what is the meaning of Barhat?
barend
On old LP's I sometimes see the word 'barhat'....it is used in
different contexts...
For example on the VK Yaman LP it says: tintala barhat anga...and on a
LP from Amjad Ali Khan it say: alap and bharat.
What does it mean?
Town Crier
Town Crier
>different contexts...
>
Same as badhat, foun in almost every glossary. The culpit is the Hindi
"D" with nukti (dot below), which is variously transliterated as "d" or
"r".
DG
Town Crier
barend wrote:
> On old LP's I sometimes see the word 'barhat'....it is used in
> different contexts...
>
Same as badhat, found in almost every glossary. The culprit is the
Hindi "D" with a nukti (dot below), which is variously transliterated
margu
I may suggest that the second meaning is like 'vistaar', but I don't
know the fist use of the word. If I don't go wrong, barhat (badhat??)
means 'spereading', 'development'. Maybe the first meaning is: 'taal
tintal in vistaar style ('ang')... I may be wrong, any suggestion?
margu
I may suggest that the second meaning is like 'vistaar', but I don't
sitar_vadak
on this word, very briefly.
The word "Badhat" literally means propagation by step by step. This
word is mostly used to describe the vocal style of Bahede Wahid Khan
Sahab, which was adopted by Ustad Amir Khan Sahab in vocal music and
Ustad Vilayat Khan Sahab in instrumental music.
In Kirana Style of khayal singing, the note by note vistar is done,
which is a enfoldment of a raga in a very systematic way, which is done
by emphasizing the main melodic centers of a raga (i.e. for Yaman,
melodic centres are Sa, Ga, Pa and Ni) one after another.
This is in respect of Alap Badhat. Once I heard a great Ustad saying
that "Tano ka bhi badhat hoti hai".
This term can be easily understood by demonstrating by singing or
playing an instrument than discussing in words.
I am trying to explain this in a different way.
Like wise, when we meet a person, first of all we say, "How are
you" or "How every thing is going on"... etc. After that we say,
"It is a long time after we are meeting"... Then we say "How is
every one at home"? Then "What is your son doing now?" Then we
may say, "Has your daughter been married?"....
So this is also a kind of Badhat...
At the time of meeting a person after a long time, we do not ask
him/her "Has your daughter been married?" as the first question.
So, we talk also in a systematic way, this systematic propagation is
called "Badhat" in our classical music.
barend
And Sitar vadak: a very clear explanation!
Chetan Vinchhi
"sitar_vadak" <rampr...@gmail.com> wrote in message
news:1136867174.6...@g14g2000cwa.googlegroups.com...
>
> The word "Badhat" literally means propagation by step by step. This
> word is mostly used to describe the vocal style of Bahede Wahid Khan
> Sahab, which was adopted by Ustad Amir Khan Sahab in vocal music and
> Ustad Vilayat Khan Sahab in instrumental music.
The initial phase of a full khayal presentation has the
aalaapii portion that culminates in the taar shadja. The
antaraa is then developed briefly before returning to
the asthaayii. At this time the laya is deliberately
increased (sometimes not, depending on the starting
laya selected) and faster tonal and especially rhythmic
variations are introduced. Sometimes sargam is done
during this phase. This is often referred to as
"badhat".
Gwalior singers do it most consitently and deliberately.
Other gharanas vary from not doing it at all to doing it
partially and/or casually.
C
sitar_vadak
Other gharanas vary from not doing it at all to doing it
Again you are tring to move the direction of this discussion towards
Gharana-Conflict .
By your explanation you have agreed with my point of view (I do not
know whether you have understood it or not).
I did not say that Gwalior Singers do not do badhat at all.
You may have your preference towards Gwalior Gharana, but do not show
that where it is not needed to be shown.
Every gharana has its own kind of speciality and badhat.
We should have respect for all the great masters of classical music and
their gharana.
Town Crier
preposterous position that badhat is a creation of "Bahede Wahid Khan
Sahab" (sic).
DG
Johan Vikberg
> Again you are trying to move the direction
> of this discussion towards Gharana-conflict.
I'm glad we still have threads like "Dover Lane Music
Conference 2006" where no one's doing that!
or...@hotmail.com
term 'Barhat' means? I heard this term 'Bahelwa' from some vocalists
belong to Gwalior and Agra gharanas. Give me some ideas.
