She is not speaking gibberish. They are notes - Sa Re Ga Ma Pa Dha Ni Sa - which have a specific tone for each - so sometimes she doesn't outright pronounce the notes but says "aa" instead for the whole set keeping the tone intact. Also sometimes she is saying hindi, yes.
Exactly. She is singing the notes Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa, which correspond to Do, Re, Mi, Fa, Sol, La. However, she is enhancing those notes on stage and connecting them in various patterns.
Same Tara, we are stunned by this!! The part where you thought she was 'scatting' is essentially crazy riffs/runs but she is enunciating every single note!! It is known as Alaap/Taan in Hindustani classical music; She was doing alaap the entire time in this piece... The notes in Indian music are Sa Re Ga Ma Pa Dha Ni Sa which corresponds to Do Re Mi Fa So La Ti Do.
These are vocal riffs and licks, every good indian classical vocalist can do that. Just as there r modes , indian and Persian music have ragas, and she is not using all twelve notes. Only those in raga bhimpalasi are being sung. Chromaticism is almost banned in khayals.
Sir, Western *_Do Re Mi Fa So_* is a COPY of Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
Alaap is performed without percussion. The Do Re Mi Fa So La Ti Do is called Saptak in Hindustani music. As someone correctly pointed out, she's singing taans.
@RAJAT6555 Again, not completely true. Slow phrases in notes during slow tempo khayaal or medium temp khayaal with percussion is also called aalaap. What you are referring to is called Khulaa Aalaap or raag-vistaar.
The thing she was singing that you thought was gibberish were the 7 notes or "swaras" as we call them in Indian classical music (Sa Ri Ga Ma Pa Dha Ni). it's similar to the solfege. Each raga has a specific set of swaras, and this raga, called "Bhimpalasi" has the notes N S G M P N S in the ascending, and S N D P M G R S in the descending. As you can see, the ascending scale only has 5 notes (no repeats), while the descending has 7. The descending scale corresponds to the western Dorian mode, and the ascending scale has the same notes as well, with the omission of the 2nd and 6th notes. What this essentially means is that, when she is going up the scale, for example in an upwards melody, she is not supposed to sing the 2nd and 6th notes. But while coming down the scale, in a downward melody, she is allowed to sing them. Each raga also has characteristic phrases. For example, take an extremely popular melody, something like "twinkle twinkle little star" -- if the major scale was a raga, this melody would be one of the characteristic "phrases" of the raga: indispensable when you're elaborating the raga. And Raga Bhimpalasi has some characteristic phrases like this too, which Kaushiki, the singer, must incorporate here and there while she is improvising to really bring out the essence of the raga, since these phrases are the hallmark of the raga. This is a very simplified explanation of what's happening there, but she is taking into account all of these rules: the characteristic phrases, the rules of ascending and descending, the specific combination of notes, as well as the time cycle that is provided by the percussion, to improvise within the raga. And that tonic/root note that is constantly in the background is provided by the instrument called the Tanpura. It constantly sounds the root note and the fifth note in succession, so it's easy to perceive the intervals in between. Hope this explanation helped!
Kaushiki Chakraborty’s taans are a stunning display of technical mastery and artistic depth that go far beyond the simplistic interpretation of them as "vibratos moving position." In Hindustani classical music, taans are intricate melodic explorations that require exceptional breath control, vocal agility, and precise microtonal transitions, all of which she executes with unparalleled clarity and speed. Unlike vibrato, which involves oscillations around a single pitch, her taans navigate complex note sequences within the raga framework, adhering to its aesthetic and emotional essence. The diaphragmatic breathing technique she employs provides sustained power and fluidity, enabling her to deliver rapid yet distinct notes with seamless continuity. Her taans also incorporate gamak (oscillations) and meend (glides), adding layers of texture that are unique to the Hindustani tradition. Reducing such a sophisticated technique to a vibrato fails to appreciate the cultural and technical nuances that define her artistry.
@@nskreviews923 No the commentator isn't talking about the harmonium, he/she's talking about the Swarmandal I think. Cz it's the instrument "she" is playing. Hope it helped. ☺
No disrespect but one does not take Indian classical music lessons. One dedicates his/her life to it. What you're listening is the result of multiple generations of dedication, her complete surrenderence to her Guru (his father) and having no other goals in life than just to devote oneself to goddess sarasvati. I know I'm sounding tacky here but there's no other way. I have seen it, I know it.
Music is her passion & she has achieved somewhat of the supreme Indian classical music. She is dedicated to it for sure but that is NOT the only goal of her life my friend. There are many (countless) artists including very young aged from 10 years & above in India, Pakistan & many other countries.
Inn vibrato, you're potentially on SAME note, two different frequencies which are very close to each other, one of them exactly on note and one at an adjacent microtone. In indian style what we do is called "Gamak" and it actually jumps on actual notes at that velocity and pace 😅 It takes years - in India 12 years of period is called 1 Tapa, and this kind of precision requires practice of multiple Tapas 😅
1) She is singing the notes of the raag. The notes are permutation combination of different notes. For example, your c d e f g a b c is a raag called bhilawal. Bhimplalasi is (IF we take C as the scale "B C3 D# F G A# C4" (Arog- Going up) and Avarog (Coming down - C4 A# A G F D# D C3) This is Raag Bhimpalasi. She has taken A# as her Sa. So the other notes are corresponding notes to this Sa. It's far more difficult to sing these swaras than your Vibrato (Katka)
it is traditional for these indian singers to exercise their voice daily many hours....., and to learn all this under a singing guru ....I love this kind of music!
There are videos on TH-cam of Kaushiki training along with her father during her childhood days, you can get a perspective of the relentless grind required in Indian classical singing for atleast 15 years atleast.
Dear Tara, all the arts are considered belssing of higher frequencies that go beyond the material world. The scatting, is a tribute to full notes, half notes and everything inbetween. The idea is to not to go by human definitions of sound, but explore everything. In that oberservation, we are truly with The One.
Kaushiki Chakraborty is a pure genius. Vibrato or not, I have not heard any female singer with that level of voice control and still retaining the ethos. This is an almost impossible attainment. She has set a benchmark that every artist of today's generation, knowingly or grudgingly, try to emulate and nobody comes even close to her.
