Hindustani Classical

2015 –Grand Finale

History of Indian Classical Music

Hindustani classical music ([hin̪d̪ust̪ɑ̪ːn̪i]) is the Hindustani or North Indian style of Indian classical music. The style is sometimes called North Indian classical music or Shāstriya Sangīt or

Klāsikī Mausīqī. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, in North India and to some extent in Afghanistan, Bangladesh, Sri Lanka, Nepal and Pakistan. Today, it is one of the two subgenres of Indian classical music, the

other being Carnatic music, the classical tradition of South India.

About our Guru Ji’s

Hailing from rich traditions of Dharwad, young Kumar Mardur has had his training from his father Pandit Somanath Mardur, a renowned Hindustani Classical Vocalist of Kirana Gharana. Under the able guidance of his father, Kumar has shown the qualities of becoming a promising young artist. Kumar has also been learning from Dr. Pandit Firoz Dasturji, a great Maestro of Kirana Gharana and the senior most disciple of Late Sawai Gandharva. Endowed with a melodious voice, he is known for pure and aesthetic presentation of ragas, crystal clear taan patterns and command over laya.

Pandit Somanath Mardur (born: 1944) is an unassuming musician, whose world has so far been limited to local radio broadcasts, and concert appearances in, and around, his native Dharwad. His musicianship may have remained unnoticed by the world outside, had it not been for his son and disciple, Kumar (born: 1982), who is now rated amongst the most promising vocalists of his generation. Somnath studied under the eminent Kairana maestro, Basavraj Rajguru (died: 1991), and is an “A” grade artiste on All India Radio. Beyond his formal tutelage, he also admits to a significant influence of the Gwalior-trained original, Kumar Gandharva.

Pandit Somanath Mardur

Pandit Puttaraj Gawai (Kannada: ಪುಟ್ಟ ರಾಜಗವಾಯಿ) (3 March 1914 – 17 September 2010) was an Indian musician in the Hindustani classical tradition, a scholar who authored more than 80 books in Kannada, Sanskrit and Hindi, a music teacher and a social servant. A member of the Gwalior Gharana (school),[1] he is renowned for his ability to play many instruments such as the veena, the tabla, mridangam, violin etc., as well as for his popular renditions of devotional music (bhajans) vachanas.A famous vocalist both in Hindustani and Karnataka Music. He is the recipient of the Padma Bhushan, India's third highest civilian honour, awarded in 2008.[2]

Shivanand Salimath, a disciple of Pandit Mardur, who accompanies him on the harmonium at all his performances, also teaches harmonium and vocals.

Types Of Indian Classical Music

Hindustani Vocal Classical Music

The rhythmic organization is based on rhythmic patterns called tala. The melodic foundations are called ragas. One possible classification of ragas is into "melodic modes" or "parent scales", known as thaats, under which most ragas can be classified based on the notes they use.Thaats may consist of up to seven scale degrees, or swara. Hindustani musicians name these pitches using a system called Sargam, the equivalent of the Western movable do solfege: Sa (Shadja) = Do Re (Rishabh) = Re Ga (Gandhar) = Mi Ma (Madhyam) = Fa Pa (Pancham) = Sol Dha (Dhaivat) = La Ni (Nishad) = Ti Sa (Shadja) = Do

Types of compositions1. Dhrupad2. Khyal3. Tarana4. Tappa5. Thumri6. Ghazal

Different Kinds of RagasRaag Marwa (hexatonic)Raag Marwa is sung during the late afternoon hours up to sunset. It is one of the major ragas in Hindustani classical music and is sung widely and taken very seriously. One of the interesting things about RaagMarwa is that it de-emphasizes the root note "sa." Probably because of this, it is a somewhat unsettling raga, and mainly evokes dark moods of foreboding and anxiety. It can also portray compassion or resignation in the face of some inner struggle. Scale: Marwa(Ascent: S r G M D N S' /Descent: S' N D M G r S)

Raag Bhairav (heptatonic):Bhairav is another very important raga in the Hindustani classical tradition. It is a morning raga, and solemn peacefulness is its ideal mood. It is very easy, however, for this scale to

deteriorate from majestically peaceful to pathetically melodramatic, and artists must watch out for that. I think it was Pundit Vilayat Khan who once described Raag Bhairav as the music in the mind of Lord Shiva as he meditated in the Himalayas. That made an impression on me. Picture Shiva-the-terrible, absorbed in the deepest meditation in a dark cave in the Himalayas. Everything is still, except for the occasional dripping of a stalagtite. Then dawn breaks and the first rays of sunlight penetrate into the cave. Imagine the music in the mind of this man of terrifying passions at that time in his state of perfect peacefulness. And that, to me, is what Raag Bhairav should be.Scale: (Ascent: S r G m P d N S' /Descent: S' N d P m G r S)

Raag Gaud-Sarang (oxatonic)Gaud-Sarang is a sunshiny, lively early-afternoon raga. Scale: GaudSarang(Ascent: S G R m G P M D P N D S' /Descent: S' D N P D M P G m R P R S)

