Tag Archives: Acoustic

Magic of Raga

Darren Sangita - Magic of Raga

The Magic of Raga is a series of compilations by Darren Sangita, to illustrate the beauty of Raga in Indian Classical Music.  Compiled exclusively from tracks uploaded to the SOUNDCLOUD site, Darren has assembled a non-stop Ragadelic soundscape richly laiden with sonic gems old and new,  from India and the diaspora:)

 

 

 

London Live-Looping Festival 2013

Live Looping Festival 2013

Georgina Brett is the host of Tuesdays Post, a Live Looping event that has been running for the past year or so in London, as a showcase for talented Live-Loopers from around the globe to share their music.  Live-Looping is music made with the aid of technology to loop sounds or musical phrases and in that repetition, weave new geometries of musical space.

Tuesdays Post now present the London Live-Looping Festival 2013 with an awesome assortment of global talent coming along to weave their magic.  The event will take place at the Strongroom Bar, which is a part of the legendary Strongroom Studios in Shoreditch.  Do come along for all-day loopy fun!

WHERE : Strongroom Bar, 120 Curtain Road, London EC2

WHEN ; 14th July 2013.  4PM – 10PM

COST : Free!

Enjoy a couple of clips recorded at previous Tuesdays Post sessions :-


www.tuesdayspost.com

Its a fascinating musical world that we live in and these composers and musicians are sculpting something extraordinary that is only possible due to the advent of technological gadgets and gizmo’s to make this a reality.  Do come along on the 14th for an all day / evening session with some wonderful new musical expressions!

Pandit Dalchand Sharma

Enjoy a mesmerising clip of a Pakhawaj solo from Dalchand Sharma with Santosh Mishra on Sarangi.  Filmed in HD at the Dhrupoad Mela, Varanasi, 2012 by Dom.  Here is  a fascinating article on musical insights of master Pakhawaj player from India, Pandit Dal Chand Sharma :-

Pandit Dalchand Sharma is one of the finest exponents of pakhawaj as a soloist as well as an accompanying artiste. Trained under gurus like Pandit Totaram Sharma, Pandit Murlidhar Sharma and Pandit Purushottam Das of the Nathdwara tradition associated with the Nathdwara temple of Rajasthan in the authentic guru-shishya parampara; he has further enhanced his style with his intellectual approach towards the theory and practice of this ancient percussion instrument. It is always an enlightening and delightful experience to interact with him about the art of pakhawaj. At the outset, he seems quite concerned about the longevity of this rare percussion instrument since it has been confined to the accompaniment of just the Dhrupad and the Been traditions, which themselves have just a few practitioners left, but then he sounds confident about the versatility of this instrument.

He is perhaps the first pakhawaj vidwan who has thought about emulating the nine rasas on this instrument as described by Bharata Muni in his “Natya Shastra.” It is a delight to listen to his dramatic padhant (reciting of mnemonics) with the delicate nuances of shringar or veer rasa. He is in fact equally brilliant in his padhant and bajant i.e., the art of reciting and playing respectively, when it comes to the depiction of different rasas.

The reason behind this is his deep knowledge of sangeet (music) and sahitya (literature). Apart from the pakhawaj, he has also been trained in Dhrupad and Khayal singing and tabla . He has sufficient knowledge of Sanskrit and Hindi literature, especially the poetry of the Ashtachhaap poets of the Bhakti Yuga. He relates these to the bols of different parans and kavits of his gharana. He can differentiate between the bols of tabla and pakhawaj, hence takes care not to mix the two. A lot of importance is given to melody and tonal clarity in his gharana, notes the stalwart. Difficult part

“Mastering the ‘thaap’ is the first and the most difficult step in pakhawaj playing,” says the maestro. It is like mastering the ‘swara-sthaan’ (singing the notes accurately) before proceeding to sing compositions in vocal music. The bols come effectively only after mastering the thaap. Nathadwara style, he explains, is different from other style like the Nana Panse, which is softer. It is more akin to Kudau Singh style which is forceful and energetic. The use of ‘dhin-nak’ is an important and special feature of Nathdwara gharana. Pandit Dal Chand’s individual addition to this style is the discrimination of using the softer and forceful effects according to the need of the particular rasa at that point. This makes his pakhawaj accompaniment much more desirable to match the rasa of the Dhrupad/Dhamar compositions being sung by the dhrupadia.

The veteran has played solo concerts and accompanied the topmost Dhrupad singers and Rudra veena players at home and abroad. He is an equally renowned guru who has trained a number of Indian and foreign students of good repute. His tala-vadya kacheri and swara-laya samvaad with Hindustani, Carnatic and Western percussionists have earned him critical acclaim.

While he seems truly satisfied with his sadhana, he vents his frustration that awards go elsewhere, just because, as he says, he doesn’t know the art of manipulation.

Copyright | © 2010 The Hindu Newspaper

eka3

In providing a new platform for Arabic Music, eka3 are sharing great music.  They are opening up genres and styles including a diverse selection on their roster such as Classical, Fusion, Rock, Hip Hop and Experimental Electronica.  We compiled a selection of cool tunes from their Soundcloud.

 

Who are Eka3?

eka3 is a pan-Arab organization strategically dedicated to creating, promoting and growing this new emerging wave by pointing it out to the world, and filling in the missing links between this scene & the Arab public.

eka3 is an initiative created by a team of artists: from musicians, photographers, visual artists to film directors.. Innovators who dream of seeing their own works achieve their full potential of reach and exposure, and upon this vision eka3 shares the dreams of musicians throughout the region.

Eka3 are the neo-generative front end of Arabic media.  We are excited to hear about eka3 and the good works they are doing in promoting New Arabic Art and Culture.  By allowing new streams of creative flow through the global media networks, we all share in the cultural diversity and the process of Global Harmony that comes with it.

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