Tara, this is pure Indian classical music. They are notes a.k.a Do, re me so.. in the sound of muaic. She is singing those notes at the proper pitch. Her mastery is such that she can say, prolong, mix the notes, and still be in conformity with tone and the pitch of the raga she is singing. This would take a long time for you to understand.
Hi there, Tara Simon Studios! 😊 At 5:50, what Kaushiki was doing there, was creating her own improvisation of the following notes, Sa Re Ga Ma Pa Dha Ni Sa, which are the notes of the Indian scale. It's exactly like where you have Do Re Mi Fa So La Ti Do in Italian and/or Western Singing, which I'm sure you and most people are more familiar with, but it's exactly like that. Basically what she was doing, was singing random notes of the Indian scale, and creating a really fast improvisation of those notes, which is VERY hard to do, and can only be done by the professionals, with this level of quality! Really hope this helps! ☺️ ❤
Kaushiki Cakraborty closes her Tans (improvised melodic patterns) not only right on pitch but also right on time (measured by the Tabla). Deep study for a deep art and culture is needed.
Sa re ga ma pa dha ni sa is like Do-Re-Mi-Fa-So-La-Ti She is singing the notes as you play them on a guitar. Her speed, Accuracy, Rhythmic synchronisation are a result of years of practice and dedication. And Indian Classical raga based composition works like a cherry on the top of it. Resulting in sheer bliss. Jai Hind 🇮🇳.
What she is singing is "RAGA" and it's a collection of pitches.. i think u should research about ragas.. u'll be amazed once u het to know about them☺️☺️
She is singing the Indian Solfege! Indian music is rarely, if ever, composed prior to the actual performance! There is a very high chance that the musicians playing the percussion (tabla) and the harmonium met for the first time on that stage! Indian classical music is heavily improvised. So all the solfege notes she sings are probably being improvised on spot without prior rehearsals! Also, its not vibrato that she is riding, these are distinct notes sung with "gamakas" and hence the percussion like sound!
"Ja Ja Re Apni Mandirva" in Raga Bhimpilasi is a preexisting composition. The improvisation part comes with exploring the Raga itself. In this case, they're exploring within the "limits" of Bhimpilasri.
as someone whose learnt hindustani and also learnt raag bhimplasi(albeit not at this level obvi), what the "vibrato" parts are something called "taan". All of them together being - sa re ga ma pa dha ni sa but every raag has a unique "aaroh" and "avroh" (A unique do re mi fa and reverse do re mi fa), unique in the sense, the difference of major and minor keys, or as we call it shudh, komal and teevra, do and so(sa and pa) don't have komal or teevra, re, mi, la and ti have komal and fa has teevra. Raag Bhimplasi has a komal Ni(ti) and komal Ga(mi). The parts she's singing are called "Sthayi and Antara" Sthayi is the main body of the raag and antara is the para. What you call as vibrato we call as "aakar" as in converting the do re mi fa so la ti do into the sound "a". And usually only high level musicians such as Kaushiki are able to do it so fast. The vibrato in the beginning is the aakar of something called as "taan". Taan is again sargam or do re mi fa etc, set up in different orders, provided it follows the rules of the raag, i.e in this case, the Ga(mi) and Ni(Ti) beeing komal. Other than that it can be basically be in any order and in and can be however logn you want it to be. The later parts that you thought were gibberish were antara taan, where Kaushuki decided to revert back from aakar into orignal sargam. The "tension build up and cleanse" is something we do while saying the taans. It's all about the counts, according to and on which count the taan starts determines till where we need to sing the sthayi/antara. I've not practiced in a long time but I remember Raag Ashavari - here's how this kind of sequence would work. Sthayi - Akhiyan a la a gi, reheta nisha dina, Akhiyan a la a gi, reheta nisha dina Akhiyan a la a gi sa re sa re ni dha sa, re ga pa dha ma pa ga a re sa. I'm not sure if I was able to explain it clearly but I hope this helped.
The scatting you are hearing is called SARGAM, it is musical scales similar to Do Re Mi Fa So La, ...., In India we refer these scales as Sa Re Ga Ma Pa Dha Ni, In Indian classical singing, singers sing these scales that resonates with the instrument, its like they are vocally translating the rhythm that the instrument is playing or gonna play next.
Sir, Western *_Do Re Mi Fa So_* is a COPY of Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
She is not using vibrato in one note but actually singing through all the notes with such precision and tempo which makes it sounds like she is using vibrato...
It is not scat singing, the word I have heard it described as is solfa singing. She is pronouncing the notes of the raga or scale; Sa Re Ga Ma Pa Dha Ni Sa are the Indian version of Do Re Mi Fa So La Ti Do. This solfa singing is a regular part of a classical Indian music concert where the singer creates patterns of notes to sometimes emphasize the melody and sometimes to put together rythmic patterns.
To be precise her dad is a legendary Hindustani Classical singer ("Pandit" is an honorific for an expert) who is a Bengali. The compositions in Indian classical music might use lyrics in certain languages, but are defined on the notes rather than the language itself. You could, if you so wish, sing the same composition in different ragas although often they are optimally paired during the composition.
something was not mentioned accurately here: she didn't only listened to his dad's classic Hindustani. she practiced it herself since she was a child. she took all the discipline it needed.
She's singing words (Ja ja re apne mandirwa- its a very popular bandish- short song- in Raag Bhimpalasi) as well as notes ('Sa re ga ma pa dha ni', the Indian equivalent of Western 'do re mi fa so la ti').
Yeah...this is so surprising. Many western musicians out there are totally clueless of the Indian music. We as a music enthusiast are always try to explore the music all around the world so at least we have a basic idea of other music cultures. Western artists on the other hand....I'm not sure if their ignorance is just a coincidence or it's really their pride which precludes them to learn about other civilisation music. Whatever the case maybe...they are really missing something interesting in music if they ignore Indian classical.
Ja ja re mandirwa is the song or bandish as a hindustani classical maestro would define it as. Sa ni dha pa ma ga re sa are notes or swar like do re mi fa so la ti reversed. It's the unique way a maestro's recital ritual; minimal words and maximum taan or collection of the notes in various sequences performed within the boundaries of the raag or raaga.
4:45 - Whenever we take names of great personality, we touch our years as humbleness, respecting the greatness of the personality and request to forgive for any mistake. FYI - 'Pandit' or 'Ustad' are bestowed upon a very senior musician who are Gurus/teachers, scholar, genius and powerful subject matter expert. So, it definitely makes sense to take their name with the correct gesture.
These are the 7 Notes of music... They have their special names... Sa Re Ga ma Pa Dha Ni... These Names of Notes are used to show the notes verbally in Indian classical...
She’s singing essentially what is solfège but the Indian version. In the west we say the degrees of a scale are Do, Re, Mi, Fa, Sol, La, Ti, Do… in Indian music, this is Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. Ironically, superficially, somewhat close to the solfège of the west. In Indian music, they very often will do runs and passages where words don’t necessarily work, both slower and faster, but just saying the names of the note degrees work wonders.
It’s called notations that mark the signature tune of the raga . In this case Bhimpalasi. If you know about Hindustani - it’s the okay of do re me fa in specific combos that are part of the raga . We call it alaap - which is mathematical composition set to the beat - there are words composed by ancient writers - the actual words are only two lines in intro and two lines in stanza . These are incidental . What she is doing - do re me - sa re ga Ma pa DhA ni sa set to go this raag
It's not gibberish 5:44 These are called "taans" In western there is. Do re mi fa sol la ti .. The same thing is known as Sa re GA ma pa DHA ni In Indian classical music What she's doing is simply singing the notes with their names.. For example.. Instead of saying happy birthday You are saying " do do re do faaa mi " Which is happy birthday to you.. First of all she's singing in "Dorian mode" in western And the scale is A# (home note is A#) So the notes are A# C C# D# F G G# A# Sa re ga ma pa DHA ni sa' In this part of 5:46 She's saying ga ma pa ma ma DHA DHA pa DHA DHA pa ma Pa ni sa' ni pa ni sa' re' sa' ga' ma' pa' ni' sa" ni' DHA' pa' ma' ga' re' sa' ni DHA pa ma ga re sa Sing all this but very fast I've given the notes what these sa re ga ma mean.. So put the pitches in the names of the notes.. And sing them very very fast While being ON BEAT(it's the most important thing) That is called "TAAN"
I don't know about your musical training or background, and this comment is not meant to be a slight. But, as someone who's grown up surrounded by this musical tradition, it's amusing to hear someone casually say singing Hindustani classical is on their bucket list. It's like saying that working for NASA is on your bucket list. You could try, but...
These are 7 notes - Sa Re Ga Ma Pa Dha Ni Sa, in which Each note has a specific tone: Just like 7 notes of Do Re Me Fa Sol La Te Do in western music. She was siging different combinations of these notes alsong with their progressions.
If you are impressed by her, also check out her Guru and father, Pandit (title means Master) Ajoy Chakraborty. Also, in Hindustani Clasical music, unless it's a 'Bandish', you can pretty much improvise live while adhering to the grammar of the notes structure. Same as western, there are 12 notes, starting from Sa Re Ga Ma Pa Dha Ni with their respective soft notes (all except Sa and Pa).
@Sheshnaga I live in jharkhand n I m also an Indian classical music student.. means i m also a singer who lives in jharkhand it doesn't mean I m a jharkhandi singer.. i m a Indian classical singer
@@kuchyaadeinkuchbatein i hope YOU understand, anytime someone tells bengali singer, it automatically means the person is from bengal. If someone is called an American singer, would you think he sings western songs? Or is he American? Thats how english is understood and spoken
It is Taan (an integral part of Indian Classical Music) which Kaushiki ji is presenting. It has got nothing to do with vibrato, as vibrato focuses on a single note, whereas a Taan ensembles several notes (of the Raag) at a time.
The “scatting” is she singing notes which are equivalent to do re mi fa so la ti in classical hindustani, in a specific permutation and combination but keeping to the set of notes of raag bhimpalasi. And, it is not vibrato, vibrato is oscillating at one note, where as she is moving between two notes so fast, for the unfamiliar ears, it can sound like a vibrato. All this while keeping in the pattern of drum rhythm of 16 beats that repeats. So each exploration of set of combinations of notes need to be finished in that 16 beats count
These are naad, souls emotions waves transformed into sound waves called aalaps.Just formating cosmic vibes into audible sound formate , to taste cosmic joy.
You asked if she is saying words near the end. She is saying the notes (Sa re ga ma ...) with the actual pitch but very very fast. E.g similar to sing Do Re Mi at the actual pitches (C, D, E...). Singing the notes (Sa, Re, Ga ... (ie or Do Re Me..)) is called "tans". In the earlier parts she was singing the notes as "ahaa"s So during the vibrato you commented on she was singing the notes as "aha"s.
In fact, you probably have no idea of preparation for Hindustani classical singing. Preparing the throat, preparing the tune and preparing the bandish, these three are different types of sadhana and along with this, in Hindustani singing, the notes are always sung according to the raga. You will have to join school for some time to learn and understand them.
Not gibberish but singing Do Re me Fa equivalent called Sa Re ga ma pa dha ni Sa. Thr raga she is singing is in Dorian mode has Do, Me flat Fa natural , So natural , Ti flat while ascending and all these plus Re natural La natural while the descent. She is singing sa re ga ma patterns as per the rules of the raga and all these patterns get composed impromptu during singing
listen maam, we are the creator of such talent.. we are the creator of legends..... many studnts in our country do practice every morning.... if you really want to learn, then welcome to India.....
It might sound like she is using Vibrato technique and just fitting pitches on the vibrato but that definitely is not what this is. Hindustani classical does not use Vibrato. These are all individual pitches and years of practice let them sing those pitches in any combination as fast as you want it. 4 notes in a quarter note length beat (say tempo 120) possible. 8 possible. 16 may be even that is possible. The practice is to sing the pitches absolutely clearly though regardless of speed. This is how, my friend, this feat is achieved. Kaushiki by the way is likely #1 classical singer in India at this time at least in terms of technical accuracy.
