January 1, 2016
(Introduction to an Atlas)
New comers and old friends, please take the time to listen to the raga Charukeshi and the rajasthani folk melody performed by Ustad Sultan Khan (Sarangi) and Zakir Hussain (Tabla).
If you are hearing impaired, you can still read about raga scales with this link or view the raga Charukeshi in the link provided below as well as click on the embedded links located within the structure of the “epic poem” as it unfolds to gain an appreciation for the structure and language of the music.
Due to drawing the hand positions for a Sarangi Manual (not yet published) for Music Instructor Rose Okada, sign language as a physical-visual expression of “hearing” has also become part of the Girl Soda Atlas.
I sincerely hope you enjoy the adventures.
~K. J. Legry
The Alap in the raga of the unfolding Tun Tree begins at the end. Hard core was the wood for your bow, for your bat, for the body that channeled the soul of your beloved. You took the lucky seventh watch, to wind up and pitch and heard how infinity is an ocean never resting, so we could take turns counting.
There are no reasons to fret where wild salmon steal for home. They are in spite of disappearing ladders and transcendent by nature when called.
The guru may well be 400 years old, but when he’s ever on the cliff ledge, he still finds humming the best way to reason with his vertigo. This is the homing device that kicks in primal because there’s still a chance after nine innings.
*note the original full album concert I witnessed has been removed by YouTube and artist copyrights.
So, look for and purchase the original CD if possible…
Here is a glimpse from a much earlier concert held in 1992 before I knew of the musicians:
Best time for raga Charukeshi (intention) Listening: 9:00 a.m.~ Midnight
The time theory of the Northern school of Classical Indian music states that certain ragas (melodies) are ascribed only certain hours of the day or night for exposition. There are also seasonal ragas, such as rainy season ragas, Mian Ki Malhaur or Megh Malhaur, and also spring ragas such as Bahar or Basant.” ~Rose Okada (music instructor for strings, Kirana West)
Recommended time for Listening according to Girl Soda Atlas: Begin at 10:50 p.m. to end at Midnight…
~The Sonorous Sound of the Sarangi~
USTAD SULTAN KHAN– sarangi and ZAKIR HUSSAIN – tabla
2 raga Charukeshi: Alap (live)
3 raga Charukeshi: Gat in slow teen taal (16 beats) (live)
4 Raga Charukeshi in medium teen taal, pt. 1 (live)
5 Raga Charukeshi in medium teen taal, pt. 2 (live)
7 rajasthani folk melody (live)
Charukesi (pronounced chārukēsi) is a rāga in Carnatic music (musical scale of South Indian classical music). It is the 26th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Tarangini in Muthuswami Dikshitar school of Carnatic music.
Charukesi is known to incite feelings of pathos and devotion in the listener.
Emotional depth, virtuosic instrumental skills, and a passion for melody have been combined through the music of sarangi player Sultan Khan. Taught the rudiments of the sarangi by his father, Ustad Gulab Khan, Khan has continued to evolve as an instrumentalist. Performing his debut concert at the age of 11 at the All-Indian Conferences, Khan is a two-time winner of the prestigious Sangeet Natya Academy Award. He also received the gold medal award of Moharashtra and an American Academy of Artists award in 1998. Attracting international attention when he accompanied Ravi Shankar on George Harrison’s Dark Horse tour in 1974, Khan has featured on the soundtracks of Gandhi and In Custody. In 1997, Khan performed at Prince Charles’ 50th birthday celebration. ~ Craig Harris (liner notes)
Indian Classical, Music, Indian, World
℗ 2002 Chhanda Dhara
This live audio recording is being posted for no commercial purposes. I had the honor of seeing Ustad Sultan Khan and Zakir Hussain play and it changed my life. This online version of the Girl Soda Atlas is dedicated to the Memory of Ustad Sultan Khan for channeling the Beloved.
I would also like to honor the memory of Ustad Hafizullah Khan who gently whapped my fingers with his bow when my cuticles failed to adequately press and slur. Special thanks and love always to Rose Okada.
For the Record:
This is NOT a book about Sarangi. This is the universal drone and beat behind a resonating choir of distinct voices. This is the dissonance and the harmonizing within a universal composition. It unfolds like fabric. Reads like a tapestry. And it lives and breathes when. . .
I am an amateur musician at best and no where near to being a Sarangi Instructor.
I am simply her ambassador.
*Note: All Sarangi are Female.