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Kishan Patel
Приєднався 30 тра 2011
Rāga Alhaiyā Bilāval | Dhrupad | Surbahar | Kishan Patel
With the guidance of my guru, pt. Arijit Mahalanabis, this year I began the study of the beautiful instrument, the surbahār. This is my first attempt to perform a full piece, starting with the first rāga I studied as a vocal student. Please forgive all mistakes, and I hope you enjoy!
Presenting Rāga Alhaiyā Bilāval in the Dhrupad style on the Surbahar.
This presentation includes a full ālap, joḍ, and jhāla followed by a bandiś set to tāla cautāla. The composition comes from Kramik Pustak Mālika.
lyrics of the composition:
āja ko singār subhag sānvare gopālju ko
kahat na ban āve, dekhahī ban āve rī
bhuśan basan bhānti bhānti, ang ang adbhuta klāntī
laṭapaṭī sudes pāgh, citta ko curāve rī
makar kundal tilak bhāl, kasturī atī rasāl
citavan locan vishāl, kotī kāma lajāve rī
kanṭha sirī motīn māl, pheṭā kaṭī jhari dusāl
chabi nirakh nirakh ālī rī, dhiraj man lāve rī
Presenting Rāga Alhaiyā Bilāval in the Dhrupad style on the Surbahar.
This presentation includes a full ālap, joḍ, and jhāla followed by a bandiś set to tāla cautāla. The composition comes from Kramik Pustak Mālika.
lyrics of the composition:
āja ko singār subhag sānvare gopālju ko
kahat na ban āve, dekhahī ban āve rī
bhuśan basan bhānti bhānti, ang ang adbhuta klāntī
laṭapaṭī sudes pāgh, citta ko curāve rī
makar kundal tilak bhāl, kasturī atī rasāl
citavan locan vishāl, kotī kāma lajāve rī
kanṭha sirī motīn māl, pheṭā kaṭī jhari dusāl
chabi nirakh nirakh ālī rī, dhiraj man lāve rī
Переглядів: 5 747
Відео
Dhrupad - A brief introduction
Переглядів 6913 роки тому
This video was made for New Jersey based organization 'Raag Rang' for their annual winter showcase. This year, the theme was "Sangeetayan", an online interactive event which featured many forms of music from India, presented by artists based in the USA. I am thankful to Vidushi Mitali Bhawmik for giving the opportunity to share this introduction to Dhrupad for this event.
Dhuni Re Dhakhāvī - Gujarāti Bhajan
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This bhajan was recorded for MaitreePDX's online event called "Sur Bandhan". This event was an online event, featuring artists local to Portland, OR as an effort to raise funds to aid those impacted by cyclone Amphan in West Bengal, India. Proceeds from this event went to non-profits 'Mukti' and "Antyodoy Ananth Ashram". Bhajan Title: Dhuni Re Dhakhavi Beli Voice, Esraj, Harmonium, Tabla, and P...
Rāga Des - Nom-Tom Ālāp
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In a concert hosted by the prestigious Kalakendra Performing Arts organization in Portland, OR, Kishan Patel presented a nom-tom ālāp in rāga Des.
Rāga Sohini - Khayāl
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In a concert hosted by the prestigious Kalakendra Performing Arts organization in Portland, OR, Kishan Patel presented a khayāl in rāga Sohinī. The rendition features two bandiś' - 'Āvana Kahe Gaye', a traditional dhrupad bandiś in tāla jhaptāla composed by 'Tānsen', and 'Druma Druma Latā Latā', a choṭa khayāl in tāla tīntāla composed by Ustād Faiyāz Khān.
Rāga Bāgeśrī - Khayāl
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In a concert hosted by the prestigious Kalakendra Performing Arts organization in Portland, OR, Kishan Patel presented a khayāl in rāga Bāgesrī. The rendition features two bandiś' - 'Sakhī Man Lāge Nā', a traditional baḍā khayāl in tāla tilvaḍā, and 'Gūndh Lāvorī Mālaniyā', a traditional choṭa khayāl in tāla tīntāla. This version of the choṭā khayāl comes from renown ...