Gupta.
sitar_vadak
No, the terms "Barhat" and "Bahlawa" are not synonymous.
I think you have understood what "Badhat" actually means by reading my
previous explanation.
http://groups.google.com/group/rec.music.indian.classical/msg/3e6dde11e28d3b9a
"Bahlawa" may be a medium to do Badhat. Like we can propagate through
our musical presentation by means of Alap, jod, jhala,
Gat,laykari,Bolbaat,boltaan, Bahlawa, Sargam, taan etc.
I have listened to different renowned musicologist explaining the term
"Behlawa". I have never heard any of them telling exactly the same
thing, though the basic remaining the same.
1) Behlawa is to play with meend, bol (words of the composition) and
taans together.
2)Behlawa means singing the Alap part in faster tempo and moving
without the restriction of tempo which is maintained in the actual alap
maintaining and exploring the actual mood of the raag.
The most appropriate definitions of these I found are:
Badhat: The exposition of the raga which involves development and
progression.
Behlawa: A kind of alaap using the words of the composition in order to
explicate the meaning and the mood
Behlawa is a part of the Khayal Singing basically for Gowalior,Agra and
Jaipur Gharana. (N.B. I don't say that vocalists from other gharana
do not (or cannot) sing Behlawa)
In a Khayal Performance, if the vocalists end the alap part and begin
taans immediately after the completion of the alap, then there would be
sudden jump in the tempo from extremely slower tempo of alap ang to
extremely fast tempo of tans. So a temperamental vacuum is created. To
feel this vacuum, vocalists used to sing "Behlawa" along with
"Bol Banawat" which has a tempo (laya) that is not as slow as alap
and not as fast as Taan.
In my opinion, today, in repertory of Pt. Ulhas Kashalkar, you can find
"Behlawa-Ang" very clearly.
Chetan Vinchhi
<or...@hotmail.com> wrote in message
news:1136998976.3...@o13g2000cwo.googlegroups.com...
> My question is does the term 'Bahelwa' has the same meaning as the
> term 'Barhat' means? I heard this term 'Bahelwa' from some vocalists
> belong to Gwalior and Agra gharanas. Give me some ideas.
bahalaav is not the same as baDhat. It may be one of
the ingredients of baDhat. Literally, bahalaav means
something like playing. The vocalist introduces a
melodic idea which has a one or two key swaras. He
then plays a game of showing and hiding these swaras
in the tonal context chosen. One key aspect of this
is the repeated attempts to create an illusion of a
particular swara without actually applying it.
Typically, the melodic idea spans only a few swaras.
Therefore bahalaav has a swaying lilting quality to
it. It can be done using aakaar or bol.
C
or...@hotmail.com
Do you have any idea about what KumarPrasad Mukherjee tells abour
Behlwa in his book Kudrat e Rangbirangi? If you know about his opinion
please let me know.
sitar_vadak
I heard Kumar Babu in an interview saying the first point that I had
written in my last note (Behlawa is to play with meend, bol (words of
the composition) and taans together in slow tempo ).
As far I remember in Kudrat Rangee Birangee he has said the same thing.
He told in Kudrat Rangi Birangee that there are 8 parts of a choumukhi
(complete) Khayal and Bahlawa is one of them.
Those 8 angas are :
1)Nayki
2)Gayki
3)Laykari
4)Behlawa
5)Bolbat
6)Boltaan
7)..........(I cannot remember now)
8)Sargaam
or...@hotmail.com
between Badhat and Vistar. 2] Badhat is only applicable at
ascending? If Badhat is applicable in both the ascending and descending
then what is called ' Phirat', the compementary term of Badhat.
Chetan Vinchhi
<or...@hotmail.com> wrote in message
news:1137127729.3...@z14g2000cwz.googlegroups.com...
Read my explanation of baDhat earlier in this thread.
vistaar is a generic term for raag exploration (usually
applied to aalaap) and has little to do with baDhat.
Why is phirat a complementary term of baDhat? As far as
I know phirat is just a quality of the singing voice
which allows the singer to negotiate difficult and/or
fast passages with ease.
C
sitar_vadak
I have explained about Badhat in my previous note.
http://groups.google.com/group/rec.music.indian.classical/msg/3e6dde11e28d3b9a
Vistaar is a very generic term. As the name implies, vistaar is the way
of raga exploration. The enfoldment of the raga is called Vistaar. The
term "Vistaar" is generally used in case of alap. But in my
opinion, jod , even improvisation through gat or Bandish is also a kind
of vistaar. According to Ustads, the gradual unfolding of a raga in a
slow, free flowing unmeasured rhythm is called Vistaar.
