Raag - Ab ke hum bichhade to.. (crosspost)
Manish Hatwalne
kabhi khwabon me mile...' by Mehadi Hassan has been sung?
- Manish
debjoy
> Can somebody tell me in which "raaga" this ghazal - 'Ab ke hum bichhade to
> kabhi khwabon me mile...' by Mehadi Hassan has been sung?
>
> - Manish
As far as i know this is based on a raga which was introduced by Mehdi
hassan himself .
There is a story about it - one day Mehdi hassan was returning after
some musical performance by car, suddenly his swaramandala(?) slipped
and when he lifted it up he observed that the dhaivat in which it was
originally tuned
(suddha dhaivat) has changed to komal dhaivat on which he tried to
play bhopali and found it was giving some distintive melodic form
which he named as 'komal dhaivat bhopali ' . here the story ends in
short . (?)
and the above said ghazal is basically sung on that raga (?).
now facts :
(plz don't take me seriously, i am just learning ICM)
1. Although from the ghazal it is evident that the raga is highly
convinced by nature of bhopali but use of komal dhaivat makes it unfit
for kalyan that and i don't know if there exists any anga like bhopali
anga ( that is why i prefer to be a reader not a writer most of the
times in this egroup ) so that it can be classified by any presence of
raganga. So my doubt is either this creation doesnot have much to
mention it as original/new raga as thought by our ICM gurus or it is
totally overlooked by any gurus of ICM due to some unknown reasons.
2. If the influence of bhopali is accepted then only we can place the
raga in the category of mishra raga but i hardly know any mishra raga
which is simply
formed by changing one note in a raga.i think this prospective raga
may not have any serious influence of other ragas, so that we have to
simply call it a variation of bhopali which is the name given by MH.
3. Can anybody tell some raga which is some way similar to this raga?
4. A very personal feeling : the way MH sung the ghazal in this raga i
never felt an absence of bhopali anytime instead my feeling was only
that the medium for expressing bhopali has changed from suddha dhaivat
to komal dhaivat . if that is true, then perception of raga mostly
comes from pattern of notes in time rather than collection of notes.
More importantly sometimes it doesnot care about which all specefic
notes the raga is using to create the same perception of that
particular raga. e.g. here there is a serious substitution of note
from suddha to komal dhaivat but even after that the bhopali can be
felt with some added strange sad melodic component due to the presence
of komal dhaivat.Then how we actually percept raga?
nway plz don't forget to listen to this clip below in which MH is
telling the story before starting the ghazal :
(go to the page below in which this is the 1st song listed )
Birbal
> kabhi khwabon me mile...' by Mehadi Hassan has been sung?
>
> - Manish
Dr. Vasantrao Deshpande, the great classical vocalist, had said in an
interview (which i have in audio form) that it would be wrong for us
to look for a Raag in the Natyasangeet, because they are not designed
or expected to follow a single Raag. They are created for a certain
situation and that is all we need to look for it.
I think the same applies it Ghazals and Film Songs. IMHO it would be a
complete waste of time trying to identify what Raag a song belongs to,
if any. On top of that, knowing this only adds to the junk of factual
data in one's brain and does not enhance the listening experience in
any way. (in very much the same way knowing grammar does not enhance
one's experience of reading poetry).
Deepak
"Birbal" <bir...@hotmail.com> wrote in message
news:e64647f9.04071...@posting.google.com...
>IMHO it would be a
> complete waste of time trying to identify what Raag a song belongs to,
> if any. On top of that, knowing this only adds to the junk of factual
> data in one's brain and does not enhance the listening experience in
> any way. (in very much the same way knowing grammar does not enhance
> one's experience of reading poetry).
That depends on why some one wants to know the Raag. I am illiterate on
classical music, but I do enjoy it. Stores selling CDs don't let me listen
to the CD before I buy it. I know what filmi songs I like. By finding out
the Raag they were based on, I was able to build a list of Raagas that I
liked and then spend my money on getting CDs containing renditions of those
Raagas.
You are right about your assertion that knowing what Raag a song was based
on did not increase my enjoyment of that particular song, but it gave me the
information I needed to explore the classical music world.
Deepak
Manish Hatwalne
song which sounds similar, so I was wondering if it is based on some common
"raga". Besides, I agree with what Deepak said; there could be other reasons
applicable as well for finding the raga. One reason is identifying the
patterns of your own likes. Over the years I have realized that I like wind
instruments (flute, sax etc) more than string instruments (guitar...). IMHO,
the whole search identifying this is very enjoyable.
Likewise, one can enjoy a song even if he does not know singer, film, year
of release etc, but knowing it adds up to your knowledge, gives you better
understanding and broader perspective (I never knew the Mehadi Hasan story
that debjoy mentioned, it was great reading this) about the whole song. Just
my thoughts...
TIA,
- Manish
"Birbal" <bir...@hotmail.com> wrote in message
news:e64647f9.04071...@posting.google.com...
ali zafar
> kabhi khwabon me mile...' by Mehadi Hassan has been sung?
>
> - Manish
hi manish, i think this ghazal is in raag Bhoopali
ali
Animesh Kumar
Birbal wrote:
> ..snipped..
>
> I think the same applies it Ghazals and Film Songs. IMHO it would be a
> complete waste of time trying to identify what Raag a song belongs to,
> if any. On top of that, knowing this only adds to the junk of factual
> data in one's brain and does not enhance the listening experience in
> any way. (in very much the same way knowing grammar does not enhance
> one's experience of reading poetry).
Knowledge of grammar does magic in reading and writing poems! Knowing
rules of sandhi, samaas, pratyay, upsarg etc helps a lot in defining and
writing metric poetry ( I am saying from my personal experience),
best
Animesh
--
PS: reply to animesh AT eecs.berkeley.edu
Saving Thyself from Spam
Sanjeev Ramabhadran
> "Manish Hatwalne" <dontspa...@yahoo.com> wrote in message news:<2lepfpF...@uni-berlin.de>...
> > Can somebody tell me in which "raaga" this ghazal - 'Ab ke hum bichhade to
> > kabhi khwabon me mile...' by Mehadi Hassan has been sung?
> >
> > - Manish
>
> Dr. Vasantrao Deshpande, the great classical vocalist, had said in an
> interview (which i have in audio form) that it would be wrong for us
> to look for a Raag in the Natyasangeet, because they are not designed
> or expected to follow a single Raag. They are created for a certain
> situation and that is all we need to look for it.
He is/was entitled to his opinion, but that doesn't mean a single raag
does not dominate any Natyageet, Gazal, etc. Who's going to say that
"Mruganayanaa" is not mostly Darbari?
