പാടാം നമുക്കു പാടാം

പിയാനോ

2010-05-06T19:27:00.000+04:00

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തല്‍കാല ദുനിയാവ് - മുസ്ലീം ഭക്തിഗാനം

2010-01-31T12:02:00.003+04:00

Movie : Bhandukkal Sathrukkal
Original Singer: Dr. K.J. Yesudas
Sung by : Jijo

യേശുവെ സര്‍വേശ- ക്രിസ്തീയ ഭക്തിഗാനം

2010-01-30T17:55:00.001+04:00

ഹരിവരാസനം- ഹിന്ദു ഭക്തിഗാനം

2010-01-30T17:38:00.001+04:00

താമര ഇലയില്‍

2010-01-30T17:15:00.002+04:00

Lyrics: Sijar Vadakara @ koottam.com
Music & Sung : Jijo

ഓണ്‍ലൈന്‍ സംഗീതം പഠിക്കാം ...

2010-01-27T17:48:00.003+04:00

Vocal/Harmonium/Keyboad
Lessons

Lesson 1: Open Harmonium, Play SaReGaMa...
Lesson 2: Play & Sing Alankar 1 & 2
Lesson 3: Play & Sing Alankar 3 & 4
Lesson 4: Play & Sing Alankar 5 & 6
Lesson 5: Play & Sing Alankar 7 & 8
Lesson 6: Raga - Yaman Kalyan - Introduction
Lesson 7: Raga - Yaman Kalyan - Alap 1
Lesson 8: Raga - Yaman Kalyan - Alap 2
Lesson 9: Raga - Yaman Kalyan - Alap 3
Lesson 10: Raga - Yaman Kalyan - Sargam Geet
Lesson 11: Raga - Yaman Kalyan - Song
Lesson 12: Raga - Yaman Kalyan - Song contd.

Coutesy : www.sharda.org

Visit
www.malayalmsongslyrics.com

പ്രണയം പാടുന്നു

2010-01-27T16:50:00.000+04:00

Lyrics : Anees OK @ koottam.com
Music & Sung : Jijo

മല്ലിക പൂവിന്‍

2010-01-27T16:47:00.002+04:00

Lyrics: Aness OK @ koottam.com
Music & Sung: Jijo

സപ്ത സ്വരങ്ങള്‍

2010-01-09T15:39:00.002+04:00

ഭാരതീയ സംഗീതത്തിലെ സപ്ത സ്വരങ്ങളെ, ഷഡ്ജം (സ), ഋഷഭം (രി), ഗാന്ധാരം (ഗ), മധ്യമം (മ), പഞ്ചമം (പ), ധൈവതം (ധ), നിഷാദം (നി), എന്നിങ്ങനെ വിളിക്കുന്നു.

പക്ഷി-മ്രുഗാധികളുടെ ശബ്ദ അനുകരണങ്ങള്‍ ആയാണ് സപ്ത സ്വരങ്ങള്‍ കല്‍പിക്കപ്പെട്ടിരിക്കുന്നത്‌

ഷഡ്ജം = മയിലിന്റെ ശബ്ദം
ഋഷഭം = കാളയുടെ ശബ്ദം
ഗാന്ധാരം = ആടിന്റെ ശബ്ദം
മധ്യമം = ക്രൌന്ജ പക്ഷിയുടെ കരച്ചില്‍...
പഞ്ചമം = കുയില്‍ നാദം
ധൈവതം = തവള കരച്ചില്‍
നിഷാദം = ആനയുടെ ചിഹ്നം വിളി...
ഇങ്ങനെ സപ്ത സ്വരങ്ങള്‍ പ്രകൃതിയുമായ് ലയിച്ചു കിടക്കുന്നു.

ORIGIN AND HISTORY OF INDIAN MUSIC

2010-01-09T15:37:00.001+04:00

Indian music has a very long, unbroken tradition and is an accumulated heritage of centuries. It is believed that the sage Narada introduced the art of music to the Earth. The origin can be traced back to Vedic days, nearly two thousand years ago. It is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents the divinity. Organised Indian music owes its origin to the Samaveda. The Veda has all the seven notes of the raga karaharpriya in the descending order. The earliest Raga is speculated to be 'Sama Raga'. Theories and treatises began to be written about how the primitive sound 'Om' gave rise to the various notes. The first reference to music was made by Panini (500 BC) and the first reference to musical theory is found in Rikpratisakhya (400 BC). Bharata's Natya Sastra (4th Century AD) contains several chapters on music. This is probably the first work that clearly elaborated the octave and divided it into 22 keys. The next major work on music was Dathilam, which also endorses the existence of the 22 sruti per octave and even goes to suggest that these 22 srutis are the only ones a human body could make. This view was expressed again by another musicologist of the 13th century AD Saranga Deva in his famous work Sangeeta Ratnakara. Saranga Deva, among other things, defined almost 264 Ragas, including some Dravidian and North Indian ones. He also described the various 'kinds' of 'microtones' and also classified them into different categories. Of the other important works on Indian music, mention may be made of Brihaddesi (9 AD) written by Matanga, which attempts to define the word 'Raga', Sangeeta Makaranda (11th century AD) written by Narada, which enumerates 93 Ragas and classifies them into masculine and feminine species, Swaramela-kalanidhi of Ramamatya (16 AD) and Chaturdandi-prakssika of Venkatamakhi (17 AD).

