Raag Hamskinkini | Hanskinkini | Tutorial | Alap Tintal| Moumita Mitra

Описание: Raag Hamskinkini/ Hanskinkini Tutorial. Chalan Alap followed by a self composed tintal.

ThaaT Kafi
Vadi Samvadi P S
Nyass S G P occasionally M
3rd Prahar of the Day ( Afternoon)

The Raag is on the Dhanasree Ang ( since Pa is Vadi) mostly with asditional use of Shuddh Ni and Shuddh Ga.

Aroh Avroh
,nSGMPNS'
S'nDPMPgRS

Mostly ,nSGMP or ,nSgRS .. occasionally ,NSGMP or ,NSgRS.
Some artists use only n and some prefer using N more in the middle octave to reach higher Sa.

Two Ga Two Ni with long R D in Avrohi Ang
Usually G in Arohi g in Avrohi

Dhanasree Ang
,nSMgRS - MPnDP- MPgRS

Patdeep Ang
,P,NSgRS - MPNS' - MDPMg

Bihag Ang
SGMP - GMPD GMP - GMPNS'

Khamaj Ang
GMPnDP MG
,NSGMP SGMP GMDP MPDPMG
GMPNS' nDP

Jog Ang
,PnSGMPg

Pilu Ang
,P,nSgRSR,NS
,NSGMP MGMgRS
,NSG ,NSgRS
GM GMDP MGMPgRs

Use of Two Gandhars
Usually G in Arohi and g in Avrohi used.
,NGMgRS GMPgRS (Pg Sangati is frequent)
Chromatic ,nSGMgR,nRS GgR,nRS ( as used in Ustad Bismillah Khan's shehnai recording)

Use of Two Nishads
Lower Ocatve both ,nSG and ,NSG or ,nSg ,NSG
To reach Taar Sa mostly PNS'
However phrase MPNS' nS'nDP used so open Use of both Nishads could be assumed with more shuddh Ni in Uttarang to show Taar Sa.

Ustad Bismillah Khan's used Ma Nyas in his Gat, used Chromatic Gg, also gM gRS , GMg used and GMP gMgRS (Pg sangati used like this), and long R D
All of which are somewhat different from other recordings of other artists as available. However these inclusions of slight deviations from grammar sound aesthetic.
He also used charha Hua komal Ni to Sa

Nothing mentioned about R D weights, which are usually less in Dhanasree, however since R is less in Patdeepaki( Bhimpalasi Ang), we may assume more weight of Re(Like Bhimpalasi)in Haskinkini. In recordings also R and D are observed to be longer like Bhimpalasi in Hanskinkini.


Difference with Pradeepaki/Patdeepaki
Bhimpalasi Ang (if Nyaas on Madhyam used)
MPDPM - MPnDPM .
Pradeepaki is performed in Bhimpalasi Ang(M centric) and not Dhanasree Ang(Pa centric).
However too much Nyas on Ma is avoided to save from Patdeepaki which is a similar Raag with Samvadi as Ma. Also Pradeepaki has a very faint Re in avrohi.
Also use of Two Gandhars in Pradeepaki is observed in Arohi and Avrohi Angas. Use of g in Arohi gives Bhimpalas feel if used with n and gives Patdeep feel if used with N ,nSgMPM or ,NSgMPM
SGMPMGRS SGMPMgRS SgMPMgRS all used. Theoretically Bhimpalasi Ang is shown in Pradeepaki with n, however in recordings you find Patdeep Ang with N.

self composed tintal lyric

Shaam Aaye Naa Aaye
Tum Aao More Shyaam

Ojal Naa Aaye
Tum Aao More Dhaam

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