Raga Bibhas
ga...@my-dejanews.com
I would like to know some details of Raga Bibhas like its aroha, avaroha,
pakad, chalan etc. The only recording I have of the raga is a chhota khayal
by Ashwini Bhide in the album 'Ashwini Bhide sings morning ragas'. I wish to
listen to some more recordings. Can someone recommend me any? Also, is the
short piece of alaap sung by Sanjeev Abhyankar in the song 'Tum gaye, sab
gaya' (from the movie Machis) in Bibhas? Which are some of the popular movie
songs and/or Marathi bhaavagiits from this raga?
Thanks a bunch!
Gauri
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sanj...@my-dejanews.com
ga...@my-dejanews.com wrote:
> Hi all!
>
> I would like to know some details of Raga Bibhas like its aroha, avaroha,
> pakad, chalan etc.
It's an odava-odava raga, skipping Ma and Ni. Re is komal. One school sings
Bibhas with Komal Dha (There's a classic D.V. Paluskar 5-minute rendition in
this prakaar of Bibhas, the bandish is something like "Kais Kunwarava Jaeel
Hamaraa" (no idea what the correct words are)). The other sings it with
Shuddh Dha - Ashwini Bhide's rendition is an example of the latter, as well
as Shruti Sadolikar's in the Music Today series. It seems to me that this is
more popular.
A similar situation exists with Lalit - different folks like to use different
variations on the Dha.
--
Sanjeev Ramabhadran
Vivek R. Datar
>In article <7fhvo4$j5a$1...@nnrp1.dejanews.com>,
> ga...@my-dejanews.com wrote:
>> Hi all!
>>
>> I would like to know some details of Raga Bibhas like its aroha, avaroha,
>> pakad, chalan etc.
>It's an odava-odava raga, skipping Ma and Ni. Re is komal. One school sings
>Bibhas with Komal Dha (There's a classic D.V. Paluskar 5-minute rendition in
>this prakaar of Bibhas, the bandish is something like "Kais Kunwarava Jaeel
>Hamaraa" (no idea what the correct words are)). The other sings it with
>Shuddh Dha - Ashwini Bhide's rendition is an example of the latter, as well
>as Shruti Sadolikar's in the Music Today series. It seems to me that this is
>more popular.
Mallikarjun Mansur has recorded it with Shuddha Dha as well. Very beautiful
bandish "narahara nArAyana". He uses komal dhaivar once or twice only.
-Vivek
Ashok
>Which are some of the popular movie
>songs and/or Marathi bhaavagiits from this raga?
>
>Gauri
These two are supposed to be in Bi#$$^, oops, Vibhaas (this
Bong thing seems to be contagious!):
neelam pe nabh chhaaya
saanjh Dhale gagan tale ham kitane ekaaki
Ashok
mmi...@my-dejanews.com
> >It's an odava-odava raga, skipping Ma and Ni. Re is komal. One school sings
> >Bibhas with Komal Dha (There's a classic D.V. Paluskar 5-minute rendition in
> >this prakaar of Bibhas, the bandish is something like "Kais Kunwarava Jaeel
> >Hamaraa" (no idea what the correct words are)). The other sings it with
> >Shuddh Dha - Ashwini Bhide's rendition is an example of the latter, as well
> >as Shruti Sadolikar's in the Music Today series. It seems to me that this is
> >more popular.
These variations probably correspond to the Bhairav-ang and Marwa-ang
flavours of Vibhas? Hope someone can elaborate on the differences
between these two flavours.
On a tangential note: can someone please post the details about Ulhas
Kashalkar's recent recording of this raag? I think it's on the Navras
label. Which dha does he use? What compositions does he sing? Thanks!
Vivek R. Datar wrote:
> Mallikarjun Mansur has recorded it with Shuddha Dha as well. Very beautiful
> bandish "narahara nArAyana". He uses komal dhaivar once or twice only.
Are the words the same as in the Vibhas dhrupad that starts "He narahara
narayana"? Shri Surajit Bose wrote about this a while back. Uday Bhawalkar
has also recorded this composition on the Makar label.
m.
Amit Chatterjee
> In <7fi3sj$ndm$1...@nnrp1.dejanews.com> sanj...@my-dejanews.com writes:
>
> >In article <7fhvo4$j5a$1...@nnrp1.dejanews.com>,
> > ga...@my-dejanews.com wrote:
> >> Hi all!
