Miscellaneous
Learning a new raga and bandish is a very exciting moment for any "shishya" or learner. Especially in north Indian classical music, also termed as Hindustani classical music, the granular study of shrutis is very crucial, and of equal importance, is the proper use of musical embellishments - like meend, kan-swar, khatka, murki, gamak, besides many others. Only by way of the "Guru-shishya parampara", the deep essence of Indian classical music is revealed, or can be truly experienced first-hand. Within the Gwalior-gharana, an inordinate amount of emphasis is placed on constantly strengthening the voice of the learner, and developing it in a manner, that he or she can easily, and in a very pleasing manner, transverse the three octaves. Building upon this strong vocal foundation is very important. The above video-clip, was filmed by a non-native student of mine, from the Far-East, whilst I'm teaching her a very popular and traditional age-old afternoon raga - Raga Bhimpalasi. The bandish is set to "teen-taal" which is the most famous amongst all the others. In this, one can notice the step-by-step, or progressive development of a particular musical nuance, corresponding to it's overall importance within the rehearsed musical piece. Sthayi Ja ja re apne mandirva sun pavegi saas nanadiya Antara suna ho sadarang tumko chahat hai kya tum hamko chhagan diya Glossary for the applied Hindi vocabulary / phraseology : bandish - composition or song shrutis - microtones shishya - student Guru shishya parampara - denoting the sacred master-disciple relationship in traditional Hindustani music learning Gharana - denoting a said musical tradition, or form, or style of music, typically passed down through several generations of musicians; and by convention, prefixed by the name of the city or place, it originates from or belongs to.