Mohinuddin Dagar, Raag Puriya, Dhrupad, ध्रुपद

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Tags: Dagar  Dhrupad  Mohinuddin  Puriya  Raag  ध्रुपद 

Mohinuddin Dagar (1921-1967)+++ the photo of the senior Dagar Brothers was made in 1954. +++Dhrupad (Hindi: ध्रुपद) is the oldest surviving style of music in the Hindustani musical tradition in India. Its name, from dhruva-pada, simply means "refrain", and today denotes both a form of poetry and a style of music in which the poetry is sung.Like all Indian classical music, dhrupad is modal, with a single melodic line and no harmonic parts. The modes are called raga, and each raga is a complicated framework of melodic rules. What sets dhrupad apart from other styles are long elaborate alapas without drum accompaniment, with a slow and deliberate melodic development, gradually developing an accelerating rhythmic pulse. Apart from obvious differences in the form of the musical presentation, one may notice a wealth of micro-tonal ornamentations that move between or around the tones that are typical for Dhrupad. The composition is sung to the rhythmic accompaniment of a pakhavaj and not tabla as in Khyal.There are said to be four broad stylistic variants of dhrupad -- the vanis (or banis): Gauri (Gohar), Khandar, Nauhar, and Dagar. These are tentatively linked to the five singing styles (geetis) known from the 7th Century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani -- but more importantly, there are a number of dhrupad gharanas: "houses", or family styles.How the gharanas relate to the vanis is a debated question. At any rate, the most well-known gharana is that of the Dagar family, who of course sing in the Dagar vani. The Dagar style puts great emphasis on alap, and for several generations, their singers have been known to perform in pairs (often pairs of brothers). The Dagars are Muslims, but sing Hindu texts. Dagar family lore speaks of twenty generations of dhrupad singers in an unbroken line. Some of the best dhrupad singers outside the Dagar family, such as Pt Ritwik Sanyal, Uday Bhawalkar, Gundecha Brothers and Nirmalya Dey belong to the Dagar vani. As the family repertory and all details are passed down orally by father to son or uncle to nephew, the elders were vieuwed first and foremost as Guru (teacher). In the Dagar-family it is usage to place the fathers' name before the personal name, to which -uddin is added. Note as example: Nasir Fayazuddin, whose father was Nasiruddin. Nasir and Fayaz are the personal names. N.Fayazuddin Dagar's son is called Wasif, thus Fayaz Wasifuddin Dagar.From Bihar state come two other gharanas, the Malliks (Darbhanga Gharana) and the Mishras (Bettiah Gharana). The Malliks are linked to the Khandar vani, and emphasize the composed song over improvised alap. Pt. Ram Chatur Mallik was a famous exponent of Darbhanga Gharana in the last century. Today the famous Dhrupad performers of Darbhanga Gharana are Pt.Abhay Narayan Mallick and Pt.Vidur Narayan Mallick.The Mishras practice Nauhar and Khandar vani, with some unique techniques for nomtom alap. This gharana flourished under the patronage of Kings of Bettiah. The most famous exponents of Bettiah Gharana today is Pt. Indrakishore Mishra and Pt. Falguni Mitra.The form of Dhrupad prevalent in Darbhanga and Bettiah is also known as Haveli Style of Dhrupad.In Pakistan, dhrupad is represented by the Talwandi gharana, who sing in the Khandar vani.Alongside the classical performance tradition, the practice of singing dhrupad in temples continues to this day. Only a very small number of recordings of this singing has been made. It bears little resemblance to concert dhrupad: there is very little or no alap; percussion such as bells and finger cymbals, which are not used in the north Indian classical setting, are used, and the pakhawaj used is a smaller, older variant called mrdang, quite similar to south Indian classical mrdangam.Compositions exist in time-cycles (talas) as tivratala (7 beats), sultala(10 beats) or chautala (12 beats). A composition set to the 10-beat jhaptala is called Sadra, and one set to the 14-beat dhamar tala is called a Dhamar. The latter in particular is seen as a lighter musical form, and associated with the Holi spring festival of colours.++++http://www.raga.com/cds/220/220bookl.pdfhttp://www.raga.com/cds/220/220images.html++++++++++++++++++++++++++++++++++++++++www.ritwiksanyal.com -- Dhrupad Ritwik Sanyal www.dhrupad.org -- The dhrupad school of the Gundecha Brothers www.dhrupad.info -- Dagarvani singer Ashish Sankrityayan's web site www.dagarvani.org -- The official web site of Ustad F. Wasifuddin Dagar

Dhrupad: Raga Bihag - Part 2 - Bahauddin Dagar, Rudra Veen

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Tags: classical  dhrupad  indian  music  rudra  veena 

Live in Jerusalem, 2007. Bahauddin Dagar - Rudara Veena. Raga Bihag, Alap and Jor.http://www.dagar.org/Bahauddin.htm

Dhrupad: Raga Bageshri - Part 2 - Bahauddin Dagar

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Tags: classical  dhrupad  indian  music  rudra  veena 

Live concert in tel aviv israel 15\3\07. Ustad Bahauddin Dagar plays Jhala in Raga Bageshri on the Rudra Veena.http://www.dagar.org/Bahauddin.htm

Dhrupad: Raga Bihag - Part 1 - Bahauddin Dagar, Rudara Veen

  • Length: 9:10
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Tags: classical  dhrupad  indian  music  rudra  veena 

Live in Jerusalem, 2007. Bahauddin Dagar - Rudara Veena. Raga Bihag.http://www.dagar.org/Bahauddin.htm

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