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HINDUSTANI MUSIC
TEACHING & CONCERTS
a) India’s Ancient musical string Instrument RUDRA
VEENA. Dhrupad and Khayal Style
b) SITAR
TEACHING
Hindustani Music (North Indian Music)
History of Hindustani music
Theory of Hindustani music
Tal’s of Hindustani music
RAGAS of Hindustani music
Alap, Jor, Jhala of Hindustani Ragas on musical string
instrument.
Gat’s of verios Ragas (Fix compositions) on musical
string instrument.
A Study of 22 srutis, microtones, A circle of one saptak
or scale.
CONCERTS
We take booking the dates of concerts of Pandit Hindraj
Divekar.
One of the oldest North Indian musical Instrument in
India, and certainly one of the biggest string instruments
world wide known as RUDRA VEENA
As well as SITAR. |
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| TEACHING , CONCERT and RECOMMENDATIONS |
a) Khayal styale,Raga Kedar. Tal.Zaptal
.10 beats.
|| Shiva Shiva Mahadeva ||
|| Jata Juta Mathe ||
|| Chandra Biraje || Dhru||
- Antara-
|| Kanan Kundal,Gale Visal Mala ||
|| Hatha Trishul Saje || 1||
________________________________________
Shree Ekanathji Pandit,collection,Traditional Khayal.
Raga-Shankara.
|| Aad Mahadeva Been (Rudra Veena) Bajai,||
|| Pai Nyamat Khan ||
|| Sadaranga Kara Karam Dikhai ||
The composar of the khayal styale respected shree
Sadaraga and Adaranga
wrotte meny Chijas (verses) in Hindustani Music
system,in that shree
Sadaranga alias Ustad Nyamat Khan is admiting in
this above verses,that he
has received this Been Vidya from direct Mahadeva
Shiva.
_____________________________________________
OM
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Nada bramha
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Ahat Nada Anahat Nada
(Human can here this nada) (Rishi and Muni
Can here this nada
Sruti ( micretones)
Swar (Notes)
Sapatak
That
Raga
This is the tradition of our Hindustani Indian music. |
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b) DRUPAD STYLE:
dhrupad style and what is khayal style.
Dhrupad Style--------
Earlier the sankrit Prabhandhas were gradually replace
by those in the braja Bhasha (the launguage of the
people of north india) and these ,when set to music
in particular style,came to recognized as dhruvapadas(Dhrupads).This
style was brought in to prominence by NAYAK BAIJU,who
flourished at the court of king of Gujarat ,from
where he was brought to delhi by emperor Humayun.
Another nusician who was responcible for
popularasing this style was Swami Haridas,the femous
saint ofbrindavan,and the teacher and guru of the
great Miya Tansen.it is said that hundreds of the
dhrupads were compose by him and other saints.
In the court of Akbar there were four great dhrupad
musicians. as well as Musician Lalkhan, and swami
Jagannatha.
1) Tansen 2)Braja chand 3) Raja samokhan Singh 4)
shree chand Rajput. there are four prevalent varities
of dhrupad .
1) Gobarvani 2)khandarvani 3) dagurbani 4) Nohar
vani .
A dhrupad singer or instrument player is mostly
accopanied by percussion instrument called Pakhawaj
or mridang.(The father of tabala instrument you
can say).
some of the rhythms employed in the exposition of
dhrupads are Choutal or chartal (12 beats), Dhamar
(14 beats), Tivra or Tevara (7 beats),Surfakta or
sultal (10 beats), Mattha (9beats), Fardost (13
beats) , Rudra Tal 17 beats),
The usual method of presentaion is to sing or play
the composition in varying tempo like the double
and treble of the original tempo and some times
even in quadruple,with adornments of bol-taans and
gamak-taans.
Dhrupad containning frivolous or romantic themes
were not considered worthy of presentation in an
august assembly however high poetic content of the
songs.
There is style Hori set to time with a rhythm of
14 beats known as DHAMAR. hence this style is usually
known as dhamar. Dhamar is generally sing or play
after dhrupad.
another information about dhrupad.----------
Raga presentation in the dhrupad format consists
of two distinc parts.