Learning starts at early childhood and goes till singer dies. It is not something anyone wants and learns in just a few decades or so. It is strict discipline and dedication 🙏.
Actually, there are not only seven but 12 notes in the Indian classical music, and while she is singing the Tan or vebreto she needs to sing the specific notation in the following Raga, if you go out of the Raga you will be considered as mistaken
What Kaushiki is singing is from her diaphragm. while you are trying to perform a vibrato its a bit more than that. Actually this style of singing is called singing in Aakar, ie.e the AA sound and while vibrato vibrates between 2 notes, aakar can go wherever the singer wants. Kaushiki is a legend and what she is doing is extremely difficult. Atleast the clarity she is getting in every note is very very tough to attain. She has had training since her childhood as her father is also a very celebrated classical singer who has trained her. you could find some videos of her training session as a kid on youtube. And mind it its tough to watch as her father makes her repeat again and again as she fails to get something tough at such a young age. But this is the result of that discipline that we see in her singing now.
No it's not gibberish, she is singing actual notes and also that vibrato thing that you mentioned - I don't think those are vibrato, these are quickly hitting of multiple notes while singing, which might sound like vibrato and these things are definitely not easy and require a lot of practice to increase the flexibility of vocal chords to sing like that.
06:00 The Indian equivalent of Western Do.Re.Mi etc is Sa.Re.Ga.Ma.Pa.Dh.Ni. Sa ... In classical Indian singing singers at times use only these syllables in place of words .... This is called as a "saragam_ pronounced as English "sir"+"gum". The other way to express the song in terms of notes is by using the syllable "Aa" and this is called as "Aa-laap". The rapid Sargam and Aa-laap are called as a "taan" ("runs" in Western music). There are several other ways by which a singer replaces the words of a song by such standard syllables. One such popular example is a "Ta.raa.Naa" where Ta and Naa are used to replace the words and play around with notes. In summary in a classical song you have words of the songs, then you have the sargam_s and Aa-laap-s, all mixed together. For ex: in the earlier part of this Song itself the sargam is said and the note sequence ( or the "Raaga") is repeated with Aa-laap where only the syllable Aa is used. As if instead of two instrumentalists jamming with each other the singer/s is jamming with sargam and aalap repeated one after another. BTW, I have no training in classical music apart from some elementary Tabla in my school days. So, if someone tells you something different, most probably they are right. Hope this still has some value!
4:12 on pitch and also in taal (beat cycle). If you know how to count in Hindustani Classical music, then you'd know that she's perfectly doing the whole thing precisely. 💓💓💓💓 I mean I can't explain you that in words. Language barrier. Sorry. Please forgive.
@Satanreincarnation-zg6sl how dare you say that about kaishiki ji? What do you think you are? Do this and upload urself in TH-cam then I'd even care ur statements. Otherwise don't even try to spit a single word of ur mouth.
She is not speaking gibberish. They are notes - Sa Re Ga Ma Pa Dha Ni Sa - which have a specific tone for each - so sometimes she doesn't outright pronounce the notes but says "aa" instead for the whole set keeping the tone intact. Also sometimes she is saying hindi, yes.
Exactly. She is singing the notes Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa, which correspond to Do, Re, Mi, Fa, Sol, La. However, she is enhancing those notes on stage and connecting them in various patterns.
Same Tara, we are stunned by this!! The part where you thought she was 'scatting' is essentially crazy riffs/runs but she is enunciating every single note!! It is known as Alaap/Taan in Hindustani classical music; She was doing alaap the entire time in this piece... The notes in Indian music are Sa Re Ga Ma Pa Dha Ni Sa which corresponds to Do Re Mi Fa So La Ti Do.
These are vocal riffs and licks, every good indian classical vocalist can do that. Just as there r modes , indian and Persian music have ragas, and she is not using all twelve notes. Only those in raga bhimpalasi are being sung. Chromaticism is almost banned in khayals.
I'm surprised that someone who has listened to Indian classical vocal music for years would have thought that was gibberish!
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it.
She is singing the Hindustani classical version of Do Re Mi Fa So.....that is also called alaap....
Sir,
Western *_Do Re Mi Fa So_*
is a COPY of
Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
Not aalaap. Taans.
@@awhig2474, C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
Alaap is performed without percussion. The Do Re Mi Fa So La Ti Do is called Saptak in Hindustani music. As someone correctly pointed out, she's singing taans.
@RAJAT6555 Again, not completely true. Slow phrases in notes during slow tempo khayaal or medium temp khayaal with percussion is also called aalaap. What you are referring to is called Khulaa Aalaap or raag-vistaar.
The thing she was singing that you thought was gibberish were the 7 notes or "swaras" as we call them in Indian classical music (Sa Ri Ga Ma Pa Dha Ni). it's similar to the solfege.
Each raga has a specific set of swaras, and this raga, called "Bhimpalasi" has the notes N S G M P N S in the ascending, and S N D P M G R S in the descending.
As you can see, the ascending scale only has 5 notes (no repeats), while the descending has 7.
The descending scale corresponds to the western Dorian mode, and the ascending scale has the same notes as well, with the omission of the 2nd and 6th notes.
What this essentially means is that, when she is going up the scale, for example in an upwards melody, she is not supposed to sing the 2nd and 6th notes. But while coming down the scale, in a downward melody, she is allowed to sing them.
Each raga also has characteristic phrases. For example, take an extremely popular melody, something like "twinkle twinkle little star" -- if the major scale was a raga, this melody would be one of the characteristic "phrases" of the raga: indispensable when you're elaborating the raga.
And Raga Bhimpalasi has some characteristic phrases like this too, which Kaushiki, the singer, must incorporate here and there while she is improvising to really bring out the essence of the raga, since these phrases are the hallmark of the raga.
This is a very simplified explanation of what's happening there, but she is taking into account all of these rules: the characteristic phrases, the rules of ascending and descending, the specific combination of notes, as well as the time cycle that is provided by the percussion, to improvise within the raga.
