To be honest...they r just kids to understand the indian classical music...which is known to be the oldest and the origin of all music and melody in the world...dated 6000 yrs ago...proof is available if anyone disagrees 😊😊😊
@@deimos2108 which is okay. They are getting into it. I have been playing classical music for 7 years and I am still learning. there's no end to learning.
I am not Indian, but every other kind of music it's kinda child's play if you consider what Indian (read sub-continental) singers like Kaushiki can do with her voice...I am hardcore fan of rock, alternative rock, country, blues and all...still I'mma say what I gotta say...the Indian and similar cultural musicians have taken the vocal artistry to a different level. bravo! No disrespect meant to other genres...like I said I love most of em too
Its a mix of multiple things. The beauty of the Raga , for instance raag bhimpalasi here, the mastery of the artist, the Purcussion and its impact ...thats Indian Classical Music for you. The various raga are the combination of selected set of notes in an octave with some predecided set of rules so as to create an altogether different impact or the mood with each of the raga. And there are hundreds of ragas if we only consider the popular ones . Each raga has the power to create a different mood and that's why different raga associate to different time zones , seasons, emotions etc. The main difference between western Music and Indian classical is that of Harmony vs Melody. Indian classical music emphasizes more on Melody. The notes are pronounced in most parts of a classical composition. Multiple notes are not played together in Indian Classical music unlike the western Music. Indian Classical music has the power to take its desciple into a divine zone where the more you understand it, the more you get hypnotized in a way . Its magic in Music 😊🙏.
Exactly!!! Not to mention the oldest form of song!!! I feel like opera or broadway have nothing on it, theres not way any other form displays such discipline and freedom simultaneously whilst creating such a balanced final product
Great reaction... she is singing a Bandish “ja ja re apne mandirwa” (go go to your temple - a flirtacious new bride tells her husband not to come too close to her whilst her motherinlaw n sisterinlaw are around)... which has interludes of musical notes of The Raag (Bhimalpasi,in this video) in which this bandish is set. She then uses the musical notes (which donot mean anything) to create an improvised spectrum of music and rhythm. This whole process is then set within a timecycle of 16beats .. which is maintained by the Tabla player. Hence you noticed him beating a bit harder on the 1st beat of every new cycle. She has to sing within the musical parameters of the Raag and also keep in mind that she has to land rhythmically on the 1st beat of a time cycle. It is bit like scatting (but more complicated) ... she has been trained for years and she is one of the best in her techniques. Her father is her teacher... and its their speciality - this sort of fast rhythmic musical notation. Very difficult to copy. I was at this concert in london and we were all blown away
*Answers to your Questions* 1. This kind of music is classified as Hindustani (or North Indian) Classical music. The other form of classical music in India comes from the south and is called Carnatic Classical Music. Shreya is trained in Hindustani. 2. The syllables sung in the very fast section that you asked if it was scatting- that was essentially Solfege. Instead of words she was singing the equivalent of notes (though Swaras are not actually notes. Please do see my loooong post here and in the Shreya song in case you are interested). 3. When Kaushiki ji was returning forcefully along with the tabla beat, she was arriving at ‘sama’. Indic percussion is played in cycles of beats and silences. This one I think was teen taal, that is 16 beats. So when she was doing that forceful beat, she was landing on the first beat of the cycle with the ‘vaadi’ note of the raha being sung, in this case Bhimpalasi. The vaadi note is Ma, the fourth. Hope you’ve got all the answers. Do read up my loooong post. It has many useful links. And has make classical singers in them too 🙂.
She's reciting the seven musical notes, in some parts, it's not random scatting. And even those notes have to be sung in a particular order in Indian classical music, it's not random, it's very intricate. She's just brilliant.
This is all improvisation within a melodic scale called the Raga in classical indian music ...it is not a set song. The hand gestures happen naturally as the singer literally creates the music on stage in Indian classical music.
She is uttering the notes in the melody (raag Bhimpalasi) at a fast speed in a 16 beat rhythmic cycle and coming back to the first beat every time she finishes an ornamentation. That traverses all the three octaves in precise rhythmic progression. This is a pure classical Indian singing form called the Khayal. Kaushiki is a superstar in her field. Her presentations show the highest levels of dedication and honesty to this art form.
This is the real classical Indian music.. Talented singers like her & Shreya will surely practice vocals for hours everyday.. The precision is pure hard work guys.. It is hard work of over 2 decades.. Truly blessed to hear them
She sang some lines and most of it was hitting notes perfectly. Everything here was impromptu. Nothing rehearshed beforehand. She is elongating this based on the Raga completing the detailed ornamentation and notes on that 16 beats.
Congrats gentlemen... You just witnessed 000.1% of Indian Classical Music (Hindustani Music to be precise coz there's one more type of Indian Classical which is called the Carnatic Music) It takes about 2 decades of constant 8-12 hrs of practice, or more sometimes, to become a master at Indian Classical Singing. People who are too good at this style (like Kaushiki Chakraborty) generally start learning it at the young ages of 3-4 . You have more to discover from Indian Music and I love your reactions especially when you scream a bit becoz of the performance 😂🙌 Namaste🙏
7:12 and forward is a solfa passage, so she is singing the composition using the solfa notation Doh re mi fa, but in classical Hindu music, the origin of solfa, the original notation is SA re ga ma pa da ni sa. The Hindus have made an immense contribution to world culture and civilization, but because they are such a robust and proudly pagan tradition which values the individual differences amongst populations as opposed to the homogenized soulless state promoted by the middle eastern judeochristeoislamic theocracies, they are chiefly ignored in European conversations. Hinduness is a highly ornate mindset which celebrates the myriadic nature of being, the notes here reflect the grandness, complexity, intricacies and ornateness characterized by this the most ancient continual civilization on the planet.
This perfection needs atleast 10 HOURS OF PRACTICE every single day of a year for more than 10 years............ I also learn this form of musics........... And yes she is only playing with the 8 octaves......Sa Re Ga Ma Pa Dha Ni Sa Or Do Re Mi Fa So La Ti Do
This was performed in Raag Bhimpalasi. Raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāgais a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. You should also watch and react to Nina Burmi for a performance in another Raag. It is on TH-cam and many have reacted to it too. Also, since you seem to be interested to know more about TABLA, watch a solo performance by the maestro Zakir Hussain. Horse running..a video of his solo performance is on TH-cam.