The first Alap,in three /four tempo,unaccompanied
by percussion.
in instrumental music ,this format corresponds
to Alap,.Jod ,jhala.
The second part is set composition words for singing,
or fix compostion Gat in Chautal,(12 beats),and
accomapanied by pakhawaj, |
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c) KHAYAL STYLE----------------------
Khyal is an arabic word and means "thought"
or "impression",or imagination.
The presentation of raga subject could be more
appropriate and appealing.To sung or play with
innermost feelings of the heart,with more charming
and gracefull,it created to suit the divine peace
,tenderness,the delicasy,passion,pathos,and of
course with love or joy happy ness, this expressed
in the poetry of the song or express your this
innermost feelings with intsrumetal rudra veena
divine notes of lord shiva. the themes of khayal
therefore recount a variety of episodes in her
personal
life,her entreaties to her lover,her balam, her
sajan,her piya, her saiya,her loving sakhi,who
constantly by her side,and to whom alone she could
open her heart , of course with shiva and parvati
who has made this all universe BRAMHAND,in the
wording of poetry.
The khyal tradition is started from Sadarang,and
adarang,and other musicians wrotte hundreds of
verse composition is called chija,in hindustani
music.
Today khayal is more popular,than dhrupad.
khyal is presenting the raga,and accompaned with
percussion instrument known as Tabala.(The son
of the pakhawaj you can say) in the khayal catagery,there
are also tarana, tappa, thumari,and then minor
modes are dadara , sawani ,kajari ,chaiti, hori.
in istruemtal music Rudraveena (The father of
sitar you can say ) is following the same method
to present a raga with imagination and inner most
feelings, evry time new idea for presenting the
raga in the following manner
just like ---Alap,jod, and jhala, this is also
without percussion instrument known as tabala.
The second of part of rudraveena khayal style,the
fix composition Gat,with accopanied by Tabala,
The fix composition Gats are in the talas,just
like, Tintal (16beats),Dadara 6 (beats),Ektal
12 (beats),Zampa or Zaptal (10 beats),Rupak (7beas),matta
tal (9 beats),and other talas.
in last century late Ustad Bande ali khan started
this style ,his time is 1830 to 1895.He was playing
dhrupad style as well as khyal style.The same
style of khayal he taught to his students .same
tradition contuneied by late Krishnarao kolhapure,and
my father and myself.and other rudra veena players
was also playing khyal style,you can refer my
book. |
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d) RECOMONDATIONS.
RECOMMENDATIONS TO THE READER.
Yes i would like to give my recommendations to
the reader.
a)To give the liveness to Rudra Veena musician.(Preservation
of musician
first).
b)To give economical suport to musician for musicians
life in todays very
costly economic policy of the Government,for preserva
the musician ,so
please arrange the Live concerts (Because Pt,Hindraj
Divekar records are not available in
todays world market) very rare sound of Rudra
Veena KHYAYAL STYLE ,Listen this most
valuable very deep ancient sound,for your meditation
and peace for your mind
and for world,and glorry of the ancient sound
Lord Shivas instruments Rudra
Veena.
c) To promote and progate,this vanishing instrument.
To give sponcership and economical suport to student
s and peoples to learn this instruemnts and arranging
sponcership and funds for Rudra Veena concerts,or
workshop,or
teaching in their city and their country to the
people where they are
living.
d) To save the most valuable divine ancient sound
of Pt
Hindrajs Rudra Veena (KHAYAL STYLE) on this divine
and peacefull and beautifull planet,and
popularise,private and personal leval, through
todays very vast and fast
media,CD,DVD,VCD.
in the todays internatinal market.
Contact information for above recommendation items,
Pandit Hindraj Divekar.
82 Budhwar peth,Ramsukha Tulasi,
3rd floor,Flat no.301-302,
Near Ganapati chowk,Laxmi RD.
Pune 411002.M.S.India.
Tel.+91-020-24458026.
Webside: www.hindrajdivekar.org
E.mail : info@hindrajdivekar.org
hindraj_divekar@hotmail.com
pthindraj_rveena@yahoo.com |
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