I was more inclined towards Carnatic music but Ashwini Taai pulled me towards Hindustani.... with due respect to all singers, I must say I love Hindustani music only when I hear it from Taai... I feel im in Divine place... her voice touches my soul n i feel myself divine... What a great lady she is! didn change a bit! so simple so humble... not so much of make up n jewelary.. she is always adored with the precious Ragas n raginis... my Thousand salute in her feet \O/
Yes. ashwini tai is not only very talented but she is also a simple and humble human being. i have seen most her video clips and been to her live recital in US also. she is a very unassuming human being who gives credit to all her supporting/accimpanying artists so nicely. My base is carnatic vocal which i have learnt for many years, and then I have also learnt hindustani vocal for many years. A recital, whether it is carnatic or hindustani, is a team effort, a singer and his/her accompanists. without proper accompanists, we singers are nothing.
I absolutely love the way that ashwini tai also has dressed in all of her recitals and youtube clips. She just wears a simple elegant sari and simple elegant jewelry. Nothing too gaudy and flashy. It really brings out her personality. Very humble and classy. Goes along with her singing.... 🙏🙏🙏
Including Deepavali, Pannababu created 7 news Raaga-s and a Raag-Mala. He however did not have the life long enough to bring these wonderful new creations to maturity. Unfortunately, he also did not leave behind any written text or detailed information on the nature of his created new Raaga. Hence, differential opinions (as described below) exist about the exact nature even of Deepavali which as such he used to play frequently. ●A. Pannababu’s disciples Pt. Devendra Murdeshwar and Pt. V.G. Karnad were of the opinion that Raaga Deepawali is generated by ‘changing the mode’ in Pooriya Kalyan i.e. considering Pancham of Pooriya Kalyan as Shadja. ●B. Pannababu’s first disciple at Mumbai, Pt. Rasbihari Desai considered that it could be Shuddha Rishabh and Shuddha Dhaivat used in Raaga Lalat. ●C. It could also be Raaga Yaman with both Madhyam used in adjoining fashion in Avaroha. ●D. Pannababu’s disciple Shri. Mohan Nadkarni also had felt while listening to Pannababu from a long distance that he was playing some Raaga with Sohani patterns. After reaching closer, he realized that actually it was Deepawali. ●E. Pt. (Smt.) Ashiwani Bhide-Deshpande appears to be in agreement with B. and C. One can get lot more details on this subject in the book ‘Pannalal Ghosh’ published on 2.11.2019 by Sanskar Prakashan, Mumbai.
Ashwini Tai has performed absolutely excellent .. no doubt .. but what is strikingly beautiful is the support she is getting from vocalist on tanpura ! And harmonium and tabla is also superb ! Compliments to all and thank you 🙏 ... Happy 2019 Deepawali !
राग दीपावली का स्वरूप - 0:44 02:25 स्थाई - श्री देवी लछमी कमलजा 03:07 - करूँ तिहारी मानस पूजा 10:04 अंतरा - आवाहन और ध्यान धरत हूँ 12:22 - स्नान धूप और दीप करत हूँ 12:38 - रहे दीन पर तोरी कृपा
An outstanding pleasant rendering .What a nice blending of raag yaman & Lalit ! This reflects the great ability of a perfect composer as well as an artistic creater within Ashwiniji.
Deatails of this raga : That : Kalyan Jati : 6/6 Shadav-Shadav Vadi : G Sanvadi : N Time : 1st Half of Evening. Notes : Both Madhyams and other notes are pure.
Sooo beautiful Mam bahut sakoon milta hai apko sun kr apki voice bahut ka kya kahe unbelievable Mam apke liye Kush kehna Suraiya ko deep dikhane jaisa hoga I love you so much Mam hum ek baar apse mile hai shri harivallabh sangeet samelan me bahut asha lga
Patrick Bansuri Sa shuddho Re shudho Ga shuddho Ma Tibra Ma shuddho Dha shuddho Ni Sa The favourite approach is mandra shuddho Ni modhyo Shuddho Re shuddho Ga shuddho Ma Tibro M shuddho M shuddho Ga... Shuddho Ga shuddho Ma shuddho Dha shuddho Ni Sa. You can also move up the scale via Tibro Ma. But frankly, it might sound a bit for ed. In taans, sargams it might sound especially so. I am more for using the shuddho Ma in a taan or sargam based ascent and the tibra M plus the shuddho Ma in the descent. In the descent you touch the tibra M first and then the shuddho. I am in favour of simplifying certain usages to bring our classical music closer to the people and i fear pundits would rebuke me for saying this. However, i give a damn. Music and its beauty are more important to me than the academic does and don’ts. I am grateful to this wonderful vocalist for performing a raag created by the Maestro Pannalal Ghosh.
