Kharaj ya madhya saptak for beginners??
Hey, guys I am learning classical music on my own. Can you guys guide me, what are the benefits of kharaj and Madhya saptak.
What should I do and when and how much?
Hey, guys I am learning classical music on my own. Can you guys guide me, what are the benefits of kharaj and Madhya saptak.
What should I do and when and how much?
Hi everyone,
I’m currently pursuing my MSc in Clinical Psychology, and as someone who has also grown up learning Carnatic music, I’ve always been curious about the way music shapes us beyond performance, such as if it improves our attention, memory, mood regulation, etc.
I’m currently researching that in my dissertation and I’m looking for vocalists trained in India forms of music between the age 18-35 as participants.
The criteria is atleast three years of formal learning and engagement in practice.
It will take you around 15 minutes to complete the survey, which will consist of a computerised memory task and a few short questionnaires.
It would genuinely mean a lot to me to have musicians from this community take part in the research. I really hope this study can contribute, even in a small way, to understanding Indian classical music not only as an art form, but also as how it contributes to well being :)
Link to the survey has been attached
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
Now lying dormant, Gaud – assumed to have been named for its origins in the archaic Gaudadesha region – is best-known via its parental role in compounds such as Gaud Malhar, Gaud Sarang, and Gaud Bahar. In spite of its modern scarcity, the raga played a vital role in Hindustani history, turning up in numerous ragmala paintings and finding mention in texts such as Shrikantha’s Rasakaumudi (c.1575: along with Gaud Malhar) and the medieval Raga Nirupanam (“Gaud is the son of Shri. Fond of white robes, he is fair, adorned with all ornaments, holding a sword in hand, and borne by a serpent…”).
Despite the raga’s historic significance, there is little information on the workings of its ‘pure’ form, meaning that we must instead look to its surviving DNA. Parrikar elaborates the Gaud elements in Gaud Malhar (SRGm, mGmGRGS, RGm, Pm; SRGGm, mGm, P), highlighting how the “strong, glowing ma stands out” – corroborated by Tanarang (SRGm; mGm; GRGRS; RGmPm) and Dr. Gita Banerjee’s Raag Shastra Vol.1 (p.101: SGRmG, PmG, GRmG, mRS, SRNSG, G, RGRmG). The future of Gaud remains uncertain, with vanishingly few living masters ever having learned the raga in its own right. Nevertheless, I prefer to label it ‘dormant’ rather than ‘extinct’ – my hope is that gurus may still be out there who can pass on its twists and turns to future generations…
UPDATE: I eventually discovered a ‘pure Gaud’ recording! Many thanks to Manikbua Thakurdas disciple Geeta Athalekar, who captured a superb composition in the rare 11-beat ‘Manibandh taal’ during one of her guru’s lec-dems (“This is the first time that this raga is on YouTube…It is a sampurna raga with a vakra chalan…ascending with NSGRmGP, mPDNS…”).
—Do you know of any other ‘pure Gaud’ recordings? I feel there must be more than just one out there...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
Hello everyone!
I'm a semi-professional musician who enjoys learning and recording different styles of music.
Recently I've been working on a cover song which has a jazz / rock / funk arrangement but vocals in the eastern classical styles. The original is by the Mekaal Hasan Band. Most of the instrumental parts have already been recorded.
I'm looking for a singer who could record the vocal track. The vocals are really the star of the song and (if Im not mistaken) based on Raga Bageshri.
Comment or dm if you're even a little interested, and lets discuss!
Cheers!
Hey everyone,
I learned semi-classical singing for around 5 years, but I stopped practicing regularly about 3 years ago because of studies. Now I want to start learning proper classical singing again and get more serious about music.
I’m thinking of learning mostly from home using YouTube, riyaaz practice, and swaralipi/sargam resources, since it’s currently not possible for me to hire a guru or take formal classes.
So I wanted to ask:
Would really appreciate honest advice and resource recommendations 🙏
I am a young learner wanting to sing contemporary western in the future. I have been recommended by my Guitar and Piano teacher to learn the basics, approx. 3-4 years in ICM so that my voice becomes better. I am willing to, but is this true advice? Some people are saying it's not. I hope i didn't disrespect anyone.
Insearch a Flautist buddy to guide me and share experience in Improvisation and other aspects of Indian Classical Music. Reply or Dm me.
Hi everyone,
I’m the Hindustani flutist/developer who shared srgm.io here recently — the platform for writing and sharing Indian music notation using Sargam (Sa Re Ga Ma).
I’m now trying to get the Android app version released publicly, and Google currently requires a small closed testing phase (12 testers for 14 days).
If anyone here would be willing to help test it, it would genuinely mean a lot to me as an independent musician/developer project.
The app lets you:
• Explore community notations
• Hear notation back with playback
• Save your own repertoire and notes
• Practice with tools like transpose and alankaar generation
To join the test:
You can also try the PRO subscription if you’d like — Google clearly marks it as a test purchase and you won’t actually be charged during testing.