@@AndogaSpock started my day with a hearty laugh. Wish those days someone had told me to learn the notes first and then start learning to sing, then maybe I would have known how to sing. 😂
It is actually improvised. I learn karnatic music. With that many years of experience and learning so many songs in the same raga..... when u sing, notes basically flow into ur mouth. It depends on their own creativity. She is a genius
There's this another TH-cam channel called 'our stupid reactions', they reacted to the same performance around an year back n she also gave an interview to them almost 4 months back. That interview might be helpful in understanding what goes in the learning of this art form, I think as music artists yourself you guys will enjoy that. :) btw, I love your videos.
That interview will really open up your understanding of indian classical music. It did for me. That is if you dont mind that she likes to talk. Mrs Chakraborty has a masters in philosophy i think. I could listen to her talk all day.
I don't think you guys understood that how much it's difficult to sing in 16 beats which is completely absent in Western music. But still ! Thanks for appreciating our music.
In Indian music we have a tradition to listen to diverse arrangements of Indian musical notes.. It's actually how most music is consumed in classical music.. Words are secondary.. The emotional invocation is what is the draw
On the question of scatting, yes it's sort of like that except that every note is declared. Like the other comments say it's Indian equivalent of do re mi... But when we scat in jazz, we use nonsensical words to mimic the instrumentals. This is the same thing but s bit more .. in that the singer verbally calls out the notes while hitting that note. Because every note has a single syllable would just like doremi it's a bit harder. Because of you meant to hit c# but hit a B♭ then are caught. 🤗
Also, regarding hand movements and how they affect music, try an experiment on yourself. Try breathing with your open palms facing upwards for a few minutes and then try again do it with your palms facing downwards. You will notice a change in your breathing. Pay close attention.
At 8:03 when you ask if it is anything like scatting. I will answer that in a simple way. Nope, it is not like scatting. Imagine an insane guitar shredding. Now, instead of playing the notes on the guitar if you spoke out the notes of the shred in 'Do Re Mi Fa ...' format. This is like that. Only difference is that the same scale which is "Do Re Mi Fa So La Ti" in Western classical music, it's 'Sa Re Ga Ma Pa Dha Ni' in Indian classical music. Same scale, just different syllables. I am not an Indian Classical Music expert at all, barely even get to listen to any classical music (which is unfortunate). But if you are born and raised in India, you know these things. Okay bye.
Hi Daniel and Matthew, At last a reaction to classical music!!!! This excerpt of Kaushiki singing the fast part of her presentation of the hour-long Raga Bhimpalasi is almost viral. While it’s spectacular, it’s really not the most aesthetically sublime portion. She herself had said in Rick & Korbin’s TH-cam channel that she finds the slower part more demanding. That requires lots of musical familiarity to listen to as well. So I’ve given you some web resources below and written notes to make them contextual. I’ve pasted the same list in the last Shreya reaction too. Apart from this Kaushiki vlog, what you’ve heard from India is really film music and that is categorised as ‘easy’ music (sugam sangeet) here in India. Then there is semi-classical music in which there’s thumri, dadra, chaiti, ghazal, natyageet and more. However, the fountainhead of it all is classical music of which we have two styles. Beyond the ability to sing is the ability to use the effortless mastery of singing to explore emotions and abstract concepts. You will get an introduction to that through the links of the classical masters below. The notes will give you the context. Enjoy! In case you are curious to know more, drop me a line. Cheers! Pat from Mumbai Ravi Shankar explaining ragas th-cam.com/video/X0fSUOiar0k/w-d-xo.html Note: ragas are categorised in many concurrent ways. The emotive categories include: - by time of the day (more accurately by ‘prahar’ which are three hour clusters. Hence 1 day = 8 Prahars); - by the 9 rasas or moods (here en.m.wikipedia.org/wiki/Rasa_(aesthetics)); - by season (6 seasons: grishma, varsha, sharat, hemant, sheet and vasant) Other important ways of classification are mostly technical. You may want to know about two of these: by thaat and by jaati; the classification by raaganga is fascinating too. What is dhrupad? th-cam.com/video/JBMjQdd6rdI/w-d-xo.html Note: this is the most ancient form of classical music in the subcontinent. Carnatic and North Indian classical music are derived from this fount. Some North Indian khayal-singing Gharanas like Agra Gharana and Gwalior Gharana rely more on dhrupad for defining their style of music. The other gharanas are less so. What is a raaga? th-cam.com/video/CBtFt3HUkT0/w-d-xo.html Note: swara is not a note in the western musical sense, ie. it’s not a fixed frequency. The swara changes it’s frequency based on the needs of the raaga. For instance, the ‘rishabh’ swara of Raaga Multani is higher than usual. And there are many such raagas that need higher or lower swara. It’s best to understand swara as a small and defined melodic space. But not a fixed frequency. These higher and lower musical *tones* are called ‘shruti’. They cannot be played on discrete-note instruments like the piano or the harmonium. Some maestros in vocal music: Surshri. Kesarbai Kerkar: [raga lalit, time - dawn] th-cam.com/video/v1HXfU0mUn8/w-d-xo.html Ustaad. Amir Khan sahab: [raga marwa, time -early evening, possibly the most contemplative recording in existence of khayal gayaki. Raga Marwa's mood is that of an elderly person looking back with sadness at the regrets in life but without being maudlin. There is tight control on emotions] th-cam.com/video/fVQD1BblyJw/w-d-xo.html Ustaad. Bade Gulam Ali Khan sahab: [raga sohini, same swaras as Marwa but totally different intent. It conveys restlessness that comes from non-consummation and peevishness even, from the film Mughal-e-azam, time - late night] th-cam.com/video/Aob1I_Ifee0/w-d-xo.html Gaan Saraswati. Kishoritai Amonkar: [raga ek-nishad bihagda, time: midnight, one of my favourites. It's a live recording from a mehfil and a youthful Kishoritai, probably from late 60s. A mehfil is usually a small intimate gathering of rasiks (aficionados)] th-cam.com/video/3fievbf7yvo/w-d-xo.html Pandit. Kumar Gandharva: [raga desi, time - late morning, its a complex raga, one of my personal favourites. Its emotion is that of a person pleading to be heard, a person saddened and feeling alone, asking for help. ] th-cam.com/video/O7PCZjInCH0/w-d-xo.html Smt. Gangubai Hangal: [raga asavari, time - post dawn, a powerful, haunting and plaintive cry directed at the goddess. Gangubai was a minimalist and learnt from the same guru as Pandit Bhimsen Joshi. She was less known but was utterly compelling. This is also one of my most favourite renditions] th-cam.com/video/UmYcY5W0Rd4/w-d-xo.html Pandit. Jitendra Abhisheki: [raga bhimpalasi, time: late-afternoon, this raga ushers in the evening. So the sense of looking back at the day's activities, preparing for prayer and contemplation. It is one of the 'big' ragas like Marwa, Darbari, Malkauns, Multani and Todi. Typical live performances are an hour long for these] th-cam.com/video/rbmqJdYHoAI/w-d-xo.html Begum. Parveen Sultana: [raga jog, time- midafternoon, lovely raga with overall romantic air with just a hint of eroticism] th-cam.com/video/-pYYBAI22bM/w-d-xo.html There are some maestros whose voice didn't record well with the microphones of that era. Arguably the greatest of our masters, Aftab-e-mousiqui. Ustaad. Faiyaaz Khan sahab was one such. His recordings exist but I wouldn't recommend any since they don't capture even a smidgeon of his awesomeness. The present times has many fantastic, and potentially great singers. If you are interested in them, let me know. Enjoy!!! Pat from Mumbai
7:16 - That dog sound should have been your whole reaction if you would have understood even 1% of what she is doing. She displays transcendent vocals beyond human understanding and you guys talk about a tabla boom and how her head moves the whole video.