> I think the same applies it Ghazals and Film Songs. IMHO it would be a
> complete waste of time trying to identify what Raag a song belongs to,
> if any. On top of that, knowing this only adds to the junk of factual
> data in one's brain and does not enhance the listening experience in
> any way. (in very much the same way knowing grammar does not enhance
> one's experience of reading poetry).
Maybe you don't want to know or identify it, but since someone asked
with at least a half-sincere desire to know, if you don't know the
answer, you could just say so...
As mentioned, this not-so-common raga has been referred to by Mehdi
Hassan as "Komal-Dha Bhoopali" (though I wouldn't necessarily say he
introduced it). Others have called it Bhoopeshwari (see Rajan
Parrikar's SAWF Article on Bhoopali), and IIRC, Manikbua Thakurdas
refers to it as "Pushpakali" in his "Raag-Darshan."
Sanjeev
Birbal
If you think that an half a phrase from song can give you insights
into a Raag, that view is highly mistaken. First of all, a film song
or even a Thumri for that matter is not obliged to follow the rules
any particular Raag and may not give you accurate picture of any Raag.
Besides if you feel the urge to expand your mind by listening to
classical music, i can assure you that if you listen to an able
performer, and there are a plenty of them, you will find immense joy
in any raag. there is no reason to scramble to find the familiar. The
idea is to enjoy it with the heart... not the intellect. unless of
course you are planning on making a career in it. But even if i
accepted your argument for the sake of it, the point that Dr.
Deshpande made is still very valid. A film song does not (and is not
expected to) to conform to any raag because a Raag is lot more than
the aaroh and awaroh. And THAT, my friend, is the point. Saying that
a three minute film song with a million influences is a true
representation of a raag trivializes the great raag and shows our
ignoracne.
Now on the other hand if we are indeed set out to fool ourselves with
false belives that we actually *know* a Raag by knowing some film song
that might resemble some aspect of the raag in some phrase, then it is
just that... fooling ourselves.
On the other hand, i find it so much easier, and infinitely more
rewarding, to simply open my heart to the music and send the God damn
intellect for a walk while i enjoy it.
Deepak
Tell you what? You do what warms your heart and I will do what works for
me - ok? As to what Vasantrao Deshpande said, he expressed his opinion. I
enjoy the music that he provided. I have had the pleasure of seeing him
perform on stage several decades ago. I have no issue with you having your
opinion. I merely provided a point of view on why I care to know some
information. It works for me. I don't seek your agreement or approval.
Cheers...
Deepak
"Birbal" <bir...@hotmail.com> wrote in message
news:e64647f9.04071...@posting.google.com...
aanand
mehndi hasn song and The song copied by Hridayanth for lata " malavun
tak deep" is Bhoopeshwari.
Thsi raag was popularised by Deeleepchand bedi and his disciples. I
gues mehedi hassan was one among of them.
aliza...@hotmail.com (ali zafar) wrote in message news:<88c84c2d.04071...@posting.google.com>...
Ashok
Your knowing grammar would enhance my experience of
reading your prose.
Ashok
Vish Krishnan
> The reason I am looking for the "raga" because I have heard another Marathi
> song which sounds similar, so I was wondering if it is based on some common
> "raga". Besides, I agree with what Deepak said; there could be other reasons
> applicable as well for finding the raga. One reason is identifying the
> patterns of your own likes. Over the years I have realized that I like wind
> instruments (flute, sax etc) more than string instruments (guitar...). IMHO,
> the whole search identifying this is very enjoyable.
>
> news:<2lepfpF...@uni-berlin.de>...
> Can somebody tell me in which "raaga" this ghazal - 'Ab ke hum bichhade
> to
> kabhi khwabon me mile...' by Mehadi Hassan has been sung?
>
> - Manish
If your similar sounding Marathi song is "maalavoona Taaka Deepa",
then add to the list Aziz Naaza.n's "chhaData sooraj dheere dheere
Dhaltaa hai Dhal jaayega". That is quite a song count for raaga
Vasanti (Vasanthi to some) for which otherwise no traditional Carnatic
compositions come readily to mind. It is either not a very popular
raaga, or a relatively recent one, or both - interesting that the
non-Carnatic space should put it such exquisite use.
There was also this Lata-Rafi duet from Kalyanji Anandji's DIL NE
PUKAARA (late '60s) that embraced a vasanti phrase if only for the
opening line. It goes "hum ko hone lagaa hai pyaar tumse,
priyatammaa". I would have discarded it as yet another desperate
attempt at a maDraasi parody had it not been for the touch of
respectability both singers bring to it. The song wanders off into
neighbouring raagas, as so many such filmi compositions do, but not
before registering a strong vasanti signature.
cheers
vish
Manish Hatwalne
"aanand" <anandj...@yahoo.com> wrote in message
news:1a3f12b.04071...@posting.google.com...
> Plese refer to Rajan Parrikar's article on bhoop. The raag of this
> mehndi hasn song and The song copied by Hridayanth for lata " malavun
> tak deep" is Bhoopeshwari.
>
Could you please give a link to Rajan Parrikar's article? I am very much
interested in reading it.
- Manish
Manish Hatwalne
> Maybe you don't want to know or identify it, but since someone asked
> with at least a half-sincere desire to know, if you don't know the
> answer, you could just say so...
>
Why half-sincere desire? Or am I missing a point here?
I was genuinely interested in knowing it, though honestly I don not
understand much about ragas, but I am trying to know more as and when time
permits.
I am all for knowing more.
rgds,
- Manish
Manish Hatwalne
http://www.sawf.org/bin/tips.dll/gettip?user=Sawf&class=EZine&tipid=6040&pn=
Contributors&arch=1
Thanks a ton for referring me to this.
- Manish
"Manish Hatwalne" <dontspa...@yahoo.com> wrote in message
news:2lhf33F...@uni-berlin.de...
UVR
>
> If your similar sounding Marathi song is "maalavoona Taaka Deepa",
> then add to the list Aziz Naaza.n's "chhaData sooraj dheere dheere
> Dhaltaa hai Dhal jaayega". That is quite a song count for raaga
> Vasanti (Vasanthi to some) for which otherwise no traditional Carnatic
> compositions come readily to mind. It is either not a very popular
> raaga, or a relatively recent one, or both - interesting that the
> non-Carnatic space should put it such exquisite use.
There's a rather exquisite tillaana composed by by Lalgudi
Jayaraman in the raga vaasanti, but it perhaps wouldn't
qualify as a "traditional" composition (I mean it perhaps
_would_ qualify stylistically, but not in terms of vintage).
Where can I listen to the Aziz Naazaan song you mentioned?
-UVR.
vidushak
Hridaynath Mangeshkar Composition ? Again i wont say it is based on
the same raag but yes it is vry similar. From what i heard is
Hridaynath Mangeshkar was the first one to make the composition. Mehdi
Hassan's gazal came later on.
gv
"Manish Hatwalne" <dontspa...@yahoo.com> wrote in message news:<2lg6m3F...@uni-berlin.de>...