Including Deepavali, Pannababu created 7 news Raaga-s and a Raag-Mala. He however did not have the life long enough to bring these wonderful new creations to maturity. Unfortunately, he also did not leave behind any written text or detailed information on the nature of his created new Raaga. Hence, differential opinions (as listed below) exist about the exact nature even of Deepavali which as such he used to play frequently. ●A. Pannababu’s disciples Pt. Devendra Murdeshwar and Pt. V.G. Karnad were of the opinion that Raaga Deepawali is generated by ‘changing the mode’ in Pooriya Kalyan i.e. considering Pancham of Pooriya Kalyan as Shadja. ●B. Pannababu’s first disciple at Mumbai, Pt. Rasbihari Desai considered that it could be Shuddha Rishabh and Shuddha Dhaivat used in Raaga Lalat. ●C. It could also be Raaga Yaman with both Madhyam used in adjoining fashion in Avaroha. ●D. Pannababu’s disciple Shri. Mohan Nadkarni also had felt while listening to Pannababu from a long distance that he was playing some Raaga with Sohani patterns. After reaching closer, he realized that actually it was Deepawali. ●E. Pt. (Smt.) Ashiwani Bhide-Deshpande appears to be in agreement with B. and C. One can get lot more details on this subject in the book ‘Pannalal Ghosh’ published on 2.11.2019 by Sanskar Prakashan, Mumbai.
Unfortunately recording is not so great with Tanpura too loud, etc Missed opportunity to capture an extraordinary, great and gifted artist singing an uncommon Raag
Ashwini Tai Given Food to Soul...Most Commendable..
I was more inclined towards Carnatic music but Ashwini Taai pulled me towards Hindustani.... with due respect to all singers, I must say I love Hindustani music only when I hear it from Taai... I feel im in Divine place... her voice touches my soul n i feel myself divine...
What a great lady she is! didn change a bit! so simple so humble... not so much of make up n jewelary.. she is always adored with the precious Ragas n raginis... my Thousand salute in her feet \O/
Sir you alive?
Yes. ashwini tai is not only very talented but she is also a simple and humble human being. i have seen most her video clips and been to her live recital in US also. she is a very unassuming human being who gives credit to all her supporting/accimpanying artists so nicely. My base is carnatic vocal which i have learnt for many years, and then I have also learnt hindustani vocal for many years. A recital, whether it is carnatic or hindustani, is a team effort, a singer and his/her accompanists. without proper accompanists, we singers are nothing.
I absolutely love the way that ashwini tai also has dressed in all of her recitals and youtube clips. She just wears a simple elegant sari and simple elegant jewelry. Nothing too gaudy and flashy. It really brings out her personality. Very humble and classy. Goes along with her singing.... 🙏🙏🙏
Wah wah. I just love ashwini tai's voice. i could listen to her all day and forget the whole world.
Goddess SARASWATI praising Goddess LAKSHMI!!!
wah wah
Ashwini tai's voice is pure honey and necter. 🙏🙏🙏
My Guruji late Shri madhusudan Timothy sir has taught me this raag I often sing during Diwali
Including Deepavali, Pannababu created 7 news Raaga-s and a Raag-Mala. He however did not have the life long enough to bring these wonderful new creations to maturity. Unfortunately, he also did not leave behind any written text or detailed information on the nature of his created new Raaga.
Hence, differential opinions (as described below) exist about the exact nature even of Deepavali which as such he used to play frequently.
●A. Pannababu’s disciples Pt. Devendra Murdeshwar and Pt. V.G. Karnad were of the opinion that Raaga Deepawali is generated by ‘changing the mode’ in Pooriya Kalyan i.e. considering Pancham of Pooriya Kalyan as Shadja. ●B. Pannababu’s first disciple at Mumbai, Pt. Rasbihari Desai considered that it could be Shuddha Rishabh and Shuddha Dhaivat used in Raaga Lalat. ●C. It could also be Raaga Yaman with both Madhyam used in adjoining fashion in Avaroha. ●D. Pannababu’s disciple Shri. Mohan Nadkarni also had felt while listening to Pannababu from a long distance that he was playing some Raaga with Sohani patterns. After reaching closer, he realized that actually it was Deepawali. ●E. Pt. (Smt.) Ashiwani Bhide-Deshpande appears to be in agreement with B. and C.
One can get lot more details on this subject in the book ‘Pannalal Ghosh’ published on 2.11.2019 by Sanskar Prakashan, Mumbai.
Ashwini Tai has performed absolutely excellent .. no doubt .. but what is strikingly beautiful is the support she is getting from vocalist on tanpura ! And harmonium and tabla is also superb ! Compliments to all and thank you 🙏
... Happy 2019 Deepawali !
