I don’t know what it is about the new year, but everyone seems busy building new habits and making positive-sum changes in their lives. I, too, started thinking about what to do in the new year musically and put together a plan I could follow through on. Next came the big question - which raags do I start with?

Take a few minutes to listen to any good musician talk about their practice routine, and many will tell you about practicing with intention. Calibrating yourself, understanding your weaknesses, and working on them. Unfortunately, no one tells you that you have to figure this part out yourself. Of course, my teacher(s) have taught me how to sing, practice, and get better, but this goes beyond that. This might also be a new-ish problem since music students for generations have been practicing at their teacher’s home, a.k.a. the gurukul.

Mimicking the greats

I’ve learned to sing mostly by imitating my teachers, peers, and other singers. In addition to the songs, I also aped the mannerisms, body movements, enunciation, vocal acrobatics, and stage presence of many of these musicians. Why not also ape their practice method, I thought?

I read Pt Bhimsen Joshi’s words in his bio about his early practice routine, and it turns out the great Sawai Gandharva taught Bhimsen and his peers the same three raags every day for many years before he expanded their vocabulary.

1. Raag Todi in the morning

2. Raag Multani in the afternoon

3. Raag Purvi at night.

These raags are not very different in construction, but they are giants when it comes to performance and improvisation. The practice of singing the same notes everyday, and expressing your musical intentions through it seems daunting, now imagine repeating the routine for years. I quote:

“Ragas are so pregnant with nuance that they can scarcely be described adequately through the written word. In practice, the lakshanas of ragas are burnt into a musician’s mind through taleem and, in the case of the ‘higher’ musician, through ceaseless reflection (manan-chintan). - R Parrikar

You’ve read about the 10,000 hours of time spent pursuing a hobby/skill. Bhimsenji and peers were fortunate to reflect deeply on the same raag, before they could form opinions and explore other facets of music. They probably practiced together with their fellow students, inspired and learned from each other.

The best we can do virtually is segway to listening to these raagas.

Raag Multani and Raag Purvi (or Raag Poorvi)

I’ve written about Todi briefly, so I’ll focus on the other two notable mentions. Multani derives most of its notes from the Todi family, but that’s where the similarity ends. It’s also very similar to Raag Basant, covered earlier in this publication.

Here’s the creator of Indore Gharana of music, Ustad Amir Khan’s Saab’s rendition of the Vilambit “Surajan matwaala, jin piya prem ras pyaala” and the drut bandish "Balama more tumse laagali preet"

To finish, I’d like to share Purvi by none other than Bhimsenji himself with the vilambit Hari mai ka sab sukha bina.

Purvi is really haunting, and the use of the two Madhyams provides enough sonic ear candy to keep the thread going between the Ga re Ga on the one side and the pull towards Komal Dha on the other side. Perfect for listening just before sunset.

The uttaranga portion of the raag reminded me of Puriya Dhanashree because of the interplay between Komal Re and Komal Dha. Both of those notes add gravitas to points of entry after Sa and Pa, always a tempting nugget for musicians to reach for.

Remember, India’s Republic Day is just around the corner. I’d like to reshare my post on the song of the Nation - Vande Mataram and its history. Please read and share with your family and friends.

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What can I say about this song? It’s practically an anthem among singers, and one that transcends many genres and musical boundaries. Lataji considered this one of her top 6 favorites and credits it with her success and appeal over the years. Sadhana was often recalled by referring to her as the actress of this song.

Lataji is supposed to have said, that she can live of the earnings of this one song alone. She’s also claimed to have received several offers to perform this song in concerts.

As for the composer, Madan Mohan cemented his legacy with Woh Kaun Thi and songs like this, and to this day, he remains my mother’s favorite composer. We’ll explore Madanji’s compositions and body of work over time here.

Raag Pahadi - Lag Jaa Gale with lyrics and notations

The song is in dadra, a 6-beat time signature, which fits the waltz perfectly. I’m certain Lataji Queen made Raag Pahadi for generations with the magic she wove in this song, and this was recorded just a few months after her lesser-known poisoning. What a reply to her haters! Taylor Swift wishes she could have the influence that Lataji had in her prime.

Anyway, here are the notations.

S S D P D P D P D P D D | P D P D P D M P D N D P | G R S
लग जा गले के फिर ये हसीं रात हो ना हो
Lag jaa gale ke phir ye haseen raat ho na ho

S R R G P G S | S S S N R S N D | P M
शायद फिर इस जनम में मुलाकात हो ना हो
Shayad phir is janam mein mulakat ho na ho

S S D P D D D
लग जा गले ए ए
Lag jaa gale ae ae

M S N S S N R S N N | M N N R S N S N D
हम को मिली है आज ये घड़ियाँ नसीब से
Hum ko mili hai aaj ye ghadiya naseeb se

M S N S M R S N N | M N N R S N S N D
जी भर के देख लीजिये हम को करीब से
Jee bhar ke dekh lijiye hum ko kareeb se

S D P D P D P D D | P D P D P D M P D N D P | G R S
फिर आपके नसीब में ये बात हो ना हो
Phir aapke naseeb mein ye baat ho na ho

M S N S S N R S N N | M N N R S N S N D
पास आइये कि हम नहीं आएंगे बार बार
Paas aaiye ke hum nahin aayenge baar baar

M S N S M R S N N | M N N R S N S N D
बाहें गले में डाल के हम रो ले ज़ार ज़ार
Baahein gale mein daal ke hum ro le zaar zaar

S D P D P D P D D | P D P D P D M P D N D P | G R S
आँखों से फिर ये प्यार की बरसात हो ना हो
Aankhon se phir ye pyaar ki barsaat ho na ho

Updates

Hope you’re all doing great! After spending 3 months in India following my father’s passing, I got back home and took some time before returning to music. It will be my father’s …

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An urban legend I had learned in school was that the women who cosplayed Durga in Kolkata’s famous Pujo would use Vermillion in place of blood to re-enact the Vadh (slaying). Thanks to statues, paintings, cable television, and, more recently, YouTube, Durga and her imagery have become iconic in the Indian psyche.