It took a long time for music to come to its present-day form. In the beginning music was devotional in content and was purely used for ritualistic purposes and was restricted to temples. During the late Vedic period (3000-1200 BC), a form of music called Samgana was prevalent which involved chanting of the verses set to musical patterns. Various forms of music like Jatigan were evolved to narrate the epics. Between 2-7 AD a form of music called Prabandh Sangeet, which was written in Sanskrit, became very popular. This form gave way to a simpler form called dhruvapad, which used Hindi as the medium. The Gupta Period is considered as the golden era in the development of Indian music. All the music treatises like Natya Shastra and Brihaddeshi were written during this period.

One of the strongest and most significant influences on Indian music has perhaps been that of Persian music, which brought in a changed perspective in the style of Northern Indian music. In the 15th century AD, as a result of the patronage given to the classical music by the rulers, the devotional dhruvapad transformed into the dhrupad form of singing. The khayal developed as a new form of singing in the 18th century AD. The Indian classical music, thus, developed from the ritualistic music in association with folk music and other musical expressions of India's extended neighbourhood, developing into its own characteristic art. It is then that the two schools of music resulted, the Hindustani (North Indian music) and the Carnatic (South Indian music). Historical roots of both Hindustani and Carnatic classical music traditions stem from Bharata's Natyashastra. The two traditions started to diverge only around 14th Century AD. Carnatic music is kriti based and saahitya (lyric) oriented, while Hindustani music emphasises on the musical structure and the possibilities of improvisation in it. Hindustani music adopted a scale of Shudha Swara saptaka (octave of natural notes) while Carnatic music retained the traditional octave. Both systems have shown great assimilative power, constantly absorbing folk tunes and regional tilts and elevating many of them to the status of ragas. These systems have also mutually influenced each other.

Indian Classical Music

2009-04-21T12:55:00.004+04:00

Indian Classical Music

Indian classical music is based on the ragas ("colors"), which are scales and melodies that provide the foundation for a performance. Unlike western classical music, that is deterministic, Indian classical music allows for a much greater degree of "personalization" of the performance, almost to the level of jazz-like improvisation. Thus, each performance of a raga is different. The goal of the raga is to create a trancey state, to broadcast a mood of ecstasy. The main difference with western classical music is that the Indian ragas are not "composed" by a composer, but were created via a lengthy evolutionary process over the centuries. Thus they do not represent mind of the composer but a universal idea of the world. They transmit not personal but impersonal emotion. Another difference is that Indian music is monodic, not polyphonic. Hindustani (North Indian) ragas are assigned to specific times of the day (or night) and to specific seasons. Many ragas share the same scale, and many ragas share the same melodic theme. There are thousands of ragas, but six are considered fundamental: Bhairav, Malkauns, Hindol, Dipak, Megh and Shree. A raga is not necessarily instrumental, and, if vocal, it is not necessarily accompanied. But when it is accompanied by percussion (such as tablas), the rhythm is often rather intricate because it si constructed from a combination of fundamental rhythmic patterns (or talas). The main instrument of the ragas is the sitar, although historically the vina zither was at least equally important. Carnatic (Southern Indian) ragas constitute one of the oldest systems of music in the world. They are based on seven rhythmic cycles and 72 fundamental ragas. The founder of the Karnataka school is considered to be Purandara Dasa (1494). Carnatic music is mostly vocal and devotional in nature, and played with different instruments than Hindustani music (such as the mridangam drum, the ghatam clay pot, the vina sitar as opposed to sitar, sarod, tambura and tabla). The fundamental format of Carnatic songs is the "kriti", which are usually set in the style of a raga (the raga serves as the melodic foundation). The golden age of Carnatic music was the age of Syama Sastri, who died in 1827, of Tyagaraja, who died in 1847 and who composed the Pancharatna Krithis as well as two "operas", Prahalada Bhakti Vijayam and Nauca Charitam, and of Muthuswami Dikshitar, who died in 1835 after composing the Kamalamba Navavarnams and the Navagraha krithis.

