Rhythms Institute-History of Hindustani Classical Music-Gurudev Goud

1. Hindustani Classical
2015 –Grand Finale

2. History of Indian Classical Music
Hindustani classical music ([hin̪d̪us̪t̪ɑːn̪i]) is the Hindustani or North Indian style of Indian
classical music. The style is sometimes called North Indian classical music or Shāstriya Sangīt or
Klāsikī Mausīqī. It is a tradition that originated in Vedic ritual chants and has been evolving
since the 12th century CE, in North India and to some extent in Afghanistan, Bangladesh, Sri
Lanka, Nepal and Pakistan. Today, it is one of the two subgenres of Indian classical music, the
other being Carnatic music, the classical tradition of South India.

3. About our Guru Ji’s
Hailing from rich traditions of Dharwad, young Kumar Mardur has had his training from his father Pandit Somanath Mardur, a
renowned Hindustani Classical Vocalist of Kirana Gharana. Under the able guidance of his father, Kumar has shown the
qualities of becoming a promising young artist. Kumar has also been learning from Dr. Pandit Firoz Dasturji, a great Maestro of
Kirana Gharana and the senior most disciple of Late Sawai Gandharva. Endowed with a melodious voice, he is known for pure
and aesthetic presentation of ragas, crystal clear taan patterns and command over laya.
Pandit Somanath Mardur (born: 1944) is an unassuming musician, whose world has so far been limited to local radio
broadcasts, and concert appearances in, and around, his native Dharwad. His musicianship may have remained unnoticed by
the world outside, had it not been for his son and disciple, Kumar (born: 1982), who is now rated amongst the most promising
vocalists of his generation. Somnath studied under the eminent Kairana maestro, Basavraj Rajguru (died: 1991), and is an “A”
grade artiste on All India Radio. Beyond his formal tutelage, he also admits to a significant influence of the Gwalior-trained
original, Kumar Gandharva.
Pandit Somanath Mardur
Pandit Puttaraj Gawai (Kannada: ಪುಟ್ಟ ರಾಜ ಗವಾಯಿ) (3 March 1914 – 17 September 2010) was an Indian musician in the
Hindustani classical tradition, a scholar who authored more than 80 books in Kannada, Sanskrit and Hindi, a music teacher and a
social servant. A member of the Gwalior Gharana (school),[1] he is renowned for his ability to play many instruments such as the
veena, the tabla, mridangam, violin etc., as well as for his popular renditions of devotional music (bhajans) vachanas.A famous
vocalist both in Hindustani and Karnataka Music. He is the recipient of the Padma Bhushan, India's third highest civilian honour,
awarded in 2008.[2]
Shivanand Salimath, a disciple of Pandit Mardur, who accompanies him on the
harmonium at all his performances, also teaches harmonium and vocals.

4. Types Of Indian Classical Music

5. Hindustani Vocal Classical Music
The rhythmic organization is based on
rhythmic patterns called tala. The
melodic foundations are called ragas.
One possible classification of ragas is
into "melodic modes" or "parent
scales", known as thaats, under which
most ragas can be classified based on
the notes they use.
Thaats may consist of up to seven scale
degrees, or swara. Hindustani
musicians name these pitches using a
system called Sargam, the equivalent of
the Western movable do solfege:
 Sa (Shadja) = Do
 Re (Rishabh) = Re
 Ga (Gandhar) = Mi
 Ma (Madhyam) = Fa
 Pa (Pancham) = Sol
 Dha (Dhaivat) = La
 Ni (Nishad) = Ti
 Sa (Shadja) = Do
Types of compositions
1. Dhrupad
2. Khyal
3. Tarana
4. Tappa
5. Thumri
6. Ghazal

