The Ravi Shankar Collection - In Concert (1962)

Pandit Ravi Shankar

Tambura Player
Zubin Mehta
Tabla Player
Kanai Dutta (Pandit)

About this album


This is a raga associated with the sultriness of the Indian afternoon. Its basic scale is B C Eb F# G B C ascending, and C B A G F# Eb D C descending, with C as tonic. After a short alap, Ravi Shankar improvises around two main gat melodies in slow, medium, and fast Teental, a tala cycle of 16 beats.

Dhun in Mishra Mand

The most classical style of North Indian vocal music is known as Dhrupad, but because of its great difficulty and somewhat austere character, it is seldom performed today. Khyal, the main type of classical singing, finds its instrumental counterpart in the treatment of a raga along the lines of Ravi Shankar's peformance of 'Madhuvanti'. A lighter style of vocal and instrumental music is known as Thumri. It is performed only in those ragas of a somewhat less serious nature, and excels in creating the erotic mood, known as springara rasa in the Indian system of aesthetics.

Dhun is similar to Thumri, but is based on folk tunes or popular songs of like character. Thus, it may be said to be the lightest form of classical music. The performer is at liberty to mix ragas and introduce effects, which have immediate appeal to the audience, and it is usually performed at the last item on a program, as it was at UCLA. Those familiar with Ravi Shankar's music for Satyajit Ray's motion picture trilogy, Pather Panchali, Aparajito and the World of Apu or with his treatment of the main theme of the film score in the Ravi Shankar improvisations album, will recognize immediately the kinship of the present tunes to the Bengali folk idiom, and may feel something of the familiar pleasure with which an Indian audience responds to the performance of a Dhun. The talas used are first Kaharwa (8 beats) and then fast Teental (16 beats).


Welcome Guest!
Please Login/Register

Your Personal Radio (?)

00:00 /00:00