Interest in Indian music (until then largely unknown in the west) was triggered by Bangladesh-born sarod player Ali Akbar Khan's 1955 concert in New York. Eventually, western curiosity for Indian music wed the hippy ethos and (thanks mainly to the Byrds' Eight Miles High) "raga-rock" became a sonic emblem of the Sixties. His album Music of India - Morning and Evening Ragas (1955), containing two side-long ragas (the traditional Rag Sindhu Bhairavi and his own Rag Pilu Baroowa), was the first Indian classical recording to appear in the West, and the first recording of ragas on an LP. The popularity of his and Shankar's concerts led to a stream of recordings in the Sixties, mostly featuring 20-minute long ragas: several EPs from 1961 to 1964, later collected on Sarod (1969), Traditional Music of India (1962), The Soul of Indian Music (1963), Ustad Ali Akbar Khan (1964), The Master Musicians of India (1964), Classical Music of India (1964), The Soul of Indian Music (1965), Sarod (1965), Two Ragas for Sarod (1967), etc. In 1967, Khan founded the Ali Akbar College of Music in the San Francisco Bay Area, to provide education in the classical music of North India. Among his later performances, there are still impressive ones such as Raga Basant Mukhari, off Artistic Sound of Sarod (1985). He remained faithful to his roots longer than other Indian performers, eventually experimenting with synthesizers on Journey (1991) and with instruments of the western symphonic orchestra on Garden of Dreams (1994), basically a raga symphony for a chamber orchestra.

Another disciple of Ali Akbar Khan's father Allaudin Khan, sitar player Ravi Shankar, would become the star of Indian music. He first toured the west in 1956, when he was already a veteran and made friends among pop stars (George Harrison of the Beatles became his student in 1966). Among his historical performances are his masterpiece Raga Jog, from Three Ragas (1961), the Raga Rageshri, on Improvisations (1962), and the Ragas and Talas (1964), containing the Raga Jogiya and the Raga Madhu Kauns. Improvisations (1962), a collaboration with flutists Paul Horn and Bud Shank, was the first meeting of jazz and raga. Shankar pioneered the "east-west" fusion with West Meets East (1967), a terrible collaboration with British violinist Yehudi Menuhin containing both a raga and a sonata. Shankar was also instrumental in turning the raga into a product of mass consumption (he performed at both the 1967 Monterey Festival, the 1969 Woodstock Festival and the 1971 Concert for Bangla Desh), but he soon repudiated his "pop" period and returned to classical music. Nonetheless, he continued to experiment with western music (he performed with western symphonic orchestras and soloists), and, later, starting with Tana Mana (1987), even with electronic keyboards. He is a composer, not only a performer, including two sitar concertos (the second, Raga-Mala, debuted in 1980).

After relocating to Britain in 1952, Indian violinist John Mayer, had already composed Raga Music (1952) for solo clarinet, a Violin Sonata (1955), the suite Dances of India (1958) for sitar, flute, tabla, tambura and orchestra, and a Shanta Quintet (1966) for sitar and strings. He formed the mixed-race ensemble Indo-Jazz Fusions with jazz saxophonist John Harriott. Mayer thus predated Shankar with Indo-Jazz Suite (october 1965) and the Indo-Jazz Fusions (september 1966), two albums (mostly composed by Mayer) recorded by a double quintet: Harriott's jazz quintet and an Indian quintet led by Mayer plus Diwan Motihar on sitar, flute, tambura and tabla. He pursued this idea on Hum-Dono (1969), featuring Indian guitarist Amancio D'Silva, trumpeter Ian Carr and vocalist Norma Winstone.

The same sitarist, Diwan Motihar, plus Keshav Sathe on tabla and Kasan Thakur on tamboura, recorded Jazz Meets India (october 1967) with a European quintet led by Swiss pianist Irene Schweizer and featuring German trumpeter Manfred Schoof and drummer Mani Neumaier.

Another precursor of the "east meets west" movement was Shankar's favorite tabla player Allah Rakha, who recorded a duo with jazz drummer Buddy Rich, Rich A La Rakha (1968).

Shankar frequently performed with tabla player Alla Rakha. His son Zakir Hussain, also a virtuoso of the tablas, came to the USA in the late 1960s and went on to star in two of the most progressive projects of world-music, Mickey Hart's Diga Rhythm Band: Diga (1976) and jazz guitarist John McLaughlin's Shakti. Hussain's Making Music (1987), featuring Hariprasad Chaurasia on bansur, Jan Garbarek on saxophone and John McLaughlin on guitar, was a milestone in jazz-Indian fusion.

