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Books > Performing Arts > New Instrumental Compositions For North Indian Music
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New Instrumental Compositions For North Indian Music
New Instrumental Compositions For North Indian Music
Description

Back of the Book

Although many collections of ragadhari vocal compositions have been published over the years, there is a dearth of instrumental compositions. Hence, it has been the author's long felt desire to bring out a collection of Gat o instrumental compositions in the north Indian musical tradition.

This book cannot replace a teacher, and it is from a teacher that students of music must seek instructions and guidance. The purpose of this book is to offer some support to both the teacher and the student. Exercises and compositions should not be forced indiscriminately on students, but the teacher must use his discretion in prescribing appropriate material for individual students. He must also offer his advise and guidance to students on how to select compositions to suit their needs and abilities.

In this book, you will find Gat composed for various types of instruments with different techniques of playing. There are compositions appropriate for stringed instruments (bowed and plucked) and for wind instruments. Thus, the compositions for sitar and sarod are basically in Mazith Khani and Raza Khani styles, while different Gat styles are employed for violin, esraj and flute.

Anil Mihiripenna is a versatile and internationally recognized musician from Sri Lanka. He graduated from Vishva Bharati University (Shantiniketan). He studied under the great esraj maestro Ashish Chandra Benerji, flute Pt. Gowr Goswami and vocal from Pt. Jamini Kantha Chakrawarti. He has widely traveled on concert tours in the USA, Hong Kong, Taiwan, Singapore and India, and he is regarded as the leading flutist cum esraj player in Sri Lanka. He has also composed music for several ballets, documentary films and feature films and feature films. He is the founder of Sharada Kala Nikethanaya, an institution that propagates and popularizes Oriental classical music in Sri Lanka.

 

Contents
  Prathama  
1. Yaman 1-11
2. Bilawal 12-22
3. Khamaj 23-33
4. Kafi 34-47
5. Bhairava 48-60
6. Bhairavi 61-73
7. Ashavari 74-84
8. Desh 85-96
9. Bhupali 97-106
  Madhyama  
10. Hameer 107-115
11. Kedar 116-126
12. Behag 127-136
13. Bageshri 137-147
14. Brindavani Saranga 148-158
15. Bhimpalasi 159-170
16. Jounpuri 171-180
17. Malkouns 181-191
18. Tilak-kamod 192-202
19. Sohini 203-210
  Visharada Part I  
20. Goud Saranga 211-219
21. Hindol 220-230
22. Shankara 231-243
23. Jaijaiwanthi 244-255
24. Puriya Dhanasri 256-266
25. Paraj 267-276
26. Adana 277-285
27. Bahar 286-293
28. Goud Malhar 294-303
29. Miyan Malhar 304-313
30. Marva 314-324
31. Shri 325-333
32. Kalingada 334-341
  Visharada Part II  
33. Shuddha Kalyan 342-350
34. Chayanat 351-357
35. Kamod 358-366
36. Deshkar 367-375
37. Ramkali 376-383
38. Basant 384-391
39. Lalit 392-403
40. Poorvi 404-413
41. Puriya 414-429
42. Darbari Kanada 430-441
43. Multani 442-451
44. Todi 452-462
45. Pelu 463-473
  Palta 474-479

Sample Pages

















New Instrumental Compositions For North Indian Music

Item Code:
IDJ761
Cover:
Paperback
Edition:
2007
ISBN:
8186569758
Size:
9.4" X 6.9"
Pages:
480
Price:
$40.00
Discounted:
$32.00   Shipping Free
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$8.00 (20%)
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Back of the Book

Although many collections of ragadhari vocal compositions have been published over the years, there is a dearth of instrumental compositions. Hence, it has been the author's long felt desire to bring out a collection of Gat o instrumental compositions in the north Indian musical tradition.

This book cannot replace a teacher, and it is from a teacher that students of music must seek instructions and guidance. The purpose of this book is to offer some support to both the teacher and the student. Exercises and compositions should not be forced indiscriminately on students, but the teacher must use his discretion in prescribing appropriate material for individual students. He must also offer his advise and guidance to students on how to select compositions to suit their needs and abilities.

In this book, you will find Gat composed for various types of instruments with different techniques of playing. There are compositions appropriate for stringed instruments (bowed and plucked) and for wind instruments. Thus, the compositions for sitar and sarod are basically in Mazith Khani and Raza Khani styles, while different Gat styles are employed for violin, esraj and flute.

Anil Mihiripenna is a versatile and internationally recognized musician from Sri Lanka. He graduated from Vishva Bharati University (Shantiniketan). He studied under the great esraj maestro Ashish Chandra Benerji, flute Pt. Gowr Goswami and vocal from Pt. Jamini Kantha Chakrawarti. He has widely traveled on concert tours in the USA, Hong Kong, Taiwan, Singapore and India, and he is regarded as the leading flutist cum esraj player in Sri Lanka. He has also composed music for several ballets, documentary films and feature films and feature films. He is the founder of Sharada Kala Nikethanaya, an institution that propagates and popularizes Oriental classical music in Sri Lanka.

 

Contents
  Prathama  
1. Yaman 1-11
2. Bilawal 12-22
3. Khamaj 23-33
4. Kafi 34-47
5. Bhairava 48-60
6. Bhairavi 61-73
7. Ashavari 74-84
8. Desh 85-96
9. Bhupali 97-106
  Madhyama  
10. Hameer 107-115
11. Kedar 116-126
12. Behag 127-136
13. Bageshri 137-147
14. Brindavani Saranga 148-158
15. Bhimpalasi 159-170
16. Jounpuri 171-180
17. Malkouns 181-191
18. Tilak-kamod 192-202
19. Sohini 203-210
  Visharada Part I  
20. Goud Saranga 211-219
21. Hindol 220-230
22. Shankara 231-243
23. Jaijaiwanthi 244-255
24. Puriya Dhanasri 256-266
25. Paraj 267-276
26. Adana 277-285
27. Bahar 286-293
28. Goud Malhar 294-303
29. Miyan Malhar 304-313
30. Marva 314-324
31. Shri 325-333
32. Kalingada 334-341
  Visharada Part II  
33. Shuddha Kalyan 342-350
34. Chayanat 351-357
35. Kamod 358-366
36. Deshkar 367-375
37. Ramkali 376-383
38. Basant 384-391
39. Lalit 392-403
40. Poorvi 404-413
41. Puriya 414-429
42. Darbari Kanada 430-441
43. Multani 442-451
44. Todi 452-462
45. Pelu 463-473
  Palta 474-479

Sample Pages

















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