राग दीपावली का स्वरूप - 0:44
02:25 स्थाई - श्री देवी लछमी कमलजा
03:07 - करूँ तिहारी मानस पूजा
10:04 अंतरा - आवाहन और ध्यान धरत हूँ
12:22 - स्नान धूप और दीप करत हूँ
12:38 - रहे दीन पर तोरी कृपा
संगीत रस thanks you for the lyrics, could you provide the lyrics for the ektaal bandish?
अति सुंदर गान
An outstanding pleasant rendering .What a nice blending of raag yaman & Lalit !
This reflects the great ability of a perfect composer as well as an artistic creater within Ashwiniji.
Waaahh waaahhh waaahhh!! No words can express Tai’s music 🙏🏻💐💕
Raga Deepawali n ashwani ji both are superb..
Deatails of this raga :
That : Kalyan
Jati : 6/6 Shadav-Shadav
Vadi : G
Sanvadi : N
Time : 1st Half of Evening.
Notes : Both Madhyams and other notes are pure.
It is a superb performance. Thank you, First Edition Arts for posting
as always appreciate the new upload.
Her music is so sincere, warm and heart warming. Just beautiful.
Outstanding rendition!! Thank you so much Ashwinitai ! Pure bliss!
Guruji namaskara amazing raag dipavali, please Aroha, avaroh pakad, that. jaati ,vadi savvadi ,py Guruji , I am ricavest
For the first time I am finding two very good students accompanying a master. I would like to know where are these two promising vocalists now.
Dhanashree Ghaisas and Shamika Bhide
OCTOBER 25 NEW MOON DIWALI HAPPY LIGHTS
Exquisite!
beautiful..
charansparsh
Whaa 🙏🏻🙏🏻🙏🏻🔥
Very nice
Sooo beautiful Mam bahut sakoon milta hai apko sun kr apki voice bahut ka kya kahe unbelievable Mam apke liye Kush kehna Suraiya ko deep dikhane jaisa hoga I love you so much Mam hum ek baar apse mile hai shri harivallabh sangeet samelan me bahut asha lga
Verybutiful Tai namskar
Charansparsh
Pranam Madam 🙏🏾
Excellent
🙏🙏🙏🙏
Does anyone know the structure of this raag? I haven't found anything, aroha, avaroha etc.
Patrick Bansuri Sa shuddho Re shudho Ga shuddho Ma Tibra Ma shuddho Dha shuddho Ni Sa
The favourite approach is mandra shuddho Ni modhyo Shuddho Re shuddho Ga shuddho Ma Tibro M shuddho M shuddho Ga...
Shuddho Ga shuddho Ma shuddho Dha shuddho Ni Sa.
You can also move up the scale via Tibro Ma. But frankly, it might sound a bit for ed. In taans, sargams it might sound especially so. I am more for using the shuddho Ma in a taan or sargam based ascent and the tibra M plus the shuddho Ma in the descent.
In the descent you touch the tibra M first and then the shuddho.
I am in favour of simplifying certain usages to bring our classical music closer to the people and i fear pundits would rebuke me for saying this. However, i give a damn. Music and its beauty are more important to me than the academic does and don’ts.
I am grateful to this wonderful vocalist for performing a raag created by the Maestro Pannalal Ghosh.
Including Deepavali, Pannababu created 7 news Raaga-s and a Raag-Mala. He however did not have the life long enough to bring these wonderful new creations to maturity. Unfortunately, he also did not leave behind any written text or detailed information on the nature of his created new Raaga.
Hence, differential opinions (as listed below) exist about the exact nature even of Deepavali which as such he used to play frequently.
●A. Pannababu’s disciples Pt. Devendra Murdeshwar and Pt. V.G. Karnad were of the opinion that Raaga Deepawali is generated by ‘changing the mode’ in Pooriya Kalyan i.e. considering Pancham of Pooriya Kalyan as Shadja. ●B. Pannababu’s first disciple at Mumbai, Pt. Rasbihari Desai considered that it could be Shuddha Rishabh and Shuddha Dhaivat used in Raaga Lalat. ●C. It could also be Raaga Yaman with both Madhyam used in adjoining fashion in Avaroha. ●D. Pannababu’s disciple Shri. Mohan Nadkarni also had felt while listening to Pannababu from a long distance that he was playing some Raaga with Sohani patterns. After reaching closer, he realized that actually it was Deepawali. ●E. Pt. (Smt.) Ashiwani Bhide-Deshpande appears to be in agreement with B. and C.
One can get lot more details on this subject in the book ‘Pannalal Ghosh’ published on 2.11.2019 by Sanskar Prakashan, Mumbai.
🙏🎖🙏
Can someone kindly translate lyrics? Thanks 😊
Unfortunately recording is not so great with Tanpura too loud, etc
Missed opportunity to capture an extraordinary, great and gifted artist singing an uncommon Raag