Daylight Ragas - Pandit Hariprasad Chaurasia

Daylight Ragas

Pandit Hariprasad Chaurasia

  • Genre: Indian Classical
  • Release Date: 2003-04-28
  • Explicitness: notExplicit
  • Country: USA
  • Track Count: 9

  • ℗ 1993 Chhanda Dhara


Title Artist Time
Raga Desi: Alap, Pt. 1 Pandit Hariprasad Chaurasia 8:37 USD 0.99
Raga Desi: Alap, Pt. 2 Pandit Hariprasad Chaurasia 7:46 USD 0.99
Raga Desi: Jod Pandit Hariprasad Chaurasia 8:03 USD 0.99
Raga Desi: Gat In Medium Jhap Pandit Hariprasad Chaurasia 15:48 USD Album Only
Raga Shuddh Sarang: Alap Pandit Hariprasad Chaurasia 2:09 USD 0.99
Raga Shuddh Sarang: Gat In Med Pandit Hariprasad Chaurasia 13:52 USD Album Only
Raga Shuddh Sarang: Gat In Fas Pandit Hariprasad Chaurasia 5:18 USD 0.99
Folk Tune of Uttar Pradesh: Ga Pandit Hariprasad Chaurasia 9:45 USD 0.99
Folk Tune of Uttar Pradesh: Ga Pandit Hariprasad Chaurasia 3:11 USD 0.99


  • About Indian Classical Music...

    By MusicReviewer
    Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, modulation and the other basics of Western classical music. The system of Indian music known as Raga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the Hindu temples, the fundamental source of all Indian music. Thus, as in Western music, the roots of Indian classical music are religious. To us, music can be a spiritual discipline on the path to self-realisation, for we follow the traditional teaching that sound is God - Nada Brahma: By this process individual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe - its eternal and unchanging essence - can be joyfully experienced. Our ragas are the vehicles by which this essence can be perceived. The ancient Vedic scriptures teach that there are two types of sound. One is a vibration of ether, the upper or purer air near the celestral realm. This sound is called Anahata Nad or unstruck sound. Sought after by great enlightened yogis, it can only be heard by them. The sound of the universe is the vibration thought by some to be like the music of the spheres that the Greek Pythagoras described in the 6th century B.C. The other sound Ahata Nad or struck sound, is the vibration of air in the lower atmosphere closer to the earth. It is any sound that we hear in nature or man-made sounds, musical and non-musical. The tradition of Indian classical music is an oral one. It is taught directly by the guru to the disciple, rather than by the notation method used in the West. The very heart of Indian music is the raga: the melodic form upon which the musician improvises. This framework is established by tradition and inspired by the creative spirits of master musicians. Ragas are extremely difficult to explain in a few words. Though Indian music is modal in character, ragas should not be mistaken as modes that one hears in the music of the Middle and Far Eastern countries, nor be understood to be a scale, melody per se, a composition, or a key. A raga is a scientific, precise, subtle and aesthetic melodic form with its own peculiar ascending and descending movement consisting of either a full seven note octave, or a series of six or five notes (or a combination of any of these) in a rising or falling structure called the Arohana and Avarohana. It is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that demarcate one raga from the other. There is a saying in Sanskrit - "Ranjayathi iti Ragah" - which means, "that which colours the mind is a raga." For a raga to truly colour the mind of the listener, its effect must be created not only through the notes and the embellishments, but also by the presentation of the speific emotion or mood characteristic of each raga. Thus through rich melodies in our music, every human emotion, every subtle feeling in man and nature can be musically expressed and experienced. The performing arts in India - music, dance,drama, and poetry - are based on the concept of Nava Rasa , or the "nine sentiments." Literally, rasa means "juice" or "extract" but here in this context, we take it to mean "emotion" or "sentiment." The acknowledged order of these sentiments is as follows: Shringara (romantic and erotic): Hasya (humorous): Karuna (pathetic): Raudra (anger): Veera (heroic): Bhayanaka (fearful): Vibhatsa (disgustful): Adbhuta (amazement): Shanta (peaceful). Each raga is principally dominated by one of these nine rasas, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga. In addition to being associated with a particular mood, each raga is also closely connected to a particular time of day or a season of the year. The cycle of day and night, as well as the cycle of the seasons, is analogous to the cycle of life itself. Each part of the day - such as the time before dawn, noon, late afternoon, early evening, late night - is associated with a definite sentiment. The explanation of the time associated with each raga may be found in the nature of the notes that comprise it, or in historical anecdotes concerning the raga. (Read more on on the worldwide web)
  • Flawless playing

    By Sallow Cheeks
    I would give it a full 5 stars, but the breaks seperating the parts of Raga Desi aren't smooth; in fact, they're a bit jarring. But the musicianship is (no pun intended) breathtaking.
  • The charm of the bamboo flute...

    By This And That
    Simplest of all the instruments, but some of the deepest sounds! Some say that the sound of flute is closest to the human soul. This album offers a good mix of sublime (Desi), peaceful (Shuddh Sarang), and light (Folk Tune) ragas. Give a listen!
  • Listen to this before you die...

