New compositions: the art of mulling over things

At a recent concert by a visiting vocalist  (Shri Kuljit Singh Sangar), he sang a fast 16 beat composition in Bageshri. I heard it and then went about my own business, but the composition stayed with me mentally.

A few days later, I was able to take the gist of the composition and translate it to the sarod.  I initially thought I’d come up with a new composition based on the above khayal, but later on it turned out that I had actually made a similar composition with a similar structure.

Here is the composition: This is a good example of how compositions can emerge based on mulling a raga over in your head:

Next step: to compose a matching antara…..

Excerpts from a recent concert

First post for 2016… have been away for some time ..

Here’s a post from a recent concert….raw audio/video…

The setting was in a private residence in a beautiful part of Melbourne called Eltham… and it had a resident peacock which kept calling out at times..

I have added some description of the content sequence in the Youtube video notes…

Eternal Favourite: Raga Darbari

I’m back again on my all time favourite raga, the king of the Indian Raga pantheon : The King of Ragas, The raga of Kings : Raga Darbari

Darbari lends itself naturally to the sarod, with its deep introspective tone. There are many good compositions in Darbari, and I thought I’d showcase one particular one which is not heard publicly much nowadays,

I’ve recorded – Raga Darbari, Drut Ektaal (fast 12 beat tempo) by Ustad Amjad Ali Khan, which he first played in the 80s – and then very rarely thereafter. In fact, this composition is hardly heard nowadays. I outline the composition without rhythmic metre and then the “implementation” of it at 250 bpm fast 12 beat cycle (Ektaal) -which is a tad faster than the original.

This compositions was originally played to tabla accompaniment with Sabir Khan, in what constitutes one of the definitive Darbari recordings of all time.

I decided to play the composition at length without rhythm to expose the subtleties of this composition. This is a multi layered construct – there are a lot of things going on – the mood of this grave raga, an underlying rhythmic framework, as well as a structure built on that famous masterpiece by Ustad Amir Khan (vocal) – Yaare Man Biyan Biyan. The composition balances the competing pressures of technical activity with keeping the mood of the raga intact (it doesn’t take much to destroy Darbari’s gravity, turning it into a Bollywood song – the poor raga has been much abused in this manner)

Then I play the full composition with the metre at 250bpm.

Here is the Youtube video: