Raag Desi Todi | Tutorial | Tintal| Notation | Moumita Mitra скачать в хорошем качестве

Raag Desi Todi | Tutorial | Tintal| Notation | Moumita Mitra

Raag Desi/ Desi Todi Tutorial followed by a Tintal Bandish and notation. Asavari/ Kafi ThaaT. PR vadi samvadi SRMPnS' / SRMPD PnS' or SRMPdPnS' S' PD MP Rg SR ,n S Often n is skipped in Aroh. Like MPS' Actually charha Hua n g and d are used. Since the raised g d n are the actual shrutis, it is difficult to sing taans and maintain that throughout. May be that is a reason why most artists have chosen to use either shuddh dha mainly and occasionally Komal dha and Komal ni. Komal ga has also been used as a kanada like andolan , by some dhrupad artists. Infact there are andolans in n g and d/D. Traditional theory mentions the used of komal dha and occasionally shuddh dha, however most recordings consist of primarily shudd dha and occasionally Komal dha. However Ustad Ali Akbar Khan's notation, mentions the use of dha which is neither Komal nor shuddh. He also mentions that the phrase MPnS' shouldn't sound like Sarang or Megh, hence we can understand the use of charha komal ni perhaps as also evident in many recordings. As per KPM, there is Sarang in Poorvang and Asavari in Uttarang. Lyric from Kramik Pustak Malika, recomposed by myself. Sakhi Maikaa Chain Naa Aawe Aaje Bin Dekh Shyaamsundarke Nisdinaa Maikaa Kalan PaRat Hai Kaise KaTeri Ub Rain Din #Desi #desitodi #desitoditutorial #desitutorial #desitutorialmoumitamitra #deitoditutorialmoumitamitra #desimoumitamitra #desitodimoumitamitra #ragatutorialseriesmoumitamitra