Pt. K. G. Ginde – Yaman .पंडित के.जी. गिंडे – राग: यमन (आलाप और मध्यलय बंदीश)

Bandish (Teentaal) : “Neha Kaise Laaga Ho Mora” Composition by : Pt. G. N. Natu बंदीश : पंडित जी. एन. नातू “नेहा कैसे लागा हो मोरा” Watch other musical treat visit    / superginde   and subscribe the channel For Soulful Music contact "Meera Music" for their rare collection of Audio CDs of yester year Maestros & Lecture Demonstrations by Pt. K. G. Ginde. contact : [email protected] for catalouge Composition by Acharya G. N. Natu in Raga Yaman ( Alap & Madhyalaya Bandish) Yaman (also known as kalyaan, Iman, Aiman,'Eman', 'Kalyani' in Carnatic classical music) is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat. Its signature phrase (Pakar) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma#-Ga-Re/ni-Re-Sa' (Ma is teevra). Tonal movements of the notes mostly reflect zigzag motion with gap of one or several notes usually that prefer reverse order very often like DNS' mDN GmD RGm N,GR or MDNS' GmDN RGmD N,RGm D,N,GR etc . Ideally yaman should not use PR combination but can use P~R showing colour of m or G while gliding from P to R, for PR is one of the specific identification of raag kalyaan. Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic ragas in Hindustani tradition, it is thus often one of the first ragas taught to students. Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and in some cases Shadav; the ascending Aaroha scale and the descending style of the avroha includes all seven notes in the octave (When it is audav, the Aroha goes like N,RGmDNS', where the fifth note is omitted; Pa but the Avaroha is the same complete octave). All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam (sharp fourth). The notes of the raga are considered analogous to the western Lydian mode, which was the predominant scale used in classical antiquity, before being usurped by those of the pre-Modern era. None of the three great treatises of music, accept the existence of tivra ma, Not to be mistaken, Raag Yaman is slightly different from Raag Yaman Kalyan. Both have almost the same base, but they are sung differently. The Aroha and Avaroha of Yaman Kalyan goes like this: SRGmPDNS' S'NDPm GMGRN, RS Pandit K. G. Ginde Legendary Talent : Originally from Bailhongal in north Karnataka, Ginde, influenced by his father and elder brothers, became a musician at a young age. He became Ratanjankar’s disciple at 11 and stayed with him in Lucknow, learning vocal music from him and his senior disciple Pandit S.C.R. Bhat. Founded by the legendary Pandit V.N. Bhatkhande, Marris College was treated as a pilgrimage centre, attracting students like Bhat, violinist V.G. Jog, composer Chinmoy Lahiri and sitar maestro-vocalist D.T. Joshi. Kumar Gandharva often visited the campus. Once his skills were adequately developed, Ginde began performing for the radio and in music festivals, eventually moving to Mumbai. Later, Ginde cut down on performances to concentrate on teaching and research. It is said that he could produce 2,000 compositions from memory. He is being called the walkie-talkie version of entire Hindustani Sangeet Paddhati evolved by Pandit V.N.Bhatkhane and his worthy disciple Padmabhushan Acharya S.N.Ratanjaker. Pandit K.G.Ginde was also instrumental in developing profound awareness in understanding the Hindustani Ragadari Sangeet critically through his series of Lecture Demonstrations on various practical aspects for the benefit of future generation of musicians and music lovers. Being a traditionalist he believed in the purity of Ragas