And that tonic/root note that is constantly in the background is provided by the instrument called the Tanpura. It constantly sounds the root note and the fifth note in succession, so it's easy to perceive the intervals in between.
Hope this explanation helped!
Please ,do pin this comment .
Perfectly explained 👏
Perfect explanation ❤️
Wow
No need to tell this arrogant p o s
These idiots will never know the beauty of Bharatiya Classical Music
Kaushiki Chakraborty’s taans are a stunning display of technical mastery and artistic depth that go far beyond the simplistic interpretation of them as "vibratos moving position." In Hindustani classical music, taans are intricate melodic explorations that require exceptional breath control, vocal agility, and precise microtonal transitions, all of which she executes with unparalleled clarity and speed. Unlike vibrato, which involves oscillations around a single pitch, her taans navigate complex note sequences within the raga framework, adhering to its aesthetic and emotional essence. The diaphragmatic breathing technique she employs provides sustained power and fluidity, enabling her to deliver rapid yet distinct notes with seamless continuity. Her taans also incorporate gamak (oscillations) and meend (glides), adding layers of texture that are unique to the Hindustani tradition. Reducing such a sophisticated technique to a vibrato fails to appreciate the cultural and technical nuances that define her artistry.
You are correct. C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
Very exceptional interpretation of hindustani classical music for foreign music lovers. 👍
Perfectly explained, as far as my knowledge of our tradition and culture allows me to think.
I have a feeling that she's singing what the instrument is playing and she's so accurately on point
YES!!
Exactly
That's true.
Its other way around , the instrument ( Harmonium ) is playing what she is singing. Its an accompany instrument not the lead
@@nskreviews923 No the commentator isn't talking about the harmonium, he/she's talking about the Swarmandal I think. Cz it's the instrument "she" is playing. Hope it helped. ☺
No disrespect but one does not take Indian classical music lessons. One dedicates his/her life to it. What you're listening is the result of multiple generations of dedication, her complete surrenderence to her Guru (his father) and having no other goals in life than just to devote oneself to goddess sarasvati. I know I'm sounding tacky here but there's no other way. I have seen it, I know it.
It's great ❤
Music is her passion & she has achieved somewhat of the supreme Indian classical music. She is dedicated to it for sure but that is NOT the only goal of her life my friend. There are many (countless) artists including very young aged from 10 years & above in India, Pakistan & many other countries.
She is following a pattern called Raga and Tal. It's not random.
Takes years of practice to perfect it.
Inn vibrato, you're potentially on SAME note, two different frequencies which are very close to each other, one of them exactly on note and one at an adjacent microtone.
In indian style what we do is called "Gamak" and it actually jumps on actual notes at that velocity and pace 😅
It takes years - in India 12 years of period is called 1 Tapa, and this kind of precision requires practice of multiple Tapas 😅
Applause shows the richness of audience out there in India for music....
Exactly but you woudnt expect a white gora clueless chick to understand
Indian classical music generates joy within.U can feel vibration of positive energy when listening to such well neat music.
Thats like telling a Monkey the diamonds worth….no point. She is here to show off pretending to know Hindustani music..just ignore her
1) She is singing the notes of the raag. The notes are permutation combination of different notes. For example, your c d e f g a b c is a raag called bhilawal. Bhimplalasi is (IF we take C as the scale "B C3 D# F G A# C4" (Arog- Going up) and Avarog (Coming down - C4 A# A G F D# D C3)
This is Raag Bhimpalasi. She has taken A# as her Sa. So the other notes are corresponding notes to this Sa. It's far more difficult to sing these swaras than your Vibrato (Katka)
You’ve wasted your breath. I don’t think she is keen to know. I can see she is being disrespectful
it is traditional for these indian singers to exercise their voice daily many hours....., and to learn all this under a singing guru ....I love this kind of music!
She is God-gifted. It's not possible for everybody even if he/she practises the whole day.
As a music student
she is my inspiration ❤🇮🇳🇮🇳
There are videos on TH-cam of Kaushiki training along with her father during her childhood days, you can get a perspective of the relentless grind required in Indian classical singing for atleast 15 years atleast.
may be even more, if one wants to sing at her level.
th-cam.com/users/shorts_YblrZrqE9I?si=heDpW9Z7qFtEPPKk
Dear Tara, all the arts are considered belssing of higher frequencies that go beyond the material world. The scatting, is a tribute to full notes, half notes and everything inbetween. The idea is to not to go by human definitions of sound, but explore everything. In that oberservation, we are truly with The One.
Wonderful , Fabulous,Mesmerizing rendition, dhanyawad 🇮🇳👍
Kaushiki Chakraborty is a pure genius. Vibrato or not, I have not heard any female singer with that level of voice control and still retaining the ethos. This is an almost impossible attainment. She has set a benchmark that every artist of today's generation, knowingly or grudgingly, try to emulate and nobody comes even close to her.
Our music excites the mind
thats the Hindustani classical music legendary singer Kaushiki Chakraborty ....wow ...hats offf
Tara, this is pure Indian classical music. They are notes a.k.a Do, re me so.. in the sound of muaic. She is singing those notes at the proper pitch. Her mastery is such that she can say, prolong, mix the notes, and still be in conformity with tone and the pitch of the raga she is singing. This would take a long time for you to understand.
She is our pride ❤ guru maa.🙏🙏 Even our all legends are pride of india ..our indian CLASSICAL is unmatchable.either carnatic or hindustani..
Ohhhh just weeping all the time...... Wow how good she is.....
Hi there, Tara Simon Studios! 😊 At 5:50, what Kaushiki was doing there, was creating her own improvisation of the following notes, Sa Re Ga Ma Pa Dha Ni Sa, which are the notes of the Indian scale. It's exactly like where you have Do Re Mi Fa So La Ti Do in Italian and/or Western Singing, which I'm sure you and most people are more familiar with, but it's exactly like that. Basically what she was doing, was singing random notes of the Indian scale, and creating a really fast improvisation of those notes, which is VERY hard to do, and can only be done by the professionals, with this level of quality! Really hope this helps! ☺️ ❤
She singing musical notes every single one on point..... 🔥
These are all authenticity unique Hindusthani words
Kaushiki Cakraborty closes her Tans (improvised melodic patterns) not only right on pitch but also right on time (measured by the Tabla). Deep study for a deep art and culture is needed.