Initially she was hitting notes in Aakar which means Aa aa aa in the form of 7 notes (Sa re ga ma pa dha ni).. then she started hitting that 7 notes in various type
Great... you just got introduced to Indian classical music. Now it will take you a few years to fully understand and appreciate what it involves and decades before you get to THAT level of proficiency.
Well if you guys wanna see timing in the music then react to: "Ustad Zakir Hussain and Rahul sharma -Tabla & Santoor " . You guys will be blown away how much improvised the performance is and still perfectly timed their notes are. Highly recommended. And if you want to see the range of a Indian classical singers then react to Mahesh Kale - "Aruni Kirani Mahesh Kale Live in Melbourne ".
Indian classical music is one of its kind... Most toughest practice it takes years to become a beginner... And being a master is beyond imagination....
This is the greatest type of music it takes lifelong practice to achieve that control and power to create that level of art it's Indian classical music .....
Shreya Ghosal too is trained like this lady in classical music. Here in India kids start learning music as early as 3 years of age esply music is in the family. All the singers who you seen r going to see most probably well trained in classical music form, which purely mathematics based with freedom to improvise. Indian kids too compete in Abacus International competition. You got it right, these classical singers do see the notes like that ! Since they r trained from young age their pitching and breath control r very strong.
Her vocal is as good as any instrument. She can sing the song or sing the notation effortlessly. Classical artists can hit any notes accurately and effortlessly because their practice has made their voice mimic each and every notation.
She is outstanding It takes years of practice to modulate a voice to such power and smoothness at different scales. She is one of the best Indian classical singers of today.
This is called 'Raag' or 'Raga'. A raga or raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition.
As soon as you started focusing on her singing, THE SMILE GOT WIPED OUT AND BOTH YOUR JAWS DROPPED AND STAYED DROPPED!!! :) This is absolutely not about sounding rude, but she started with talent and passion, had a great guru for her dad as well as coach AND most importantly, has practiced for longer than you guys have lived !!! A very potent combination.
'Sa re ga ma pa dha ni sa' in Indian classical music equivalent to 'do re mi fa so la ti' in western. She was playing with the 7 notes and is equivalent to deriving melodies out of 'do re mi fa so la ti' in real time by uttering a specific note's name at that note in a scale. Like, you are saying 'do re mi do re' and hitting the perfect notes at the same time at that pace. Also remember you are improvising on that too.
And she can sing any kind of music or any kind of song..she has been trained since she was 3 years old so this is the result of 30 years of classical training that you just heard from her.
Essentially, classical Indian music is far more complex than any other art form, it's somehow intricately linked to some kind of mathematical relationship/ sequences and if this music can be represented by some kind of visual graphics on a computer screen, the visuals mostly form Fibonacci sequences kind of cascading or downward spiral depending on which way you approach the ragas (they are like do re mi fa sa kind of sa re ga ma pa da ni sa ) a combination of seven ragas but the speed at which they are diahed out could be 4, 8,16,32 and sometimes 64 bits per a certain predefined time interval. I know I may not make exact sense but intuitively I can make out that some relation with mathematics is involved here.
Search for a video where her father (Ajoy Chakraborty) trains her to catch those notes in her younger days. It's not vibrato, it's a note that she's singing and it's a mix of lyrics and note sounds that are used in these kacheris. A legendary daughter of a legendary vocalist.
Hey guys please react to Arijith Singh..he is one of the best singer in India...he is know as the king of romantic song..pls pls react to his live stage performance
She is playing with different notes of the scale of RAAG Bhimpalashi. The instrument in her hand is surmandal, to get the key and other supporting notes. This is spontaneous improvisations.
The melodic framework (raaga) is called Bhimpalasi - it is based on the Dorian mode, but pentatonic in ascent (skipping the 2nd and 6th scale degrees), heptatonic in descent. She mostly sings the first line of the song text, which goes Ja Ja Re Apne Mandhirwa, then interspersing various fast rhythmic scalar runs called taans, in Aakar (I.e. using the AA sound) or sargam (using the first syllable of the name of each note in Indian solfege- SA RE GA MA PA DA NI). This composition is set to teental, a rhythmic cycle of sixteen beats. Notice that the song lands on the first beat of the cycle on the syllable Man of Mandirwa of the song. This is the most important beat. All the fast passages are improvised in a way that they link back to the start of the first line of the composition ja ja re apne MAN... which in this case ends on the 4th scale degree or Ma in the solfege.
