Bismillah Khan - D/ELRZ 4 LP Vinyl Record

Record Details

Title

Bismillah Khan - D/ELRZ 4

Artists

Bismillah Khan

Shehnai

Bismillah Khan

Instrumental

Shehnai

Releasing Year 

1969

Genre

Indian Classical (Instrumental)

Language

Hindi

Label

Regal

Made In

India

Manufacture

The Gramophone Company Of India Limited

Serial No.

D/ELRZ 4

Side One

• Raga Lalat 

Lalit is a very popular and pleasing six-note Raga which omits the Pancham. The notes used are Komal Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dha and Tivra Ni, This is one of the few Ragas in which the two Madhyamas occur side by side. The Suddha Ma is kept more elongated than prati Ma and in theascent Ni is recessive. A nocturne, the melody is sung from midnight to early morning. 

• Raga Todi

Todi usees all the seven notes though is some variants the Pancham is omitted in the ascent. The use of very soft and oscillated Ga and of phrases which come to rest on Pa which is otherwise sparingly used are disinctive of this Raga. Ideal for a grave meditation, Todi is morning melody.

• Raga Ahir Bhairav

A blend of Bhairav and Ahiri, the latter being a mode which was escalated to classical status from the folk tradition like Pahadi, this Raga, usually sung during the early hours of the day, uses all the seven notes of the scales. The notes used are Komal Ri, Tivra Ga, Suddha Ma, Tivra Dha and Komal Ni.

• Raga Jaunpuri

This day-time Raga uses all the seven notes in the descent, but omits Ga in the ascent. The notes used are Tivra Ri, Komal Ga, Suddha ma, Komal Dha And Komal Ni, This northern Raga has become very popular in the South.

• Raga Hamsa Narayani

This Raga occurs in two variant forms, both being grave evening melodies. the type belonging to the Marwa That uses all the seven notes in the descent but omits Dha and Ni in the ascent. The Poorvi That variant is a six note melody omitting Dha altogether.

• Raga Suddha Sarang

When Bhatkhande wrote his treatise, this was a rare Raga, but it has become increasingly popular since his days. It omits Ga and Ni in the ascent, Ga in the descent. Lingered rests on Ri and Ni and the acceieration of Dha Ma in the phrase Ni Dha Ma Pa are characteristic of this day-time melody.

Side Two

• Raga Basant Bahar

This is a blend of Basant, the mode associatd with the spring season, and Bahar. One variant uses the scale Basant for ascent and of Bahar for descent; another reverses the pattern. But even this distinction is not always maintained.

• Raga Multani

Sung during the last hours of the day, this Raga has a tender and amorous flavour. It uses all the seven notes though Ri and Dha are omitted in the ascent. The notes used are Komal Ri, Komal Ga, Prati Ma, Komal Dha and Tivra Ni.

• Raga Tilak Kamod

This nocturnal melody uses all the notes, though Dha is omitted in the ascent. The notes used are Tivra Ri, Tivra Ga, Suddha Ma, Tivra Dha and Tivra Ni. Convoluted arabesques (Vakra sancharas) are characteristic of this mode, in both ascent and descent.

• Raga Maru Behag

A comparatively recent addition to the classical repertory, this nocturnal raga, said to have been created by the late Ustad Allauddin Khan of Bombay, is a combination of Behag in ascent and Kalyan in descent. It uses all the notes though Ri and Dha are dropped in the ascent. The notes used are Tivra Ri, Tivra Ga, both Suddha and Prati Ma, Tivra Dha and Tivra Ni.

• Raga Bageshree

One of the most pleasing night-time melodies of the classical tradition, this Raga uses Tivra Ri, Komal Ga, Suddha Ma, Tivra Dha and Koma Ni. It appears in full-scale and sixnote variants, but in both in both the Vadi is Ma and Samvadi is Sa.

• Raga Malkauns

One of the oldest melodies of the indian tradition, this is five-note Raga which omits Ri and Pa. The notes used are all Komal variants. A nocturnal melody. It is distinguished by the beautiful swinging glides on Ga, Ni and Dha.

Specification

Size

12 Inches

Speed

33 RPM

Record Condtion

Excellent

Cover Condition

Excellent