Raga Bageshri | Ustad Amir Khan

Raga Bageshri | Ustad Amir Khan - Guided Listening

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Күн бұрын

This is from a live-streamed 'Guided Listening' class that I teach through the Ali Akbar College of Music. These are on Tuesdays at 6:30pm PST/PDT.
If you want to join these sessions live, and/or you want to learn more about this music, please head to www.aacm.org, or write to office@aacm.org for more info.
This time, we are looking at Ustad Amir Khan's Bageshri. I found this recording on the late Subrata Chowdhury ji's KZfaq channel. If you have not gone through their videos, it is a digital treasure trove of recordings. Wah! Highly recommend deep-diving there.
I do not have much information on this particular concert. I found a few other versions of his Bageshri with the same bandish. However, some are actually the same recording. I'll link to one below here though that is a full concert that I want to go through later. That recording says the 1970's, but i'd only be guessing for the one I went over.
Here is the link to that:
• Ustad Amir Khan- Bage...
Timings:
00:00 - Intro & Raga Info
06:00 - Limitations of Theory
07:52 - Concert
11:50 - Approach to Raga & Breakdown & Questions
15:46 - Concert
18:59 - Heart Phrase, Scale & Differing Approaches & Gharanas -- A Ramble
23:54 - Concert
26:48 - Brief Look At Ektal
27:20 - Concert
31:26 - The Re, Bageshri Kanada, Mood & Bigger Questions
36:42 - Concert
45:14 - Nuances Around the Pa/Re & approaching the Scale
50:46 - Concert
52:25 - Adapting Vocal Movements on Your Instrument & Dynamics
55:45 - Concert
56:45 - Kheyal Ornaments - Questions - Fast Ornaments
59:45 - Concert
01:01:02 - Ending lines with Re -- Implying Sa, or...?
01:02:16 - Concert
01:04:57 - Using Saragam to Help You Study Taans
01:06:00 - Concert
01:12:00 - Space Between Lines
01:13:59 - Kshudita Pashan
01:18:01 - Film Songs, The Study Never Ends, & Final Thoughts
01:21:12 - FIN
-- More Links --
Ustad Amir Khansahib's Bageshri Recording In This Video:
• Ustad Amir Khan - Raga...
Kshudita Pashan Full Film:
• Kshudhita Pashan - Ben...
🙏🏼

Пікірлер: 40

@MuhammadKhan-vm5ow 8 ай бұрын

Please continue doing these videos because I feel like indian classical music is kind of shrouded in mystery. Thank you!

@_manikkhan 8 ай бұрын

That is incredibly helpful to hear. I know that feeling, and a huge part of starting these was to help bridge connections through the shroud. Even growing up with my baba, I was not able to just sit down and have him explain everything while going through individual concerts. I always wanted to have someone go through them like this. I’ll keep improving them over time.

@urvashigadekar1313 7 ай бұрын

Just stumbled upon your channel while listening to Amir Khan Saabs ahir Bhairav and am absolutely delighted with the nuances you explain….love the mithaas in your sarod rendering as well as the way you lovingly and passionately analyse music🙏🏼grateful thanks

@abhigyandas3016 7 ай бұрын

Hello Manik!!! I m a vocal student, learning under my guru, Vidushi Tulika Ghosh for the last 13 years and I genuinely feel that this is really a deep insight into the raaga. Ustad Amir Khan Saheb is one of the legendary vocalists I have always looked up to. It would be really nice if you could give us an insight into his Mia ki Malhar or Marwa 😇😇… Thanks

@_manikkhan 5 ай бұрын

Wah! This is so appreciated 🙏🏼 Thanks so much for the feedback! Ustad ji is such a beautiful powerhouse of a musician. Those are really nice suggestions. I would definitely like to look at his Marwa and baba’s. So many recordings to explore. Working on getting quicker at recording and editing, haha!

@anuragdhole0805 6 ай бұрын

Please upload more such videos especially on ragas such as Bhimpalasi, Kafi, Jog, Jhinjhoti, Khamaj, etc. They are a delight for beginner students like me.

@_manikkhan 5 ай бұрын

Thanks so much for this! This is really good to know. I’m going over Raga Durgeshwari and Jhinjhoti in the classes right now. I’ve got Bhimpalasri on the list too! Happy riyaaz, brother!