This is the depth of classical Indian music that I was talking about. Indian singers are so good in all forms of music because they are trained for 10-15 years of hardcore classical training which is the most diverse, intricate and complex in the world ❤️❤️
This was Raag Bhimplasi from the Thaat family of Kafi. The equivalent to Thaat kafi in Western World is Dorian Mode. The beats on the percussion was 16 beats loop, known as Tintaal. She was probably doing Khayal Gaiki which again is a genre of Indian Classical Music. Raag Bhimplasi is a Hepta-Pentatonic scale which means that the ascending notes and 7 and descending are 5. What she was doing was improvisation which is the very root of Indian Classical Music. Playing with beat and staying in rhthym is something we call "lay-kaari", something you saw glimpse of in the video. Classical singers are trained to sing a single scale for hours. There were few verses of the basic composition composed in that Raag and rest she was scattering.
Indian classical music is not only music it's the whole philosophy itself can be viewed in terms of kundalini, annahad naad ,aahat naad, 22 shrutis between 7 swaras plus more than 500 ragas , Indian classical music is a kind of SADHNA itself.
Hello brothers, I am glad that both of you enjoyed and analysed her song as well as her actions. We have 2 types of classical music viz. Hindustani and Carnatic. In order to master in these intricate music, one has to train decades! There are many legends in both type of music. I recommend to watch the masters of both music. Then only you will realise the depth of these music, which is quite obscure to the outside world.
The hand gestures are like a mind map of the Swara (Sa-re-ga-ma-pa-dha-ni-Sa) [western equivalent is Do-re-mi-fa...] she as she climbs the notes, hands go up, and vice versa. Outward extension is letting the note go. By the way the vibratos are on the words. This is a song of love:- go lover go (playfully). These aren’t fixed compositions. She is saying the same lyrics but musical expression changes in every phrase.
It takes 20+ years to sing like that she is saying 7basic element of Indian music Sa Re Ga Ma Pa Da Ni n her hand gesture is natural while singing in Classic Music you not only sing who put your soul n hand gesture is showing she is indulging in her music.It takes years to years trained like that they put their soul.
This is classical singing. This is musical acrobat with 8 Indian musical notes which are: Sa, Ray, Ga, Maa, Paa, Daa, Nee, Saw. In classical singing, there are limited lyrics and musical acrobat with done with above 8 notes. Classical songs are based on different formats prepared with notes and these formats are known as Ragas. There are ragas which are sung early morning, during day, at dusk and at night and so on.
Indian classical starts with Svara ( you can search about it).... Svara is the base of Indian Classical music. It is an ancient concept that defines complete dimension of musical pitch.Svaras means it connotes a note in a successive steps of Octave.. We have 7 notes together it is called “Sargam”. “Sa” “Re” “Ga” “Ma” “Pa” “Dha” “Ni” “Sa”... it is similar to “Do” “Re” “Mi” “Fa” “So” “La” “Ti” “Do” What Kaushiki was singing is Sargam, all the above notes.
The thing that you didn't understand is: The singers use these seven notes "Sa Re Ga Ma Pa Da Ni" in different permutations and combinations and not miss the sequence they have started and come back to same combination in the speed and the flow. It's take lots of talent to do that and singers are recognized by the control they have on this skill.
And that right there is my idol! That's shashtriya sangeet, and that's aakar, chougun ke taan in drut vandish! What you guys said what she was saying very fast that's sargam taan
She isn't "saying" anything. She is just playing with the 7 notes Sa Re Ga Ma Pa Da Ni
it is just 10% percent of indian classical music
Thats like 'do re mi fa so la si' to the western music....
To be honest...they r just kids to understand the indian classical music...which is known to be the oldest and the origin of all music and melody in the world...dated 6000 yrs ago...proof is available if anyone disagrees 😊😊😊
which is boring to watch and hear. yes she's great. but yeah no offense.
@@deimos2108 which is okay. They are getting into it. I have been playing classical music for 7 years and I am still learning. there's no end to learning.
I am not Indian, but every other kind of music it's kinda child's play if you consider what Indian (read sub-continental) singers like Kaushiki can do with her voice...I am hardcore fan of rock, alternative rock, country, blues and all...still I'mma say what I gotta say...the Indian and similar cultural musicians have taken the vocal artistry to a different level. bravo! No disrespect meant to other genres...like I said I love most of em too
❤❤
🔥🔥❤️❤️
Its a mix of multiple things. The beauty of the Raga , for instance raag bhimpalasi here, the mastery of the artist, the Purcussion and its impact ...thats Indian Classical Music for you.
The various raga are the combination of selected set of notes in an octave with some predecided set of rules so as to create an altogether different impact or the mood with each of the raga. And there are hundreds of ragas if we only consider the popular ones . Each raga has the power to create a different mood and that's why different raga associate to different time zones , seasons, emotions etc.
The main difference between western Music and Indian classical is that of Harmony vs Melody. Indian classical music emphasizes more on Melody. The notes are pronounced in most parts of a classical composition. Multiple notes are not played together in Indian Classical music unlike the western Music. Indian Classical music has the power to take its desciple into a divine zone where the more you understand it, the more you get hypnotized in a way . Its magic in Music 😊🙏.
Exactly!!! Not to mention the oldest form of song!!! I feel like opera or broadway have nothing on it, theres not way any other form displays such discipline and freedom simultaneously whilst creating such a balanced final product
All love ❤
Great reaction... she is singing a Bandish “ja ja re apne mandirwa” (go go to your temple - a flirtacious new bride tells her husband not to come too close to her whilst her motherinlaw n sisterinlaw are around)... which has interludes of musical notes of The Raag (Bhimalpasi,in this video) in which this bandish is set. She then uses the musical notes (which donot mean anything) to create an improvised spectrum of music and rhythm. This whole process is then set within a timecycle of 16beats .. which is maintained by the Tabla player. Hence you noticed him beating a bit harder on the 1st beat of every new cycle. She has to sing within the musical parameters of the Raag and also keep in mind that she has to land rhythmically on the 1st beat of a time cycle. It is bit like scatting (but more complicated) ... she has been trained for years and she is one of the best in her techniques. Her father is her teacher... and its their speciality - this sort of fast rhythmic musical notation. Very difficult to copy. I was at this concert in london and we were all blown away
Another random info is that her Father is a mentor for Shreya Ghoshal.
Thanks, a precious comment. Learnt quite a lot 🙏🏼
Thank you.. This is very informative
^ this is the best answer and correct explanation
The best comment on this video and frankly, the only one needed. Thank you.
*Answers to your Questions*
1. This kind of music is classified as Hindustani (or North Indian) Classical music. The other form of classical music in India comes from the south and is called Carnatic Classical Music. Shreya is trained in Hindustani.