> >>
> >> I would like to know some details of Raga Bibhas like its aroha, avaroha,
> >> pakad, chalan etc.
>
> >It's an odava-odava raga, skipping Ma and Ni. Re is komal. One school sings
> >Bibhas with Komal Dha (There's a classic D.V. Paluskar 5-minute rendition in
> >this prakaar of Bibhas, the bandish is something like "Kais Kunwarava Jaeel
> >Hamaraa" (no idea what the correct words are)). The other sings it with
> >Shuddh Dha - Ashwini Bhide's rendition is an example of the latter, as well
> >as Shruti Sadolikar's in the Music Today series. It seems to me that this is
> >more popular.
>
> Mallikarjun Mansur has recorded it with Shuddha Dha as well. Very beautiful
> bandish "narahara nArAyana". He uses komal dhaivar once or twice only.
There is a live thumri recording by Shobha Gurtu in raag Bibhas which uses the
other praakar.
Regards,
Amit
--
************************************************************************
Amit Chatterjee
as...@mindspring.com
amit_ch...@hotmail.com
http://www.mindspring.com/~asav
************************************************************************
Surajit A. Bose
> sanj...@my-dejanews.com writes:
>
> > >It's an odava-odava raga, skipping Ma and Ni. Re is komal. One school sings
> > >Bibhas with Komal Dha (There's a classic D.V. Paluskar 5-minute rendition
> > >this prakaar of Bibhas, the bandish is something like "Kais Kunwarava Jaeel
> > >Hamaraa" (no idea what the correct words are)). The other sings it with
> > >Shuddh Dha - Ashwini Bhide's rendition is an example of the latter, as well
> > >as Shruti Sadolikar's in the Music Today series. It seems to me that
this is
> > >more popular.
>
>
> These variations probably correspond to the Bhairav-ang and Marwa-ang
> flavours of Vibhas? Hope someone can elaborate on the differences
> between these two flavours.
What follows isn't meant to be definitive in any way, it's just a
contribution based on my limited exposure to and understanding of Vibhas.
I hope there are enough mistakes in it that somebody who really knows what
he or she is talking about will feel compelled to will jump in and clean
up after me.
I've heard Vibhas sung in three distinct ways. Bhairav ThaaT Vibhas
completely omits madhyam and nishaad, and in addition to D. V. Paluskar,
Malini Rajurkar also sings it in this way.
There appear to be two flavors of Marva ThaaT Vibhas, though. The better
known of the two is the one that takes shudh dhaivat in place of the komal
dhaivat and retains the audav svaruup, dropping ma and ni completely.
Commercial recordings of Mallikarjun Mansur and Lalith Rao exemplify this.
(Unlike Mr Datar I can't claim to hear a komal dhaivat in Mallikarjun
Mansur's recording.)
But I've heard another version of Marva ThaaT Vibhas that includes tiivra
madhyam and shudh nishad, on a brief recording by Krishnarao Chonkar. Here
is a heuristic chalan:
(Ma=tiivra madhyam, re=komal rishab, 'Ni 'Dha 'Pa=ma.ndra saptak)
Sa, re Ga Pa, Ga Pa Dha, Pa Ga re, Pa Dha Pa Ga re, Ma Ga re Sa
Sa--'Pa (mii.nD), 'Pa 'Dha 'Pa Sa, Sa re Ga re Sa,
Sa 'Ni 'Dha 'Ni 'Dha Sa 'Ni re Sa
The Ma (tiivra) and Ni are taken fleetingly but very distinctly. The phrasing
Sa 'Ni 'Dha 'Ni 'Dha Sa 'Ni re Sa
is very reminiscent of Marva. This phrase and Ma Ga re Sa seem to be
special prayogs in the manner of the Ma Pa dha ni dha Pa in Ramkali. In
fact the relationship of this variant of Vibhas to the version recorded by
Lalith Rao and Mallikarjun Mansur is analogous to the relationship of
Ramkali to Bhairav. Sorry that's not a very good description but it's the
best I can come up with.
I looked up Bhatkande after hearing this recording and found that
Bhatkande does in fact refer to Marva ThaaT Vibhas as a sampuurNa raag.