@reina_mironi 8 ай бұрын

Thanks Manik for this guided listening session! It was a pleasure to observe how Ustad Amir Khan is challenging the boundaries of Bageshree with other scales in such a subtle manner. I also appreciated those phrases when he stops on Re - when the lines sound slightly “unfinished” and Sa is left to listeners’ minds to be added by the means of imagination. It seems to be a kind of rhetorical device, which gives a hint that “the story is not told yet” and we should keep focused and attentive. It was also wonderful to see how vocal lines can be “translated” into instrumental ones for learning purposes. That’s what my vocal gurujee always encourages me to do: to learn also from great instrumentalists of our gharana. But in my case there is still a long way ahead to acquire this “translation” skill… So your video is very helpful by providing explicit examples. Thanks so much!

@_manikkhan 8 ай бұрын

Wah! These recordings are insane and offer us so much to learn from. I appreciate you sharing how you experienced it as well. Ahh, I’ve been thinking to record a much shorter video breaking down some vocal lines specifically on sarod/instrumental - how to translate, practice, internalize, etc. Thanks for this too. Glad to know it was helpful.

@dewdropps 8 ай бұрын

Ustad ji, Aadab I am currently learning Raag Bageshree on slide guitar. What a great treat for a novice like me.

@_manikkhan 8 ай бұрын

Ji, I’m not an Ustad yet, but I very much appreciate the support 🌸🙏🏼🌸 These vocal lines would sound so beautiful on slide guitar. You’re so welcome! Please share some of your favorite recordings if you get inspired.

@umakant307 2 ай бұрын

🎉❤

@shankarvk922 7 ай бұрын

Great initiative. 16.35 is when the incomparable meditative language of the ustad commences, drowning everyone in the peace and joy mood you spoke about. Please continue more with amir khan saab on his hindol kalyan as well

@AntarblueGarneau 9 ай бұрын

Ud Amir KS was also a master of layakari. When he sang sargam not only was he doing "swar-prasthar" but he was taking the rhythmic sub-divisions up thru 2, 3, 4, 5, 6, 7, 8, 9 and beyond. The cool thing is that he is singing in sargam so you can easily write them down and practice them!

@imamhamdani18 9 ай бұрын

Thanks Manik bhai! for someone whose not very familiar with the Raag this was very helpful

@theanigos 7 ай бұрын

This is a very unique idea which you say guided listening. Very well crafted and demonstrated. Much love for Manik Bhai.

@tukushbanerjea 2 ай бұрын

Rest on Rishabh is sometimes there. Bada khayal "Kauna Ghata Bhaye" Sum is on Re only. It's kind of like taking inspiration from its parent raag.

@unity1206 8 ай бұрын

Aha! Great creation explained with your skilled treatment. Very nice . Keep it up 🙏🙏🙏

@_manikkhan 8 ай бұрын

I really appreciate the feedback. Thanks for this 🌸🙏🏼🌸

@soumitralahiri100 8 ай бұрын

A priceless treasure. It was mesmerizing to be made aware of the nuances that a classical performance contains, and is typically beyond novice listeners like me. Thanks so much.

@_manikkhan 8 ай бұрын

Ahh, thanks so much, Soumitra 🌸 I know, there is quite a lot. In many regards this is scratching just below the surface. The musical rabbit hole feels never ending, but it is a major part of the magic. There is always more to explore, and it all grows over time. What a gift we all receive from these masters.

@soumitralahiri100 8 ай бұрын

@@_manikkhan You are very welcome. I am so glad I found your channel. 😄

@mtmnp 5 ай бұрын

Thank you for the recording - fascinating insights 👌🏽

@_manikkhan 5 ай бұрын

You are most welcome! I mean, there are way too many things to talk about with Amir Khansahib. Piece by piece 🙏🏼

@AntarblueGarneau 9 ай бұрын

[virtual hug] ))))

@AntarblueGarneau 9 ай бұрын

Manik There is something that you are missing here. Amir KS is basing his superstructure on a bara Khyal bandish (song) You are saying that he is playing the "heart of the raag" often. Everytime you say that he has returned to the bandish. The "heart of the raag" is embedded in this Bageshree bandish itself. Yes mostly he is using the last beat with wordings as a mukhra to come to sam. But sometimes he sings a variation on the bandish which contains the "heart of the raag" Like we instrumentalists kept returning to the gat. At this stage he is at a point in the raag development know as "bol taan" wherein he interprets the bols (words) with different movements. The other stages are sargam which Amir KS excels at using the swar-prastar tecnique from the Meru khan system. Then he goes to "Akar" where he sings on the syllable "Aa"