2. The syllables sung in the very fast section that you asked if it was scatting- that was essentially Solfege. Instead of words she was singing the equivalent of notes (though Swaras are not actually notes. Please do see my loooong post here and in the Shreya song in case you are interested).
3. When Kaushiki ji was returning forcefully along with the tabla beat, she was arriving at ‘sama’. Indic percussion is played in cycles of beats and silences. This one I think was teen taal, that is 16 beats. So when she was doing that forceful beat, she was landing on the first beat of the cycle with the ‘vaadi’ note of the raha being sung, in this case Bhimpalasi. The vaadi note is Ma, the fourth.
Hope you’ve got all the answers.
Do read up my loooong post. It has many useful links. And has make classical singers in them too 🙂.
nailed it
It is not vibrato. She is changing notes so fast,so it does sound like vibrato ;but it is not
It is vocal runs...riffs and runs
Exactly, vibrato isn't appreciated in Hindustani classical
She is taking taan with murki also
Yeh true
@@adityanautiyal7710 true
Those who can sing Indian classical , they can sing any music.
Yes
It gives you flexibility
This is the trutg
@@rishikabarve8697 yes
Belkull satyyy bola hai aapne.
Yup.. this is our classical music..♥️ shastriya sangeet ♥️ and I'm very proud that I learn Shastriya sangeet♥️
Thats great... Im a classical vocalist too....from which gharana do you belong?? Im from Agra gharana....
jay mahadev 🙏🏻
Me too. I m a sangeet visharad 😉😉
Even I've been learning classical music. Carnatic
@@nilssjoberg.3303 wooooww....great....
She's reciting the seven musical notes, in some parts, it's not random scatting. And even those notes have to be sung in a particular order in Indian classical music, it's not random, it's very intricate. She's just brilliant.
This is all improvisation within a melodic scale called the Raga in classical indian music ...it is not a set song. The hand gestures happen naturally as the singer literally creates the music on stage in Indian classical music.
She is uttering the notes in the melody (raag Bhimpalasi) at a fast speed in a 16 beat rhythmic cycle and coming back to the first beat every time she finishes an ornamentation. That traverses all the three octaves in precise rhythmic progression. This is a pure classical Indian singing form called the Khayal. Kaushiki is a superstar in her field. Her presentations show the highest levels of dedication and honesty to this art form.
This is the real classical Indian music.. Talented singers like her & Shreya will surely practice vocals for hours everyday.. The precision is pure hard work guys.. It is hard work of over 2 decades.. Truly blessed to hear them
She sang some lines and most of it was hitting notes perfectly. Everything here was impromptu. Nothing rehearshed beforehand. She is elongating this based on the Raga completing the detailed ornamentation and notes on that 16 beats.
Congrats gentlemen... You just witnessed 000.1% of Indian Classical Music (Hindustani Music to be precise coz there's one more type of Indian Classical which is called the Carnatic Music)
It takes about 2 decades of constant 8-12 hrs of practice, or more sometimes, to become a master at Indian Classical Singing. People who are too good at this style (like Kaushiki Chakraborty) generally start learning it at the young ages of 3-4 .
You have more to discover from Indian Music and I love your reactions especially when you scream a bit becoz of the performance 😂🙌
Namaste🙏
Yuck
@@tuckseverlasting5731 thats all you can say and thats all your level is. 🙏😊
@@mitalisharma5305 ehh?
She stated at 1, Kaushiki i mean.
What's this 000.1% lmao, I know u wanted to write 0.001% LoL
7:12 and forward is a solfa passage, so she is singing the composition using the solfa notation Doh re mi fa, but in classical Hindu music, the origin of solfa, the original notation is SA re ga ma pa da ni sa. The Hindus have made an immense contribution to world culture and civilization, but because they are such a robust and proudly pagan tradition which values the individual differences amongst populations as opposed to the homogenized soulless state promoted by the middle eastern judeochristeoislamic theocracies, they are chiefly ignored in European conversations. Hinduness is a highly ornate mindset which celebrates the myriadic nature of being, the notes here reflect the grandness, complexity, intricacies and ornateness characterized by this the most ancient continual civilization on the planet.
Fantastic comment..
@@pundirrajesh Dhanyavād
🙏🕉️🙏
This perfection needs atleast
10 HOURS OF PRACTICE every single day of a year for more than 10 years............
I also learn this form of musics...........
And yes she is only playing with the 8 octaves......Sa Re Ga Ma Pa Dha Ni Sa
Or Do Re Mi Fa So La Ti Do
This was performed in Raag Bhimpalasi. Raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāgais a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience.
You should also watch and react to Nina Burmi for a performance in another Raag. It is on TH-cam and many have reacted to it too.
Also, since you seem to be interested to know more about TABLA, watch a solo performance by the maestro Zakir Hussain. Horse running..a video of his solo performance is on TH-cam.
It is all improvised, not memorized.
It isn't improvised my friend! Only the basics take a decade of learning and appearing hundreds of written and vocal assessments, every month.
Improvised ???? On this kind of classical music ???? I remember... As a kid my teacher used to scold me so much for forgetting even a single note.
@@basubasu8265 once you memorize all the notes you are ready to start learning. 😀
@@AndogaSpock started my day with a hearty laugh. Wish those days someone had told me to learn the notes first and then start learning to sing, then maybe I would have known how to sing. 😂
It is actually improvised. I learn karnatic music. With that many years of experience and learning so many songs in the same raga..... when u sing, notes basically flow into ur mouth. It depends on their own creativity. She is a genius
There's this another TH-cam channel called 'our stupid reactions', they reacted to the same performance around an year back n she also gave an interview to them almost 4 months back. That interview might be helpful in understanding what goes in the learning of this art form, I think as music artists yourself you guys will enjoy that. :) btw, I love your videos.
Yes please watch that interview!
That interview will really open up your understanding of indian classical music. It did for me. That is if you dont mind that she likes to talk. Mrs Chakraborty has a masters in philosophy i think. I could listen to her talk all day.
I just came to say hi from a stupid baby.
Stupid babies all around 😃👍🏼
I don't think you guys understood that how much it's difficult to sing in 16 beats which is completely absent in Western music. But still ! Thanks for appreciating our music.