6. Different Kinds of Ragas
Raag Marwa (hexatonic)
Raag Marwa is sung during the late afternoon hours up to sunset. It is one of the major ragas in Hindustani classical music and is sung widely and taken very seriously. One of the interesting things about Raag
Marwa is that it de-emphasizes the root note "sa." Probably because of this, it is a somewhat unsettling raga, and mainly evokes dark moods of foreboding and anxiety. It can also portray compassion or resignation
in the face of some inner struggle. Scale: Marwa(Ascent: S r G M D N S' /Descent: S' N D M G r S)
Raag Bhairav (heptatonic):Bhairav is another very important raga in the Hindustani classical tradition. It is a morning raga, and solemn peacefulness is its ideal mood. It is very easy, however, for this scale to
deteriorate from majestically peaceful to pathetically melodramatic, and artists must watch out for that. I think it was Pundit Vilayat Khan who once described Raag Bhairav as the music in the mind of Lord Shiva as
he meditated in the Himalayas. That made an impression on me. Picture Shiva-the-terrible, absorbed in the deepest meditation in a dark cave in the Himalayas. Everything is still, except for the occasional dripping
of a stalagtite. Then dawn breaks and the first rays of sunlight penetrate into the cave. Imagine the music in the mind of this man of terrifying passions at that time in his state of perfect peacefulness. And that, to
me, is what Raag Bhairav should be.
Scale: (Ascent: S r G m P d N S' /Descent: S' N d P m G r S)
Raag Gaud-Sarang (oxatonic)
Gaud-Sarang is a sunshiny, lively early-afternoon raga. Scale: GaudSarang(Ascent: S G R m G P M D P N D S' /Descent: S' D N P D M P G m R P R S)
Raag Pahadi
And now, a raga that can get away with using just about any note in the octave but still retains a distinct flavor all its own. Pahadi is one of those ragas that is hard to define an ascent or descent for, so here is a
simple sol-fa song to demonstrate a few typical note combinations. In this example I have only combined the nine most prominent notes used. The remaining notes are used only rarely and have to be done with
the greatest care and expertise to retain the raga's identity. Pahadi is an evening raga that combines both playful and pensive aspects. It is characterized by a very charming, folksy flavor.
Scale: Pahadi ('P 'G 'P 'D S, R m G R S 'N D, 'n 'D 'P, 'D 'P 'm 'G, 'P 'D S, G g G P G R S, R S 'N 'D 'P 'm 'G, 'G 'P 'D S R g R, G P G R S)
Raag Yaman :Yaman is an evening raga, sung from sunset to late evening. It is full of grace and majesty, and the main mood it creates is one of devotion and dedication. It is a raga that suggests unconditional
offering of everything one has at the altar of whatever one's calling may be, asking nothing in return.Scale: Yaman (Ascent: 'N R G M D N S' /Descent: S' N D P M G R S)
Raag Bhimpalasi :An afternoon raga, sung from late afternoon to sunset, Bhimpalasi is poignant and passionate, filled with yearning.
Scale: Bhimpalasi:(Ascent: 'n S g m P n S' /Descent: S' n D P m g R S)
Raag Kedar: Kedar is one of the most lovely ragas there can be. It is sung from late evening to midnight and is said to create a mood of peacefulness. I find, however, that this raga and its playful note
combinations are beautifully suited also for creating moods of joy and elation.Scale: Kedar :(Ascent: S m G P M P D N S' /Descent: S' N D P M P D P m R 'N R S)
Raag Jog: Raag Jog is sung in small hours of the morning, just after midnight. It has a magical quality that lives up to its name (jog indicates a state of enchantment). It is quite a popular raga too, often adopted
to lighter forms of music.Scale: Jog (Ascent: 'n S G m P n S' /Descent: S' n P m G, m g~ S)

7. Gharanas
Gharana Founding Artists Approximate founding date Revived by Approximate revival date
Gwalior Gharana Nathan Pir Baksh,Nathu Khan Mid-16th Century
Agra Gharana Ghagghe Khudabaksh Mid-19th century Faiyaz Khan Early 20th century
Kirana Gharana Nayak Gopal Late 17th century Abdul Karim Khan,Abdul Wahid Khan Early 20th century
Bhendi Bazaar Gharana Chhajju Khan,Nazeer Khan,Khadim Hussain Khan Late 19th century
Jaipur-Atrauli Gharana Alladiya Khan Late 19th century
Patiala Gharana Bade Fateh Ali Khan, Ali Baksh Khan Late 19th century
Rampur-Sahaswan Gharana Inayat Hussain Khan Mid-19th century
Indore Gharana Amir Khan Mid-20th century
Delhi Gharana Qawwaliyas Late 18th century Sangi Khan,Mamman Khan
Jodhpur-Mewati Gharana Ghagghe Nazir Khan Mid-19th century Jasraj Late 20th century
Qawwal Bacche Gharana Saamat bin Ibrahim
Sham Chaurasia Gharana Miyan Chand Khan, Miyan Suraj Khan 16th century Salamat Ali and Nazakat Ali Khan Mid-20th century
The word Gharana means "family". In relation to music, Gharana refers to a family of musicians,
a school of music or a musical lineage connected with the name of a particular person or place.
The characteristic feature of a Gharana is its special style of presentation: the result of the
special and extraordinary creativity and innovation of a highly talented musician. The other
musicians of the Gharana may have their own individual features of presentation, but their
training and conditioning in the distinguishing style of the Gharana is bound to leave indelible
and recognisable stamps on the presentation of the performer

8. Kirana Gharana
KIRANA GHARANA
This is the most prolific of the Hindustani Khayal Gharana. The origin of Kirana Gharana is by Ustad Abdul Karim Khan (1872 – 1937) is believed to bethe founder of this
Gharana. He was born in Kirana near Kurukshetra and heserved as a musician at the Baroda and the Mysore Courts. His style of singing had a tremendous influence
on the music of western India. The emphasis onelongating the notes and the importance to their melody and resonance is a distinctive feature of this Gharana. The
Kirana style of singing has emphasis onaalap rather than on bandish as seen in the Gwalior Gharana. The mode of singing is sentimental, graceful and full of emotion.
Abdul Karim Khan's most importantdisciple was Pt Sawai Gandharva, who made this style of singing famous in Karnatak and Maharashtra. There are several fine
exponents of this Gharana today,including Pt Bhimsen Joshi, Gangubai Hangal, Kishori Amonkar and Prabha Atre.
Abdul Karim Khan 1872 – 1937
Ganapatbuwa Behere 1890 – 1965
Vahid Khan 1880 - 1949
Sawai Gandharva (Rambhau Kundolkar) 1886 – 1952
Sureshbabu Mane 1902 – 1953
Amir Khan 1912 - 1974
Hirabai Barodekar 1905 – 1989
Gangubai Hangal
Bhimsen Joshi 1922 –
Prabha Atre
Kishori Amonkar
Pt. Puttaraj Gawai'ji
Pt. Somanath Mardur
Pt. Shivanand Salimath
Pt. Kumar Mardur
Kirana Gharana

9. Maestros of Hindustani Vocal Classical Music

10. Hindustani Classical Music-Vijaynagar Team

11. Hindustani Classical Music-Vijaynagar Team

12. Hindustani Classical
2015 –Grand Finale