The chalan as given in Bhatkande is quite heavily oriented toward Marva,
as far as I could tell; to my ear some of the phrasing given there (Sa 'Ni
re, Sa is one, IIRC) would portray Marva very strongly, whereas the way
Krishnarao Chonkar has sung it, Marva is hinted at in passing but the
overall characteristic of the raag doesn't seem all that far from the more
usual flavors of Vibhas. Perhaps I am not reading Bhatkande
correctly....or perhaps the interpretation of the raag has changed over
the decades.
Bhatkande in fact mentions two other raags that are worth touching upon in
this regard. One is Reva, a Purvi ThaaT raag that has the same
aaroh-avaroh as Bhairav ThaaT Vibhas. Reva is supposed to be sung in the
evening. I do not recollect ever having heard this raag performed,
unfortunately.
The other is Purvi ThaaT Vibhas, a fourth raag named Vibhas, if anybody's
counting! Bhatkande does not dwell upon its chalan or other
characteristics; he just mentions its existence and provides a single
ba.ndish. Judging from the ba.ndish, if one takes Krishnarao Chonkar's
rendition of Vibhas and substitutes a komal dhaivat in place of shuddha
dhaivat, one would have a fair approximation of what the raag sounds like.
Alas and alack, I have not heard this raag either. The only thing other
than its existence that Bhatkande remarks on is that this version of
Vibhas is "bilakul aprasiddha," entirely obscure. "Oh yeah, by the way,
there is this alleged raag called Purvi ThaaT Vibhas. It's totally
obscure. Here's a lakshaN-giit. End of discussion." I have a sneaky
feeling that Bhatkande had a terrific sense of humor. No offense intended,
so please don't flame me.
One other thing about the various Vibhases is that I can't seem to pin
them down to gharana traditions. When Dinkar Kaikini had his sixtieth
birthday celebrations some twelve years ago, two of his students performed
Vibhas--Lalith Rao, using shudh dhaivat, and a performer whom I have
forgotten (sorry), using komal dhaivat. My belief is that all the
performers that day were more or less from the Agra gharana, so what
contributes to the difference I have no idea.
> Vivek R. Datar wrote:
>
> > Mallikarjun Mansur has recorded it with Shuddha Dha as well. Very beautiful
> > bandish "narahara nArAyana". He uses komal dhaivar once or twice only.
>
>
> Are the words the same as in the Vibhas dhrupad that starts "He narahara
> narayana"? Shri Surajit Bose wrote about this a while back. Uday Bhawalkar
> has also recorded this composition on the Makar label.
More or less. There are minor differences, e.g. the dhrupad has "giridhar"
while the Khayaal has "girivar dhar" but the the two compositions are
recognizably variations on the same base.
-s
Rajan P. Parrikar
sb...@saintmarys.edu (Surajit Bose) wrote:
>Bhatkande in fact mentions two other raags that are worth touching upon in
>this regard. One is Reva, a Purvi ThaaT raag that has the same
>aaroh-avaroh as Bhairav ThaaT Vibhas. Reva is supposed to be sung in the
>evening. I do not recollect ever having heard this raag performed,
>unfortunately.
The eponymous Reva (after the place in present-day Madhya Pradesh) seems to
have gone out of fashion; I think there are Reva compositions in the Guru
Granth Sahib (I will have to confirm this).
>The other is Purvi ThaaT Vibhas, a fourth raag named Vibhas, if anybody's
>counting! Bhatkande does not dwell upon its chalan or other
>characteristics; he just mentions its existence and provides a single
>ba.ndish. Judging from the ba.ndish, if one takes Krishnarao Chonkar's
>rendition of Vibhas and substitutes a komal dhaivat in place of shuddha
>dhaivat, one would have a fair approximation of what the raag sounds like.
>Alas and alack, I have not heard this raag either. The only thing other
>than its existence that Bhatkande remarks on is that this version of
>Vibhas is "bilakul aprasiddha," entirely obscure. "Oh yeah, by the way,
>there is this alleged raag called Purvi ThaaT Vibhas. It's totally
>obscure. Here's a lakshaN-giit. End of discussion." I have a sneaky
>feeling that Bhatkande had a terrific sense of humor.
He did give the lakshaNa-geet, didn't he? By definition, a lakshaNa-geet
is one where the rAga-lakshaNAs are displayed and the rAga characteristics
are apprehended both in text and swara. It is worth more than reams of
written descriptions. Bhatkhande, influenced by the practice in the
Karnataka tradition, himself composed hundreds of lakshaNa-geets and
introduced them into Hindustani music. They became very popular with
many established musicians of the day save a few troglodytes who elected
to defy the laws of evolution.