Satish Kalra
The above "top post" by Manish Hatwalne is a prime example of the reason why
top posting should be discouraged.
--
Happy Listenings.
Satish Kalra
Afzal A. Khan
Broadly speaking, there are two kinds of music listeners,
some (like yours truly) who know a little bit about film
music and enjoy it a great deal, but hardly know anything
about Indian classical music. For such folks, the kind
of exercise suggested by Manish Hatwalne is a very
rewarding experience. My enjoyment of "Laaga chunri men
daaGH" is definitely enhanced by knowing that it is based
on Bhairavi. This info or knowledge makes listeners like
me seek other songs based on this raag, say, "SaaNvre,
saaNvre". BTW, I do not include Manish in this category.
I feel he knows a lot about classical music and raagas.
Probably, the rarity of the notes employed in the Mehdi
Hassan ghazal prompted him to seek this inofrmation.
The second type of listeners are those who are quite
familiar with the notes and nuances of classical music
and also enjoy film music. As examples, I can cite the
names of Vish Krishnan, Rajan Parrikar, Chetan Vinchhi,
Sanjeev Ramabhadran etc. They can be, and in fact are, a
great source (or resource) for furnishing the type of info
Manish sought. Their posts on RMIM (even if rare) are a
must - read for people like me.
Now, I don't think anybody in the first category ever
claims that he "knows" a raaga, simply by learning that
a particular song is based on that raaga. If you know
about any RMIMer (in the first category) who does that,
we would all like to know about him. In legal parlance,
we may refer to it as "assuming a fact not in evidence".
As to the distinction you make between "heart" and
"intellect", I think this is wholly uncalled for. When
somebody well-versed in classical music listens to a
Malkauns rendition, isn't he aware as to which raaga he
is listening to ? Why do classical music lovers have
their favourite raagas and why do they seek to enquire about
cassettes and CDs by their favourite artistes ? The
classical discussion about the nature of Economics (whether
it is a Science or an Art) is, IMHO, absolutely applicable
to Indian classical music. To understand and appreciate
it, one does require both the heart and the intellect.
Afzal
Ashok
>
>
> Now, I don't think anybody in the first category ever
> claims that he "knows" a raaga, simply by learning that
> a particular song is based on that raaga. If you know
> about any RMIMer (in the first category) who does that,
> we would all like to know about him.
> Afzal
Naniwadekar.
Ashok
imppio
> The reason I am looking for the "raga" because I have heard another Marathi
> song which sounds similar, so I was wondering if it is based on some common
> "raga".
Manish,
Congrtulations on your persistance, and not getting fazed out by usual
RMIM/RMIC mafia disciplining of a genuine but less familiar poster.
For understanding Raga using the tools of Popular Film or light music
based on those ragas is definitely a wonderful idea. Light muiscla
compositions, as opposed to Classical development of ragas, convey the
spirit of raga by vehicle of words and not the notes.
In my younger days, Vividh Bharati used to have a programme for 15
minutes once or twice a week, 7:30 in the morning. It used to take a
Raga and explain basic grammer like aaroha, avaroha, then some
instrumental and other classical composition, a 3 minute recording,
AND a song based on that Raga from Film. I wish somebody will dig out
that programme from the rachives of AIR and publish it for the benefit
of music lovers and propogation of Classical Music.
sawf.org has archived a series of wonderful articles on music, written
by Rajan Parrikar, a very knowledgeable and erudite writer. These
articles give highly technical and detailed information about many
many ragas and in context of similarities and differences of shades of
each of them. These are the most enjoyable, but mainly for those who
already are well conversant with Hindustani classical music. However
in almost all those articles ample use of popular Hindi Film Songs is
made, as a introduction to those ragas.
I would strongly recommend you to browse those articles. Since they
give .ram file audio clips, the explanation is understood very
clearly. Rajan's openhearted generosity in making such a treasure of
knowledge available to practically anybody, is our good fortune. I
encourage you to take advantage of it as much as you can.
Coming back to the actual Marathi song that you hinted at, is also
referenced by Rajan under Bhupali. Rajan also has given insight that
Hridaynath has adapted it from Mehdi Hassan's gazal. So your original
query tells me that not only you have musical ear, but you have pretty
good logical mind to go with it.
Once again thanks for posting the original and follow up later on.
cheers,
imppio
bdixit
contribution to ICM......BND
Afzal A. Khan
I am sure ltusenet would provide you with the
requisite link.
This song was very popular around 1977.
Afzal
Afzal A. Khan
{ Closed Captioning --- Sound of chuckles }
You might perhaps have made the remark in jest, but there
is at least one other person who would repeat it in all
seriousness. And this is not a quiz.
Afzal
UVR
>
> I am sure ltusenet would provide you with the
> requisite link.
>
> This song was very popular around 1977.
Ah, I was too young then. One of the few memories I have of
those years is that some kids in the neighborhood used to run
around shouting, "jantapaTiki jai" (no, really!) :-)
-UVR.
Malini
news:2lihslF...@uni-berlin.de...
>
> X-No-archive: yes
> "imppio" <imp...@yahoo.com> wrote in message
> news:6cccfc5d.04071...@posting.google.com...
> > In my younger days, Vividh Bharati used to have a programme for 15
> > minutes once or twice a week, 7:30 in the morning. It used to take a
> > Raga and explain basic grammer like aaroha, avaroha, then some
> > instrumental and other classical composition, a 3 minute recording,
> > AND a song based on that Raga from Film. I wish somebody will dig out
> > that programme from the rachives of AIR and publish it for the benefit
> > of music lovers and propogation of Classical Music.
>
Tarang,
> Sangeet Samraat, Rangavali and Bhule Bisre Geet in that order, that used
to
> make up the morning show.
The program was called 'Sangeet Sarita' and was a 10 min program from 7:30
to 7:40 followed by Rangavali till 8:00 am followed by 10 min news and Bhule
Bisre geet from 8:10 to 8:30. After that it used to be time for us to leave
for school/college.
Malini
>
> PS: Is "imppio" short for Important Person of Indian Origin :-) ?
>
>
UVR
> X-No-archive: yes
> "imppio" <imp...@yahoo.com> wrote in message
> news:6cccfc5d.04071...@posting.google.com...
>
>>In my younger days, Vividh Bharati used to have a programme for 15
>>minutes once or twice a week, 7:30 in the morning. It used to take a
>>Raga and explain basic grammer like aaroha, avaroha, then some
>>instrumental and other classical composition, a 3 minute recording,
>>AND a song based on that Raga from Film. I wish somebody will dig out
>>that programme from the rachives of AIR and publish it for the benefit
>>of music lovers and propogation of Classical Music.