It’s not surprising that it also inspired one of the most iconic logos of the 20th century. “It was a fit for its anti-authoritarian bent”, said the designer of the logo. Sorry, you cannot unsee it now.

It is a time of festivities for Indians and Hindus worldwide. This is the highlight of the Bengali community calendar; Durga Pujo camps will already be in full swing, with a wide range of religious celebrations complemented by a cultural repertoire, featuring performances by local and visiting musicians and dancers. Gujarati community celebrates with Navratri and dancing.

There are several books' worth of material about Durga, penned over millennia, and many are poems which remain alive in people's imagination as different song forms - as bhajans, sadra, or folk (lokgeet) music. Here are some of my favorite songs about Durga, looking purely from the lens of a classical musician.

Some of my favorite Classical songs about Durga

Starting with my father’s favorite, Bhavani Jagat Janani by Bhimsenji in Raag Miya ki Todi. Perfect for those reading this during the day. You cannot forget Bhimsenji after listening to this performance. The composition, credited to Tansen, is electric, and the thaans are something else altogether. It’s as ferocious yet surprisingly dainty in ways resembling Ma Durga’s image. I’m going with the theme of students covering their teacher’s compositions, so hear this version by Anand Bhateji.

Bhavani Jagat Janani in Raag Miya Ki Todi

Next, the iconic Sangeet Marthaand Pt Jasrajji’s celebrated song, Maata Kaalika in Raag Adana. Here’s a recently uploaded version of Pt Sanjeev Abhyankar and students singing this tribute. Here’s the original version for those longing to hear Panditji’s voice. Perfect for people reading this in the evening.

There’s no world where Bhagyada Lakshmi Baramma would not be in my top 3. All credits to Bhimsenji for popularizing this version of the song. The Carnatic version is very catchy, so to create your own version that stands out is nothing short of legendary. In line with the students’ theme, here are Pt. Jayatheerth Mevundi and Pt. Pravin Godkindi covering this legendary composition. My teacher informs me via email that it’s set to Mishra Bibhas.

Thank you for reading and listening. Wish you a happy Navaratri or Dasara, and start counting down the days till Diwali.

Parting note: Sangeethaamsha’s Fall Fundraiser

Our non-profit, Sangeethaamsha, organized its Fall concert, featuring several fantastic musicians, at the India Community Center in Milpitas. It was a memorable evening featuring two power-packed performances by Smt. Anupama Bhagwatji on the Sitar and Smt. Shubhangi Sakhalkarji on vocals, accompanied by some masterful accompaniments. Listeners were treated to Raags like Sham Kalyan, Bhimpalas, Durga, and more.

What else can I listen to in fall?

Here’s what else you can listen to in Fall. During the mornings, listen to Bhairav. Late mornings are perfect to soak in the depths of Bhairav or Todi.

Hamsadhwani is great at all times, and this composition by Ustad Amir Khan about Ma Durga is highly appropriate for this time of the year. Some say Shree is what you should listen to, and others say Malkauns is perfect for cold wintery mornings.

Scroll to the bottom for a photo gallery

He grew up in a different era, one where the world was more auditory with fewer distractions. Through his friends and Bhajan culture in Mangalore and at home, he picked up and played cassettes of Pt Bhimsenji, Pt U Bhat, Narasimha Nayak, and the like every morning. More of a Hindustani buff than a Carnatic fan, he encouraged my music and got me singing early Saigal and Mukesh songs. I’ll definitely make a Dad’s favorites list at some point. Multiple lists might be needed.

He loved Bollywood songs from legends like Mohd Rafi & Lata Mangeshkar, such as "Kuhu Kuhu Bole Koyaliya" in 4 separate raags. He called it a Raaga Maalika (carnatic term popularized for mixed melodic mode songs), and was also familiar with the Ghantasala version of it, which Mohd Rafi later reinterpreted.

Here’s the original Telugu version of the same thing, which came out a year earlier than the Hindi blockbuster. Full credit to singer Jikki for doing a fab job inspiring Lataji.

Lyrics and translation

Raag Sohini section

कुहू कुहू बोले कोयलिया
Kuhū kuhū bole koyaliyā
The cuckoo sings kuhū kuhū

कुंज-कुंज में भंवरे डोले, गुन-गुन बोले
Kuñj-kuñj meṅ bhaṅvare ḍole, gun-gun bole
In every grove the bees sway, humming sweetly

सज सिंगार ऋतु आई बसंती
Saja siṅgāra ṛitu āyī basantī
The spring season has arrived in all its splendor

जैसे नार कोई हो रस्वंती
Jaise nāra koī ho rasvatī
Like a woman filled with divine essence

Sargam: Sā nī dha ma dha nī sā ga ma ga ma dha nī sā
Re sā nī dha nī sā re sā nī sā re sā nī
Dha nī nī dha nī nī dha nī ma dha dha ma dha dha ma dha
Sā re ga ma dha ni

डाली-डाली कलियों को तितलियाँ चूमें
Ḍālī-ḍālī kaliyoṅ ko titaliyāṅ chūmeṅ
On every branch, butterflies kiss the buds

फूल-फूल पंखड़ियाँ खोलें अमृत घोलें
Phūl-phūl paṅkhaṛiyāṅ kholeṅ amṛita gholeṅ
Every flower opens its petals, mixing nectar

Raag Bahaar section

काहे घटा में बिजुरी चमके
Kāhe ghaṭā meṅ bijurī chamke
Why does lightning flash in the clouds?

हो सकता है मेघराज ने बादरिया का श्याम-श्याम मुख चूम लिया हो
Ho sakatā hai megharāja ne bādariyā kā śyāma-śyāma mukha chūma liyā ho
Perhaps the cloud king has kissed the dark face of the little clouds

चोरी-चोरी मन पंछी उड़े नैना जुड़े
Chorī-chorī mana pañchī uṛe nainā juṛe
Secretly the heart's bird flies, and the eyes unite

Raag Jaunpuri section

चंद्रिका देख छाई पिया चंद्रिका देख छाई
Chandrikā dekha chāyī piyā chandrikā dekha chāyī
See how the moonlight spreads, beloved, see how the moonlight spreads

चंदा से मिलके मन ही मन में मुस्कायी
Chandā se milake mana hī mana meṅ muskāyī
Meeting with the moon, she smiled within her heart

छाई चंद्रिका देख छायी
Chāyī chandrikā dekha chāyī
See how the moonlight has spread

शरद सुहावन मधु मन भावन
Śarada suhāvana madhu mana bhāvana
Autumn is delightful, sweet and pleasing to the heart

विरही जनों का सुख सरसावन
Virahī janoṅ kā sukha sarasāvana
The joy of separated lovers flows like a stream

Raag Sohini again

छायी-छायी पूनम की घटा घूंघट हटा
Chāyī-chāyī pūnama kī ghaṭā ghūṅghaṭa haṭā
The full moon's clouds have spread, lift the veil

Raag Yaman Kalyan

सरस रात मन भाये प्रियतमा कमल-कमलनी मिले
Sarasa rāta mana bhāye priyatamā kamala-kamalanī mile
The delightful night pleases the heart, beloved, as lotus meets lotus

किरण हार दमके जल में चाँद चमके
Kiraṇa hāra damake jala meṅ chāṅda chamake
Rays of light sparkle like garlands, the moon shimmers in water

मन सानंद-आनंद डोले रे
Mana sānanda-ānanda ḍole re
The heart sways in bliss and joy

Sargam: नी रे ग म ध नी सां ध नी सां
सां नी सां गं रें गं सां रें नी सां ध नी म ध नी सां
नी रें नी रें ध नी ध नी म ध म ध ग म ग म
ग म ध नी सां ग म ध नी सां ध नी सां

The Hindi version has a cult following of its own, so that is the one I transcribed. The composition stands supreme, regardless of which language you hear the song in. 4 different raags, including a high-energy one like Sohani, which ties it all together. It deserves every bit of national fame and acclaim that it has gotten in the last few decades.

Don’t ever stop singing.

Everyone remembers my father as someone who always carried a smile on his face. He was only seconds away from breaking into a song or shloka and would sing it loud and proud, despite not being a trained singer.

Take a minute to recall how many people you have in your life who spontaneously burst out into song? He stood out for more reasons than that. Life was dull and meaningless to him without music. It was something that my mother and he shared. This meant there was always music in our home, and because we moved so much, home eventually meant where there was music. Strange how that works.

He taught me many things, but I have subconsciously picked up the trait of bursting into song. He passed that on to many people he spent time with or mentored. Reflecting on it, I think it’s the best gift one can give. I picked this song because he would always sing this in his signature style, and that’s how I will remember him.
Pursing his lips he’d go, .. ”kuhoo kuhooOO bolay koyyaliya …”

I was inspired to write this after watching a recent lecture about the book, The Golden Road, by William Dalrymple. In his book, he describes how early navigators utilized monsoon winds to travel to and from the subcontinent, and these trade routes have been active at least since the early Roman period. India and much of the civilized world exchanged Spices, Fabrics, cultural artifacts, languages, Gold, and much more for thousands of years. He argues that the “Golden Road” had a profound impact on Near Eastern civilizations and South East Asia, and predates the more popular “Silk Road.”

The monsoon supported India's population and enabled the development of multiple complex civilizations. Its variability created the patterns of abundance and scarcity that shaped the subcontinent's development over millennia.

The Legend of Miya Malhar

Malhar is synonymous with the monsoons and the rainy season. It is an ancient raag that several prominent musicians have sculpted over the centuries. Miya Malhar stands out in this pack as the most popular and is still performed widely by musicians, young and new.

Raag Miya Malhar is attributed to Miya Tansen, and contains aspects of both the Malhar and Kanhara (or Kaanada). Shudh Malhar, which forms the stencil for this Raag, is characterized by the notes - Ma (ma) Re Pa and Ma Pa Sa’ Dha Sa’, and borrows Kanhara’s Komal & Shuddh Nishad (flat 7th and 7th) in the form of ni Pa Ma Pa (Ma) ga (Ma) ga Ma Re Sa, and finally includes the iconic Ma Pa ni Dha Ni Sa’

Bole re Papihara (lyrics and meaning)

This song was initially composed by Naimat Khan (court musician to the Mughal King Mohd Shah Rangeela - c.1719 to c.1748), popularly known as Sadarang. However, it became a household name after singer Vani Jayaram sang a version of this song for the movie Guddi. It was adapted for film by the composer Vasant Desai. Here’s the original bandish as Sadarang composed it.

बोले रे पपिहरा पपिहरा
bole re papihara papihara
The cuckoo is singing, O cuckoo

अब घन गरजे
ab ghan garaje
Now the clouds are thundering

ऊं ऊं कर आयी बदरियां
oon oon kar aayi badariyan
The clouds have come making rumbling sounds

बरसन लागे सदरंगली
barasan laage sadarangali
The colorful (rain) has begun to pour

मोहम्मद शाह दामिनिसी कौंद चौंद
mohammad shah daminisi kaund chaund
Mohammad Shah, with lightning flashing around

मोरा जियरा लरजे
mora jiyara larje
My heart trembles/quivers

Favorite renditions of this Khayal

Like most of you, I first heard the Bollywood version of this song. It was a popular song to play during the rainy season, as it perfectly captures the mood of the season. The call of the cuckoo bird signals the arrival of rain, and words to describe lightning, thunder. Many Malhar compositions emulate this song structure and attempt to fit rain sounds into the Malhar mould. Folklore suggests that a musician can invoke the rains with this powerful rendition of this raag.

Pt Kumar Gandharva’s version of this song is my favorite. He delivers the khayal in his signature style with powerful thaan-filled sections.

Following this masterpiece is a rare recording of Pt. D.V. Paluskar singing the Sadarang khayal.