Sa re ga ma pa dha ni sa is like Do-Re-Mi-Fa-So-La-Ti
She is singing the notes as you play them on a guitar. Her speed, Accuracy, Rhythmic synchronisation are a result of years of practice and dedication. And Indian Classical raga based composition works like a cherry on the top of it. Resulting in sheer bliss. Jai Hind 🇮🇳.
It's like a Strom sound..
Nature is always present in Indian classical music.
Indian Classical Music stands tall among everything ❤
If i remember correctly, this artist and video was featured in your try not to say wow challenge
What she is singing is "RAGA" and it's a collection of pitches.. i think u should research about ragas.. u'll be amazed once u het to know about them☺️☺️
Those string of notes are called svaras - a musical idiom that expresses a feeling.
She is singing the Indian Solfege! Indian music is rarely, if ever, composed prior to the actual performance! There is a very high chance that the musicians playing the percussion (tabla) and the harmonium met for the first time on that stage! Indian classical music is heavily improvised. So all the solfege notes she sings are probably being improvised on spot without prior rehearsals! Also, its not vibrato that she is riding, these are distinct notes sung with "gamakas" and hence the percussion like sound!
"Ja Ja Re Apni Mandirva" in Raga Bhimpilasi is a preexisting composition. The improvisation part comes with exploring the Raga itself. In this case, they're exploring within the "limits" of Bhimpilasri.
as someone whose learnt hindustani and also learnt raag bhimplasi(albeit not at this level obvi), what the "vibrato" parts are something called "taan". All of them together being - sa re ga ma pa dha ni sa but every raag has a unique "aaroh" and "avroh" (A unique do re mi fa and reverse do re mi fa), unique in the sense, the difference of major and minor keys, or as we call it shudh, komal and teevra, do and so(sa and pa) don't have komal or teevra, re, mi, la and ti have komal and fa has teevra. Raag Bhimplasi has a komal Ni(ti) and komal Ga(mi). The parts she's singing are called "Sthayi and Antara" Sthayi is the main body of the raag and antara is the para. What you call as vibrato we call as "aakar" as in converting the do re mi fa so la ti do into the sound "a". And usually only high level musicians such as Kaushiki are able to do it so fast. The vibrato in the beginning is the aakar of something called as "taan". Taan is again sargam or do re mi fa etc, set up in different orders, provided it follows the rules of the raag, i.e in this case, the Ga(mi) and Ni(Ti) beeing komal. Other than that it can be basically be in any order and in and can be however logn you want it to be. The later parts that you thought were gibberish were antara taan, where Kaushuki decided to revert back from aakar into orignal sargam. The "tension build up and cleanse" is something we do while saying the taans. It's all about the counts, according to and on which count the taan starts determines till where we need to sing the sthayi/antara. I've not practiced in a long time but I remember Raag Ashavari - here's how this kind of sequence would work.
Sthayi - Akhiyan a la a gi, reheta nisha dina, Akhiyan a la a gi, reheta nisha dina
Akhiyan a la a gi sa re sa re ni dha sa, re ga pa dha ma pa ga a re sa.
I'm not sure if I was able to explain it clearly but I hope this helped.
Sorry but You’ve wasted your time…she is not here to explore our music. She is here to give her own arrogant explanation. So no point..
Greate presentation. THANKS
The scatting you are hearing is called SARGAM, it is musical scales similar to Do Re Mi Fa So La, ...., In India we refer these scales as Sa Re Ga Ma Pa Dha Ni, In Indian classical singing, singers sing these scales that resonates with the instrument, its like they are vocally translating the rhythm that the instrument is playing or gonna play next.
absolute classical voice and control over every note 🙏🙌
Infinite permutations and combination of :-
Do = Sa
Re = Re
Mi = Ga
Fa = Ma
So = Pa
La = Dha
Ti = Ni
Do = Sa
Sir,
Western *_Do Re Mi Fa So_*
is a COPY of
Indian *_Sa Re Ga Ma Pa Dha Nee Sa_* (which is documented in Athrava Veda and which dates "at least" 4500 BCE or even older)
@@awhig2474correction it is Saamaveda which documents music
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it.
She is not using vibrato in one note but actually singing through all the notes with such precision and tempo which makes it sounds like she is using vibrato...
Appreciation for your Appreciation of Hindustani music...👌👌👌❤
Great explanation of her vocal technique based on vibrato. Loved it.
It is not scat singing, the word I have heard it described as is solfa singing. She is pronouncing the notes of the raga or scale; Sa Re Ga Ma Pa Dha Ni Sa are the Indian version of Do Re Mi Fa So La Ti Do. This solfa singing is a regular part of a classical Indian music concert where the singer creates patterns of notes to sometimes emphasize the melody and sometimes to put together rythmic patterns.
To be precise her dad is a legendary Hindustani Classical singer ("Pandit" is an honorific for an expert) who is a Bengali. The compositions in Indian classical music might use lyrics in certain languages, but are defined on the notes rather than the language itself. You could, if you so wish, sing the same composition in different ragas although often they are optimally paired during the composition.
No point in telling this disrespectful s*** bag
something was not mentioned accurately here: she didn't only listened to his dad's classic Hindustani. she practiced it herself since she was a child. she took all the discipline it needed.
If you are surprised to hear kaushik ji then you got to hear pandit bhim sen joshi ji, you will be mesmerized
Both of her parents are classical vocalist. Her father has received the title "Pandit". Sa Re Ga Ma Pa Dha Ni Sa' are Swaras or notes.
She's singing words (Ja ja re apne mandirwa- its a very popular bandish- short song- in Raag Bhimpalasi) as well as notes ('Sa re ga ma pa dha ni', the Indian equivalent of Western 'do re mi fa so la ti').
