Pt. Bhanuprakash Barot, born in ____ in _____ , is a renowned tabla master from the ______ (ghana). His main guruji was _______
Being introduced to the tabla in the traditional way at the age of ____ , later on he played with the famous giants of the Hindustani Traditions like the legendary Pt. Hariprassad Chaurasia, ___ ____ , Pt. Rupak Kulkarni and many more.
He played for the India Radio in the years ___ to ___
Living in Mumbai (Bombay), India, he is working at/for ____ and available as a musician for performances and collaborations, but also for teachings online and offline.
Tel.: +91 9892165488 / +91 8356889573
E-mail: barotstaal1967@gmail.com
The information given here is NOT about the typical movements, ornamentations and specific rules for each Raag, also I do not give the information about the up- and down-ward scale. Those you find in the posts on each Raag.
This here is purely to collect the information about intonation only. So you can compare the Raags to each other, which might help to get a better feeling and a better ear-training. The numbers indicates the correction in cents, compared to the European temperated scale, which happend to become a world-wide standard.
The information given here came from Dr. Vidyadhar Oke, you can visit his website … here. Further I can recomment the 5 Chapters of “22 Shrutis Simplified” on YouTube, and also the app “22 Shrutis in 500 Ragas”
In case you find some mistakes here, or if you can fill the gaps, please feel free to contact me.
S | r1 | r2 | R1 | R2 | g1 | g2 | G1 | G2 | m1 | m2 | M1 | M2 | P | d1 | d2 | D1 | D2 | n1 | n2 | N1 | N2 | |
(-10) | (+11) | (-18) | (+04) | (-06) | (+15) | (-14) | (+08) | (-02) | (+19) | (-10) | (+12) | (+02) | (-08) | (+13) | (-16) | (+06) | (-04) | (+17) | (-12) | (+10) | ||
monsoon: |
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Miya Ki Malhar | S | R2 | g1 | m1 | P | D1 | n1 | N1 | ||||||||||||||
Kirwani | ||||||||||||||||||||||
early morning: |
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Lalit (=Lalat?) | S | r1 | G1 | m1 | M1 | d1 | N1 | |||||||||||||||
Bhairav | S | r2 | G1 | m1 | P | d2 | N1 | |||||||||||||||
Ahir Bhairav | S | r2 | G1 | m1 | P | D1 | n1 | |||||||||||||||
Malaya Marutam | ||||||||||||||||||||||
late morning: | ||||||||||||||||||||||
Gujari Todi | S | r1 | g1 | M1 | d1 | N1 | ||||||||||||||||
early afternoon: | ||||||||||||||||||||||
Patdip | S | R2 | g2 | m1 | P | D2 | N1 | |||||||||||||||
Shuddh Sarang | S | R2 | m1 | M1 | P | D2 | N1 | |||||||||||||||
Vridavani Sarang | ||||||||||||||||||||||
afternoon: |
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Bhimpalasi | S | R1 | g1 | m1 | P | D1 | n1 | |||||||||||||||
Shree | S | r1 | G1 | M1 | P | d1 | N1 | |||||||||||||||
sunset: |
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Marwa | S | r1 | G2 | M1 | D2 | N1 | ||||||||||||||||
Puriya Dhanashri | S | r1 | G1 | M1 | P | d1 | N1 | |||||||||||||||
early evening: |
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Puriya Kalyan | S | r1 | G1 | M1 | P | D1 | N1 | |||||||||||||||
Bhoopali | S | R1 | G1 | P | D1 | |||||||||||||||||
Kafi | S | R2 | g1 | m1 | P | D1 | n1 | |||||||||||||||
Saraswati | S | R2 | M1 | P | D2 | n2 | ||||||||||||||||
Shyam Kalyan | S | R2 | G1 | m1 | M1 | P | D2 | N1 | ||||||||||||||
evening: |
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Yaman | S | R2 | G1 | M1 | P | D2 | N1 | |||||||||||||||
Jhinjhoti | ||||||||||||||||||||||
Bageshri | S | R1 | g1 | m1 | P | D1 | n1 | |||||||||||||||
Rageshri | S | R1 | G1 | m1 | D1 | n1 | ||||||||||||||||
Bihaag | S | R2 | G1 | m1 | M1 | P | D2 | N1 | ||||||||||||||
late evening: |
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Darbari Kanada | S | R1 | g1 | m1 | P | d1 | n1 | |||||||||||||||
Durga | S | R2 | m1 | P | D1 | |||||||||||||||||
Hansadhvani | S | R2 | G1 | P | N1 | |||||||||||||||||
late night: |
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Jog | S | g1 | G1 | m1 | P | n1 | ||||||||||||||||
Shivranjani | ||||||||||||||||||||||
Chandrakauns | S | g2 | m1 | d2 | N2 | |||||||||||||||||
Malakauns | S | g1 | m1 | d1 | n1 | |||||||||||||||||
Desh | S | R2 | G1 | m1 | P | D1 | n1 | N1 | ||||||||||||||
others: |
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Hemavati | S | r1 | g1 | M1 | P | d1 | N1 | |||||||||||||||
Latangi | S | R2 | G1 | M1 | P | d1 | N1 | |||||||||||||||
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This version here I want to recommend to all beginners, as it is fairly easy to play (beside the challenge of the really slow tempi …). Please also see the explanations below:
The first two lines is the plain Bandish, which is clearly a simplification of the one Vilayat Khan used to play. The third line, which is the second turn of the Tintaal, starts with an example what an improvisation can be, ending in a typical Tihai (the notes in blue color mark the beginning of the phrases).
This first Tihai goes directly into the Bandish from the sam (the first beat of the Tintaal). Then the Bandish is not played completely, in the last 4 beats another example starts, a longer Tihai, but it’s third repetition is different (not very typical), and the third repetition is turned into the pickup of the original Bandish.
Then finally, in the last Tintaal, we have the first 5 beats of the Bandish, going into a short and final Tihai, which ends at the sam. Story finished
Need some further help?
Check out my Online (Bansuri) Lessons
Happy Practice!
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1.) Gaana
https://gaana.com/song/yaman-24
Please also see the notes below.
Looking for a teacher to help you?
Check out my: Online Lessons
In this transcript you can study the plain Bandish and two Tihai. Those where all transcribed form the recording streamed above. The first Tihai is quite unimposing, and in this recording you find it at 3min55sec.
The second Tihai on this sheet starts at 5min33sec on the kali. The phrase before that starts on the sam at 5:25.
You can find a simplified version of this Bandish … here
in the section Transcriptions & Lessons
Happy Practice!
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As the Ektaal has a lot to do with 3 and 4, so as 3/4 and 4/4 are the common meters in western music, naturally this taal might be easy to understand:
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