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প্রভাত সঙ্গীত Prabhat Samgiita

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প্রভাত সঙ্গীত Prabhat Samgiita Intensive Training of Devotional Songs প্রভাত সঙ্গীত Prabhat Samgiita with Kirit Dave, Ashesh, and Jiivanii July 13 to 21, 2015 Espaço Anirvana, Pontal do Paraná – PR Prabhat Samgiita Tour Brazil 2015 July 10 to August 09 Porto Alegre – RS :: July 10 to 12 – workshop and recital – with Kirit Pontal do Sul – PR :: July 13 to 21 – Prabhat Samgiita intensive training – with Kirit, Ashesh and Jiivanii Pontal do Sul – PR :: July 22 and 23 –tabla training – with Ashesh Chapecó – SC :: July 22 and 23 – presentation on meditation – with Kirit Curitiba – PR :: July 24 – recital – with Kirit Ananda Kiirtana / Belmiro Braga – MG :: July 25 to 27 – workshops during and after retreat – with Kirit Brasília – DF :: July 31 to August 02 – workshop and recital – with Kirit Rio de Janeiro – RJ :: August 07 to 09 – workshop and recital – with Kirit ACKNOWLEDGEMENTS Organizing Committee of 2015 Tour Coordinator: Mahesh Counselor: Kirit Local Organizers: Jyotiprakash e Parabhakti – Porto Alegre Tannistha – Pontal do Sul Ishthi e Ruchiira – Chapecó Vishvanath – Curitiba Vimala – Ananda Kiirtana Manorainjan e Dada Japeshvarananda – Brasília Nirmegha – Rio de Janeiro Volunteers of Intensive Training: Kirit – Teacher and Counselor Mahesh – Coordinator Ragamayii – Translator Jiivanii – PS teacher Tannistha and Ratna – Organizers Ashesh – Tabla player and trainer Front page art: Jiivanii 2 INDEX INTRODUCTION TO PRABHAT SAMGIIT .............................................................................. 4 PRONUNCIATION AND LANGUAGE SYNTAX ...................................................................... 5 A WORD ON RAGA AND TALA .............................................................................................. 6 GLOSSARY OF HINDUSTANI CLASSICAL MUSIC ............................................................... 9 MUSICAL NOTES AND NOTATIONS ................................................................................... 11 HARMONIUM KEYBOARD WITH NOTES ............................................................................ 12 RAGA DESCRIPTIONS ......................................................................................................... 13 INTRODUCTION TO TAALS ................................................................................................. 15 PRABHAT SAMGIITA IN RAGA BHAIRAVI ON RAGA BHAIRAVI ............................................................................................................. 16 SWARA VISTARA OF RAGA BHAIRAVI .............................................................................. 18 Bashonteri agomone ............................................................................................................ 19 Bhalobasha bhora bhubaner ............................................................................................... 20 Shur toronge mohono ronge ............................................................................................... 21 Tomare deke chhi ................................................................................................................. 22 COMPOSITIONS IN RAGA BHAIRAVI Antaro mamo bikoshito karo ............................................................................................... 23 (composition in Dhrupad) ................................................................................................ 23 B Madhur Bhairavi ragini (Lakshan Giit) ................................................................................ 24 Teen Taal Sargam ................................................................................................................. 25 PRABHAT SAMGIITA IN RAGA DESH SWARA VISTARA OF RAGA DESH ..................................................................................... 26 Amar Krishno kothay bal re ................................................................................................. 28 Amar tore okatore ................................................................................................................. 29 Ogo probhu cheye dekho ..................................................................................................... 30 Tomar kotha bhebe ............................................................................................................... 31 EXERCISES FOR VOICE AND HARMONIUM ...................................................................... 