Raag PahadiAnd now, a raga that can get away with using just about any note in the octave but still retains a distinct flavor all its own. Pahadi is one of those ragas that is hard to define an ascent or descent for, so here is a simple sol-fa song to demonstrate a few typical note combinations. In this example I have only combined the nine most prominent notes used. The remaining notes are used only rarely and have to be done with the greatest care and expertise to retain the raga's identity. Pahadi is an evening raga that combines both playful and pensive aspects. It is characterized by a very charming, folksy flavor.Scale: Pahadi ('P 'G 'P 'D S, R m G R S 'N D, 'n 'D 'P, 'D 'P 'm 'G, 'P 'D S, G g G P G R S, R S 'N 'D 'P 'm 'G, 'G 'P 'D S R g R, G P G R S)

Raag Yaman :Yaman is an evening raga, sung from sunset to late evening. It is full of grace and majesty, and the main mood it creates is one of devotion and dedication. It is a raga that suggests unconditional

offering of everything one has at the altar of whatever one's calling may be, asking nothing in return.Scale: Yaman (Ascent: 'N R G M D N S' /Descent: S' N D P M G R S)

Raag Bhimpalasi :An afternoon raga, sung from late afternoon to sunset, Bhimpalasi is poignant and passionate, filled with yearning.

Scale: Bhimpalasi:(Ascent: 'n S g m P n S' /Descent: S' n D P m g R S)

Raag Kedar: Kedar is one of the most lovely ragas there can be. It is sung from late evening to midnight and is said to create a mood of peacefulness. I find, however, that this raga and its playful note

combinations are beautifully suited also for creating moods of joy and elation.Scale: Kedar :(Ascent: S m G P M P D N S' /Descent: S' N D P M P D P m R 'N R S)

Raag Jog: Raag Jog is sung in small hours of the morning, just after midnight. It has a magical quality that lives up to its name (jog indicates a state of enchantment). It is quite a popular raga too, often adopted

to lighter forms of music.Scale: Jog (Ascent: 'n S G m P n S' /Descent: S' n P m G, m g~ S)

Gharanas

Gharana Founding Artists Approximate founding date Revived by Approximate revival date

Gwalior Gharana Nathan Pir Baksh,Nathu Khan Mid-16th Century

Agra Gharana Ghagghe Khudabaksh Mid-19th century Faiyaz Khan Early 20th century

Kirana Gharana Nayak Gopal Late 17th century Abdul Karim Khan,Abdul Wahid Khan Early 20th century

Bhendi Bazaar Gharana Chhajju Khan,Nazeer Khan,Khadim Hussain Khan Late 19th century

Jaipur-Atrauli Gharana Alladiya Khan Late 19th century

Patiala Gharana Bade Fateh Ali Khan, Ali Baksh Khan Late 19th century

Rampur-Sahaswan Gharana Inayat Hussain Khan Mid-19th century

Indore Gharana Amir Khan Mid-20th century

Delhi Gharana Qawwaliyas Late 18th century Sangi Khan,Mamman Khan

Jodhpur-Mewati Gharana Ghagghe Nazir Khan Mid-19th century Jasraj Late 20th century

Qawwal Bacche Gharana Saamat bin Ibrahim

Sham Chaurasia Gharana Miyan Chand Khan, Miyan Suraj Khan 16th century Salamat Ali and Nazakat Ali Khan Mid-20th century

The word Gharana means "family". In relation to music, Gharana refers to a family of musicians, a school of music or a musical lineage connected with the name of a particular person or place.

The characteristic feature of a Gharana is its special style of presentation: the result of the special and extraordinary creativity and innovation of a highly talented musician. The other musicians of the Gharana may have their own individual features of presentation, but their

training and conditioning in the distinguishing style of the Gharana is bound to leave indelible and recognisable stamps on the presentation of the performer

Kirana Gharana

KIRANA GHARANA This is the most prolific of the Hindustani Khayal Gharana. The origin of Kirana Gharana is by Ustad Abdul Karim Khan (1872 – 1937) is believed to bethe founder of this Gharana. He was born in Kirana near Kurukshetra and heserved as a musician at the Baroda and the Mysore Courts. His style of singing had a tremendous influence on the music of western India. The emphasis onelongating the notes and the importance to their melody and resonance is a distinctive feature of this Gharana. The

Kirana style of singing has emphasis onaalap rather than on bandish as seen in the Gwalior Gharana. The mode of singing is sentimental, graceful and full of emotion. Abdul Karim Khan's most importantdisciple was Pt Sawai Gandharva, who made this style of singing famous in Karnatak and Maharashtra. There are several fine

exponents of this Gharana today,including Pt Bhimsen Joshi, Gangubai Hangal, Kishori Amonkar and Prabha Atre.

Abdul Karim Khan 1872 – 1937

Ganapatbuwa Behere 1890 – 1965

Vahid Khan 1880 - 1949

Sawai Gandharva (Rambhau Kundolkar) 1886 – 1952

Sureshbabu Mane 1902 – 1953

Amir Khan 1912 - 1974

Hirabai Barodekar 1905 – 1989

Gangubai Hangal

Bhimsen Joshi 1922 –

Prabha Atre

Kishori Amonkar

Pt. Puttaraj Gawai'ji

Pt. Somanath Mardur

Pt. Shivanand Salimath

Pt. Kumar Mardur

Kirana Gharana

Maestros of Hindustani Vocal Classical Music

Hindustani Classical Music-Vijaynagar Team

Hindustani Classical Music-Vijaynagar Team

Hindustani Classical

2015 –Grand Finale