Finally, I’ll end with a more recent rendition by Vidushi Ashwini Bhide Deshpandeji.

I hope the combination of ongoing rains, combined with the many versions of Bole Re Papihara, captivates you. We’re truly blessed to have it all, the rains, the melody and musicians who keep the flame of Miya Malhar burning bright.

Opening for Indian Ocean in San Jose

Some of you have been following along on my personal music journey. Here’s a recent highlight that I’m honored to share with you: opening for Indian Ocean in the Bay Area.

Boomm (our band) opened for one of India’s oldest folk-rock acts on their 2025 US tour. The concert was a fundraiser for the local non-profit Maitri at the Smithwick Theatre in Los Altos, and since it was close to Mother's Day, we played a 25-minute set dedicated to Womanhood and Mothers.

I played crunchy electric guitars and created music with eight fellow musicians in front of a packed house of 950. Truly an unforgettable night. Here’s a shot of the audience from much later when Indian Ocean played.

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Back to Hamsadhwani. Here are some songs that have been playing on loop.

Ustad Amir Khan’s Hamsadhwani - Jai Maate Vilamba

Thanks to Youtuber D C for sharing the lyrics to the infamous tarana that Khan sahib

Vilambit (Slow Tempo Section)

Traditional devotional lyrics with translation

Original Text:

जय माते विलम्ब त्यजते
Jai Mate Vilamba Tyjate

मगन गुण दे
Magana Guna De

विघ्न दूर करता दे (या विद्या गुण तरस दे)
Vighana door karata de (or Vidya Guna Taras de)

जननी जग के
Janani Jaga ke

Translation:
Hail Mother, Remove all Obstacles
Bless us with an abundance of virtues
Remove all obstacles (or please grant us virtues & knowledge)
O Mother of the Universe

Drut (Fast Tempo Section)

Tarana Bols (Rhythmic Syllables):
Tanum Tanana Tadim Tadare Dani
Tadre Dani Tananana Yali Yalalala

poetic verses in the tarana:

Ittihad aist mia neh mano to
(Union is between me and you)

Mano to naist mia neh mano to
(For "me" and "you" were never truly two)

Next, a Ramrang twofer

Sakala Dukha Harana by Ramrang, sung by Smt Veena Sahasrabuddhe. I recently learned that Pt. Ramashreya Jha’s first composition was in Hamsadhwani. And what a composition that is. For now, enjoy this other madhyalaya bandish by him in Roopak.

For Ramrang’s first composition, here is my guru, Nachiket Yakkundi, singing two compositions

• Sukha Paalini, a Durga bandish by an unknown composer in Roopak Taal followed by

• Kal Na Parey in Drut Teental, which is Ramrang’s first composition and a high-energy feast in Hamsadhwani.

Lastly, for some Carnatic brilliance, listen to Dr. Jyotsna Srikanth playing Hamsadhwani with three different percussionists. If you know the compositions, please write in and let me know.

I hope you enjoyed this brief exploration of Hamsadhwani.

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It started as an average Tuesday night at home, but a YouTube video caught my attention. The venue — Fort Chamarjpet. It’s a concert in my hometown of Bengaluru in 1956, by Bade Ghulam Ali Khan sahib 😁

I dug further and realized that one of my inspirations to study history, Prof. R. Guha, has written about this exact concert. He stood at the same crossroads I did and wondered the same thing. What a different time and era.

And I quote.

Digging deeper on You Tube, I discovered, to my great delight, that this particular rendition of Hamsadhvani was from a concert that Bade Ghulam Ali Khan had given in my home town, Bangalore, in 1956. The concert was part of the Rama Navami festival, then (as now) an important part of the city’s musical calendar, and held always in the capacious grounds of the Fort High School in Chamarajpet.

The ‘Fort’ after which this High School is named was originally a mud structure, built by Kempegowda in the 16th century. It was later rebuilt in stone by Hyder Ali, and further embellished by Hyder‘s son Tipu in the 18th century. However, the school itself dates to the early 20th century, and its building, a very handsome one, is constructed in the British colonial style.

These further details enchanted me. For, in recent years, I have sometimes attended concerts at the Rama Navami festival myself. I was not born in 1956; but it is entirely likely that among those who hear Bade Ghulam sing there that year were people I was to later come to know, such the celebrated Bangalore rasikas Shivaram and Lalitha Ubhayaker. I like to think (or hope) that also in the audience that day was the legendary physicist C. V. Raman, who had a keen interest in classical music. Perhaps some uncles and aunts of mine who lived in Chamarajpet were in attendance too.

So here was Bade Ghulam Ali Khan, singing Hamsadhvani at the Ram Navami festival, held annually at the Fort High School in Bangalore. A Muslim musician in India, born in what is now Pakistan. An acclaimed ustad of a gharana of Hindustani music patronized by Sikh Maharajas. Singing a raga of the Carnatic style, in a festival named after the greatest of Hindu deities, held in the grounds of a school built in British times but named after a fort that dated to the 16th century and whose present form owed itself to both Hindu and Muslim rulers.

Full article - Originally published in the Telegraph

On to a new song

This recording of a teaching session is ceremoniously held at the end of every Bayraagis music session. Thanks to Madhurranjan for always leading and creating a culture of teaching around music. I was surprised to hear how musically trained the audience was during one of our Bayraagis sessions in San Jose. If you’re local to the Bay Area, I highly recommend attending one of our events. It’s an electric atmosphere.

First, here’s the bandish.

Bandish

Theme: romance

G R G R N R S P N S R G R S G
लेखी जा रे बदरा संदेसवा
lei jaa re badaraa sandesavaa

GG P P G P N S GR S N P G R S N P G R S
पिया मोरा बसता बिदेसव
piyaa moraa basataa bidesavaa

G P S N S' S' N R’ N P G R P G R
उन बिन मोहे कलना परत है
un bin mohe kalanaa parat hai

GG P G P P P G P N S GR S N P G R S N P G R S
कब सुध लाई है मीत पिहरवा
kab sudh laii hai meet piharavaa

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Hamsadhwani means cry/call of the swan. Not to be confused with the English “swan song,” this raag is what your performers begin a concert with. It is typically an invocation to the Lord.