Even simply installing the app and keeping it installed for the testing period helps a lot.
Thanks again 🙏
I live in Solapur but am shifting to Pune this year.
One thing I’ve struggled with while learning Tabla is properly documenting compositions and practice material after lessons — especially with a busy work life.
A lot of times I’d learn something from my teacher, quickly note it down somewhere, and tell myself I’d clean it up later. But after a long workday, that “later” usually never came.
Weeks later I’d end up:
forgetting parts of the composition
struggling to read my own shorthand
or digging through notebooks, PDFs, screenshots, and random documents trying to find old material again
Over time I realized the actual learning wasn’t the hard part — consistently organizing and revisiting the material was.
So I started building a desktop tool called SwarTaal mainly to make Tabla notation faster, cleaner, and easier to revisit during riyaaz sessions.
Still refining it, but before going further I genuinely wanted to ask the community:
How are you all currently documenting and organizing your Tabla material?
And what part of the process feels the most frustrating or time-consuming?
I’m sure because it’s a folk song it can’t be purely based on any Raag but if I want to perform this somewhere where the folk song is supposed to be based in Raag Maand or Des, it it okay to perform this one? I’m not familiar with both these ragas. Is this related to any of these two?
Here’s one version of this song - https://youtu.be/eT\_GOizaA0E?si=wVw72CtVuKUs3H-V
There are other versions of this same song but the basic melody remains similar.
Hi community,
Let me give you a background. I was browsing through some instruments that give a Nordic feel (droning strings with a mystical vibe) like the Hurdy Gurdy/Nyckelharpa and thought why not look closer to home. I was introduced to the Sarangi at first and finally to the Dilruba, which has stolen my heart.
I am a pianist and I used to play in school for over a decade but I still want your opinion. I strongly believe I have some musicality in me. I am not an avid Hindustani classical music listener but I imagine I can play some great European melodies, discover Hindustani classical music and I LOVE how it sounds. I know one cannot really rationalize this but should I go for the Dilruba? Does it take
I live in Mumbai. Where do I buy it from? I found Sikh Music Studio in Ludhiana and it looks good but I can't tell if their quality is as good. What do you recommend? And most importantly, who do I learn it from in Mumbai? Is learning online good enough?
My research results have been sparse and confusing. Do let me know. Even links are very helpful.
Hi, Can someone please suggest YouTube or other online resources to learn Harmonium. I can play the basics but need to learns chords etc.
Also has anyone learnt it online? Or does offline class only works?
Thanks
Recently I've been researching rare & strange ragas - so thought I'd share some of the most interesting ones I’ve come across! Input welcomed - everything from further info on the ragas to personal listening reflections:
—Raag Jog-Tilang (S-gG-m-P-nN-S)—
Seldom heard today, the SgGmPnNS scale form once served as a vital historical bridge between Tilang and Jog: the latter, having evolved from the former around a century ago, originally retained Tilang’s double-Ni along with its own distinctive double-Ga. While most artists soon dropped Jog’s shuddha Ni, the older version is still occasionally performed under titles such as ‘Do Nishad ka Jog’ (e.g. Ashwini Bhide-Deshpande and others from Jaipur-Atrauli), ‘Jog-Tilang’ (e.g. Vilayat Khan, who subtitled his interpretation ‘Dogaha’ in reference to the double-Ga), or just ‘Jog’ (e.g. Agra singers such as Ram Deshpande and Anjanibai Lolienkar).
Artists may choose to gravitate towards either of its parent ragas, or interweave both in equal measure, with ample room for imagination – Vilayat Khan sometimes splits the Ni space into 3 distinct sruti rather than 2 (e.g. as a P(nNṄS) khatka, and as sequential meend P(n) P(N) P(Ṅ) P(S)). Whichever approach is taken, the underlying swara-set offers several interesting properties: a rare example of a 7-swara audav raga, it sets the same interval sequence in poorvang and uttarang, opening up congruent phrase-pairings impossible within its progenitors (i.e. S-gG-m and P-nN-S have the same ‘jump pattern’ of 3-1-1). Congruent with the Carnatic Chalanata, mela #36.
—Do you know of any more ‘Jog-Tilang / Dogaha / Do Nishad ka Jog’ recordings? Or any other very early Jog renditions (~1940s-50s)? I couldn’t find many with double-Ga and double-Ni...
Let me know what you think of this strange raga! See more of them in my project (no paywalls, no ads: just sharing the joys of raga)
I'm fascinated by konnakol.
Is there anything like Konnakol in Hindustani classical music?
Hi everyone! Does anyone have any recommendations of Indian children’s songs I can share with students? I’ve been showing them a lot of music around the world lately and have been working on a project for my grad school project and have been struggling to find children songs from India. I know some of my kids have asked for songs in Tamil, I just would like some help and/or recommendations. I teach elementary school and love when kids get excited about hearing a song in a language they know :) if you know of any books with Indian children’s songs in it as well that would be so appreciated!