That vocal tension placed on madhya sptak Dhaivat and drut Rishabh brings spirit of Marwa so alive!
@ArchismanMozumder
8 ай бұрын
Agree. Also, the 'sam' on the madhya-saptak dhaivat is how the contour of this raag ought to be. Amir Khan was so proficient in singing this raag and placing the 'sam' on the mandra-saptak dhaivat that almost everyone adheres to his style now. Even Bhimsen Joshi's studio recording has him singing this very same vilambit bandish (as Gangubai's recording here) and applies the 'sam' in the mandra saptak. Another beautiful recording is that of Mallikarjun Mansur - Live At The NCPA (1981) where he sings 'piya moha anat des' (the bandish of Amir Khan's celebrated studio recording of 1960) and places the 'sam' on the madhya-saptak dhaivat in a magically impactful way.
@user-nq3sq6tx1x8 ай бұрын
दैवी आवाज,दैवी देणगी, पवित्र आत्मा. Divine voice,gift & soul.
@musicbliss14 Жыл бұрын
So so perfect Raag Marwa my God 🙏🙏. Exactly Dh M G re G M G re Sa. is the main “ chalan” of Marwa and how beautifully the bandish and her gayki is showing that. Awesome just awesome 👏 Maintaining the no or less sustain “ meend” gayki throughout. Pranam to her 🙏🙏
If Possible Please Upload Bhupali of Great Gangubai hangal ji..! It's a humble request from her greatest Fan..❤🙏🎭
@nipunshah7137 Жыл бұрын
Simple yet majestic approach to raag vistar! Goosebumps!
@ArchismanMozumder
Жыл бұрын
Completely agree. The most striking aspect of this recording is the placeemnt of the 'sam' on the 'madhya-saptak-dhaivat'. That gives the raag a restless nature. (Ustad Amir Khan's massive influence on vocalists, especially with his treatment of raag Marwa, has ensured that almost all recitals of this raag have the 'sam' on the mandra-saptak'. :) )
@foresthill8462
Жыл бұрын
@Archisman Mozumder ah, thank you for pointing that out. I was wondering why it sounded different from most Marwa renditions I've listened to 👍🙏
@ArchismanMozumder
Жыл бұрын
@@foresthill8462 Even her guru-bhai, Pt. Bhimsen Joshi, has rendered the same bandish with the 'sam' on the lower octave 'dha' (a la Ustad Amir Khan). On the other hand, there exists a compelling recording of Marwa by Pt. Mallikarjun Mansur, at the N.C.P.A., Bombay, in the mid 80-s. That recording has the traditional method of the 'dhaivat' on the 'madhya-saptak', despite the fact that the vilambit bandish is the same as Ustad Amir Khan's famous LP recording. :)
@ArchismanMozumder
Жыл бұрын
@@foresthill8462 Even her guru-bhai, Pt. Bhimsen Joshi, has rendered the same bandish with the 'sam' on the lower octave 'dha' (a la Ustad Amir Khan). Pandit Mallikarjun Mansur had rendered a compelling Marwa at the N.C.P.A., Bombay (early 80-s). That recording had the traditional method of the 'dhaivat' on the 'madhya-saptak', despite the fact that the vilambit bandish is the same as Ustad Amir Khan's famous recording ('piya mohe aanat des'.) :)
Пікірлер: 14
That vocal tension placed on madhya sptak Dhaivat and drut Rishabh brings spirit of Marwa so alive!
@ArchismanMozumder
8 ай бұрын
Agree. Also, the 'sam' on the madhya-saptak dhaivat is how the contour of this raag ought to be. Amir Khan was so proficient in singing this raag and placing the 'sam' on the mandra-saptak dhaivat that almost everyone adheres to his style now. Even Bhimsen Joshi's studio recording has him singing this very same vilambit bandish (as Gangubai's recording here) and applies the 'sam' in the mandra saptak. Another beautiful recording is that of Mallikarjun Mansur - Live At The NCPA (1981) where he sings 'piya moha anat des' (the bandish of Amir Khan's celebrated studio recording of 1960) and places the 'sam' on the madhya-saptak dhaivat in a magically impactful way.
दैवी आवाज,दैवी देणगी, पवित्र आत्मा. Divine voice,gift & soul.
So so perfect Raag Marwa my God 🙏🙏. Exactly Dh M G re G M G re Sa. is the main “ chalan” of Marwa and how beautifully the bandish and her gayki is showing that. Awesome just awesome 👏 Maintaining the no or less sustain “ meend” gayki throughout. Pranam to her 🙏🙏
Extra ordinary bold voice quality wah wah
One of the best Marwas ever!
@girishabs5745
7 ай бұрын
Hangalji singing + Appasaheb harmonium sangath, ofcourse Krishna hanagalji's vocal support. Very unique combination 🙏
Truly Legend , pranam .
If Possible Please Upload Bhupali of Great Gangubai hangal ji..! It's a humble request from her greatest Fan..❤🙏🎭
Simple yet majestic approach to raag vistar! Goosebumps!
@ArchismanMozumder
Жыл бұрын
Completely agree. The most striking aspect of this recording is the placeemnt of the 'sam' on the 'madhya-saptak-dhaivat'. That gives the raag a restless nature. (Ustad Amir Khan's massive influence on vocalists, especially with his treatment of raag Marwa, has ensured that almost all recitals of this raag have the 'sam' on the mandra-saptak'. :) )
@foresthill8462
Жыл бұрын
@Archisman Mozumder ah, thank you for pointing that out. I was wondering why it sounded different from most Marwa renditions I've listened to 👍🙏
@ArchismanMozumder
Жыл бұрын
@@foresthill8462 Even her guru-bhai, Pt. Bhimsen Joshi, has rendered the same bandish with the 'sam' on the lower octave 'dha' (a la Ustad Amir Khan). On the other hand, there exists a compelling recording of Marwa by Pt. Mallikarjun Mansur, at the N.C.P.A., Bombay, in the mid 80-s. That recording has the traditional method of the 'dhaivat' on the 'madhya-saptak', despite the fact that the vilambit bandish is the same as Ustad Amir Khan's famous LP recording. :)
@ArchismanMozumder
Жыл бұрын
@@foresthill8462 Even her guru-bhai, Pt. Bhimsen Joshi, has rendered the same bandish with the 'sam' on the lower octave 'dha' (a la Ustad Amir Khan). Pandit Mallikarjun Mansur had rendered a compelling Marwa at the N.C.P.A., Bombay (early 80-s). That recording had the traditional method of the 'dhaivat' on the 'madhya-saptak', despite the fact that the vilambit bandish is the same as Ustad Amir Khan's famous recording ('piya mohe aanat des'.) :)