>
>
> IIRC the program is/was called "Sangeet Samraat"... I remember Rang Tarang,
> Sangeet Samraat, Rangavali and Bhule Bisre Geet in that order, that used to
> make up the morning show.
Methinks you mean "sangeet *sarita*". At least, I remember
listening to such a program when I was a kid. It used to
air at the same time that 'imppio' has said: 7:30am.
-UVR.
Afzal A. Khan
You are right. It was very shortly after the
resounding success of Janata Party in the 1977
elections.
Afzal
rkusenet
"Loony Tunes" <l t u s e n e t @ y a h o o . c o m> wrote
> > Methinks you mean "sangeet *sarita*". At least, I remember
> > listening to such a program when I was a kid. It used to
> > air at the same time that 'imppio' has said: 7:30am.
>
> yes..you are right...:-)
It is sangeet sarita. One of the few hindi programs which is still
played in Vividh Bharati Chennai. The other being that 1PM film
song based program and 2PM rang-tarang (non film songs).
IIRC the signature tune of Sangeet Sarita use to be music piece from
the film Chitralekha.
rk-
Malini
"rkusenet" <rkus...@sympatico.ca> wrote in message
news:2lilctF...@uni-berlin.de...
I thought the program used to start with the starting instrumental (sitar)
piece of 'garajat barasat...' from 'Barasaat ki raat'. Both by Roshan.
- Malini
> rk-
>
>
>
>
rkusenet
"Malini" <malin...@hotmail.com> wrote
> > IIRC the signature tune of Sangeet Sarita use to be music piece from
> > the film Chitralekha.
> >
>
> I thought the program used to start with the starting instrumental (sitar)
> piece of 'garajat barasat...' from 'Barasaat ki raat'. Both by Roshan.
100% right.
Can't blame me. I associate Roshan with Chitralekha more than any other
film :-)
naniwadekar
> >
> > Dr. Vasantrao Deshpande, the great classical vocalist, had said in an
> > interview (which i have in audio form) that it would be wrong for us
> > to look for a Raag in the Natyasangeet, because they are not designed
> > or expected to follow a single Raag. They are created for a certain
> > situation and that is all we need to look for it.
>
> does not dominate any Natyageet, Gazal, etc. Who's going to say that
> "Mruganayanaa" is not mostly Darbari?
>
Vasantrao expressed his opinion in a rather odd manner in the
cassette alluded to by 'Birbal the unwise'. But he did it only
after confirming the interlocutor's guess that 'nako visaru'
song is based on Multani. So though V left his remarks open
to (mis)interpretation, he said nothing quite as strong as
'Birbal' would have us believe.
>
> > I think the same applies it Ghazals and Film Songs. IMHO it would be a
> > complete waste of time trying to identify what Raag a song belongs to,
> > if any. On top of that, knowing this only adds to the junk of factual
> > data in one's brain and does not enhance the listening experience in
> > any way. (in very much the same way knowing grammar does not enhance
> > one's experience of reading poetry).
>
> Maybe you don't want to know or identify it, but since someone asked
> with at least a half-sincere desire to know, if you don't know the
> answer, you could just say so...
>
Perhaps 'Birbal' is more interested in displaying one 'opinion'
amidst the junk floating in his brain?
- dn
Praful Kelkar
> Are you referring to the the marathi song "MAALVOON TAAK DEEP", a
> Hridaynath Mangeshkar Composition ? Again i wont say it is based on
> the same raag but yes it is vry similar. From what i heard is
> Hridaynath Mangeshkar was the first one to make the composition. Mehdi
> Hassan's gazal came later on.
That is incorrect. Hridaynath simply took MH's tune and put marathi
words into it!
Speaking of new "raags" - Mehdi Hasan has a gazal in whole tone scale
- 'jab tere naina'. He does a fabulous job with it - enough to
warrent naming the raag 'hasani' or something like that :-)
His chalan (m = teevra ma) SRnS, SRG mG, mGS, mGRS, SGmdS, nRnd m, GmG
mGRS. Curious arohi phrase SGmdS (tetratonic).
He seems to have a knack for taking an unusual scale and making it
soung good.
-PK
Birbal
> As to the distinction you make between "heart" and
> "intellect", I think this is wholly uncalled for. When
> somebody well-versed in classical music listens to a
> Malkauns rendition, isn't he aware as to which raaga he
> is listening to ? Why do classical music lovers have
> their favourite raagas and why do they seek to enquire about
> cassettes and CDs by their favourite artistes ? The
> classical discussion about the nature of Economics (whether
> it is a Science or an Art) is, IMHO, absolutely applicable
> to Indian classical music. To understand and appreciate
> it, one does require both the heart and the intellect.
>
>
> Afzal
Afzal Sahab,
I agree with you. The argument that I made earlier was not to
trivialize or ridicule Manish's efforts of gaining more knowledge. It
was only to present my point in a manner that was more extreme than it
should have been. I have utmost respect for anyone's desire to gain
any knowledge regardless of why they want to do it.
To the two categories you mentioned, I would like to add a third
one... those who do not understand anything in classical music and
feel no need to have that knowledge in order to appreciate the song
nor feel that having it *in a superficial manner* enhances the
experience. What I mean by appreciate here is a purely a
"physical/emotional" experience. Like the enjoyment you can get by
eating a well made dish. If the argument is that knowing the
ingrdiants enhances the experience, I would humbly say that we have
different definitions of 'experience' or 'enjoyment'. A great
Bhel-Puri tastes equally great even if one eats it blindfolded. But
that is where may be the extremeness of my opinion comes in.
Applying the intellect to music is no mean job. Even many a great
musicians are completely unable to do it...But any way... Lets not
start another argument.
I hope I have conveyed my point.
Chetan Vinchhi
"Sanjeev Ramabhadran" wrote...
>
> As mentioned, this not-so-common raga has been referred to by Mehdi
> Hassan as "Komal-Dha Bhoopali" (though I wouldn't necessarily say he
> introduced it). Others have called it Bhoopeshwari (see Rajan
> Parrikar's SAWF Article on Bhoopali), and IIRC, Manikbua Thakurdas
> refers to it as "Pushpakali" in his "Raag-Darshan."
Manikbua describes Pushpakali as a raag with S R G P d. He clarifies
that this is an old raag that has fallen out of favor with
performers/listeners.
Interestingly, he mentions the relative prevalence of melodic gestures from
this raag in "light" music. Another point he brings up is the "source" of
this
raag. He discards the idea that it is "Deshkar with komal dha". He never
even brings Bhoop up in this context. His conclusion is that it is one of
the
(five) prakaars of Vibhas.
(As an aside, there is also Pushpangini - Dr.Khadilkar actually sings and
teaches it - which is obtained by komalifying Hamsadhwani's Ni).