Some of you know I’m a hobbyist naturalist, and I was puzzled to learn that swans are not endemic to India. There are migratory Flamingos, Mute Swans, and bar-headed geese, but many contend that these are recent phenomena. I tend to think that a rare migrant might have flown in 2000 years back, much to the amazement of the local population. Swans are impressive any day, black or not. On a bright sunny day, you need sunglasses to dull the brilliance of a Swan’s white feathers.

Our ancestors naturally saw it as a messenger of something divine and pure. My last observation from the field is that the songs of real swans are about as pleasing as a small circular saw going through a lamppost. They do make a pretty sight, though.

Raag Hamsadhwani - quick introduction

Hamsadhwani is a pentatonic raag comprising all major notes. It is borrowed from the Carnatic tradition and formalized initially by Ramaswami Dikshitar.

Sa Re Ga Pa Ni Sa’

Sa’ Ni Pa Ga Re Sa

In Western music theory, if C were our tonic, this would be the notes C D E G B C, roughly the Lydian pentatonic scale. Most of the songs in this raag follow Carnatic’s devotional themes. Hindustani music also includes Shringar ras, or romantic songs.

The first song I learned from my first teacher was in this Raag, a song about Lord Ganesha. Here’s a small post about the song. It includes a recording of the song as I remember it, 35 years after I learned it.

For the classical fare, I’m compelled to start with the iconic - Vaataapi Ganapatim Bhaje. I doubt any music fans in India have not heard this tune or song. But first,

There are so many great songs in the Hindustani arena. Here are a few of my favorites. First, Kishori Amonkarji’s excellent full-course offering of a vilambit, drut, and Tarana.

Ustad Rashid Khan singing Aman Ali Khan’s famous Laagi Lagan Sakhi

Pt Ajoy Chakraborty sings his Madhyalaya bandhish and ends with his take on the iconic Vataapi.

Lots more to share here but for another post. In my next post, I’ll share a romantic bandish taught by my friend Madhurranjan Mohan on the occasion of Valentine’s day. Until then, see ya and thank you for reading.

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Let’s talk Kaushik Dhwani or Kaushik Dhaani.

Raga Bhinna Shadaj is mentioned in ancient treatises, such as Matanga‘s Brhaddesi (9th C) and Sarangdeva‘s Sangeeta Ratnakara (13th C). Deciphering its ancient descriptions and aligning them with modern practice is an intricate task.
- Parrikarji on Bhinna-Shadaj (this scholarly article I highly recommend reading)

Aaroh - Avroh
SGMDNS
SNDMGS

Ma - vadi

Sa - Samvadi

Based on the scale, a audav-jati (5-note) one, and Gandhar, Dhaivat and Nishad are equally important and serve as Nyaas staans (places you can rest).

This raag is also referred by many names, I assume owing to it’s origins being ancient, and every local sub-culture interpreting it their own way. Raag Kaushik Dhwani is also called.

• Raag Hindoli

• Raag Audav Bilawal

• Raag Bhookosh

• Raag Bhavkosh

• Raag Bhavkauns

Let’s look at a few unmissable songs. But before that,

Songs & performances to listen to

Ustad Salamat Ali Khan and Ustad Nazakat Ali Khan singing a flawless madhyalaya - Lagana mori laagi

Ustad Bade Ghulam Ali Khan Sahab’s eternal classic Thumri - Yaad piya ki aaye

Finally, we end with this piece from Parrikarji’s archive of Ganasaraswati Kishori Amonkarji’s rendetition - ud ja re kaaga, le gayo re sandesva

If you have any favorites, please write in. Thanks for reading and I hope you’re doing well. Please help spread the word about this publication, by tapping share .

Here’s some footage from a recent baithak featuring Pt Parameshwar Hegdeji who held the audience’s breath for 2 hours with his spirited performance of Megh, Gaud Malhar and Bhairavi to name a few Raags.

For premium subscribers, I’ll try and post the full audio from the concert in the forthcoming weeks.

Bonus Content

Full audio for Naatak’s Fall musical from 2024, Vrindaavan, is out now. Please check out the recording here.

In terms of new albums to check out, please hear out Joel Veena’s new album Cardinal. I’m always fascinated by folks playing Indian classical on non-traditional instruments, and Joel’s guitar seems tailor made for the genre. Check out this amazing Bageshree from the album featuring Tabla from Mir Naqibul Islam.

Check out Gaayatri Kaundinya’s new single and albums. I absolutely love her Darbari Kanhada with a Sarangi saath - Mere mana leeno

There’s lots more music to come your way in 2025. Thank you for indulging me so far. I’m exploring new formats this year for the publication. I hope with your support we will grow this community meaningfully and help the larger community of classical music practitioners and performers.

Dedicated to Lal Shahbaz Qalandar, a 13th-century Sufi saint, the song transcends religious boundaries, bringing together Hindus and Muslims in a shared spiritual experience. The song originated in the 13th or 14th century and was believed to have been written by Amir Khusrau and later modified by Baba Bulleh Shah. Its roots lie in Sindh, Pakistan, where Shahbaz Qalandar settled and preached love and tolerance between religious communities.

Zulfikar Ali Bhutto used it in 1973 to predict political turmoil ahead of him, and the song and phrase boomeranged into the public imagination. In its simplest form, it’s rendered as a Qawwali - a popular traditional Sindhi Sufi Islamic folk song across the northern Indian subcontinent, especially Punjab and Sindh, as well as Iran.

Both religions claimed Lal Shahbaz Qalandar, and he was referred to as both "Hazrat" (to Muslims) and "Jhulelaal" (to Hindus).

Lyrics and meaning

*Note, that Jhule - could signify swinging (as in sitting on a swing), or swaying.