32 3 INTRODUCTION TO PRABHAT SAMGIIT Samgiit means a combination of vocal music, instrumental music and dance. Prabhat is the name of the composer of these songs. Prabhat also means dawn; hence Prabhat Samgiit suggests a new dawn in regards to how lyrics, music and dance can be conceptualized and presented - a new inspiration in collective spirituality through the blended beauty of these art forms. Shrii Shrii Anandamurtiji (lovingly called Baba, and also known as Shrii Prabhat Ranjan Sarkar) composed the lyrics and music for 5018 songs from September 14, 1982 to October 21, 1990. Most of the songs are in Bengali, but over 40 were composed in other languages also. An eternal note of optimism rings in all the songs, inspiring both singers and listeners to shake off depression, melancholy and fatigue, and generates a new vitality in life. Prabhat Samgiit is a precious gift Baba has offered to humanity. In the short span of eight years, he composed these songs to kindle the flame of devotion and spirituality in every heart and to help lead humanity into the glory of excellence, life, light and fulfillment. Singing or listening to these songs can help transform this world from one of malice, hatred and spite into one of harmony, amity and fraternity. We hope you will enjoy this music. 4 PRONUNCIATION AND LANGUAGE SYNTAX The transliteration is presented strictly to assist in proper pronunciation. It closely resembles phonetics for that language. Although, most songs in Prabhat Samgiit are in Bengali, there are songs in other languages such as Sanskrit, Hindi, Angika, English and so on. The Bengali language has unique sounds such that there are a lot of “o‟s” at the end or in the middle of words, as in “mohono,” which would ordinarily be written as “Mohan”. The “aa” in these songs represents a longer sound as in “far”, as opposed to a shorter sound as in “fur”. Another sound unfamiliar to Western ears is “chh”. “ch” is pronounced “ch” as in child. “chh” is pronounced as “ch” but a greater amount of air blown through the teeth. 5 A WORD ON RAGA AND TALA India has two streams of classical music: that of the north, known as “Hindustani” and that of the south, known as “Carnatic”. Hindustani music has three major classical vocal traditions: Dhrupad (originally Dhruvapad – i.e. containing centrally repeating pattern), khayal (literally means “Concept”) and thumari. Dhrupad (original word Dhruvpad) is a style dedicated to an austere rendition. This tradition is the oldest of the three, generally dating pre-mugal, and during the time of emperar Akbar and it is a bit rigid style. This style is essentially going extinct today, and only a few singers such as Daagar brothers (Daagar-bani form) and Gundecha brothers sing dhrupad. There is yet another style, which is very similar to dhrupad that does exist and that is called Dhamar. It is sung in the Dhamaar tala of 14 bits. What we hear primarily today is the Khayal style. The actual time and origin of this style is controvertial. Some credit Amir Khushru, and others to Niamat Khan (pen name “Sadaranga”) associated with Mugal king Mohammad Shah (pen name “Rangile” 1719-1748). But, khayal compositions of Sadarang are present and being sung today and thereby presence and prominence of khayal in his time. The khayal has a greater degree of freedom compared to dhrupad and is still adhered to, practiced, performed and taught to students both on instruments and in voice. Generally what you hear today in voice or on instruments as “Indian Classical Music” is in khayal style. Thumari is the lighter style, and has a greater degree of freedom of expression through choice of notes. Although a lighter and least rigid among the three classical styles, it is probably the most difficult one requiring greater talents. The apparent “freedom” of selection of notes, not afforded in khayal and dhrupad style, requires great skills. The selection of notes must be judicious in the amount of usage and at correct places, so as to intensify the emotions and beauty. Thumari is sung in certain ragas like, bhairavi, desh, tilak kamod, pahadi, kalavati, sohani, kaunsi dhwani, kafi, piloo, jhinjhoti, khamaj. It is not suited for all ragas. There are two accepted forms of thumari, namely purab anga and Punjab anga. Thumari rendition allows for a lot of creativity improvisation. Along with emotional appeal through notes, the display of the same words in the composition is made in many different musical ways. The primary language used in thumaris is Braj Bhasha. Unlike in khayal style, where variations are sparingly embedded around the central theme, in thumari, the variations from central musical structure are quite pronounced and key to the development of the composition. Bade Ghulam Ali khan (1902 – 1968) rightly, came to be recognized as the greatest thumari singer and left his influence on generations of singers, and music directors in both calsical world and the popular and film music. Yet another form is called Tarana. This is vocal music is generally of faster tempo and instead of language of words, it uses the bols (syllables) of the tabla, sitar, pakhawaj, saragams, and
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