C
Manish Hatwalne
> - 'jab tere naina'. He does a fabulous job with it - enough to
> warrent naming the raag 'hasani' or something like that :-)
>
> His chalan (m = teevra ma) SRnS, SRG mG, mGS, mGRS, SGmdS, nRnd m, GmG
> mGRS. Curious arohi phrase SGmdS (tetratonic).
>
> He seems to have a knack for taking an unusual scale and making it
> soung good.
I second that!
He's just too brilliant! :)
Could you please give some ore details about 'jab tere naina'?
TIA,
- Manish
Ashok
>
>
>To the two categories you mentioned, I would like to add a third
>one... those who do not understand anything in classical music and
>feel no need to have that knowledge in order to appreciate the song
>nor feel that having it *in a superficial manner* enhances the
>experience.
How shameless can one get? All you are capalbe of--from what
you yourself confess--is superficiality and you claim credit
for not indulging in it! Worse, you are willing to hector on
about it ad nauseum. One thing is reasonably sure: you will
always be superficial.
What I mean by appreciate here is a purely a
>"physical/emotional" experience. Like the enjoyment you can get by
>eating a well made dish. If the argument is that knowing the
>ingrdiants enhances the experience, I would humbly say that we have
>different definitions of 'experience' or 'enjoyment'. A great
>Bhel-Puri tastes equally great even if one eats it blindfolded. But
>that is where may be the extremeness of my opinion comes in.
Listening to music is like eating bhel-puri? Your example
demonstrates that you have no notion of "rasaabhaasa".
>I hope I have conveyed my point.
You can rest assured: all too well.
Ashok
Ashok
>The program was called 'Sangeet Sarita' and was a 10 min program from 7:30
>to 7:40 followed by Rangavali till 8:00 am followed by 10 min news and Bhule
>Bisre geet from 8:10 to 8:30. After that it used to be time for us to leave
>for school/college.
>
>Malini
Whether someone listened to Sangeet Sarita--which started at
7:30am-- regularly is a very good litmus test for whether one is a
genuine lover of Hindi film songs.
Well, let me retract a bit: it is a good one-way test. If someone
never listened to Sangeet Sarita, it is not possible to conclude
anything about that person.
But the opposite is clear: if someone listened regularly to
Sangeet Sarita, that person is only be a pretender, not a
serious lover of Hindi film songs.
Ashok
imppio
> "Loony Tunes" <l t u s e n e t @ y a h o o . c o m> wrote in message
> news:2lihslF...@uni-berlin.de...
> >
Yes it was Sangit Sarita.
How is it that they are running the show for 40+ years!!
They must be repeating the Ragas and the songs.
cheers,
imppio
**********************
Looney,
you are close but no Cigar!
I decided on my net identity as:
"I'm Proud Person of Indian Origin" [imppio]
I am not Important, but my Indian Origin IS!
Hope this satisfies your curiosity.
cheers,
Abhay Phadnis
>
> > > Methinks you mean "sangeet *sarita*". At least, I remember
> > > listening to such a program when I was a kid. It used to
> > > air at the same time that 'imppio' has said: 7:30am.
> >
> > yes..you are right...:-)
>
> It is sangeet sarita. One of the few hindi programs which is still
> played in Vividh Bharati Chennai. The other being that 1PM film
> song based program and 2PM rang-tarang (non film songs).
OT, but...your use of "...the other being..." would indicate that that these
are the only Hindi programs being broadcast on VB Chennai. Luckily, that is
not the case: the Hindi broadcast starts with "vandanavaar" in the morning,
continues with "bhuule-bisare giit" at 7 am, and ends by "sa.ngiit saritaa"
at 7.30 am. The afternoon session has at least three Hindi programs - a
bhajan-and-ghazal program (I forget the name), "manachaahe giit", and then
"piTaaraa". There is also "anura.njanii". The evening session has
"jayamaalaa", a ghazal program, "ek fanakaar", and "aap kii farmaa_iish".
Quite a lot there - something I am deeply grateful for!
The only crib I have is that the 11 pm program "belaa ke phuul" is not
broadcast - the evening sesion ends at 11 pm.
Warm regards,
Abhay
V S Rawat
> "rkusenet" <rkus...@sympatico.ca> wrote in message
> news:2lilctF...@uni-berlin.de...
>
>> "Loony Tunes" <l t u s e n e t @ y a h o o . c o m>
>> wrote
>>
>> which is still played in Vividh Bharati Chennai. The
>> other being that 1PM film song based program and 2PM
>> rang-tarang (non film songs).
>
> OT, but...your use of "...the other being..." would
> indicate that that these are the only Hindi programs
> being broadcast on VB Chennai. Luckily, that is not the
> case: the Hindi broadcast starts with "vandanavaar" in
> the morning, continues with "bhuule-bisare giit" at 7 am,
> and ends by "sa.ngiit saritaa" at 7.30 am. The afternoon
> session has at least three Hindi programs - a
> bhajan-and-ghazal program (I forget the name),
> "manachaahe giit", and then "piTaaraa". There is also
> "anura.njanii". The evening session has "jayamaalaa", a
> ghazal program, "ek fanakaar", and "aap kii farmaa_iish".
> Quite a lot there - something I am deeply grateful for!
>
> The only crib I have is that the 11 pm program "belaa ke
> phuul" is not broadcast - the evening sesion ends at 11
> pm.
Same here.
bela ke phuul is not broadcast in Lucknow in last 40 years
nor in Indore now.
>
> Warm regards, Abhay
>
>
--
Rawat
V S Rawat
> "Loony Tunes" <l t u s e n e t @ y a h o o . c o m> wrote
>
>
>
>>> Methinks you mean "sangeet *sarita*". At least, I
>>> remember listening to such a program when I was a
>>> kid. It used to air at the same time that 'imppio'
>>> has said: 7:30am.
>>
>> yes..you are right...:-)
>
>
> It is sangeet sarita. One of the few hindi programs which
> is still played in Vividh Bharati Chennai. The other
> being that 1PM film song based program and 2PM
> rang-tarang (non film songs).
I miss that program very much. It is no more.
so many rare, lovely non-film songs I had heard in that.
When I was a kid I liked film songs only, thus I hated all
these, anuranjanii, rang tarang, lok sangiit, etc. Then I
discovered ghazals, and then I started enjoying these
programs also.
--
Rawat
V S Rawat
> X-No-archive: yes "Malini" <malin...@hotmail.com>
> wrote in message
> news:ueednUSPaJo...@giganews.com...
>
>> min program from 7:30 to 7:40 followed by Rangavali
>> till 8:00 am followed by 10 min news and
>
> Bhule
>
>> Bisre geet from 8:10 to 8:30. After that it used to be
>> time for us to
>
> leave
>
>> for school/college.
>
>
> synchronize the morning schedules. Is is the same
> sequence of programs even now ?
Nowadays.
vandanwaar (6:00 -6:30 now sure)
chitrashaalaa ( 5 min)
bhule bisare giit (7:00 - 7:30)
sangeet sarita (7:30-7:40)
A program having 2 - 3 songs (7:40 - 8:00)
news in hindi (8:00 - 8:10)
chitralok (8:10-9:15)
some program (9:15-9:30)
aaj ke fankaar (9:30 - 10:00)
previously vividh bharatii used to end its pahalii sabhaa at
9:30 and its duusarii sabhaa started at 12:00.
Now pahalii sabhaa continues till 12:00, and without taking
a break, they announce that pahalii sabhaa samapt, and
duusarii sabhaa praarambh.
anuranjanii was previously at 4:30 - 5:00 PM. It has been
recently shifted to 12:30 - 1:00 Noon.
previously, 3:00 - 3:15 was lok sangeet. Now that is 8:30 - 8:45
sunday's jaimaalaa was 3:00-3:45. Now it is 3:15-4:00.
previously there were south indian songs (I was at lucknow)
in 3:00 - 5:30 slot. Now it is all hindi programs.
Previously, evening transmission started at 6:15. Now it
starts at 6:00. first program is 15 minutes saandhya giit
having devotional film songs.
hawaa mahal was at 9:15-9:30. Then it was shifted to
8:30-8:45. Currently it is at 8:15-8:30.
----
there are hardly any ad in vividh bharatii. They do take a
break playing some tune to mark the place of ad in the
middle of program for a few minutes.
I wonder whether vividh bharatii is going to survive this
draught of funds.
-----------
I think that local FM private channel, radio mirchi is
trying to disturb the bandwidth of vividh bharatii. mirchi
is at 98.4, vividh bharatii is at 101.6, even then mirchi
can be caught in full volume where vividh bharatii is
supposed to come. And that causes a lot of disturbance,
supreimposition, and what not.
I am sure they must be doing it intentionally, knowingly. Is
there any law under which I can sue radio mirchi?
--
Rawat
Sanjeev Ramabhadran
> vidush...@yahoo.com (vidushak) wrote in message news:<fecca8e3.04071...@posting.google.com>...
> > Are you referring to the the marathi song "MAALVOON TAAK DEEP", a
> > Hridaynath Mangeshkar Composition ? Again i wont say it is based on
> > the same raag but yes it is vry similar. From what i heard is
> > Hridaynath Mangeshkar was the first one to make the composition. Mehdi
> > Hassan's gazal came later on.
>
> That is incorrect. Hridaynath simply took MH's tune and put marathi
> words into it!
>
> Speaking of new "raags" - Mehdi Hasan has a gazal in whole tone scale
> - 'jab tere naina'. He does a fabulous job with it - enough to
> warrent naming the raag 'hasani' or something like that :-)
He (probably among others) calls it "Sehra". Mentioned that film
background composers like using it when there's a shocking or weird
scene.
Sanjeev
Sanjeev Ramabhadran
> >
> > Maybe you don't want to know or identify it, but since someone asked
> > with at least a half-sincere desire to know, if you don't know the
> > answer, you could just say so...
> >
>
> I was genuinely interested in knowing it, though honestly I don not
> understand much about ragas, but I am trying to know more as and when time
> permits.
> I am all for knowing more.
>
Sorry, my remark was not clear - I was not calling *you* half-sincere.
I just meant that a lot of folks ask questions on this group, and I've
never understood why it's better to say "you don't need to know" than
"I don't know".
Sanjeev
Manish Hatwalne
"Sanjeev Ramabhadran" <sanj...@aol.com> wrote in message
news:5ed58637.04071...@posting.google.com...
> "Manish Hatwalne" <dontspa...@yahoo.com> wrote in message
news:<2lhf7vF...@uni-berlin.de>...
> > >
> > > Maybe you don't want to know or identify it, but since someone asked
> > > with at least a half-sincere desire to know, if you don't know the
> > > answer, you could just say so...
> > >
> >
> > Why half-sincere desire? Or am I missing a point here?
> > I was genuinely interested in knowing it, though honestly I don not
> > understand much about ragas, but I am trying to know more as and when
time
> > permits.
> > I am all for knowing more.
> >
>
> Sorry, my remark was not clear - I was not calling *you* half-sincere.
Ok! Got it! :)
> I just meant that a lot of folks ask questions on this group, and I've
> never understood why it's better to say "you don't need to know" than
> "I don't know".
Exactly!!!!
- Manish
Sachin
available on the net. His comments are mostly not worth reading. He is
pompous, disgusting, biased and shameless. In spite of that, I too
acknowledge his contributions on the net.
- Sachin
bdixit <bdi...@pitt.edu> wrote in message news:<40F40F55...@pitt.edu>...
> I wholeheartedly support you characterization of Rajan Parrikar's
> contribution to ICM......BND
Afzal A. Khan
Sachin wrote:
>
> Rajan's contribution to ICM is limited to making some good clips
> available on the net. His comments are mostly not worth reading. He is
> pompous, disgusting, biased and shameless. In spite of that, I too
> acknowledge his contributions on the net.
>
> - Sachin
But some of his comments do provide a good chuckle,
like "Pandit" Kishore Kumar being the doyen of
Khandwa gharaana.
Afzal
Birbal
> In article <e64647f9.04071...@posting.google.com>, bir...@hotmail.comı says...
> >
> >
> >To the two categories you mentioned, I would like to add a third
> >one... those who do not understand anything in classical music and
> >feel no need to have that knowledge in order to appreciate the song
> >nor feel that having it *in a superficial manner* enhances the
> >experience.
>
>
> How shameless can one get? All you are capalbe of--from what
> you yourself confess--is superficiality and you claim credit
> for not indulging in it! Worse, you are willing to hector on
> about it ad nauseum. One thing is reasonably sure: you will
> always be superficial.
There are three types of people....
Those who know not and know not that they know not.
Those who know not and know that they know not.
Those who know and know that they know.
I belong to the second category.
You seem to belong to one of the remaining two. Lets leave it at that.
>
> What I mean by appreciate here is a purely a
> >"physical/emotional" experience. Like the enjoyment you can get by
> >eating a well made dish. If the argument is that knowing the
> >ingrdiants enhances the experience, I would humbly say that we have
> >different definitions of 'experience' or 'enjoyment'. A great
> >Bhel-Puri tastes equally great even if one eats it blindfolded. But
> >that is where may be the extremeness of my opinion comes in.
>
> Listening to music is like eating bhel-puri? Your example
> demonstrates that you have no notion of "rasaabhaasa".
I did not quite say what you claim I said. I used Bhel Puri merely as
an example.
