered a means in Indian musical tradition to evoke certain feelings in an audience. Hundreds of raga are recognized in the classical Indian tradition, of which about 30 are common.Each raga, state Dorothea E. Hast and others, has its “own unique melodic personality”.
There are two main classical Indian music traditions, North Indian (Hindustani) and South Indian (Carnatic), and the concept of raga is shared by both. Raga are also found in Sikh traditions such as in Guru Granth Sahib, the primary scripture of Sikhism. Similarly it is a part of the qawwali tradition found in Sufi Islamic communities of South Asia. Some popular Indian film songs and ghazals use rāgas in their compositions.
The alap is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised (within the raga) and unaccompanied (except for the tanpura drone), and started at a slow tempo.
Instead of wholly free improvisation, many musicians perform alap schematically, for example by way of vistar, where the notes of the raga are introduced one at a time, so that phrases never travel further than one note above or below what has been covered before. In such cases, the first reach into a new octave can be a powerful event.
In instrumental music, when a steady pulse is introduced into the alap, it is called jor; when the tempo has been greatly increased, or when the rhythmic element overtakes the melodic, it is called jhala (dhrupad: nomtom). The jor and jhala can be seen as separate sections of the performance, or as parts of the alap; in the same way, jhala can be seen as a part of jor.
A Antarikhya (Hindi: Dhun , literally “tune”) is a light instrumental piece in Hindustani classical music. Although it may be played in a raga, or mode (often light ragas such as Khamaj), it is more freely interpreted and may incorporate foreign notes (vivadi). A Antarikhya may be based on a folk tune or a religious, bhajan-type song, or even a filmi song.
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