RUDRA VINA & SURBAHAR JUGALBANDI IN RAGA MALKAUNS 

Very true! Dhrupad takes time and patience.

Can there be a more subtle art form?🙌🙏🏾❤️🌹.

Classical music didnt and will never die, only gradually diminishes, and then accentuates together with the flow of time...

@@ermitanyo777 just like technology, art can be lost too. It's a wrong notion that it won't die. It has to be passed down. New art forms may emerge, but things have a way of dying.

A little correction. Here music is being reborn. Music itself is not giving birth to something else. So here "rebirthing" will not be use. "Rebirthing" means giving rebirth to something . Music itself is "being reborn " here. So the correct way of saying it would be " slowly being reborn". Thank you.

i agree with u ...the B & W added further beauty

it's what decided me to listen... i'm glad it did!

A hymn to the vibrations that encompass the All. Subtlety , nuance and mutual respect.🙏🏼🫶🌹.

Carsten Wicke has learned under great Beenkar Ustad Asad Ali Khan and took further guidance from vocalist Ashis Sankrityayan. Matyas Wolter learned under Sitar Maestro Pt. Subroto Roy Chowdhury. Since his demise in 2017 he learns with Sarod Maestro Ustad Irfan Muhammad Khan of Lucknow Shajahanpur Gharana. Hannah Pashkevich learns Pakhawaj under Pt. Mohan Shyam Sharma.

NICE. CARRY ON.

Thanks Dimitrij. We both used Buddha System Pickups through fishman preamps on our instruments and that signal was used at 90% for the audio mix. There is tiny amount of signal from an X/Y stereo-pair in the mix as well but that is nearly neglecteable.

@@MatyasWolter Thanks for detailed answer :). We enjoy listening to this recording big time. Greetings from Vilnius (Lithuania) raga community!

yes, this is the Chautaal Bandish... the Sooltaal is Shankar Girija Pati...

@@RudraVeena carstenji, I always assumed these 2 bandishes are Dagar staples ?

@@jigggro sure, they are often performed bandishes from the Dagar tradition. One reason to play them on the Veena is the ability to play along in a possible vocal - veena jugalbandi. Otherwise they are simple beautiful compositions in raga Malkauns.

@@RudraVeena Bhai shri, are the Asad Ali Khan related Gharana bandishes quite different from Dagar ? Darbhanga for example, is quite different. In terms of the gait and lyrical content of bandishes Darbhanga seems to me to be closer to bhakti, than the often abstract nature of many Dagar bandishes. These two in Malkauns aside, Dagar seems to have "taan talwar", "pratham taal sur sadhe" etc, whereas Darbhanga often has complex poetical ideas, such as Ram and Sita sitting together on a swing (I forget the exact words). How would the AAK gharana feature here ? Thanks for your answers, I hope it is not bothersome.

@@jigggro well that's a bit complex question. First of all in the Jaipur Binkar Gharana as Khansahib would call his family's tradition there is to my knowledge no special repertoire of vocal bandishes that are only available in this tradition. Which makes sence seeing that it is a line of instrumentalist/Binkars. On the other hand opposite to the younger instruments like Sitar or Sarod the Veena never has developed special instrumental compositions/ ghats to be played on it. The musical practice until the first half of 20th century has been that the Jor/Jhalla section has concluded with Tar Paran an improvised section where the Veena and Pakhawaj would explore improvised patterns following the rythmical inspiration of Pakhawaj parans, set in the Raga and Taala. I'm not sure how long the vocal bandishes have been played already on the Veena too. It was definately a comon practice that I heard with the genration of Veena players of my Ustad. However he would hardly play a full bandish but rather take a line of the sthayi and one of antara and improvise with this... That's basically what I do often too today, beside composing own compositions when needed. The last interesting fact regarding this question is that there as been a long relationship between the families of my Khansahib and the Dagars spanning for several genarations already. After the early loss of his father Ustadji moved over to Delhi, where he was a regular guest in the house if of Ustad Rahimuddin Dagar, father of Ustad Fahimuddin Dager, whith whom he shared a life long close friendship. Since I have learned also from a vocalist in the Dagar tradition it's obvious to choose compositions from there repertoire. Which at times I play also in a more detailed form as also Ustad Zia Mohiuddin Dagar or his son Ustad Bahauddin Dagar would do.

That's because Chinese and by extension Japanese music use five note scales which are formed by mixing two tetra terta chords to create four five note scales- min- yo, Miyako- Bushi, Ritsu, Ryu-Kyu. Raag Malkauns is a five note scales which loosely "set" on the phrygian mode (bhairavi thaat) and OMITS the minor second and fifth. So it takes a similar east asian color.

Chinese music across the millennia did as much harmonic and melodic as European and Indian music did.

@@plantmomindistress3420 what they're playing omits the second and sixth, not fifth. It's basically a minor pentatonic

@@bacicinvatteneaca that's an interesting aural illusion, but you're actually incorrect. You're hearing the tonic in the wrong place. The raga is made up of the 1, the b3, the 4, the b6, and the b7. You're hearing the 4 as the tonic and - if that WERE the tonic, you would be correct