Combination of Nand and Hamsadhwani-Nand Dhwani by Ashwini B

lifeisasong · Post by **lifeisasong** » 21 Apr 2009, 01:41

http://www.youtube.com/watch?v=pF0-ocQeteg
http://www.youtube.com/watch?v=d2QxzppugiM

Not sure if I like it...but it may grow on one

knandago2001 · Post by **knandago2001** » 25 Apr 2009, 17:51

I was intrigued and did listen to Nand dhwani - my first impression is that the bhaav is closer to Nand .. Of course there is a precedence for such combinations e.g., Nand & Kedar http://www.sawf.org/Newedit/edit04032000/musicart.ASP

lifeisasong · Post by **lifeisasong** » 26 Apr 2009, 04:00

That's what I thought too, that it leaned closer to Nand. Thanks very much for the link. Parrikar says Nand has a willingness to mate!
I have listened to Anandi Kedar by Kumarji many times..he weaves magic.

vasanthakokilam · Post by **vasanthakokilam** » 26 Apr 2009, 13:03

It sounds very good to my ears. BTW, when she sings that phrase when landing on a arudi type stress, ( e.g in the first clip 2:56 to 2:59, she sings that numerous times since it part of the refrain), what swaras are that? Is that unique to this combination or possible in Nand also? It is quite haunting.

In HM, this kind of combination is at the level of characteristic phrases of the two ragas as opposed arohanam in one raga and avarohanam in another raga like it is done in CM, right? From her intro, it sounded to be that way. Such aesthetic combinations of the prayogas of the two ragas seem to hold a lot of promise for deriving some good melodies.

knandago2001 · Post by **knandago2001** » 26 Apr 2009, 17:06

vk: that phrase (mukhdaa - literally translated as "face") is reminiscent of Nand and the sam (arudi) is on the madhyam! the jaipur gharana to which Smt. Ashwini Bhide Deshpande belongs, is particularly famous for such judva / jod, aprachalit ragas. the madhya laya composition is hauntingly lyrical.. "aaj sakhi aayo hori ko tyauhaar
morey man mein nayee umang laayo.. laayo sakhi.." (Holi marks the beginning of the New Year throughout North India)

yes, such raga combos in HM rely on the pidis rather than just the arohana / avarohana sequences

lifeisasong: would you happen to know who composed the cheez and the raga?

lifeisasong · Post by **lifeisasong** » 27 Apr 2009, 04:28

Knandango, No, I don't, but it's quite possible that it is Ashwiniji herself, since she composes herself and has even published a book of her own compositions titled Ragarachananjali.

vasanthakokilam · Post by **vasanthakokilam** » 27 Apr 2009, 07:11

Thanks nandagopal. I assume it is suddha madhyam and not tivra. I read Nand uses Tivra Ma as well.

Is it her way of modulating the Ma or how she approaches the Ma that makes it unique sounding? The harmonium player's version does not have that same effect for me.

coolkarni · Post by **coolkarni** » 27 Apr 2009, 07:29

knandago2001 · Post by **knandago2001** » 27 Apr 2009, 22:48

vk: it is the shuddha madhyamam!

K'ji: Vidhyadhar Vyas ji sings a lilting bhajan in praise of Lord Rama in Nand! simply enchanting..