Love her singing,,, She is a genius
She so interested in this kind of music since her high school time not knowing if sa re ga ma are language or notes😅😅
Yeah...this is so surprising. Many western musicians out there are totally clueless of the Indian music. We as a music enthusiast are always try to explore the music all around the world so at least we have a basic idea of other music cultures. Western artists on the other hand....I'm not sure if their ignorance is just a coincidence or it's really their pride which precludes them to learn about other civilisation music. Whatever the case maybe...they are really missing something interesting in music if they ignore Indian classical.
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
Ja ja re mandirwa is the song or bandish as a hindustani classical maestro would define it as. Sa ni dha pa ma ga re sa are notes or swar like do re mi fa so la ti reversed.
It's the unique way a maestro's recital ritual; minimal words and maximum taan or collection of the notes in various sequences performed within the boundaries of the raag or raaga.
Long way to go before one can / should react !!!
Absolutely love your channel!
She is the jewel in the crown of India...
There are a lot of tutors for Hindustani classical and Carnatic classical even in the USA that even do virtual lessons.
Mam , she is singing indian classical music a raag called bhimpalasi, she is doing taan sargam . And doing it in aakaar as well
Tara meaning Stars in our language such as Sanskrit Hindi Malayalam etc.
Raag or Raaga is a set of notes / notation (out of 7) in a certain order which defines a specific 'mood'.
Kaushiki with her outright command on the notes is like Gold standard 24 carat❤
4:45 - Whenever we take names of great personality, we touch our years as humbleness, respecting the greatness of the personality and request to forgive for any mistake. FYI - 'Pandit' or 'Ustad' are bestowed upon a very senior musician who are Gurus/teachers, scholar, genius and powerful subject matter expert. So, it definitely makes sense to take their name with the correct gesture.
She is an expert player with the seven notes and different Ragas have different sequences with the notes
These are the 7 Notes of music... They have their special names... Sa Re Ga ma Pa Dha Ni... These Names of Notes are used to show the notes verbally in Indian classical...
I NEVER get tired listening to Kaushiki........she is simply superb. Having said that try listening to Sniti Mishra, equally good if not better. ❤
At 3 minutes:
That continues note i believe is actually the sound of the taanpura that shows the scale she is singing in
She’s singing essentially what is solfège but the Indian version. In the west we say the degrees of a scale are Do, Re, Mi, Fa, Sol, La, Ti, Do… in Indian music, this is Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. Ironically, superficially, somewhat close to the solfège of the west.
In Indian music, they very often will do runs and passages where words don’t necessarily work, both slower and faster, but just saying the names of the note degrees work wonders.
Kausaki Chakroborty is one of the best Classic Singers in India in recent times, The voice control she has is amazing
It’s called notations that mark the signature tune of the raga . In this case Bhimpalasi. If you know about Hindustani - it’s the okay of do re me fa in specific combos that are part of the raga . We call it alaap - which is mathematical composition set to the beat - there are words composed by ancient writers - the actual words are only two lines in intro and two lines in stanza . These are incidental . What she is doing - do re me - sa re ga Ma pa DhA ni sa set to go this raag
Stop making money from likes on such a respected classical songs.. first have a knowledge on what she is singing
It's not gibberish 5:44
These are called "taans"
In western there is.
Do re mi fa sol la ti ..
The same thing is known as
Sa re GA ma pa DHA ni
In Indian classical music
What she's doing is simply singing the notes with their names..
For example..
Instead of saying happy birthday
You are saying " do do re do faaa mi "
Which is happy birthday to you..
First of all she's singing in "Dorian mode" in western
And the scale is A# (home note is A#)
So the notes are
A# C C# D# F G G# A#
Sa re ga ma pa DHA ni sa'
In this part of 5:46
She's saying
ga ma pa ma ma DHA DHA pa DHA DHA pa ma Pa ni sa' ni pa ni sa' re' sa' ga' ma' pa' ni' sa" ni' DHA' pa' ma' ga' re' sa' ni DHA pa ma ga re sa
Sing all this but very fast
I've given the notes what these sa re ga ma mean..
So put the pitches in the names of the notes..
And sing them very very fast
While being ON BEAT(it's the most important thing)
That is called "TAAN"
I don't know about your musical training or background, and this comment is not meant to be a slight. But, as someone who's grown up surrounded by this musical tradition, it's amusing to hear someone casually say singing Hindustani classical is on their bucket list. It's like saying that working for NASA is on your bucket list. You could try, but...
It's not osmosis from her father ; rather sheer hard work from an very early age. And utmost respect for her art. It's and form of worship.
These are 7 notes - Sa Re Ga Ma Pa Dha Ni Sa, in which Each note has a specific tone: Just like 7 notes of Do Re Me Fa Sol La Te Do in western music. She was siging different combinations of these notes alsong with their progressions.
If you are impressed by her, also check out her Guru and father, Pandit (title means Master) Ajoy Chakraborty. Also, in Hindustani Clasical music, unless it's a 'Bandish', you can pretty much improvise live while adhering to the grammar of the notes structure. Same as western, there are 12 notes, starting from Sa Re Ga Ma Pa Dha Ni with their respective soft notes (all except Sa and Pa).
Her father is not a bengali singer, he is an Indian classical singer
He IS bengali
@Sheshnaga i know he is a bengali but not a bengali singer... Hope you understand now..
@Sheshnaga I live in jharkhand n I m also an Indian classical music student.. means i m also a singer who lives in jharkhand it doesn't mean I m a jharkhandi singer.. i m a Indian classical singer
@Sheshnaga my teacher is also a bengali but not a bengali singer
@@kuchyaadeinkuchbatein i hope YOU understand, anytime someone tells bengali singer, it automatically means the person is from bengal. If someone is called an American singer, would you think he sings western songs? Or is he American? Thats how english is understood and spoken
It is Taan (an integral part of Indian Classical Music) which Kaushiki ji is presenting. It has got nothing to do with vibrato, as vibrato focuses on a single note, whereas a Taan ensembles several notes (of the Raag) at a time.
খুব ভাল লাগল
Her father Pandit Ajoy Chakraborty is a great maestro of Indian Vocal Classical Music. She is his student.