The note by note exploration of raga, which is basically the style of
Ustad Amir Khan Sahab is called Badhat Vistaar.
Now we discuss about the difference between Badhat and Vistaar.
If we don't consider the musical aspects of the terms, "badhat"
means the "Growth". For example in our practical life it may be
compared with growth of a child to a complete man, or a growth of plant
to become a full grown tree.
Mr. Gupta, in Bengali, we say it "Bridhdhi".
In the same way, "Vistaar" means the expansion or exploration. This
can be compared to the gradual change of a bud to become a flower by
enfoldment of its beauty by petal by petal.
Or vistaar can be compared with the vistaar in "Gyan" or
"Shiksha" or "Samrajya"(Empire).
So you see Mr Gupta, you are visualizing that propagating nature of
"Badhat" is of one direction. But the propagating nature of
"Vistaar" is multidirectional.
Obviously this is my own realization. Opinions may vary in this regard.
2] Badhat is only applicable at ascending?
First of all I would like to know what do you mean by "ascending"?
Are you meaning it in melodic aspect (the gradual movement from mandra
saptak sadaj to tar saptak sadaj) or rhythmic aspect (gradual increase
of laya in step by step) or something else?
In your terms (as far I understood) and in melodic aspect, badhat is
generally (please don't omit this word) used for ascending vistaar.
3] If Badhat is applicable in both the ascending and descending
then what is called ' Phirat', the compementary term of Badhat.
Again "Phirat" is also a very generic term. It is used in multiple
senses.
1) Phirat is the quality of the voice of the vocalist by which he/she
negotiates the difficult and drut (fast) phrases with ease. In support
of this meaning, I would like to mention that, in a note on Ustad Bade
Gulam Ali Khan, I have read that:" The almost effortless phirat of
his voice, which ranged through three octaves -Mandra, Madhya and
Taar-elevated the artist and the listeners to immeasurable heights of
musical experience."
2) In a music presentation we begin the alap from Madhya saptak sadaj
and gradually do vistaar at mandra saptak, Madhya saptak and tar
saptak. (This pattern is maintained by the vocalists/instrumentalists,
irrespective of gharanas..)
Before the completion of the alap, we again return to Sadaj of Madhya
Saptak, which is obviously moving in a descending direction (in melodic
aspect).
This may also be called "Phirat" (i.e returning towards the main
melodic centre- Madhya saptak Sa).
3) Phirat Tan is a prakar of Taan, in which improbable combinations are
displayed with many alternating ascending and descending sections.
SH
If you have the bandwidth try
http://www.it.iitb.ac.in/~hvs/Veena/semester_series.html
Be aware that there are no universally accepted definitions for these
terms. I have come across different explanations than those posted here
by Chetan. In any case they are better than flowery analogies.
Havanur
John Wright
Thanks for this link. Very useful lec/dem. But after listening to the first
recording (63 minutes) I need your help. Would appreciate if you can point
out which of the 7 recordings has this current topic (barhat/behlava)
discussed? Thanks.
Regards - JW
John Wright
> Would appreciate if you can point out which of the 7 recordings has this
> current topic (barhat/behlava) discussed? Thanks.
Found it - another interpretation from Veena Sahasrabuddhe on Bahlava, in
the very last link (26/3). Bahlava according to her is sung after completing
the slow gradual barhat of sthayi and anthara in vilambit, and is
characterised by its uninhibited and wider movements in all three octaves.
The distinction being that the initial detailed sthayi and anthara barhat is
very gradual, focusing on a small set of notes at any one time. The pace
(laya) is also usually faster in bahlava.
Regards - JW
Chetan Vinchhi
"John Wright" <notpr...@something.com> wrote in message
news:43c85019$0$17702$afc3...@news.optusnet.com.au...
With all due respect, this is an unusual interpretation
of bahalaav. From your transcription, it looks like she
is contrasting aalaapii and baDhat (my interpretation -
all through)! For example, baDhat usually does not
include the antaraa, aalaapii does.
FWIW, she does not do too much of the bahalaav I have
in mind. She typically does some baDhat before
launching into taanbaazi.
C
