What a serene presentation! The composition gets over very quickly ! May be there was a time constraint, otherwise, he would have played alaap, jod zaala for a longer time !!
Didn't know this Raag was so prevalent. Can anyone post the ascend & descend or the pakad please , .....I believe I hear the Komal ga in ascent which would depurate it significantly from Asavari (?) Thanks Anyone.......this is soul stirring as are all of Panditji's performances.....
+burman smith This is the original form of Asawari. It belongs to Bhairavi thaat and has all swaras komal. Ga and ni are not used in the aroha, making it audava sampoorna. S r m P d S'' - S'' n d P m g r S
+Achintya Prahlad Thank You..... Raviji recorded a raag he called Nata Bhairavi with the identical swara of Asavari ( to my ears...Shuddh Re, not lowered ) ...
+burman smith You are right. There are 2 types of Asawari - one with komal rishabh and the other with shuddha rishabh. The shuddha rishabh one fell out of use because it was too close to Jaunpuri. Natabhairavi is a sampoorna raga (S R g m P d n S"-S" n d P m g R S). It is a Carnatic raga, but even there one does not find too many compositions in it (the commonly heard one being Sri Valli-Devasenapate composed by Papanasam Sivan). The janya raga Bhairavi, which uses both dhaivatas (teevra in the aroha and komal in the avaroha) is far more popular. This Bhairavi is entirely different from the Hindustani Bhairavi of today. The Natabhairavi mela in Carnatic music corresponds to the Asawari thaat in Hindustani music (please note - only the scales correspond, not the ragas). Bhatkhande named the thaat as Asawari thaat because in his time Asawari with shuddha rishabh was still popular. But whatever be the case, I go by what Pt Ramashray Jha says, which is that the komal rishabh form is the original Asawari.
+Achintya Prahlad Thank You for this information... a lot to read over and over .....I have similar questions about Multani with the Re being heard in both forms.....seems to vary over time and lineage I believe...Thank You Again...
God bless the person who uploaded this vdo with all the world's happiness❤
THE ULTIMATE......GOD PLAYING 👌👌👌👌💯🌄🙏🙏🙏🙏🙏🙏🙏💕🙏🙏🙏🙏🙏🙏
Soo Soothing... I am always floating the flawless flow of Heavenly feelings of my GOD's playing 🙏🙏🙏
Did anyone else play this raag on Sitar? It's one of the favourite among vocalists though.
Nothing like listening to this soothing raga in the morning. Played beautifully by Nikhil da.
One of my favourite recordings👍
❤❤❤❤
Darun
this song is set to teentaal, right?
Mesmrizing!
Who is on Tabla? Graciously complementing the Sitar.
Saroj Ji unfortunately I don't know.
Anyway thanks for the upload, enjoyed.
Kanai Dutt
Pandit Kanai Dutt.
Tabla by Kanai Dutta
ashadharon Nikhikbabu
dhonyo holam shune ! jeno Iswarer aashirbad !
What a serene presentation! The composition gets over very quickly ! May be there was a time constraint, otherwise, he would have played alaap, jod zaala for a longer time !!
best of the best!
Superb ! ....
Didn't know this Raag was so prevalent. Can anyone post the ascend & descend or the pakad please , .....I believe I hear the Komal ga in ascent which would depurate it significantly from Asavari (?) Thanks Anyone.......this is soul stirring as are all of Panditji's performances.....
+burman smith This is the original form of Asawari. It belongs to Bhairavi thaat and has all swaras komal. Ga and ni are not used in the aroha, making it audava sampoorna.
S r m P d S'' - S'' n d P m g r S
+Achintya Prahlad Thank You..... Raviji recorded a raag he called Nata Bhairavi with the identical swara of Asavari ( to my ears...Shuddh Re, not lowered ) ...
+burman smith You are right. There are 2 types of Asawari - one with komal rishabh and the other with shuddha rishabh. The shuddha rishabh one fell out of use because it was too close to Jaunpuri.
Natabhairavi is a sampoorna raga (S R g m P d n S"-S" n d P m g R S). It is a Carnatic raga, but even there one does not find too many compositions in it (the commonly heard one being Sri Valli-Devasenapate composed by Papanasam Sivan). The janya raga Bhairavi, which uses both dhaivatas (teevra in the aroha and komal in the avaroha) is far more popular. This Bhairavi is entirely different from the Hindustani Bhairavi of today. The Natabhairavi mela in Carnatic music corresponds to the Asawari thaat in Hindustani music (please note - only the scales correspond, not the ragas).
Bhatkhande named the thaat as Asawari thaat because in his time Asawari with shuddha rishabh was still popular. But whatever be the case, I go by what Pt Ramashray Jha says, which is that the komal rishabh form is the original Asawari.
+Achintya Prahlad Thank You for this information... a lot to read over and over .....I have similar questions about Multani with the Re being heard in both forms.....seems to vary over time and lineage I believe...Thank You Again...
Multani has komal rishabh only. No variation. The one with shuddha rishabh is Madhuvanti (which also has shuddha dhaivat, not komal).
প্রনাম
gopal pinched my word!!
Apratim ..
Oho
👍
scant touch of Bhairavi at 5:48