The “scatting” is she singing notes which are equivalent to do re mi fa so la ti in classical hindustani, in a specific permutation and combination but keeping to the set of notes of raag bhimpalasi. And, it is not vibrato, vibrato is oscillating at one note, where as she is moving between two notes so fast, for the unfamiliar ears, it can sound like a vibrato. All this while keeping in the pattern of drum rhythm of 16 beats that repeats. So each exploration of set of combinations of notes need to be finished in that 16 beats count
These are naad, souls emotions waves transformed into sound waves called aalaps.Just formating cosmic vibes into audible sound formate , to taste cosmic joy.
You asked if she is saying words near the end. She is saying the notes (Sa re ga ma ...) with the actual pitch but very very fast. E.g similar to sing Do Re Mi at the actual pitches (C, D, E...). Singing the notes (Sa, Re, Ga ... (ie or Do Re Me..)) is called "tans". In the earlier parts she was singing the notes as "ahaa"s So during the vibrato you commented on she was singing the notes as "aha"s.
Hair looks great here Aunt Tara!
This is hindustani classic music. Westerners this is an art which is acquired after rigorous practice.
She is not interested.She is here to show off
In fact, you probably have no idea of preparation for Hindustani classical singing. Preparing the throat, preparing the tune and preparing the bandish, these three are different types of sadhana and along with this, in Hindustani singing, the notes are always sung according to the raga. You will have to join school for some time to learn and understand them.
Not gibberish but singing Do Re me Fa equivalent called Sa Re ga ma pa dha ni Sa. Thr raga she is singing is in Dorian mode has Do, Me flat Fa natural , So natural , Ti flat while ascending and all these plus Re natural La natural while the descent.
She is singing sa re ga ma patterns as per the rules of the raga and all these patterns get composed impromptu during singing
listen maam, we are the creator of such talent.. we are the creator of legends..... many studnts in our country do practice every morning.... if you really want to learn, then welcome to India.....
Tara please react to shoshana Bean - teenage love affair please please she really sing this song
It might sound like she is using Vibrato technique and just fitting pitches on the vibrato but that definitely is not what this is. Hindustani classical does not use Vibrato. These are all individual pitches and years of practice let them sing those pitches in any combination as fast as you want it. 4 notes in a quarter note length beat (say tempo 120) possible. 8 possible. 16 may be even that is possible. The practice is to sing the pitches absolutely clearly though regardless of speed. This is how, my friend, this feat is achieved. Kaushiki by the way is likely #1 classical singer in India at this time at least in terms of technical accuracy.
No point in telling that to this buff oon masquerading as a voice coach
Learning starts at early childhood and goes till singer dies. It is not something anyone wants and learns in just a few decades or so. It is strict discipline and dedication 🙏.
Actually, there are not only seven but 12 notes in the Indian classical music, and while she is singing the Tan or vebreto she needs to sing the specific notation in the following Raga, if you go out of the Raga you will be considered as mistaken
These are music notes of Indian classical music.
What Kaushiki is singing is from her diaphragm. while you are trying to perform a vibrato its a bit more than that. Actually this style of singing is called singing in Aakar, ie.e the AA sound and while vibrato vibrates between 2 notes, aakar can go wherever the singer wants. Kaushiki is a legend and what she is doing is extremely difficult. Atleast the clarity she is getting in every note is very very tough to attain. She has had training since her childhood as her father is also a very celebrated classical singer who has trained her. you could find some videos of her training session as a kid on youtube. And mind it its tough to watch as her father makes her repeat again and again as she fails to get something tough at such a young age. But this is the result of that discipline that we see in her singing now.
Maybe you can take a look at Christina Marie, she was a finalist on the voice and did a few online concerts on youtube and uploaded the videos. 🤗
No it's not gibberish, she is singing actual notes and also that vibrato thing that you mentioned - I don't think those are vibrato, these are quickly hitting of multiple notes while singing, which might sound like vibrato and these things are definitely not easy and require a lot of practice to increase the flexibility of vocal chords to sing like that.
06:00 The Indian equivalent of Western Do.Re.Mi etc is Sa.Re.Ga.Ma.Pa.Dh.Ni. Sa ... In classical Indian singing singers at times use only these syllables in place of words .... This is called as a "saragam_ pronounced as English "sir"+"gum". The other way to express the song in terms of notes is by using the syllable "Aa" and this is called as "Aa-laap". The rapid Sargam and Aa-laap are called as a "taan" ("runs" in Western music). There are several other ways by which a singer replaces the words of a song by such standard syllables. One such popular example is a "Ta.raa.Naa" where Ta and Naa are used to replace the words and play around with notes. In summary in a classical song you have words of the songs, then you have the sargam_s and Aa-laap-s, all mixed together. For ex: in the earlier part of this Song itself the sargam is said and the note sequence ( or the "Raaga") is repeated with Aa-laap where only the syllable Aa is used. As if instead of two instrumentalists jamming with each other the singer/s is jamming with sargam and aalap repeated one after another.
BTW, I have no training in classical music apart from some elementary Tabla in my school days. So, if someone tells you something different, most probably they are right. Hope this still has some value!
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it.
These words are similar to Do re mi fa... The musical notes. She's singing each note with the note itself
4:12 on pitch and also in taal (beat cycle). If you know how to count in Hindustani Classical music, then you'd know that she's perfectly doing the whole thing precisely. 💓💓💓💓
I mean I can't explain you that in words. Language barrier. Sorry. Please forgive.
C, D, E, F, G, A, B. 🤔! It doesn’t seem like she has the complete grasp of Music, otherwise, she would have recognized it
@Satanreincarnation-zg6sl how dare you say that about kaishiki ji? What do you think you are? Do this and upload urself in TH-cam then I'd even care ur statements. Otherwise don't even try to spit a single word of ur mouth.
She is singing not words but names of the notes like do re mi so / c # , d# e f# (sa re ga ma pa)
Classical hindustani music is a genre that needs decades of devotion.
😂😂 its kind of like me giggling constantly, it actually sounds pretty spot on😂😊
Few points, pull up the MAIN singers window to FILL the deepth.❤
correction it's not ha ha ha...it's aa aa .. she is singing .. please correct yourself