Rāga Gaganvihang - Bandiś
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In a concert hosted by the prestigious Kalakendra Performing Arts organization in Portland, OR, Kishan Patel presented a bandiś in rāga Gaganvihang. This rāga is a creation of Pt. Dinkar Kāikinī, renown singer of the Āgrā Gharānā. The rāga is a combination of five rāgas - Bihāg, Sāvanī, Nand, Mānḍ, and Jhinjhoţi. The bandiś - 'dekhat mukha candra cakor' is also his composition.
Rāga Mālgunjī - Khayāl
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"An Evening of Hindustani Raga Sangeet" was an event co-hosted by the York Indian Cultural Association and the Society for Indian Music and Arts - Harrisburg. Here, Kishan Patel sings Raga Malgunji accompanied by Hari Padmanabhan on violin and Meghashyam Keshav on tabla. A very special thanks to the Thatte-Pendharkar Family for hosting this event.
Rāga Yaman - Khayāl
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"An Evening of Hindustani Raga Sangeet" was an event co-hosted by the York Indian Cultural Association and the Society for Indian Music and Arts - Harrisburg. Here, Kishan Patel sings Raga Yaman accompanied by Hari Padmanabhan on violin and Meghashyam Keshav on tabla. A very special thanks to the Thatte-Pendharkar Family for hosting this event.
Rāga Bhimpālasī - Nom-Tom Ālāp
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Presenting a Nom-Tom alap in Raga Bhimpalasi. This was performed in a baithak that took place in Hamilton, Ontario. Harmonium Sangat was provided by Shri Raya Bhide.
Rāga Parameshwarī - Nom-Tom Ālāp
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A presentation of Rāga Parameshwarī by Kishan Patel at a program hosted by the Indian Classical Music Society of Vancouver (ICMSV) as a part of their Baithak Series. The rāga was presented through a Dhrupad style Nom-Tom ālāp. Accompaniment was provided by: Akhil Jobanputra on Harmonium Sunny Matharu on Tabla Peter on Tanpura
Rāga Naṭ Bhairav - Khayāl
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A presentation of Raga Nat Bhairav by Kishan Patel at a program hosted by the Indian Classical Music Society of Vancouver (ICMSV) as a part of their Baithak Series. The presentation opens with a traditional Bada Khayal which was originally in Raga Bhairav, and retuned in Raga Nat Bhairav by Arijit Mahalanabis. The Chhota Khayal is a composition of the Agra ustad, Ustad Yunus Hussain Khan. Accom...
Congratulations
❤very sweet raga, Bilawal. Peace in dhrupad, surbahar and Blawal combination. . Thanks to the performer.
Beautifully played!! You are a great inspiration to me!! It's my dream to play the Surbahar!
@KishanPatelVox if this was your first recording in Surbahar, I would say that is par excellence. I won't comment on the Raga Development, just that the tonal structure seems to be fluid and natural, with minimum deviation and the handling of microtones seems to be fair. Carry on brother. We expect great things from you.
great bhai. kindly regards.
I have a technical question: Does anyone know why most surbahars have only 11 tarab strings? Is it just tradition? It looks like it can hold more, similar to sitars. Although this one appears to have 12???
Such a beautiful raag. Very meditative, and you took the time to let it develop in a natural way. I’m no expert in Hindustani classical music, but from what I can tell, if you’re not considered a master yet, you’re well on your way!
Nice.... But we call it Madhya Alap...
Admire the effort, no appreciation is enough for dedicating oneself to Surbahar and pursue it sincerely. I am sure you will develop greater depth and maturity with time and listening diverse kinds of music. You have great potential and promise, I will keenly follow your performances and progress. Nothing would be more rewarding to witness a budding star to become a stalwart in Hindustani Classical Music in this era.
Rasa Rishi
you are an inspiration for all of us!
I am atheist ,I feel like I am praying!
Excellent!
Majestic Alap , Devine rendering , pranam .
Excellant presentation , regards .
More surbahar please!
Very beautiful Kishan. I have lately been listening to a lot of Dhrupad, and it is great to see its continuation through the younger generation.
Thank you for this beautiful rendition!!!!☺❤🙏
more surbahar, please-wonderful!
One of my favorite raags
Kishan beta- your dedication and perseverance to music is admirable. Your presentation of rag Alhailya Bhilaval on Surbahar was truly mesmerizing. Your natural musical abilities and years of learning from your Guruji -Pt. Arijit -ji have made you in to a master performer with a very bright future. My namaskar to Arjit-ji and love to you!
