• Ganesh Paran, composer:traditional type: Paraņa, tala: Tintal, jati: Catasra, source: Achyut Ram Bhandari, focus on: Invocation of Lord Ganesha, complexity: 6
    A famous composition, which refers to Lord Ganesha.

A famous composition, which refers to Ganesha (the elephant-headed god, son of Shiva). The first part describes a scene where Brahma, Vishnu and Mahesh sing Dhrupada, accompanied by Ganesha on the Mŗdańga. This Paran was one of Kishan Maharaj-ji's favourites.

 

Ganesha Paraņa (गणेश परन)

x               2               0               3              
ga naa - naa - ma ga na pa ti ga ne - sha lam - bo - da ra sho - he - bhu jaa - caa - rii e ka
dan - ta ca ndra - maa - la laa - ta raa - je - brah - maa - vis - nu ma he - sha taa - la de -
dhu ra pa da gaa - ve - a ti vi cit - tra ga na naa - tha aa - ja - mr da - ga ba jaa - ve -
Dha Ta Dha Ra - Ta Dha Ra Dha Ra Kr Dhyuaa - Na Di Na Di Na Di Na Na Ge Na Ge Na Ge Dha Na Dha Na Ti Na
Ti Na Ta Ke Na Na Taa Dr Ga Na Dr Ga Dr Ga Di Na Di Na Di Na Ge Di Na Ge Ta - Kra Dha - Na KiTa TaKa
Dha Ra - Na Ta Ra - Na Dha - KiTa TaKa Dha Ra - Na Ta Ra - Na Dha - KiTa TaKa Dha Ra - Na Dha Ra - Na
Dha                                                        

 

A quite nice approach to this Paraņa has been made by prof. James Kippen, but is no longer available online. Look for Kishan Maharaj reciting and then performing this Paraņa.

Relevant dictionary terms

  • परन Paraņa Παράν [IN] Ειδικά, ένα είδος σύνθεσης για κρουστά (κυρίως το Pakhāwaj), αλλά και –λίγο γενικευμένα– οτιδήποτε παίζει ένα κρουστό πέρα από το καθορισμένο Ţhekā του Tāla.
  • तीनताल Tīntāla Τίιντααλ [IN] Δημοφιλής, Tāla (μετρικός κύκλος) των 16 Mātrā. Οι περισσότερες ασκήσεις και συνθέσεις στα πρώτα χρόνια μαθητείας είναι σε Tīntāla.

Relevant multimedia

Principles for improvising the indian way

A video presenting some basic structural elements of Hindusthani Classical Music, focusing on a Masīdkhanī-type composition on Rāga Ahir Bhairava. The following features are presented:

  • a main composition (Bandish) [comprising of 3 parts: Sthāyī, Uccāla 1 & Uccāla 2),
  • some exemplary elementary improvisational phrases (Tāna-s),
  • the ways of moving back and forth to and from each part, by adjusting the Mukhaďā

Be in touch, for upcoming interactive version, in which the user will be able to loop parts, in order for him to study thoroughly. This video tutorial is mostly addressed to Greek and Western musicians wishing to get a glimpse of the principles undelying the improvisational practices of the Classical music of Northern India.

Pt. Bhimsen Joshi performing Rāga Bhairavī

Ακούγεται και Sāraņgī, αλλά δεν φαίνεται ο εκτελεστής.

Smt. Reshma Srivastava & Pt. Ram Kumar Mishra. Raag Kirwani (Drut Tintal)

 

Smt. Reshma Srivastava developing evening melody Rāga Kirwani. Tablā accompaniment by Pt. Ram Kumar Mishra. Rhytmic cycle is Drut (fast) Tīntāla (16 Mātrā-s).

Concert held at Parga, Greece, 7 June 2012. Video recording & processing by Sakis Laios.

 

Smt. Reshma Srivastava & Pt. Ram Kumar Mishra. Raag Kirwani (Vilambit Tintal)

Smt. Reshma Srivastava developing evening melody Rāga Kirwani. Tablā accompaniment by Pt. Ram Kumar Mishra. Rhytmic cycle is Vilambita Tīntāla (16 Mātrā-s).

Concert held at Parga, Greece, 7 June 2012. Video recording & processing by Sakis Laios.