    By RKS
    Enough said.
  • Melody + Rhythm = Bliss

    By dchester
    That's all I can say about this music. If you wish to experience bliss, try listening to this music! Though this is "foreign", there are no language barriers here. Sounds of bamboo flute really touch the heart. And good beats of tabla.
  • Beautiful music

    By HPR
    Years ago, I hadn't heard Indian classical music. I used to be just happy with a few film songs. One fine day, out of curiosity, I picked up an album by Ravi Shankar. It had just two ragas -- one was Desi (featured in this album) and the other was "Yaman Manj". Raga Desi, being an immensely sublime raga, stirred me so deeply that I was fully drawn into Indian classical, especially instrumental. Since then, I have collected thousands of albums featuring Indian classical music -- North Indian, South Indian, vocal, and instrumental... If I were to choose just three of the musicians among the hundreds I have listened to, I would pick: Ravi Shankar, Shivkumar Sharma, and Hariprasad Chaurasia. About this album: Since I would buy just any album that had "Desi" in it, I bought this a long time ago. Over the years, I have learnt a little about ragas and I am aware that Desi is a very difficult raga and it is reserved for the maestros. Hariprasad Chaurasia, being an absolute master of his art, treats the raga very well with a long sequence of unfoldment called "Alap" and "Jod" which sets the serene mood of the raga. It is followed by a nice composition in the 10 beat cycle of Jhap taal. The other two compositions -- Shuddh Sarang and Folk Tune -- are also very nice to hear. If you want to experience the power of music, try this album!
  • Amazing tonal quality

    By good3ar
    The tonal quality of Hariprasad's flute is simply amazing, unparalelled. This album is a treasure for the lovers of soothing music. The first raga (tracks 1 to 4) is especially suited for healing / yoga / massage etc. Highly recommended.
  • Very relaxing

    By alexis.n
    Soft sounds of the flute are so nice to listen to. Make sure you try this ultimately relaxing album.
  • Original inlay notes

    By Original Inlay Notes
    Celebrated flautist Pandit Hariprasad Chaurasia, is one of the most famous and popular musicians of India. His consummate artistry has distinguished him as the greatest living master of the North Indian bamboo flute, acclaimed both at home and abroad. Unlike many other great Indian artists, Pt. Chaurasia does not come from a family of musicians. Rather, music is the path he found for himself. He began his studies in Allahabad at the age of 15, learning classical vocal technique from Pandit Rajaram. Within a year, however, he had switched to flute playing, after hearing Pandit Bholanath, a noted flautist from Varanasi. He studied with Pt. Bholanath for eight years. Later he received further guidance from Srimati Annapurna Devi, the daughter of famous musician Ustad Allauddin Khan. Under her training his music acquired a new depth and dimension. As a musician Hariprasad Chaurasia is a rare combination of innovator and traditionalist. He has significantly expanded the expressive possibilites of classical North Indian flute playing through his masterful blowing technique adaptation of alap and jor to the flute. He is immensely popular in India and abroad. He has not only made numerous recordings of north Indian classical music but also composed music for Indian films with santoor maestro Pandit Shivkumar Sharma. And some of them have scored gold discs. He has also performed with the Western musicians such as John McLaughlin and Jan Garbarek. At present flute and Hariprasad Chaurasia are synonymous. The tonal quality of his flute remains unparalleled. One feels a catch at one's throat while listening to his mesmerizing melodies. Raga Desi A rare morning raga with complicated ascending and descending: N S R M P N S S P D M P R G S R N S The mood of the Alap is meditative or prayer while in Jod it is devotional. An unusual beginning with a lot of stress on Madhyam, slowly the Raga Desi later follows the trodden path. His soft and light jump ("chuut") from the fifth note to the octave is remarkable. He also makes a departure in "jod" with lovely little rhythm patterns. Beginning from the ninth matra he starts his gat to the accompainiment of Madan Mishra in Jhap Taal (10 beats devided in 2 + 3 + 2 + 3). He repeats his first line several times to help the listeners enjoy the rhythm of it. Raga Shuddha Sarang is a noon melody. The mood is sober and sonorous. Ascending: S R M P N S Descending: S N D P M P m R N D S N R S With an evocative opening Chaurasia plays Shuddha Sarang in charmingly. Right in the beginning there is a small "Tehai" which speaks volumes of the artists imagination, and all through the recording you feel the lilt of the music. The raga has been played with great feeling and the two madhyams could not be more judiciously used. The two compositions are played in Teen Taal (16 beats devided in 4 + 4 + 4 + 4). Pandit Hariprasad Chaurasia has concluded this recording with a most delightful Dhun, a folk tune from Uttar Pradesh, which haunts you even after the music has stopped. The beauty of this recording has been enormously enhanced because of the brilliant tabla accompaniment by Madan Mishra. Performers: Hariprasad Chaurasia - Flute Madan Mohan Mishra - Tabla Shefali Nag - Tamboura Ute Gleitze – Tamboura -Dipali Nag

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