Raga Pilu- Some old compositions

After an extended break, here is a video of various compositions in Raga Pilu (Piloo) that I recently had the opportunity to play: Pilu, like Bhairavi, is an evergreen raga, and brings together the joy and sadness of love in its mood… Pilu is used in a variety of “thumris” – semi classical compositions which sing about the waiting for one’s true love… with hope …

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Raga Improvisation & Expansion

(Picture above: my hometown of Varanasi, India, famous for Indian classical music, especially tabla) Ever wondered what musicians play after the main composition and how it’s structured? Especially in the slow (vilambit) part of the composition, there are a number of devices and pathways available to the artist. As a short example, I start with a very standard composition in slow 16 beat cycle in …

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Raga Jhinjhoti- Continued

Here is the first video of Raga Jhinjhoti – a fast (drut) composition in 16 beat (teentaal) followed by a variant of the same composition set to the same taal. This composition is from the Shahjahanpur Sarod Gharana, and was developed by Abdullah Khan or Mohammad Amir Khan… Originally meant for the sarod, this has been adapted on other instruments. The composition has several rhythmic …

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Raga Bageshri- Conclusion

Here is my last post on Raga Bageshri – a gat in Rupak Taal (7 beats) to round off the full series: Vilambit, Madhyalaya and Drut… I learnt this composition from Ustad Shahid Parvez – he also showed a different style of taankari- using phrases. As always, I’ve ended up experimenting with tihais etc – more of a concert thing… The notation is fairly simple …

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Raga Marwa – An evening mood

For some time now, I’ve been “besotted” by Raga Marwa. Raga Marwa is a unique raga in many respects and its characteristics can take a while to understand. The Raga goes like this Notes of Raga Marwa: Family (Thaat): Marwa Ascending (Aarohan): N r G m D N S Descending (Avrohan): S N D m G r S Characteristic phrase (Pakad) : N(lower) D (lower) …

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