And what kind of snob told you that eating Bhel Puri is any less of an
original or rewarding experience than your so called "rasaabhaasa"?
>
> >I hope I have conveyed my point.
>
>
> You can rest assured: all too well.
You don't seem to have got it though.
>
>
> Ashok
Surjit Singh
Great job, Afzal! He is a big fan of Kishor!
>
>
> Afzal
--
Surjit Singh, a diehard movie fan(atic), period.
Visit my home page at
http://hindi-movies-songs.com/index.html
Balaji Murthy
> OT, but...your use of "...the other being..." would indicate that that these
> are the only Hindi programs being broadcast on VB Chennai. Luckily, that is
> not the case: the Hindi broadcast starts with "vandanavaar" in the morning,
> continues with "bhuule-bisare giit" at 7 am, and ends by "sa.ngiit saritaa"
> at 7.30 am. The afternoon session has at least three Hindi programs - a
> bhajan-and-ghazal program (I forget the name), "manachaahe giit", and then
> "piTaaraa". There is also "anura.njanii". The evening session has
> "jayamaalaa", a ghazal program, "ek fanakaar", and "aap kii farmaa_iish".
> Quite a lot there - something I am deeply grateful for!
>
> The only crib I have is that the 11 pm program "belaa ke phuul" is not
> broadcast - the evening sesion ends at 11 pm.
AFAIR, bela ke phool was only a Bombay (and its satellite stations, like
Pune, Nagpur etc) VB feature, it was certainly produced and broadcast
from Bombay.
- Balaji
Malini
"Ashok" <adhareshwar@gNO_SPAMmail.com> wrote in message
news:2ljv4dF...@uni-berlin.de...
Yes. That person only pretends to enjoy his bhelpuri :). What he/she is
really interested in is how is bhelpuri made.
Surjit Singh
Ashok notwithstanding, one can do it all:
pretend to enjoy bhelpuri, pretend to be interested in the making of
bhelpuri, really enjoy bhelpuri, really enjoy to learn the explanation
of the process of making bhelpuri, ...
Ket...@att.net
>There are three types of people....
>Those who know not and know not that they know not.
>Those who know not and know that they know not.
>Those who know and know that they know.
>
>I belong to the second category.
>You seem to belong to one of the remaining two. Lets leave it at that.
You must work for the Pentagon :)
{
There are known knowns. These are things we know that we know. There are known
unknowns. That is to say, there are things that we know we don't know. But there
are also unknown unknowns. There are things we don't know we don't know.
Donald Rumsfeld
Tuesday, Feb. 12, 2002
}
Ketan
rkusenet
"Balaji Murthy" <bmu...@yahoo.com> wrote in message news:cd3sg9$ceu$1...@news01.intel.com...
BKP was a bombay special only. It wasn't broadcast in Delhi. On a good day,
one can hear it reasonably well in Chennai. Yes. I have heard it in
Chennai.
rk-
Surjit Singh
Srinivas Ganti
>"Abhay Phadnis @hotmail.com>" <aphadnis<NOSPAM> wrote in message
news:2lk8q3F...@uni-berlin.de...
> The only crib I have is that the 11 pm program "belaa ke phuul" is not
> broadcast - the evening sesion ends at 11 pm.
During the night you should be able to catch Vividh Bharathi Bombay
from Chennai. I used to catch it from Hyderabad. I can't recall the
frequency
though.
And after 11:00 I always used to listen to "taamil-e-irshad" on All India
Radio
urdu service. They used to play such a lovely selection of songs!
sg.
Ashok
>
>
>
>Afzal A. Khan wrote:
>>
>> Sachin wrote:
>>
>>>Rajan's contribution to ICM is limited to making some good clips
>>>available on the net. His comments are mostly not worth reading. He is
>>>pompous, disgusting, biased and shameless. In spite of that, I too
>>>acknowledge his contributions on the net.
>>>
>>>- Sachin
>>
>>
>>
>>
>>
>> But some of his comments do provide a good chuckle,
>> like "Pandit" Kishore Kumar being the doyen of
>> Khandwa gharaana.
>>
>
>Great job, Afzal!
Really?
Ashok
ek bharateeya
> Malini wrote:
>
> > "Ashok" <adhareshwar@gNO_SPAMmail.com> wrote in message
> > news:2ljv4dF...@uni-berlin.de...
> >
> >>In article <ueednUSPaJo...@giganews.com>, malin...@hotmail.com
> >
> > says...
> > Yes. That person only pretends to enjoy his bhelpuri :). What he/she is
> > really interested in is how is bhelpuri made.
> >
>
> Ashok notwithstanding, one can do it all:
>
> pretend to enjoy bhelpuri, pretend to be interested in the making of
> bhelpuri, really enjoy bhelpuri, really enjoy to learn the explanation
> of the process of making bhelpuri, ...
>
> >
aap bhelpuri khaao ham to kk khaenge!
- ek bharateeya (aur saathee)
Prithviraj Dasgupta
> Ashok notwithstanding, one can do it all:
>
(portions snipped)
> pretend to enjoy bhelpuri,
> really enjoy bhelpuri,
Wouldn't these two actions be contradictory?
Ashok
>Those who know not and know not that they know not.
>Those who know not and know that they know not.
>Those who know and know that they know.
>
>I belong to the second category.
Wrong. You belong to the frist category. What you know that you
don't know is a very small part of what you don't know!
This article of yours itself proves it. Using two instances
of know/not-know, there would be four types of people. You
demonstrate that you have no sense of elegance and that
you aren't aware of it.
>And what kind of snob told you that eating Bhel Puri is any less of an
>original or rewarding experience than your so called "rasaabhaasa"?
This shows that you have no clue what "rasaabhaasa" is and
it doesn't look like you'll find out anytime soon.
You are an ignoramus who is proud of his ignorance. The irony
is that you have far more basis to be proud of that way than
you realize!
Ashok
Surjit Singh
Not if you do it quantum-mechanically :)
--
Surjit Singh, a diehard movie fan(atic), period.
UVR
Okay. Can you prove your conjecture, though?
-UVR.
UVR
>>
>>Speaking of new "raags" - Mehdi Hasan has a gazal in whole tone scale
>>- 'jab tere naina'. He does a fabulous job with it - enough to
>>warrent naming the raag 'hasani' or something like that :-)
>
> He (probably among others) calls it "Sehra". Mentioned that film
> background composers like using it when there's a shocking or weird
> scene.
Actually, IIRC, on the MH+Sultan Khan album (which is the only
place I have heard this Ghazal), it is Sultan Khan who calls it
Sehra. Mehdi Hassan uses the epithet "behangam" to describe it.
-UVR.
Afzal A. Khan
From the tenor of the post you responded to, it is not a
mere "conjecture", but a "conclusion". A conjecture need
not require a proof.