In Indian music we have a tradition to listen to diverse arrangements of Indian musical notes.. It's actually how most music is consumed in classical music.. Words are secondary.. The emotional invocation is what is the draw
When she was singing fast that's wa Indian song notes(sur) sa,re,ga,ma,pa,dha,ni,sa.....
Sa Re Ga Ma Pa Dha Ni Sa
Do Re Mi Fa So La Ti Do
Equivalent to De Re Me Fa.... N n so on
Thats called alap 😂
@@nilssjoberg.3303 obviously. But they obviously don't know what alaap is! So he gave a simple explanation!
@@nilssjoberg.3303 its srgm not alap
3:32 That wasn't vibrato.. Its called TAAN in Indian Classical Music.
On the question of scatting, yes it's sort of like that except that every note is declared. Like the other comments say it's Indian equivalent of do re mi... But when we scat in jazz, we use nonsensical words to mimic the instrumentals. This is the same thing but s bit more .. in that the singer verbally calls out the notes while hitting that note. Because every note has a single syllable would just like doremi it's a bit harder. Because of you meant to hit c# but hit a B♭ then are caught. 🤗
Grt
Also, regarding hand movements and how they affect music, try an experiment on yourself.
Try breathing with your open palms facing upwards for a few minutes and then try again do it with your palms facing downwards. You will notice a change in your breathing. Pay close attention.
hey 😊, how does it work?
React to MOHE RANG DO LAL, song by Shreya Ghoshal
In Indian classical singers count beats of tabla/mridangam by tapping hand on knee...
And those hand gestures those r normal for Indian singers ..
At 8:03 when you ask if it is anything like scatting. I will answer that in a simple way.
Nope, it is not like scatting.
Imagine an insane guitar shredding. Now, instead of playing the notes on the guitar if you spoke out the notes of the shred in 'Do Re Mi Fa ...' format. This is like that. Only difference is that the same scale which is "Do Re Mi Fa So La Ti" in Western classical music, it's 'Sa Re Ga Ma Pa Dha Ni' in Indian classical music. Same scale, just different syllables.
I am not an Indian Classical Music expert at all, barely even get to listen to any classical music (which is unfortunate). But if you are born and raised in India, you know these things.
Okay bye.
Hi Daniel and Matthew,
At last a reaction to classical music!!!! This excerpt of Kaushiki singing the fast part of her presentation of the hour-long Raga Bhimpalasi is almost viral. While it’s spectacular, it’s really not the most aesthetically sublime portion. She herself had said in Rick & Korbin’s TH-cam channel that she finds the slower part more demanding. That requires lots of musical familiarity to listen to as well. So I’ve given you some web resources below and written notes to make them contextual.
I’ve pasted the same list in the last Shreya reaction too.
Apart from this Kaushiki vlog, what you’ve heard from India is really film music and that is categorised as ‘easy’ music (sugam sangeet) here in India. Then there is semi-classical music in which there’s thumri, dadra, chaiti, ghazal, natyageet and more. However, the fountainhead of it all is classical music of which we have two styles.
Beyond the ability to sing is the ability to use the effortless mastery of singing to explore emotions and abstract concepts. You will get an introduction to that through the links of the classical masters below. The notes will give you the context.
Enjoy! In case you are curious to know more, drop me a line.
Cheers!
Pat from Mumbai
Ravi Shankar explaining ragas
th-cam.com/video/X0fSUOiar0k/w-d-xo.html
Note: ragas are categorised in many concurrent ways. The emotive categories include:
- by time of the day (more accurately by ‘prahar’ which are three hour clusters. Hence 1 day = 8 Prahars);
- by the 9 rasas or moods (here en.m.wikipedia.org/wiki/Rasa_(aesthetics));
- by season (6 seasons: grishma, varsha, sharat, hemant, sheet and vasant)
Other important ways of classification are mostly technical. You may want to know about two of these: by thaat and by jaati; the classification by raaganga is fascinating too.
What is dhrupad?
th-cam.com/video/JBMjQdd6rdI/w-d-xo.html
Note: this is the most ancient form of classical music in the subcontinent. Carnatic and North Indian classical music are derived from this fount. Some North Indian khayal-singing Gharanas like Agra Gharana and Gwalior Gharana rely more on dhrupad for defining their style of music. The other gharanas are less so.
What is a raaga?
th-cam.com/video/CBtFt3HUkT0/w-d-xo.html
Note: swara is not a note in the western musical sense, ie. it’s not a fixed frequency. The swara changes it’s frequency based on the needs of the raaga. For instance, the ‘rishabh’ swara of Raaga Multani is higher than usual. And there are many such raagas that need higher or lower swara. It’s best to understand swara as a small and defined melodic space. But not a fixed frequency. These higher and lower musical *tones* are called ‘shruti’. They cannot be played on discrete-note instruments like the piano or the harmonium.
Some maestros in vocal music:
Surshri. Kesarbai Kerkar: [raga lalit, time - dawn] th-cam.com/video/v1HXfU0mUn8/w-d-xo.html
Ustaad. Amir Khan sahab: [raga marwa, time -early evening, possibly the most contemplative recording in existence of khayal gayaki. Raga Marwa's mood is that of an elderly person looking back with sadness at the regrets in life but without being maudlin. There is tight control on emotions] th-cam.com/video/fVQD1BblyJw/w-d-xo.html
Ustaad. Bade Gulam Ali Khan sahab: [raga sohini, same swaras as Marwa but totally different intent. It conveys restlessness that comes from non-consummation and peevishness even, from the film Mughal-e-azam, time - late night] th-cam.com/video/Aob1I_Ifee0/w-d-xo.html
Gaan Saraswati. Kishoritai Amonkar: [raga ek-nishad bihagda, time: midnight, one of my favourites. It's a live recording from a mehfil and a youthful Kishoritai, probably from late 60s. A mehfil is usually a small intimate gathering of rasiks (aficionados)] th-cam.com/video/3fievbf7yvo/w-d-xo.html
Pandit. Kumar Gandharva: [raga desi, time - late morning, its a complex raga, one of my personal favourites. Its emotion is that of a person pleading to be heard, a person saddened and feeling alone, asking for help. ] th-cam.com/video/O7PCZjInCH0/w-d-xo.html
Smt. Gangubai Hangal: [raga asavari, time - post dawn, a powerful, haunting and plaintive cry directed at the goddess. Gangubai was a minimalist and learnt from the same guru as Pandit Bhimsen Joshi. She was less known but was utterly compelling. This is also one of my most favourite renditions] th-cam.com/video/UmYcY5W0Rd4/w-d-xo.html
Pandit. Jitendra Abhisheki: [raga bhimpalasi, time: late-afternoon, this raga ushers in the evening. So the sense of looking back at the day's activities, preparing for prayer and contemplation. It is one of the 'big' ragas like Marwa, Darbari, Malkauns, Multani and Todi. Typical live performances are an hour long for these] th-cam.com/video/rbmqJdYHoAI/w-d-xo.html
Begum. Parveen Sultana: [raga jog, time- midafternoon, lovely raga with overall romantic air with just a hint of eroticism] th-cam.com/video/-pYYBAI22bM/w-d-xo.html
There are some maestros whose voice didn't record well with the microphones of that era. Arguably the greatest of our masters, Aftab-e-mousiqui. Ustaad. Faiyaaz Khan sahab was one such. His recordings exist but I wouldn't recommend any since they don't capture even a smidgeon of his awesomeness.