हो लाल मेरी पत रखियो बला झूले लालण
Ho lal meri pat rakhio bala jhule lalan
Oh Lal, keep my honor safe, O swaying Lalan

सिंदड़ी दा सेवण दा
Sinddi da sevan da
From Sindh, the beloved one

सखी शाह बाज़ कलन्दर
Sakhi Shah Baz Kalander
O friend, the majestic saint Kalander

दमादम मस्त कलन्दर
Damadam mast kalander
Forever intoxicated, the ecstatic Kalander

अली दम दम दे अन्दर
Ali dam dam de andar
Ali is within every breath

हो लाल मेरी -हो लाल मेरी
Ho lal meri - ho lal meri
Oh Lal, my Lal

— VERSE 1 —

चार चराग़ तेरे बरण हमेशा
Char chiragh tere baran hamesha
Four lamps forever illuminate your path

पंजवा मैं बारण आई बला झूले लालण
Panjva mein baran aai bala jhule lalan
The fifth has come to bless, O swaying Lalan

— VERSE 2 —

हिंद सिंद पीरा तेरी नौबत बाजे
Hind Sind pira teri naubat baje
In India and Sindh, your glory resounds

नाल बजे घड़ियाल बला झूले लालण
Naal baje ghadial bala jhule lalan
Along with the drums, O swaying Lalan

— VERSE 3 —

हर दम पीरा तेरी ख़ैर होवे
Har dam pira teri khair hove
May there always be well-being for you, O beloved

नाम-ए-अली बेड़ा पार लगा झूले लालण
Nam-e-Ali beda paar laga jhule lalan
With the name of Ali, the pain is relieved, O swaying Lalan

Lyrics credit: https://www.smule.com/song/runa-laila-ji-dama-dam-mast-kalandar-hindi-lyrics-karaoke-lyrics/16666923_16666923/arrangement

Popular renditions of this song

Runa Laila’s version is the one that I listened to first as a child. It was energetic and the crescendo towards the end always captivated me before I figured out it was the standard recipe for all Qawwalis.

Another one I keep going back to is this version by Quratulain Balouch ft. Akbar Ali & Arieb Azhar.

Last, I’ll share this recent gem from the great Nusrat Sahab in Birmingham. You’ll see some Sardars start dancing to the music midway, and it’s a great sight. Shahbaz Qalandar continues to build bridges across religions.

Thank you for reading, and speak to you soon!

"Kun" (کن) means "Be"

"Fa" (ف) is a conjunction meaning "then"

"Yakun" (یکون) means "it becomes/is"

Combined, it literally translates to "Be, and it becomes". Describing the power of divine manifestation and the immediacy of providence. Poetically, it can be interpreted as the power of God’s love to change a person’s heart, as the Director does in the movie version of the song.

The composer Rahman is on record saying it is one of the most powerful words from scripture, and he was scared to attempt to put a sound to it. Being a literal description of how the Creator did their creation, it’s a feeling best left undescribed. With enough years you begin to observe people manifesting everything from nothing, and you realize this might be how God willed life and the universe to be.

The song draws you in. It was initially intended to be in Bhairavi, but the music director could not stick to it and swayed onto foreign notes. I’m not complaining, though.

Here’s a longer deep dive into the philosophy and some cinema history thrown in as a bonus. Credits to - Things you didn’t know about Kun Faaya Kun (Rockstar)

The influence of Sufism on India’s socio-cultural fabric was multifaceted. Sufi scholars' ideas, such as vernacularism, social reform and integration, and inclusivity, are still alive in music, poetry, and literature.

Finally, after all the rambling, it is time to listen to it again. Here’s an unplugged jam involving ARR and Mohit Chauhan singing this song. Enjoy!

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The instrument is almost a perfect fit for Classical music. You can do long jumps, minus any frets emulating Meends, glides.

For younger readers familiar with modern music production, think of it as similar to the pitch bend wheels on digital synthesizers—a technique that A.R. Rahman has masterfully incorporated into Indian pop music. Just as Rahman's precise control of pitch bending serves the intricacies of Indian ragas, a skilled Sarod performance flows naturally within the classical framework. While technically it’s only a guitar, the sounds of the Sarod are transcendent.

Part 2: Born in the fire of primordial India

The instrument was invented during a tense moment in India’s music history. After the 1857 Sepoy mutiny, everything changed about music and its patronage. I remember reading about the 350+ princely states, but only a few of those states were inclined to support music and the arts. Many of the Gharanas we remember today are seats of patronage that survived the socio-cultural impacts of late 19th—and early 20th-century India, e.g., Gwalior, Jaipur, and Agra—all seats of music with Patron kings. 

All credits to the original Filmmaker - Markus Schlaffke, and their YouTube channel, the Lucknow-Shahjahanpur Gharana Archive on Youtube.

Watch Part 2 here ⬇️

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Sa ga Ma ga Sa -

dha ni Sa ni dha (Ma)

Sa ni ga Sa

What stood out to me in Malkauns was how every note could be a nyaas staan, and after hearing the greats, it’s clear they thought the same way. It’s a neat raag when rendered by the able, ones who can truly grasp the beauty of 5 note intervals. It’s also one that works great across ages. As a kid, I used to a sing a few impressive Malkauns songs that I’m still remembered for in my family.

There’s so much more to say about this raag, but I’ll pause to share my top favorite pop-era and Bollywood recommendations.

In popular culture & Bollywood

Adha hai Chandra ma raat aadhi - which uses Hawaiian slide guitar. It was probably used as a lullaby by Ma, cause I saw her reflexively use it with other kids who she would try sing to sleep.

Maamavatu Sri Saraswati in Hidolam is a popular song in the south

Madhukara Vritti Yennadu by Pt Vidyabhushan

Pt Rajan and Sajan Mishraji belting out their Aaye Sur Ke Panchee aaye.

Based on this Raag, there’s also the uber-popular Marathi song - Kaanada Raja Pandharicha.

And finally, Rafi’s masterpiece in Malkauns, Man Tarpat Hari Darshan ko Aaj from the movie Baiju Bawra.

