Savni shende

"Gorakh Kalyan, too, is affiliated with the Khamaj that, and again, like Narayani, the gandhar is out of a job here. The “Kalyan” in its name is misleading since it contains not the slightest trace of the Kalyan raganga. Some suggest, perhaps apocryphally, that it is named in honour of Sant Gorakhnath. The origins of Gorakh Kalyan remain uncertain. Pandit Bhatkhande makes no mention of it in his published work. The popular vilambit khayal, dhana dhana bhaga, contains the “Sadarang” colophon in the antara, but one wonders if the insertion is a later emendation calculated to confer vintage and cachet on the composition. Master Krishnarao has documented three compositions including dhana dhana bhaga in his Raga Sangraha volumes. Were these handed down by his preceptor Bhaskarbuwa Bakhale? If so, we can situate the raga to at least the beginning of the 20th century? This is further strengthened by Vishnu Digambar Paluskar‘s published medley, Sangeet Ramcharitamanas of Tulsidas, where he has set a doha - sab ke dekhata bedanha binati keenhi udar - to a tune in Gorakh Kalyan. At the present time, this dulcet-toned raga is an active and popular member of the Hindustani repertory. It advertises an unambiguous swaroopa, but the doctors differ on the role and rope accorded pancham. A sensible construction sans pancham seems eminently reasonable but most performers admit of that swara, its proportion and implementation riding on the musician’s background and temperament. Let us now examine the raga-lakshanas. S, S R M, R M R S n’, n’ D’ S This tonal sentence carries the soul of Gorakh Kalyan. The madhyam is powerful, a nyasa bahutva swara. Recall Narayani, with its strong pancham, and consider how this swap decisively alters the melodic compact. The second highlight here is the quaint avarohi nyasa on mandra komal nishad: those with travel experience in Gorakh Kalyan know this culmination on komal nishad to be its idée fixe. M R M, M D, D n D M, M R n’ D’ S Once again, the madhyam dominance is evident. The dhaivat may be elongated judiciously. M D n D S”, S” n D n D S” A representative uttaranga launch. Note the arohatmaka alpatva of komal nishad which helps to widen the distance from Bageshree. D n D M, R M P M R S n’ M R M, R M P D n D, P M R D n D, n D (P) M, M R S These are only three of the several schemes if and when pancham is deployed. Some are subtle, grazing it along the D to M locus. Others seek a more deliberate and direct role for pancham. All this fuss notwithstanding, it remains a relatively minor player." (From Rajan Parrikar)

What about USTAD NIAZ AHMED - FAYZ AHMD, (no more ) MOHMD DISHAD KHAN - PARVEEN SULTANA,......?

Oh no! I didnt know Panditji had passed away

array suno bhai...baaki gyaan rehne do !!🌹

Well they are singing a tarana…that too in drut for the last part of it

apna apna mood !