Kalapini Komkali - Raga Puriya Dhanashree - Bal Gayi Jyot - Part 1 *********Puriya Dhanashree is a rga in Hindustani classical music. It belongs to the Poorvi Thaat.According to Pandit Bhatkhande all ragas are derived from "thaats" or scales.********************************************************************************­*****Raga Puriya Dhanashree.Raga Poorvi, the "type-raga" of Purvi Thaat contains all seven notes (i.e. Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from tivra to shuddh whereas the gandhar and the nishaad stay shudh throughout.In Puriya Dhanashree, however, the aarohan or the ascent is as follows - N r G M d N S. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is tivra or sharp. The descent or the avarohan is as follows: S N d P M G M r G r s, the descent bears all seven notes with komal Dhaivat and Rishabh and a tivra Madhyam. The vadi of this raga is pancham and the samavadi is shadaj. Raag Purvi's structure is very close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shudhha madhyam is often used in raga purvi unlike the tivra madhayam used in raga Puriya Dhanashree.The gana samay or the time of singing this raga is at dusk. Raag Puriya Dhanashree is sung at time of transition from the afternoon to the evening and thus it is known as a Sandhiprakash Raga.The pakad of this Raga or the catch phrase of this Raga under the Bhatkande system is N r G, M r G P, M d P, M G M r G d M G r S . While expounding the uttaranga part of this Raga the phrase M d N d S is used to move into the taara saptak (higher octave). The transition from the taara saptak Re to the Madhya Saptak Ni is commonly through the use of a meendh.********************************************************************************­*****Kalapini Komkali is the daughter and disciple of Pandit. Kumar Gandharva and Vidushi Smt. Vasundhara Komkali. An awesome inheritance resides in her genes. The curious consequence of this circumstance is that it is not only an affirmation of what is called the Gwalior Gayaki, but also of the wholly reconstructed and transformed style that revolutionized and transformed style that revolutionized Hindustani classical music. The Gayaki of Kumar Gandharva is a difficult inheritance to claim.Both Bandish Composed by Kumar Gandharva.********************************************************************************­*****Kalapini can be said to possess an Alto just a little husky but true as a blade. Her Akar is perhaps the closest yet to that of Kumar Gandharva, a magical mixture of the five vowels that make language ring true and unforgettable. She uses much the same technique her father used to do, that lets you hear the swara as part of the raga and the swara also as pure swara kindled separately and individually. No two people can ever do this the same way, but when it is achieved the listener notices its strange impact. The next thing is to listen to the Sahitya of the Bandishes with its gentle folk intonations, the whisper of the land of Malwa which Kumarji first brought to life.Kalapini has performed widely across the country in many prestigious music festivals. After her post graduation in Library Science, Kalapini learnt music from her father and is now an active trustee of the Kumar Gandharva Sangeet Academy, which has been structured to present and promote his genius. At present she trains intensively with her mother. She received project Scholarship from ministry of Human resources in the field of Indian classical Music. She also Honored to receive Kumar Gandharva Award from prestigious pujari pratishthan at Pune. She also gave her voice in films called "Paheli" and "Devi-Ahilya". . . . - &#23 ...