I’ll end with Padma Dr. Rajkumar from his historical Bhakta Kanakadasa singing outside the temple, where I spent many summers running around.

Follow for more Malkauns focused on Classical soon. If you liked the painting, it comes from a common theme of paintings originating in the 15th century called the

Raga-malika series, where painters visually depicted a few raags. There are a few other ones that I’ve written about earlier too.

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I’ll continue to write about attending this event over five days, one masterful act after another. I was lucky to be 10 feet away from some stellar musicians, including two recent Grammy Winners, during rehearsals and experience all their anxieties and concerns about the quality of the performance. It was a pleasure to witness them in their element and see their endless curiosity about music.

Jasrangi is about balance,

..and cheating the ear if you’re one of the singers. I didn’t think you could be so confident while not straying from the Shadaj or the Tonic. I discovered the fantastic performers - Sai Panchal and Vilina Patra singing Puriya Dhanashree & Shuddh Dhaivat ki Lalit. It's the best thing I’ve seen Live this year.

Balance is at the center of survival. It’s inherent in our surroundings, in our senses. Almost everything in life feels like it is calculated down to the last detail.

Dance is a physical manifestation of this balance, often joyous. Here’s a Chola Era bronze statue of Nataraja, Shiva as a dancing warrior in the Tandav pose, carved to demonstrate to us 1000+ years later that, yes, we understood all this back then, too.

Lyrics of Baju Band Khul Khul Jaye with the English transliteration & the associated meaning.

बाजूबंद खुल खुल जाए
Baajuband khul khul jaae
(The armlet keeps coming undone/opening again and again)

सांवरिया कैसा जादू डारा रे
Saanwariya kaisa jaadu Daara re
(O dark-complexioned beloved, what magic have you cast?)

जादू की पुड़ियां भर भर मारे
Jaadu ki puDiyaan Bhar Bhar maare
(You've thrown countless packets/portions of magic spells)

क्या करें बैद बेचारे
Kya karein baid bechaare
(What can the poor physician/healer do?)

This Thumri describes Radha’s emotions towards Krishna, and her longing or pining for him. Virahotkaṇṭhitā (विरहोत्कण्ठिता) refers to “one distressed by separation” and represents a type of mistress (nāyikā), according to the Nāṭyaśāstra. She is expressing this emotion, and is described to be dazed and impatient, signified by her armlet that keeps falling off. Another interpretation is the armlet keeps opening perhaps because she has lost weight from pining too long for her beloved.

It goes on to describe Radha imploring Saanwariya (a moniker for Krishna) about the magic spell that he has cast on her, which makes her so helpless that even the medic (baid) is unable to help.

Thumris have captured the imagination of several musicians and Cognoscenti across the sub-continent. Wajid Ali Shah, the last Mughal ruler of India was fascinated by this genre. He penned several Thumri’s himself, usually composing the couplets in the morning and having artists perform them in the evening. He was fascinated with Indian arts, particularly dance and music and regularly held his own Raas-Leela ceremonies. Here’s an illustration from his autobiographical Ishqnaama.

Popular renditions of Baju Band Khul Jaaye

The most popular version of this song is set to Raag Bhairavi.Many prominent musicians have performed their own interpretations of this song. There are a few pioneers though. Those who would inspire future generations to mimic their style of rendering this song. Starting with the two stalwarts of Hindustani Classical music

Ustad Fayyaz Khan Sahib & Ustad Bade Ghulam Ali Khan. But first, please sign up to this publication for updates like this!

There are several other impressive renditions,

• Ustad Fareed Ayaz and Ustad Abu Muhamad

• Lata Mangeshkarji’s version

• The inimitable Mehdi Hasan

• Pt Bhimsen Joshi in a rare live performance of Bhairavi
  
  Lastly, and this one by Sniti Mishra caught my attention recently.

Bonus: Radha & women empowerment

It’s always puzzled me why Radha has been revered throughout history in India. I realized recently that her brand of devotion and love challenged the patriarchal structure of medieval Indian society.

While most women in India were(are) expected to be demure, Radha's story offered a contrasting model of feminine empowerment. She openly expressed her physical and spiritual desires, maintained her independence (remaining unmarried to Krishna), and practiced a passionate and unapologetic form of devotion.

Known as "Swadheen Patika Nayika" (the self-possessed heroine), Radha's unconventional devotion to Krishna transcended the traditional boundaries of social propriety. This made her narrative particularly significant in the Bhakti movement, where her relationship with Krishna became a metaphor for the soul's unrestricted devotion to the divine.

Her legacy continues to resonate as an early example of feminine agency and emotional authenticity in Indian cultural tradition.

References

• https://www.wisdomlib.org/definition/virahotkanthita

• https://www.rct.uk/collection/1005035/ishqnamahnbspshqnmh-the-book-of-love

• https://lucknowobserver.com/thumri-makes-radha-a-complete-nayika/

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More Bhairavi …

What is a Thaat?

A thaat is a parent scale system in Hindustani classical music. Pt. Vishnu Narayan Bhatkhande created it in the early 20th century to organize and classify ragas. It simplified the 72 MelaKarta Raagams from Carnatic music. Musicians familiar with both systems often note that the Hindustani Thaat system is an oversimplification.

The Thaat system works like a basic grammar or model. It tried to categorize the Raags that existed in the early 20th century but has many exceptions. Multiple Hindustani Raags can belong to a single Thaat. Sometimes, a Thaat is also a Raag (like Bhairav). For example, the Bhairav Thaat includes Raags like Basant Mukhari, Bhairav Bahar, Bhairav, Bibhas, Ramkali, Gunkali, and Jogiya.

The main weakness of the Thaat system is that it doesn't capture the Raag-anga (musical motif) that makes each raag unique. To understand each Raag's musicality, you must study its compositions and how different musicians have interpreted them over time.

For Western-trained musicians accompanying Indian musicians:

• Ask which Raag they're performing

• Find its corresponding Thaat

• Use this table to find a matching Western Mode

• Note that you may need to skip certain notes while ascending or descending to match the Raag's signature pattern

Enjoy exploring these musical connections!

