Bageshwari Qamar

Bageshwari Qamar

Tambura Player
Brijesh Kumar
Tabla Player
Ramesh Kumar
Alaap, Teen Taal

About this album

Bageshwari Qamar enjoys the distinction of being the one and only shehnai-player in the country today. The art of shehnai runs in the family: Bageshwari is the daughter of Jagdish Prasad, who is himself a shehnai-player of note. Not content to be the only woman exponent of the shehnai, Bageshwari set her heart on also being the best and towards this goal she sought to be the shishya of no less a Guru than Shehnai Nawaz Ustad Bismillah Khan - and what is more she had the good fortune of receiving his guidance. This has enabled her to refine her technique and attain mastery over even intricate ragas. She participated in 'The Festival of India' in Russia and impressed her listeners with her effortlessly charming performances.

The shehnai is a wind instrument of folk origin, which has always been regarded as auspicious. Thus it has enjoyed an honored place at every milestone in the Indian way of life, particularly at pooja time in temples of during national events - and of course, routinely in marriages. While the Shehnai has other kindred forms like the 'Sundri' in Maharashtra, the Shehnai as pioneered by Ustad Bismillah Khan and Party remains the supreme symbol of excellence and his gharana is unquestionably the most eminent.

Raga Miyan Ki Todi is derived from Todi Thhaat and its salient features are: it uses the notes Re, Ga, Dha in komal form and Madhyam (Ma) in Teevra (sharp) form and its Nishad is shudh. The note Pancham is used sparingly. Its Vadi or dominant note is Dhaivat while its Samvadi or consonant note is Gandhar. This raga is classified as a Sampoorna Raga and is usually performed during the second Prahar (segment) of daytime. The crux of the development of Todi lies in the evolution of Re, Ga, Dha notes. The raga portrays Karun and Bhakti rasas.

Puriya Dhanashri is an evening melody which is derived from the Purvi Thhaat and as such the hallmarks of its melodic structure are the Rishabh, Re and Dhaivat, Dha are komal notes while its Madhyam, Ma is Teevra or sharp and the rest of the swaras or notes are shudh or natural. As it employs all notes of the saptak, this is classified as a Sampoorna raga. Its Vadi or dominant note is Pancham, Pa whereas its Samvadi or consonant note is Shadj, Sa. It portrays Karun or Shringaar rasa.


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