The present times has many fantastic, and potentially great singers. If you are interested in them, let me know.
Enjoy!!!
Pat from Mumbai
Thanks for the links. I'm a carnatic classical music student and I'm sure that these links can help me gain more insight into hindustani music.
@@sahanamuralidhar you are welcome. Glad to be of help.
It’s the equivalent of vocal runs. She is vocalising notes and hitting each one of them, even at lightning speed. Not one note is off key.
It takes years for you guys to understand what she is singing, forget about the talent... 😘 Precision and speed of shift of notes.
Indian classical singers work so much on visualization of notes so they can see notes of any sound they hear...
Pitch perfect
7:16 - That dog sound should have been your whole reaction if you would have understood even 1% of what she is doing. She displays transcendent vocals beyond human understanding and you guys talk about a tabla boom and how her head moves the whole video.
She's singing the individual notes with personalized mid-notes. It's like rapping notes if u get what I mean.
Initially she was hitting notes in Aakar which means Aa aa aa in the form of 7 notes (Sa re ga ma pa dha ni).. then she started hitting that 7 notes in various type
This is the only the honest reaction i could find here. Music is nothing without good listeners. Thanks guys please do these some more.
Great... you just got introduced to Indian classical music. Now it will take you a few years to fully understand and appreciate what it involves and decades before you get to THAT level of proficiency.
Well if you guys wanna see timing in the music then react to: "Ustad Zakir Hussain and Rahul sharma -Tabla & Santoor
" . You guys will be blown away how much improvised the performance is and still perfectly timed their notes are.
Highly recommended.
And if you want to see the range of a Indian classical singers then react to Mahesh Kale - "Aruni Kirani Mahesh Kale Live in Melbourne
".
12 notes in classical music 7. Sudha. And 4 komal and 1 tivra is. ma is f# called in western 😊
Indian classical music is one of its kind... Most toughest practice
it takes years to become a beginner... And being a master is beyond imagination....
spectacular,awesome modulation............Chitra Basu......
It's called taan. You basically speak the name of the notes you are singing. And the taan she sang here was improvised. It was amazing.
Male singer - Arijit Singh ( listen to Laal Ishq with the English lyrics )
This is the greatest type of music it takes lifelong practice to achieve that control and power to create that level of art it's Indian classical music .....
Shreya Ghosal too is trained like this lady in classical music. Here in India kids start learning music as early as 3 years of age esply music is in the family. All the singers who you seen r going to see most probably well trained in classical music form, which purely mathematics based with freedom to improvise. Indian kids too compete in Abacus International competition. You got it right, these classical singers do see the notes like that ! Since they r trained from young age their pitching and breath control r very strong.
Her vocal is as good as any instrument. She can sing the song or sing the notation effortlessly. Classical artists can hit any notes accurately and effortlessly because their practice has made their voice mimic each and every notation.
Indian classical music video by Kaushiki chaobarthy - SHUDH SARANG ...it is really beautiful.
She is singing some lines(lyrics) and some sargams (sa, re, ga, ma, pa, dha, ni, sa)
That's why called Indian classical music is very heard,
That was not a vibrato, it was Murkhiya , which is a part or important part of Indian Classical music.
She is outstanding It takes years of practice to modulate a voice to such power and smoothness at different scales. She is one of the best Indian classical singers of today.
This is called 'Raag' or 'Raga'.
A raga or raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition.
As soon as you started focusing on her singing, THE SMILE GOT WIPED OUT AND BOTH YOUR JAWS DROPPED AND STAYED DROPPED!!! :)
This is absolutely not about sounding rude, but she started with talent and passion, had a great guru for her dad as well as coach AND most importantly, has practiced for longer than you guys have lived !!! A very potent combination.
Please react to Best Marathi Abhang Ever | Ranjani & Gayatri | | Raga Chandrakauns |
'Sa re ga ma pa dha ni sa' in Indian classical music equivalent to 'do re mi fa so la ti' in western. She was playing with the 7 notes and is equivalent to deriving melodies out of 'do re mi fa so la ti' in real time by uttering a specific note's name at that note in a scale. Like, you are saying 'do re mi do re' and hitting the perfect notes at the same time at that pace. Also remember you are improvising on that too.
React to sun Raha hai Na rozana song mixtape of Shreya Ghoshal
And she can sing any kind of music or any kind of song..she has been trained since she was 3 years old so this is the result of 30 years of classical training that you just heard from her.
Essentially, classical Indian music is far more complex than any other art form, it's somehow intricately linked to some kind of mathematical relationship/ sequences and if this music can be represented by some kind of visual graphics on a computer screen, the visuals mostly form Fibonacci sequences kind of cascading or downward spiral depending on which way you approach the ragas (they are like do re mi fa sa kind of sa re ga ma pa da ni sa ) a combination of seven ragas but the speed at which they are diahed out could be 4, 8,16,32 and sometimes 64 bits per a certain predefined time interval.
I know I may not make exact sense but intuitively I can make out that some relation with mathematics is involved here.
Loved your reaction guys
So now that you've reacted to this... The best follow up video to react to after this is mahesh kale's live performance...😄 (Male singer)
Love your reactions!
7:10 love this smile ....btw... Who had noticed it before reading my comment ...
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.
.
