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 Komal Ramkali (S-r-g-M-P-d-n-S)—

A strange sampurna scale, equivalent in shape to ‘Todi komal Ni’ or ‘Bhairavi tivra Ma’ (or ‘Todi’s poorvang + Bhairavi’s uttarang’: SrgM+PdnS). Indeed, the scale matches a historic form of Todi itself (Bor: “Todi Varali…first mentioned by Ahobala c.1665, with the scale SrgMPdnS”). Aside from Sa and Pa, Komal Ramkali has no shuddha swaras – but all five vikrit positions are available (rgMdn), opening up a variety of odd dissonances, with the irregularly-spaced cluster of gMPd requiring particular care.

The only renditions I can trace are by scholar-singer Ashok Da Ranade, who emphasises the komal dha amidst long, looping melodies – and Kirana vocalist Moumita Mitra, who in 2023 released a stellar pair of compositions and a superb demo lesson. She recounts finding the raga in an old textbook (Nawab Ali Khan’s 1913 Marif-un-Naghmat), and summarises her version as “a blend of Bhupali Todi and Ramkali” (in the words of listeners: “Ramkali was the defiant daughter of Bhairav…This raga is definitely the stepsister who was a bad influence on Ramkali!”).

—What rasas do you hear in these two recordings? And do you know of any other ragas with the same SrgMPdnS swara-set?

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 not asking for people to rummage through their private collections or anything, I'm talking about things available in the public. It's really difficult to come across recordings of BGAK from before his paralysis. I'm looking for full recordings of Yaman, Bihag and Darbari by him, most of the one's I've found are either after he got paralyzed or the recording quality was terrible or both. I would be very happy if some people could provide recordings from his prime of any raag, but I would love specifically the above mentioned ones.

The most beautiful Yaman I’ve ever heard.

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.

Hi, I'm a musician trained in jazz and western music. I've been exploring singing with a tanpura. I want to improve recognition of intervals and melodies. Are there any exercises that you find useful. Also these don't necessarily have to be singing exercises. Thanks!

I went to a show recently and they played shehnai really nice. I was fascinated by it, and I really want to try it.

I went to local music shop and couldn't find a shehnai there. Where can I buy it in Mumbai?

I recently decided to take learning classic music seriously, and after doing multiple youtube , google and subreddit search decided to riyaz SA well I decided to Pick D as my scale and I am trying to stabilized my Sa.

During riyaz I play tanpura "recorded version available in YouTube " on one phone and in another phone I have installed app called "nail the pitch" so when I riyaz "holding Sa" for couple of second in app it applies wobbly. Idk what I'm doing wrong, or may be it's natural for human to produce some wobbles while holding a certain note ? I don't have guru so I can't really tell what am I doing wrong or not.

Thankyou!!!

This Bhimpalasi by Abhishek Borkar is great. https://youtu.be/CUqPVaq6CNY?is=JjXLDSEG4l4maVIX Pandit Arvind Azad does some cool tricks on the Tabla too. One observation I have about Indian classical music is that Indians don’t seem to add music to day to day life like other cultures do, or used to do at least. It’s still done at an academic level. I seldom see people playing music on their and singing and celebrating. There are some exceptions like the Dhol Tasha in Maharashtra and the Ghumat Aartis in Goa, but seldom see families flocking around an instrument and singing together. I think it’s done more in Hungary or even Turkey?

Rangiin by Ahangi also features the rudra veena. Nothing is like the real instrument, but the app allows you to explore the sound. It works on iOS and Android.

🙏🏻🌺
I am pursuing music on my own until I am able to join a Guru. Please help me out. Thanks.

Probably controversial question considering this page is for classical instruments, music. Veena in particular is tightly coupled with Carnatic music. Any learning progress i read/hear about is strictly tied to Carnatic curriculum.

However I’m curious to understand the potential time taken to learn veena enough to play contemporary music, light music if you will. An instrument can have a life of its own beyond a school of music is my thinking. Imagine the difference between playing Spanish guitar with proficiency vs being able to finger pick a pop song with ease on a guitar, etc.

Can anyone help shed some light on this?

Greetings. I would be able to purchase iTablaPro in a month or two. I am a hobbyist and would like to know if I can make most out my Riaz routine through the iTablaPro lite?

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 Shanmukhpriya (S-R-g-M-P-d-n-S)—

A strange scale imported from the 56th Carnatic mela, equivalent to ‘Darbari tivra Ma’. Despite its Southern popularity, it is still little-known in the North, with only a few Hindustani artists having explored it in any depth. Among these, Rampur-Sahaswan singer Hafeez Ahmed Khan provides direct insight into its workings: “Shanmukhpriya is of a very devotional character – its name means ‘Goddess of Six Faces’.

"As regards interpreting the raga in Hindustani music, the scale doesn’t come under the purview of the so-called ‘ten thaats’…I think that it represents six ragas, one after another” – giving these ragas as Desi (SRgSRnS), Jaunpuri (nSRRndP), Darbari (PdnRS), Madhuvanti (gMPMgRS), Ramkali (MPdndP), & Bhairavi (PdnS).

Also recorded by sitarist Balaram Pathak (who may have been the first to import the scale, sometime in the 1950s), as well as by Carnatic-born and Dagarvani-trained sarodiya K. Sridhar, who mined its odd contours to great effect at a 1986 concert in Stockholm. Compare to proximate ragas from the ‘32 thaat’ (=all possible 7-swara sampurna scales): including Komal Ramkali (komal re instead) and Rishabhapriya (shuddha Ga instead).

—Which other rare Carnatic-origin ragas are your favourites? Aside from the famous ones like Charukeshi, Kirwani, & Vachaspati, I love Amritvarshini, Latangi, and Meghranjani

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 am highly trained in Hindustani Classical violin and I have been playing for 6-7 years. But I just cant crack taking fast gamaks and even the gamak taans. Also the gayaki ang played by smt N Rajam ji or smt Kala Ramnath ji. Any guidance or help will be highly appreciated.

I’m a 22F and want to start learning Hindustani classical singing. I can’t attend offline classes, so I’m looking for online classes that are affiliated with Gandharva Mahavidyalaya and prepare students for the Gandharva exams (including registration, syllabus, exam process, etc.).
Any recommendations based on personal experience?

Hi guys. I've learnt Carnatic for a very long time. However I've noticed I've faced an issue very frequently and want to work on it. I often end up identifying the parent raga rather than the exact raga . For example , i often end up guessing songs in abheri or reethigowla as kharaharapriya. How do I work on this ?

Thought this was a great discussion, sharing it hear so more folks read it

Hi,I'm 25f looking for a preferably a female experienced teacher who can teach me Hindustani music. I have learnt before for some time...then discontinued. I'm looking for someone who can teach me online. Also I own a casio. So it would be helpful if they can teach me that along with it. Since my previous teacher used to teach me singing on Casio. So I would love that. Lmk. If u have any leads. Someone who's experienced...and bit older would prefer.

This question is to those who know music theory or have an interest/knowledge of ethnomusicology, or just those who are well-versed in the Samaveda.

I heard some chantings of it online, and despite what I've read that it is one of the earliest music in the world, I didn't find it remotely close to the notion of music. They are chants, but they neither feel close to the Indian Classical Music system, nor the Western one or so. This is in the stark contrast to the Gregorian Chants or so.

Is it actually the case, or did I just hear a wrong recording? And if it indeed is the case, how should I interpret them musically?