Afzal
xss
> Rajan's contribution to ICM is limited to making some good clips
> available on the net. His comments are mostly not worth reading. He is
> pompous, disgusting, biased and shameless. In spite of that, I too
> acknowledge his contributions on the net.
I enjoy Mr Parrikar's irreverent commentary. It's a
welcome change from the fawning stuff everybody else
writes. I would never have got around to listening to
Amir Khan, Kesarbai, Mogubai, Mansur and other past
Masters if it hadn't been for Parrikar's web-pages.
The pictures are excellent too.
s.
Ashok
>
>
>
>UVR wrote:
>>
>> Ashok wrote:
>> > In article <ueednUSPaJo...@giganews.com>, malin...@hotmail.com says...
>> >
>> >
>> >>The program was called 'Sangeet Sarita' and was a 10 min program from 7:30
>> >>to 7:40 followed by Rangavali till 8:00 am followed by 10 min news and Bhule
>> >>Bisre geet from 8:10 to 8:30. After that it used to be time for us to leave
>> >>for school/college.
>> >>
>> >>Malini
>> >
>> > Whether someone listened to Sangeet Sarita--which started at
>> > 7:30am-- regularly is a very good litmus test for whether one is a
>> > genuine lover of Hindi film songs.
>> >
>> > Well, let me retract a bit: it is a good one-way test. If someone
>> > never listened to Sangeet Sarita, it is not possible to conclude
>> > anything about that person.
>> >
>> > But the opposite is clear: if someone listened regularly to
>> > Sangeet Sarita, that person is only be a pretender, not a
>> > serious lover of Hindi film songs.
>>
>> Okay. Can you prove your conjecture, though?
For a while I was afraid no one was going t ask!
>> -UVR.
>
>
>
> From the tenor of the post you responded to, it is not a
> mere "conjecture", but a "conclusion". A conjecture need
> not require a proof.
>
>
> Afzal
"conclusion" is correct, afazaal; in fact, "foregone conclusion".
For lovers of Hindi film music, the holiest time of the day
is 7:30-8.00 in the morning, when SLBC broadcasts "puraane
filmo.n ke gaane". Nothing in the world can interfere--exams,
appointments, sleep ...
The only other holy period is Sunday evenings 7:30-p.00,
when SLBC has "hameshaa javaa.N giito.n kaa kaaryakram
aap ke anurodh par".
Not having a shortwave radio is a very lame excuse. Next
time you travel home get a battery-free Grundig that
Radio Shack sells for $40.
Ashok
Afzal A. Khan
Ashok wrote:
> For lovers of Hindi film music, the holiest time of the day
> is 7:30-8.00 in the morning, when SLBC broadcasts "puraane
> filmo.n ke gaane". Nothing in the world can interfere--exams,
> appointments, sleep ...
>
> The only other holy period is Sunday evenings 7:30-p.00,
> when SLBC has "hameshaa javaa.N giito.n kaa kaaryakram
> aap ke anurodh par".
>
> Not having a shortwave radio is a very lame excuse. Next
> time you travel home get a battery-free Grundig that
> Radio Shack sells for $40.
>
> Ashok
Possibly, the last para above may need some
rephrasing. I think you are trying to inform
the US-based guys that they can still listen to
SLBC Hindi Service in India, if they buy the
Grundig Short Wave radio (available around $ 40.00)
and take it with you to India.
Or, is it that one can catch SLBC right here in the
US through the aforementioned Grundig ?
Afzal
V S Rawat
> Not having a shortwave radio is a very lame excuse. Next
> time you travel home get a battery-free Grundig
What power does it work with?
Kamalakar Pasupuleti
news:40F8C0F7.2BB5D3E8@privacy
Possibly, the last para above may need some
> rephrasing. I think you are trying to inform
> the US-based guys that they can still listen to
> SLBC Hindi Service in India, if they buy the
> Grundig Short Wave radio (available around $ 40.00)
> and take it with you to India.
>
> Or, is it that one can catch SLBC right here in the
> US through the aforementioned Grundig ?
>
>
> Afzal
I am able to listen Vividh Bharati in Richmond VA .
No luck so far with SLBC . I have the Grundig refered
by Ashok .
- kp
--
Posted via Mailgate.ORG Server - http://www.Mailgate.ORG
UVR
>
> I am able to listen Vividh Bharati in Richmond VA .
> No luck so far with SLBC . I have the Grundig refered
> by Ashok .
Frequency details, please?
-UVR.
Kamalakar Pasupuleti
news:10ficj4...@corp.supernews.com
31 meters 10.330 mhz , starts around 2030 - 2100 hrs ET .
I thinnk heard sangeet sarita between 2130 - 2200 hrs .
Keep trying , good luck .
Afzal A. Khan
Thanks for the info.
And now for Ashok's clarification........
Afzal
deepak...@gmail.com
> The reason I am looking for the "raga" because I have heard another Marathi
> song which sounds similar, so I was wondering if it is based on some common
> "raga". Besides, I agree with what Deepak said; there could be other reasons
> applicable as well for finding the raga. One reason is identifying the
> patterns of your own likes. Over the years I have realized that I like wind
> instruments (flute, sax etc) more than string instruments (guitar...). IMHO,
> the whole search identifying this is very enjoyable.
>
> Likewise, one can enjoy a song even if he does not know singer, film, year
> of release etc, but knowing it adds up to your knowledge, gives you better
> understanding and broader perspective (I never knew the Mehadi Hasan story
> that debjoy mentioned, it was great reading this) about the whole song. Just
> my thoughts...
>
> TIA,
> - Manish
>
>
> "Birbal" <bir...@hotmail.com> wrote in message
> news:e64647f9.04071...@posting.google.com...
> > "Manish Hatwalne" <dontspa...@yahoo.com> wrote in message
> news:<2lepfpF...@uni-berlin.de>...
> > > Can somebody tell me in which "raaga" this ghazal - 'Ab ke hum bichhade
> to
> > > kabhi khwabon me mile...' by Mehadi Hassan has been sung?
> > >
> > > - Manish
> >
> > Dr. Vasantrao Deshpande, the great classical vocalist, had said in an
> > interview (which i have in audio form) that it would be wrong for us
> > to look for a Raag in the Natyasangeet, because they are not designed
> > or expected to follow a single Raag. They are created for a certain
> > situation and that is all we need to look for it.
> >
> > I think the same applies it Ghazals and Film Songs. IMHO it would be a
> > complete waste of time trying to identify what Raag a song belongs to,
> > if any. On top of that, knowing this only adds to the junk of factual
> > data in one's brain and does not enhance the listening experience in
> > any way. (in very much the same way knowing grammar does not enhance
> > one's experience of reading poetry).
is that Malvun tak deep petaun aang ang
rajasa kiti disat labhala niwan sang ?