Very well presented Alhaiya Bilawal. Kudos to Kishen Patel for playing both - Surbahar and Pakhawaj with equal ease.
Kishan ji - Your dedication and spirit to losing yourself in this instrument is inspiring. I kept on listening for like 30 minutes while working at my laptop and now it echoes in my mind. That's the power of music. Divine!!
Beautiful rendition. Amazing clarity in some tough meend work on a tough instrument. The depth of your training shines through. Wow keep it up. What an inspiration.
Wouldnt have been possible without your help!
Bhav well maintained
Good
Very meditative nom-tom alap.
Your thaap is v authentic on pakhawaj. I wonder whether your approach to playing performance is based on intuition of how to accompany , or do you find time to explore rela/paran etc in prep for accompaniment ? I think it helps greatly when you know the bandish being sung in and out right ?
Thank you for your kind words! I am not a trained pakhawajiya, but the latter is what applies to me - My taalim in singing dhrupad paired with guruji's guidance on what ought to happen has molded my mentality on sangat. Lots of thorough listening across different dhrupad genres and pakhawaj styles, finding what is aesthetic to me, thinking about what makes sense as per the gayaki of dhrupad I am adhering to, etc. is what has helped me. I look forward to learning more repertoire on pakhawaj to further learn more and develop my playing more! As far as knowing the bandish, in this regard dhrupad and carnatic music (ought to) have this in common. There are different schools of thought on mridangam accompaniment (playing to the composition vs a sarvalaghu predominant accompaniment). I don't think the science of sangat on pakhawaj has been formed as thoroughly. In the style of dhrupad that my guru has developed, knowing the composition is not necessarily a requirement, but definitely a boon. Pakhawaj sangat of bandishes ought to follow the topography and energy of the bandish as it progresses from line to line, whether its two lines per verse or 6-7! Pakhawaj players ought to be aware of composition topography and be able to build and release energy with the vocalist, which is the true essence of the word 'sangat'. But basically, yes, in my case, since I know the bandish as a vocalist, it definitely helps me accompany the bandish much more effectively.
Great😍👌
Beautiful. Can you upload the drut bandish too (Sarasa Sugandh)?
Can you pl upload the entire recording
વાહ! ખૂબ સરસ પ્રસ્તુતિ
So good.
I had missed this one when you published it. Beautifully done Kishan. Thanks for sharing.
Bhai Ji premanand ji ka kuch sunaiye. Dhrupad/dhammar hindola ke pad, ityadi.
I apologize for the very delayed responses I am typing, but I would encourage you to check out the work of Sahajanand Gaave. Beautiful work being done on the bandishes written by the paramhans's.
I'm in love with this... i first heard this bhajan sung by Khursheed Nurali and Shamshu Jamal, who later taught me this bhajan... Kishanbhai you have brought an entire new feel to this! stay blessed bhaiyya.
This is sickk man !!
So beautiful, Kishan!
Natural swagger! Kudos
Beautifully done.
This is soooo sweet, Kishan! :)
Sir ati sundar..sir nom tom riyaz mein kya shabh bolte hai kaise bolte hai is par plzz video
Aap ko dhrupad ke baare me aur jaankari chahiye to ye video dekhiye: ua-cam.com/video/ciRiRbzpSYI/v-deo.html Mere Guruji ne Dhrupad vishay pe do din ka lecture kiya hai, usme saari jaankari aapko milegi.
Excellant presentation , regards .
Beautiful Sohini rendition. It was a privilege to hear you live in Portland. :)
One small observation: the lyrics are बन मी चारवंत 'गैय्यां' and not 'दैय्या'
Himanshu Koshe Namaste Himanshuji, depending on the source, the word goes between daiya and gaiya. While studying the raga I’ve heard both used, and while searching for sahitya I have come across books which also use both. Perhaps both are okay to use as in different situations, both words have been used to refer to cows? Thank you for your input!
@@KishanPatelVox Thanks for your response. I made the observation as I have learned it as gaiyyan. Thanks for sharing the details - always learning something new everyday :-)
Data west time west, come to the point
vivek roy ?
Very beautiful sir
Thank you sir