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প্রভাত সঙ্গীত Prabhat Samgiita

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প্রভাত সঙ্গীত Prabhat Samgiita INTENSIVE COURSE OF SPIRITUAL SONGS, INDIAN CLASSICAL MUSIC AND MEDITATION প্রভাত সঙ্গীত Prabhat Samgiita with Kirit Dave and Ashesh August 7 to 11, 2017 Shiva Ashram, Petrópolis – RJ 2017 Brazil Prabhat Samgiita Tour July 29 to September 3 Porto Alegre – RS :: July 29 – workshop and concert – with Kirit and Ashesh Caxias do Sul – RS :: July 30 – workshop and concert – with Kirit and Ashesh Pelotas – RS :: July 31 and August 1 – concert and talk – with Kirit and Ashesh Campinas – SP :: August 4 to 6 – talk and workshop – with Kirit and Ashesh Campinas – SP :: August 6 – workshop – with Kirit and Ashesh Petrópolis – RJ :: August 7 to 11 – intensive training course – with Kirit and Ashesh Petrópolis – RJ :: August 12 – workshop and concert – with Kirit and Ashesh Petrópolis – RJ :: August 15 – talk – with Kirit Rio de Janeiro – RJ :: August 19 to 20 – workshop – with Kirit Juiz de Fora – MG :: August 22 – talk – with Kirit Brasília – DF :: August 24 – talk – with Kirit Alto Paraíso – GO :: August 25 to 27 – concert and workshop – with Kirit and Ashesh Paranaguá – PR :: August 29 – recital – with Kirit Pontal do Sul – PR :: August 30 to 31 – concert and workshop – with Kirit São Paulo – SP :: September 1 to 3 – concert and workshop – with Kirit and Ashesh 2 ACKNOWLEDGEMENTS Organizing Committee of 2017 Tour: Coordinator: Mahesh Counselor: Kirit Committee Members: Ashesh, Jyotiprakash, Jiivanii, Lavanya, Mahesh, Nirmegha and Parabhakti Local Organizers: Jyotiprakash and Parabhakti – Porto Alegre Devishrii and Krsna – Caxias do Sul Lalan – Pelotas Ashesh, Dhrtiishvara and Akashadiipa Deva – Campinas Cristina Roquete – Campinas Maurinho and Mahesh – Petrópolis Chris/Fraternidade – Petrópolis Nirmegha – Rio de Janeiro Luciano Souza – Juiz de Fora Manorainjan – Brasília Satyavan – Alto Paraíso Khalsa Kaur – Paranaguá Tannistha – Pontal do Sul Vishnu – São Paulo Volunteers of Intensive Training: Kirit – Main Teacher and Counselor Ashesh – Tabla player and Teacher Jyotiprakash and Parabhakti – Teachers Mahesh – Coordinator Ragamayii – Translator Maurinho and Mahesh – Local organizers Front page picture: saimusicalinstruments.com 3 INDEX INTRODUCTION TO PRABHAT SAMGIITA ...................................................................... 6 PRONUNCIATION AND LANGUAGE SYNTAX ................................................................. 7 A WORD ON RAGA AND TALA ......................................................................................... 8 GLOSSARY OF HINDUSTANI CLASSICAL MUSIC ........................................................ 11 MUSICAL NOTES AND NOTATIONS .............................................................................. 13 INTRODUCTION TO TAALS ............................................................................................ 14 ON RAGA BHAIRAVI ........................................................................................................ 15 SWARA VISTARA OF RAGA BHAIRAVI ......................................................................... 17 Doyal probhu balogo tomay ........................................................................................... 18 Gan geye tumi .................................................................................................................. 19 Shur toronge mohono ronge .......................................................................................... 20 Composition in Dhrupad style ........................................................................................ 21 Madhur Bhairavi ragini (Lakshan Giit) ........................................................................... 22 Muraliya bhayi bairan ...................................................................................................... 23 ON RAGA DESH ............................................................................................................... 24 SWARA VISTARA OF RAGA DESH ................................................................................ 25 Amar Krishno kothay bal re ............................................................................................ 27 Amar tore okatore ............................................................................................................ 28 Tomar kotha bhebe bhebe .............................................................................................. 29 ON RAGA DARBARI KANADA ........................................................................................ 30 SWARA VISTARA OF RAGA DARBARI KANADA ......................................................... 31 Meghmeduro rate ............................................................................................................. 32 Shubho chetonay ............................................................................................................. 33 Tumi je eshe chho aaj...................................................................................................... 34 Tora man darpan kehlaye ................................................................................................ 35 ON RAGA BAGESHRII ..................................................................................................... 36 Shapone khoñj peyechhinu ............................................................................................ 37 Shapone she eshechhilo ................................................................................................. 38 4 Tomare jobe dekhe chhinu ............................................................................................. 39 Tomar name tomar gane ................................................................................................. 40 Vrindavanam parityajya ................................................................................................... 41 Bageshrii Composition - Notes ...................................................................................... 42 Bhashao noyon jole (Ananda Samgiit) .......................................................................... 44 Lakshan Geet ................................................................................................................... 45 Lakshan Geet - Notes ...................................................................................................... 46 Paayal Baaje ..................................................................................................................... 47 Paayal Baaje - Notes ........................................................................................................ 48 HARMONIUM KEYBOARD WITH NOTES ....................................................................... 49 Prabhat Samgiita Para Todos Movement ...................................................................... 50 5 INTRODUCTION TO PRABHAT SAMGIITA 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. 6 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. 7 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
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