Let me confirm that Bhatkhande did indeed have a sense of humour which he
sprinkled his substantial writings with. Alas, the current-day obsession
with "sense of humour" is frivolous and often comes unsupported by substance
of any kind. Bertrand Russell had a thing or two to say about it but before
I quote him may I suggest that you peruse Bhatkhande's exegetic volumes
that are intended to accompany the Kramika Pustaka Malika. The aprachalit
poorvi-thAT Vibhas gets about two pages of discussion. There is a brief
reference to Pandit Ahobala's work apropos of the rAga and two bandishes
in sargam set to jhaptAla are offered.
On " A Sense of Humour" Bertrand-ji wrote:
"...You may question all sorts of things about a man without making him
really angry. You may say that he is stupid, that he is ruthless, that
he is not honest about money, that he allowed his aged mother to starve
in a garret, and he will argue with you calmly and reasonably to prove
that he is innocent of these various crimes. But if you say that he has
no sense of humour you will invariably produce an explosion of fury. This
is a peculiarity of our age. In the 17th century, men burned each other
at the stake for minute points of theology and killed each other with
rapiers to prove that they were men of honour. They prided themselves,
not on humour but on common sense....In the early days of the 19th
century...the necessary equipment of a gentleman was Byronic despair,
a tortured heart, a love of rocky solitudes and ruined temples. He was
not expected to laugh, unless it were a hollow laugh wrung from the
anguish of despair. Gradually, however, these heights of sentiment were
found fatiguing, and in their place came the modern cult of humour. I am
not sure that the change has made the world more amusing. Where formerly
ladies learnt to play the harp, they now learn to say everything with a
sprightly air, and an appearance of wit. When people say to me: 'I always
think the autumn is so much cooler than the summer. Ho! Ho! Ho!' and expect
me to behave as though I had heard an epigram worthy of Talleyrand, I find
the appropriate behaviour somewhat difficult. Even at a higher level too
much humour may become tiresome. I was once in the company of a number of
professors who were talking university politics and describing various
people as respectively liberals and conservatives in economic matters. I
inquired, with a real desire for knowledge, what were the differences
between the two university parties. The professors, each in turn, fired
off a witty remark, but from none of them could I obtain any information.
If I had been adequately endowed with a sense of humour I would not have
minded this, but, alas, I am that extremely rare being, a man without a
sense of humour...There was once a Chinese emperor who constructed a lake
full of wine and drove peasants into it to amuse his wife with the
struggles of their drunken drownings. He had a sense of humour."
Warm regards,
r
arv...@wipinfo.soft.net
> listen to some more recordings. Can someone recommend me any?
>
> Gauri
Hello there, Perhaps you should listen to a recording by Veena
Sahasrabuddhe. This is about an hour long and the contents are a Bada Khayal
"Mhara Mujra" in vilambit teen taal(33 minutes), a Chota Khayal "Kaiskunwara"
in teen taal (15 minutes followed by a Kabir Bhajan "Paancho Naubat" (14
minutes). The recording is released as part of a three tape set called "The
Awakening", by Plus Music (in India).
And, the dhaivat is komal.
Regards
Arvind
skal...@yahoo.com
HATS OFF TO SANJEEVR!
YES THERE IS A CONCEPT OF SAMPOORNA VIBHAS. AND MANSUR OCCASIONALLY WOULD GIVE
A TOUCH OF TIVRA MADHYAM AND SHUDDHA NISHAD TO HIS RENDERING OF "E HO NARAHARA
NARAYANA" CALLING IT SAMPOORNA VIBHAS. BUT THIS IS VERY RARE.
KALI
sanj...@my-dejanews.com
skal...@yahoo.com wrote:
>
> HATS OFF TO SANJEEVR!
thanks, but you've got the wrong "-s". the bit on sampoorna v(b)ibhas, which
is something i was unaware of, was contributed by surajit bose, a prolific
contributor to RMIM and RMIC.
thanks to surajit for the piece on sampoorna v(b)ibhas.
cheers,
sanjeev ramabhadran
sangit...@gmail.com
ChristianAMR
https://groups.google.com/g/rec.music.indian.classical/c/0ayF0xtH_uE/m/azy_byHPGDgJ