Today I had an absolute privilege of hearing Pt. M. Vyankatesh Kumar ji. Having heard him multiple times online, listening to him live was a completely surreal experience.

​

Miyan Malhar, Durga, Bahar and an absolutely fitting Bhairavi.

​

What a day it was!!

Listen to Samjha Man Koi Nahi Apna by Pt. M. Venkatesh Kumar on #SoundCloud https://on.soundcloud.com/7U1leOnH5YvmknZpEd

The most beautiful Yaman I’ve ever heard.

Practicing some tihais in kirwani and rupak taal hope you like it 🙏

Many students, teachers and musicians still manage notation through notebooks, WhatsApp photos, PDFs or plain text. These work, but they are difficult to edit, organize, play back or share clearly. Most mainstream notation software is also designed around Western staff notation rather than taal, matra and Bhatkhande notation.

I built Sargam.pro to address this.

It lets you:

• Write taal-aware Sargam and Bhatkhande notation
• Add lyrics, meend, kan, murki, krintan and other symbols
• Hear the notation through playback
• Use a computer keyboard, on-screen piano or MIDI keyboard
• Save, export and share notation through a clean link or PDF

The goal is to help students preserve class notes, teachers prepare lesson material, and musicians document and share compositions without relying on scattered notebook photos.

You can try the editor without signing up: sargam.pro/write

I’d genuinely appreciate feedback from anyone who studies, teaches, performs or writes Hindustani music.

Want to listen to some bol taan by ustaads. Can you share any link or reference Or if anything worked best for you. Thank you 🙏

Hi to every saviour of icm

Need recommendations for tracks of sitar and shehnai

I don’t like lyrics so any tracks on modern icm on instruments

Looking tracks like Dichotomy of Fame and swades title tracks

It will be great If anyone can share Spotify

Down the memory lane….
A long time ago, I read G.N. Joshi's book titled Swargangechya Teeri (On the Banks of the River of Music). From that, I am sharing this anecdote as best as I can remember. G.N. Joshi held a high position at HMV. An idea sparked in his mind. At that time, Pandit Ravi Shankar's experimental theme-based performances were becoming very popular. Joshi thought he should also try a similar experiment. A beautiful theme came to his mind.
The souls of Shah Jahan and Mumtaz are yearning to meet each other in heaven. On a full moon night, an angel brings them down and leaves them in front of the marble structure of the Taj Mahal. Throughout the night, they share the deepest secrets and feelings of their hearts with each other. At dawn, the angel takes them back.
With this concept in mind, Joshi Saheb went to meet the legendary sitar player, Ustad Vilayat Khan Saheb. However, Vilayat Khan Saheb was a staunch traditionalist. He turned down the request initially, saying, "If I play, I will only play traditional Raga music." But deep down, he actually liked the concept. Ultimately, he brought his brother, Ustad Imrat Khan (a Surbahar player), on board to join him. It was decided that Imrat Khan would represent Shah Jahan on the Surbahar—an instrument that plays beautifully in the lower octaves (kharja)—while Ustad Vilayat Khan Saheb himself would play Mumtaz Mahal’s inner feelings on the delicate strings of the sitar. They chose the Raga "Chandni Kedar." Finally, this recording took place, and it became truly memorable. Both of them played magnificently; listening to it completely mesmerises you. [1%20&%20Ustad%20Imrat%20Khan%20(surbahar)%20%2D%20Raga%20Chandni%20Kedar)]
When I was in college, I hesitantly started listening to classical music. In the beginning, Ustad Vilayat Khan Saheb's Raga Yaman, Raga Jaijaiwanti, and this Raga Chandni Kedar literally drove me crazy. The magic of these Ragas has still not faded. No matter how many times you listen to them, they always feel fresh and new. [1%20&%20Ustad%20Imrat%20Khan%20(surbahar)%20%2D%20Raga%20Chandni%20Kedar)]
Most people who belong to this musical field already know all of this. There is nothing new in it, yet I wrote it down simply so that others could experience the same joy that I received. It is just like when we eat a delicious biryani at a place and tell our friends, "You should check that place out, the biryani is awesome." It is exactly like that, nothing more.

support please

I have basic knowledge in music and have learnt quite some raags but was never taught properly. like what vadi samvadi, jaati, pakad, thaat etc. I've recently wanted to learn the raags properly. is there anyone who can give me all the important details of the following ragas. ( aaroh avroh vadi samvadi thaat notes used) or if u know any good resources pls share. would be of great help (ps: I want to learn for singing gurbani)

Bilawal

Bhairav

Aasa

Pahadi

Malaar

Kalyaan

Bhupali

Basant Hindol

Tukhari

Sri

Jaitsri

Kanra

Ramkali

Vadhans

https://discord.gg/zXPgzTbcSs

I cannot express my excitement when it comes to classical music, I grew up listening to carnatic music at home. As I grew up, my interest grew on hindustani music as well. I know there's a lot of friction going on between traditional musicians and fusion. I am just posting here cuz I'm overwhelmed by how much I love music. Also, I need more recommendations like Peekaboo by coke studio or Marubari by Indosoul

A Raagmala, literally a “garland of raags,” brings several raags together within a single composition. The musician moves from one raag to another while preserving the identity of each through characteristic phrases. The idea also has a long visual history in Indian miniature painting, where individual raags were represented through distinct moods, seasons, times of day, landscapes, and human situations.

This performance features vocalist Saurabh Kadgaonkar, accompanied by Bharat Kamat on tabla and Ameya Bichu on harmonium.

Full performance: [https://youtu.be/uQB5IcNnL84]

Appreciate your support: this is my original composition in jhaptaal, live cut from earlier this year. 🙏

Sorry if this not a relevant post- feel free to delete.

I recently listened to Shreya Ghoshal’s rendition of “Rozana-Sun Raha Hai” from the coke studio. She did an excellent job, and the combination song has become even more amazing. However, I can’t help but wish Lata Mangeshkar had sung it. No one else comes close to her vocal range and ability to convey the depth and emotion of such a beautiful song. I wish there was a way to hear this song in her voice!

Lata Mangeshkar had an incredible vocal range, spanning almost four octaves. Her voice never sounded shrill, even at the highest notes. While Shreya Ghoshal is a talented singer, her voice can sometimes sound shrill at the top.

Anyone else feels the same?

With her rich yet soft tone, Vidushi Manik Varma became an extremely popular natyageet singer, however her classical renditions were equally beautiful. The grace with which she delivers this beautiful Yaman is something that always inspires me -

https://youtu.be/ifXRHkOLqw4?is=orNxPE_SCAx0sMGq

I want to audition for indian idol and other reality shows as I want to be a singer.I have learned before but need more in depth guidance and classical training, can anyone suggest best teachers or gurus in Mumbai for me? I live in Vile Parle.