Hindustani musicians, Shuddha swaras are denoted with capital letters, and Komal Swaras (sharps & flats) denoted with small letters. Only exception is Ma (Teevra madhyam is ma).

Thank you for supporting this publication and its efforts. Happy Diwali to all those who are celebrating it.

Thaats as they correspond to Modes (For reference search)

Bilawal Thaat = lonian Mode

Kalyan Thaat = Lydian Mode

Khamaj Thaat = Mixolydian Mode

Bhairav Thaat = Double Harmonic Mode

Kafi Thaat = Dorian Mode

Asavari Thaat = Aeolian Mode

Bhairavi Thaat = Phrygian Mode

Poorvi Thaat = Double Harmonic #4 Mode

Marwa Thaat = Lydian b2 / Hungarian Major Mode

Todi Thaat = Phrygian #4 #7 / Hungarian Minor

Chaap Tilak is considered his most famous work (Kalam). Its poetic style is unique and is a product of the amalgamation of Persian, Turkish, and Indian cultures of the era. The poem is written in Braj / Hindvi (Vraj - originating in Mathura, the birthplace of Krishna) which is unusual since he mostly wrote in Persian. It is said that he was inspired to write this song after he noticed a bunch of local village women singing to themselves, in the local tongue, while they were going about their day and drawing water from the wells.

Amir Khusro’s Influence on music and culture

Khusrau's impact on music was equally significant. He is often referred to as the "father of qawwali," a form of Sufi devotional music that remains popular in the Indian subcontinent to this day. Qawwali was a new form of expression, one where you could sing and express your devotion towards your God - in the case of this Song, Amir Khusro’s spiritual guide Nizamuddin Auliya. 13th and 14th Century India was fertile ground for new forms of worship, and you see many popular saints from the “Bhakti tradition” also emerge in this era, also “singing” to the Lord.

”He embodied the syncretic culture that was developing in medieval India.”

He is also believed to have invented the sitar, a stringed instrument that became central to Indian classical music, and to have developed several musical styles including tarana. The rudra veena had existed in India for a long time, but the Sitar was a 3-stringed variant that rose to popularity in the Hindustani tradition of music.

In the realm of language, Khusrau played a crucial role in the development of Hindavi - a sort of proto Hindi, which later evolved into Hindi and Urdu. His use of this language in his poetry helped elevate its status and laid the groundwork for its future as a literary language.

He also wrote several historical works which sheds light on the life and times of 13th Century Delhi Sultanate. Khusrau's Khamsa (meaning "quintet" or "five") is a collection of five narrative poems (masnavis) written in Persian. It was completed in 1298 and was inspired by the earlier work of the Persian poet Nizami Ganjavi. He mimiced the writing style of his hero, who brought a colloquial and realistic style to Persian epics. “Aina-i-Sikandari” is one of the 5 poems which includes 1400 verses on Alexander the Great and his visit to India.

Meaning of the song - Chaap Tilak

छाप तिलक सब छीनी रे मोसे नैना मिलाइके
Chhaap tilak sab chheeni re mose naina milaike
You've taken away all my adornments just by a glance

बात अगम कह दीनी रे मोसे नैना मिलाइके
Baat agam kah deeni re mose naina milaike
You've spoken the ineffable just by a glance

प्रेम भटी का मधवा पिलाइके
Prem bhati ka madhva pilaike
By making me drink the wine of love's distillery

मतवाली कर लीनी रे मोसे नैना मिलाइके
Matwaali kar leeni re mose naina milaike
You've intoxicated me just by a glance

गोरी गोरी बईयाँ, हरी हरी चूड़ियाँ
Gori gori baiyaan, hari hari choodiyaan
Fair, fair arms, green, green bangles

बईयाँ पकड़ हर लीनी रे मोसे नैना मिलाइके
Baiyaan pakar har leeni re mose naina milaike
You've stolen my heart by grasping my arms, just by a glance

बल बल जाऊं मैं तोरे रंग रजवा
Bal bal jaaun main tore rang rajwa
I am devoted to your colored dust

अपनी सी रंग दीनी रे मोसे नैना मिलाइके
Apni si rang deeni re mose naina milaike
You've colored me in your hue just by a glance

ख़ुसरो निजाम के बल बल जाए
Khusro Nijam ke bal bal jaaye
Khusro sacrifices himself over Nijam (his spiritual guide)

मोहे सुहागन कीनी रे मोसे नैना मिलाइके
Mohe suhaagan keeni re mose naina milaike
You've made me a wedded bride just by a glance

बात अजब कह दीनी रे मोसे नैना मिलाइके
Baat ajab kah deeni re mose naina milaike
You've spoken something wonderful just by a glance

The verses convey the idea that a mere glance from the beloved (representing God) can strip away all worldly identities and attachments, leading to a state of spiritual intoxication. This alluding to the divine while referencing a beloved is a common theme in Sufi literature. The rich symbolism of Tilak, and Choodi (sacred vermillion and bangles), is a reference to the cultural synthesis and mixing of traditions prevalent in those times.

Certain populist figures assert that this song serves as a vehicle for 'conversion,' suggesting it depicts a Hindu woman abandoning her cultural symbols like Tilak and Bangles in pursuit of spiritual enlightenment. However, this interpretation is as misguided as the motives behind it and the animosity it fosters.

Here’s one of my favorite renditions of this song by Abida Parveen and Ustad Rahat Fateh Ali Khan.

Here are some other versions of this that I like. Most are set to Raag Yaman or Yaman Kalyan.

• Namita Choudhary’s modern unplugged interpretation

• The inimitable Ustad Nursat Fateh Ali Khan’s version of Chaap Tilak

• Lata Mangeshkar and Asha Bhosle’s version from the movie Main Tulsi Tere Aanganki (1978)

Lastly, I had the privilege of singing this earlier this year at a local musical-theatre production of Akbar Birbal. When the director and I were brainstorming sufi songs to end the show with, we unanimously picked this song.

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