In the 1970s Debashish Bhattacharya reinvented the Hawaian slide guitar as a raga instrument by addings resonating strings and droning strings and developing the lightning-speed three-finger picking technique displayed on recordings such as Raga Ahir Bhairav (1993).

A younger influential sitar player in the "tantrakari ang" (the instrumental style of music) was Nikhil Banerjee (widely considered the century's greatest virtuoso), while "gayaki ang" (the vocal style) was represented by Vilayat Khan and, at the end of the 20th century, Shahid Parvez.

Instrumental masters (ustad) of other instruments included bansur (bamboo flute) player Hariprasad Chaurasia, particularly the Rag Ahiv Bhairav (1987) and the 69-minute performance of his Rag Lalit (1988), and violinist Lakshminarayana Subramaniam, devoted to jazz-Indian fusion on Garland (1978) and Spanish Wave (1983).

In 1989 John McLaughlin hired an Indian percussionist, Trilok Gurtu, the son of vocalist Shobha Gurtu, who had already played with Don Cherry and with Oregon. Gurtu's own Usfret (1988) offered an intense mix of Indian vocals, jazz-rock and world-music.

Ilaiyaraaja (born Gnanadesikan Rasaiya) experimented a fusion of Bach and raga on How To Name It? (1988).

Vocal music

However, Indian classical music is mainly a vocal (not only instrumental) art. "Khayal" emerged over the centuries as the vernacular (and romantic) version of "dhrupad" (the oldest extant vocal religious and aristocratic style). Both the sitar and the tabla were probably introduced (in the 18th century) to complement khayal singing. Miyan Tansen, who lived at the court of the Mughal emperor Akbar in the 16th century, is credited with codifying Hindustani (north Indian) vocal music, notably the dhrupad style that he learned from his teacher Swami Haridas. He composed the Darbari Kanada, Miyan ki Todi, Miyan ki Malhar and Miyan ki Sarang ragas. Among the greatest Hindustani vocalists before the partition of India and Pakistan were Bade Ghulam Ali Khan from Punjab and Amir Khan from north-central India. The greatest interpreters of "khayal" documented on record were probably the Pakistani brothers Nazakat Ali Khan and Salamat Ali Khan, who debuted in 1941.

A number of musical schools ("gharanas") developed in North India (Hindustan). The Patiala Gharana of Punjab has been one of the most influential schools (Ali Bux in the early 20th century, his son Bade Ghulam Ali Khan, and, in the 1990s, Rashid Khan). In the early decades of the 20th century Abdul Karim Khan created the Kirana gharana, while Alladiya Khan created the Atrauli-Jaipur gharana.

The austere, pure Pakistani-born vocalist Pandit Pran Nath, a master of the Kirana style since 1937, moved to the USA in 1970, performing the first morning ragas ever in the USA. His emphasis on perfect intonation and emotional subtlety influenced minimalist composers LaMonte Young and Terry Riley. He only recorded three albums: Earth Groove (1968), containing two traditional ragas, Raga Bhupali Maha Dev and Raga Asavari, Ragas Yaman Kalyan and Punjabi Berva (1972), containing his Raga Yaman Kalyan, Ragas of Morning and Night (1986), containing two 1968 compositions (Raga Darbari and Raga Todi). He also composed Raga Anant Bhairavi (1974), Raga 12-note Bhairavi (1979), Darbar Daoun (1987), and Aba Kee Tayk Hamaree (1989) for voice and string quartet.

Since 1973, the stormy voice of Nusrat Fateh Ali Khan interpreted the hypnotic litanies of Pakistan's "qawwali" (sufi devotional music). His lengthy improvised vocal acrobatics are best represented by the colossal Ni Main Jana Jogi De and Yeh Jo Halka Halka Saroor Hai on The Day The Night The Dawn The Dusk (1991) and by the live performances of Intoxicated Spirit (1996). "Discovered" by Peter Gabriel, Ali popularized the style for the British audience with Shahen-Shah (1989). After the westernized format of Mustt Mustt (1990), basically electronic funk-rock with dub overtones, he delivered the four soaring tours de force of Shahbaaz (1991), accompanied only by droning harmonium and frenzied tablas, the Devotional and Love Songs (1993) with guitar and mandolin juxtaposed to harmonium and tablas, and The Last Prophet (1994), which focused on call-and-response group singing. He died in 1997 at 41, having recorded some 120 albums.

Vocalist Lakshminarayana Shankar has often wasted his talent in light, pop efforts, but at least Pancha Nadai Pallavi (1991), which features three fourths of Shakti, is a dramatic and austere work in the classical tradition.