ustad amir khan-goonj uthi shehnai-raagmala

my dada ustad,(may his soul rest in peace) late ustad amir khan(1912-74) is singing starting from raag bhatiyar in the mandir,and then after he sings a raagmala starting from ramkali,desi todi,shud sarang,todi (he only does a taan in this),yaman,bageshri and finally chandrakauns,also the shehnai accompanying is the late ustad bismillah khan may his soul rest in peace and finally,.this music is by the late vasant desai enjoy the video.

Category:

Music

Tags:

• ustad
• amir
• khan
• classical
• vocal
• india
• indian

[mousiqui]

lajawaab............ thanx sabrang ji for uploading this great piece of art. but it's not a taan of todi after shuddh sarang...infact its multani & the bandish is 'TUM SO LAGLI PREET'. thanx again

[sabrang1430]

@mousiqui statement:2 the raag shud have been multani bcoz shud sarang is an afternoon raag and so is multani,therefore is multani shud have been rendered after shud sarang, but is only a film,in the same way that in film baiju bawra,when both khan saab,and late pdt. DV Paluskar sang in the duet the raag desi todi was render and then effect was the marble melting,the correct raag for this to have a affect on the melting marble is raag malkauns!

[misbahzia]

Mashallah, May Allah Bless his soul. Ameen

[hrnawaz]

what movie is this?

[ParmEswar13]

After consulting with Ustad Amir Khan's senior disciple Dr. Ajit Singh Paintal, Khan Saab is singing Bhatiyar and

Ramakali and

Desi

Shudh Sarang

Yaman Kalyan

Bageshwari

Rageshwari

[varsha2307]

He is my also dada guru or ustaad he is fantastic..

[dalbir10sohal]

In the beginning nis din bisrit bandish is in raga bhatiyar in the same raga on shenaie after the conversation between ustad shagirid and some other people bandish in bahirav raga darbar dhaoun then it renders to raga ramkali after ramkli it is desi todi with komal and shudh rishabh, next to this is raga shudh sarang on shenaie after this with ataan begins raga yaman more bama tum sio lage and shubh gunanan deejie gunijan, sa ni sa ni dha.. notes are of raga bgeshwri >malkouns at end chanrkons

[sabrang1430]

@shankyxyz hear it in the taan

[shankyxyz]

@sabrang1430 i dont see any ascending rishab?? it is very clearly Multani. there is no ascending dhaivat either. there is clearly a pancham typically of multani. in fact the ma-pa-ni-sa is a dead giveaway.

[varunachar87]

@sabrang1430 I'm fairly certain he does not touch re while ascending. If at all re is audible, I would consider it accidental, since the other phrases (for example the pa ni sa route) are unmistakably multani. The whole sequence gives a strong multaani feel, and as you rightly mentioned, multani fits into the raagmaala in terms of time (afternoon). One accidental re cancelling this strong prolonged effect of multani is unlikely.

Anyway, let us leave aside the technicalities and enjoy the music.

[sabrang1430]

@varunachar87 true saying sir,when khan saab say morey on the notations ma pa ni sa ga ga when going up,the morey khan saab add the rishab in ascending b4 touching gandar,which is not allowed in multani,rishab kanswar only applies in descending,not ascending,an actions like that cancel multani out despite having these fragment! please give view,i change it from multani 2 todi when posting this video,i had same view,but when khan saab added the rishab ascending wise,that change da game

[varunachar87]

@sabrang1430 It's quite distinctly multaani. The notes that you outline, on closer inspection, sound like

ni ni dha pa ma ga | ma pa ni sa ga ga | sa ni dha pa ma pa | ma ga sa(re) ni sa '

where the (re) is kaNaswara, and ' denotes a space. This "ma ga sa (re) ni sa" is quite typical of multaani, not to mention the first three blocks as well. And of course, the words that follow are on "ma...ga re.. sa(re) ni sa". No offence to your fine musical sense, but fairly confident this is multaani.