@_manikkhan 9 ай бұрын

To be fair, these are not exactly mutually exclusive. A heart phrase is still a heart phrase -- variations included -- whether they're in a vistar, taan, bandish, etc. I still think it is important to point out for those who are not used to listening for these particular phrases. All that said, I know there are more than a few things missing in these listening sessions, haha. If you can find a way to include the breadth of Indian music into each recording, and keep it under a decade long, please let me know! Thanks for watching, Antar 🙏🏼

@AntarblueGarneau 9 ай бұрын

Amir was a vocalist so he had to take a breath now and then. Hence, the lovely gaps. He also might of taken the space to think a bit. Often when he sang some sargam he would leave a gap and come in again with a different more texturally thick rhythmic chand (rhythmic subdivision). He was creating a masterful net of Meru-khand and layakari. Ud Vilayat KS was the legendary sitarist very influenced by this he was sometimes referred to a the "Khanda-Meru" sitar player.

@sagaratsea 7 ай бұрын

@26:48 The bada khayal seems to be set in Jhumra (14 beats) taal - Vilambit laya (here, a total of 14x4 = 56 beats) with the signature ti-ra-ki-ta on the 3rd, 7th, 10th and 14th beats. Kindly check 🙏

@_manikkhan 7 ай бұрын

Oh no! Thank you so much for this, @sagaratsea. I made a major mistake in the video. I went to check the original class, and we even talked about Jhoomra later on 🤦🏽‍♂️. In my editing, I completely miscounted and took the part of me talking about 48 beats without double checking the recording. This is exactly what I tried to avoid through editing (confusion, potentially incorrect information), and I still made the error. I am so appreciative that you took the time to write this out. I will be triple checking my talas going forward... You can annotate on KZfaq videos, right? I'll see if I can make a band-aid fix from the 'creator studio' side. Thank you kindly again, bhai!

@sagaratsea 7 ай бұрын

@@_manikkhan You're most welcome!🙏 Unfortunately, i do not yet know how to annotate on KZfaq videos as an end-user.

@dmavis 4 ай бұрын

Just recently was hearing a student of Pandit Pran Nath say that he said something similar that (can’t remember whether he said principal vice principal or manager assistant manager - something along those lines) but that although Vadi may be the principal, he often has the vice principal do a lot of the work. Lol

@_manikkhan 4 ай бұрын

Ahh, definitely. I think it may be in the Malkauns video, but baba had this really nice explanation about how the vadi is king/queen, and the samvadi is the minister. However, each kingdom is different where in some the king is old and not really listened to - the ministers ruling over everything. Or, there may be a council of elders deciding things, etc. He said these kind of characteristics were newer in the approach to understanding ragas within an organized system, and that the old style of learning didn’t focus on it as much. Definitely a shared sentiment! Thanks for taking the time to write this out 🌸

@thalaivarda 4 ай бұрын

Good, he didn't add some Bhoop phrases in there just for some fun to watch people break their heads after a 100 years.. Lots of such stories and unsaid ones behind Live concert recordings. Nice ❤

@_manikkhan 4 ай бұрын

From all the stories I heard from my baba, many of these great masters had an amazing sense of humour. I can’t remember if I mentioned it in this video, but in some of these I talk about how for us, it is this pivotal recording/concert, but for them it may have been like concert #1036. We potentially put so much weight on their every moment and choice, and they may have simply been experimenting or allowing the creative connection to lead somewhere else for that one evening of hundreds like it. There is a Jog recording I just went over of my dad’s from like the 90’s in France - it’s on KZfaq. The alap is Jog, but the gat is in a “different type of Jog” with Shuddh Dha. Fortunately baba mentions this before the concert. But like, if you just heard that with the Dha, it would have been like “what is happening?”! Anyway, this was much longer than I meant it to be, haha. Thanks for sharing this and for the support!

@thalaivarda 4 ай бұрын

@@_manikkhan :) Thanks for replying as well.

@AntarblueGarneau 9 ай бұрын

To be sure, the Antara is a structural point in the raag. But sometimes artists will touch or even honk on the upper Sa as part of their exposition of the "barhat" Then they will introduce the antara in the proper way

@urvashigadekar1313 7 ай бұрын

Bit of abhogi phrases too?

@Sunnycoolam 3 ай бұрын

He is stopping in Re because his mukhra starts at sa

@AntarblueGarneau 9 ай бұрын

In Khyal sometimes the rules of the raga are violated a tad to accommodate the text of the bandish. You were citing the length of the Re I think but Amir KS was singing words and the vowel melismas that emanate from them.