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Hit like
👇👇
That’s the magic shastriya (classical) music can do! 💗
React to Mahesh kale Indian classical singer Melbourne stage performance
Search for a video where her father (Ajoy Chakraborty) trains her to catch those notes in her younger days. It's not vibrato, it's a note that she's singing and it's a mix of lyrics and note sounds that are used in these kacheris.
A legendary daughter of a legendary vocalist.
Please react to Mahesh Kale's Melbourne performance
We learn and add good things in our daily life. This is our heritage
Hey guys please react to Arijith Singh..he is one of the best singer in India...he is know as the king of romantic song..pls pls react to his live stage performance
The part you said about scatting is spot on. as the entire performance is improvised , indian classical singers will often take such runs.
I think first you read something on Indian Classical music. Then react. Atleast read something on sargam.
Daniel you have a beautiful voice. Perfect for old school jazz.
Two kids react to a lagend
With world toughest music what a joke
It's called a sargam taan.. Sung using the seven musical notes... Beautiful. Your appreciation makes it all the more magical..
She is playing with different notes of the scale of RAAG Bhimpalashi. The instrument in her hand is surmandal, to get the key and other supporting notes. This is spontaneous improvisations.
She is one of our classical musicians and one of the most respectful one. She is living legend. I always admire her. She is a gem.
20 years of dedication and natural talent need to do this
The melodic framework (raaga) is called Bhimpalasi - it is based on the Dorian mode, but pentatonic in ascent (skipping the 2nd and 6th scale degrees), heptatonic in descent.
She mostly sings the first line of the song text, which goes Ja Ja Re Apne Mandhirwa, then interspersing various fast rhythmic scalar runs called taans, in Aakar (I.e. using the AA sound) or sargam (using the first syllable of the name of each note in Indian solfege- SA RE GA MA PA DA NI).
This composition is set to teental, a rhythmic cycle of sixteen beats. Notice that the song lands on the first beat of the cycle on the syllable Man of Mandirwa of the song. This is the most important beat. All the fast passages are improvised in a way that they link back to the start of the first line of the composition ja ja re apne MAN... which in this case ends on the 4th scale degree or Ma in the solfege.
I start crying after see this 🥲
Epic legend
Yes guys,, , it's Indian Hindustani classical music,,, how in river water flows ,, like tat u feel the music ,,, it's feels good,,, thank you
This is the depth of classical Indian music that I was talking about. Indian singers are so good in all forms of music because they are trained for 10-15 years of hardcore classical training which is the most diverse, intricate and complex in the world ❤️❤️
This is pure Indian classical music .and it takes years to master that, she has been practicing since childhood
This was Raag Bhimplasi from the Thaat family of Kafi. The equivalent to Thaat kafi in Western World is Dorian Mode. The beats on the percussion was 16 beats loop, known as Tintaal. She was probably doing Khayal Gaiki which again is a genre of Indian Classical Music. Raag Bhimplasi is a Hepta-Pentatonic scale which means that the ascending notes and 7 and descending are 5.
What she was doing was improvisation which is the very root of Indian Classical Music. Playing with beat and staying in rhthym is something we call "lay-kaari", something you saw glimpse of in the video.
Classical singers are trained to sing a single scale for hours. There were few verses of the basic composition composed in that Raag and rest she was scattering.
Indian classical music is not only music it's the whole philosophy itself can be viewed in terms of kundalini, annahad naad ,aahat naad, 22 shrutis between 7 swaras plus more than 500 ragas , Indian classical music is a kind of SADHNA itself.
Hello brothers, I am glad that both of you enjoyed and analysed her song as well as her actions. We have 2 types of classical music viz. Hindustani and Carnatic. In order to master in these intricate music, one has to train decades! There are many legends in both type of music. I recommend to watch the masters of both music. Then only you will realise the depth of these music, which is quite obscure to the outside world.
Very very very powerful & amazing reaction.
Divinely Music and Singing Technique 🤔🤔❤️🙏
7:58 she's saying the swaras of a Raaga....just like Notes of a Scale in western music (Sa means Do, Re Means Re, Ga means Mi and so on
The hand gestures are like a mind map of the Swara (Sa-re-ga-ma-pa-dha-ni-Sa) [western equivalent is Do-re-mi-fa...] she as she climbs the notes, hands go up, and vice versa. Outward extension is letting the note go. By the way the vibratos are on the words. This is a song of love:- go lover go (playfully). These aren’t fixed compositions. She is saying the same lyrics but musical expression changes in every phrase.
It takes 20+ years to sing like that she is saying 7basic element of Indian music Sa Re Ga Ma Pa Da Ni n her hand gesture is natural while singing in Classic Music you not only sing who put your soul n hand gesture is showing she is indulging in her music.It takes years to years trained like that they put their soul.
This is classical singing. This is musical acrobat with 8 Indian musical notes which are: Sa, Ray, Ga, Maa, Paa, Daa, Nee, Saw. In classical singing, there are limited lyrics and musical acrobat with done with above 8 notes. Classical songs are based on different formats prepared with notes and these formats are known as Ragas. There are ragas which are sung early morning, during day, at dusk and at night and so on.
Can't even imagine the depth of Indian classical music.
Beautiful
Indian classical starts with Svara ( you can search about it).... Svara is the base of Indian Classical music. It is an ancient concept that defines complete dimension of musical pitch.Svaras means it connotes a note in a successive steps of Octave..
We have 7 notes together it is called “Sargam”.
“Sa” “Re” “Ga” “Ma” “Pa” “Dha” “Ni” “Sa”...
it is similar to “Do” “Re” “Mi” “Fa” “So” “La” “Ti” “Do”
What Kaushiki was singing is Sargam, all the above notes.
The thing that you didn't understand is: The singers use these seven notes "Sa Re Ga Ma Pa Da Ni" in different permutations and combinations and not miss the sequence they have started and come back to same combination in the speed and the flow. It's take lots of talent to do that and singers are recognized by the control they have on this skill.
That's simply the beauty of Indian classical music
I enjoyed your reaction to Indian music. Thanks
So beautiful song I heart you 💕💕💕💕💕
And that right there is my idol! That's shashtriya sangeet, and that's aakar, chougun ke taan in drut vandish! What you guys said what she was saying very fast that's sargam taan
Love you guys....
Recommended to hear and react to kaushiki Chakraborty's jamroom raag madhuvanti
I loved your reaction - it was genuine