Indian Classical Music And Sikh Kirtan
by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Madhur Dhavni
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by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Madhur Dhavni
Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Madhur Dhavni |
| 2. Madhur Dhavni Dhavni, as explained above, is the result of the throbbing and vibration of the vocal chords. Dhavani is of two kinds: (a) dhavni without prolongation, which becomes silent immediately, (b) the dhavni which continues, and slowly and steadily comes to an end. The second type of dhavni is appropriate to music. The musician should practice dhavni to make it melodious. If he has control over the dhavni, he can improvise the musical embellishments and grace-notes according to his desire. Some musicians have a good voice, but on account of lack of practice and improper manner, their singing is not impressive. Such musicians should modulate their dhavni and practise the technique of raga. However, the musician is not a blind follower. He is a creative artist in his own right. He must show his originality in creating new permutations and sequences possible within the framework of the particular raga he is playing. |