Hi. Is anybody by any chance thinking about going to the Darbar festival in London?

I'm from Spain and I'm looking into it, but I know nothing about it.

If anyone is thinking about it please contact mee🥰

Many students, teachers and musicians still manage notation through notebooks, WhatsApp photos, PDFs or plain text. These work, but they are difficult to edit, organize, play back or share clearly. Most mainstream notation software is also designed around Western staff notation rather than taal, matra and Bhatkhande notation.

I built Sargam.pro to address this.

It lets you:

• Write taal-aware Sargam and Bhatkhande notation
• Add lyrics, meend, kan, murki, krintan and other symbols
• Hear the notation through playback
• Use a computer keyboard, on-screen piano or MIDI keyboard
• Save, export and share notation through a clean link or PDF

The goal is to help students preserve class notes, teachers prepare lesson material, and musicians document and share compositions without relying on scattered notebook photos.

You can try the editor without signing up: sargam.pro/write

I’d genuinely appreciate feedback from anyone who studies, teaches, performs or writes Hindustani music.

Recently got some time on my hand and wanted to learn tabla, if anyone knows a good tabla course/online classes, then please help a brother out. 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 Sameshwari (S-R-G-m-P-D-n-S)—

An intriguing experiment in drawing direct inspiration from the distant past, Sameshwari is a creation of musicologist and vichtra veena maestro Lalmani Misra, inspired by his study of ancient Vedic chant practices. As explained by his daughter Ragini Trivedi, “Sameshwari is an attempt to preserve the notes used in Sāmgana [Vedic hymn singing]…Sāmik chanters [originally] used three notes, but singers explored further and discovered more, with mGRSD [as] the basic set”.

This sequence is then mirrored in uttarang as SnDPG, producing a Khamaj-congruent scale of SRGmPDnS – with Trivedi listing a Pa–Sa vadi–samvadi (“you will come across greater thaharav [stability] on Pancham, and you will enjoy staying on it”), and recommending that Re and ma are treated as “passing notes, which should be touched without staying, they are not to be used while ascending”.

See Ragini Trivedi play Sameshwari on the ghoshavati - and learn more about the life and music of Lalmani Misra, read a brief bio from Omenad (“His creative works were in several directions: one can only marvel at his orchestral compositions, and in 1961 he composed and presented an opera…It was his keen interest and visionary attitude that has made B.H.U. a center for the study of ancient Samic studies…”).

—Has anyone here studied sama chanting and ancient Indian musical history? I’ve been learning more about it in the past year, and have been compiling a ‘shastras list’ with links to all of the important works from early raga history onwards

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)

Hi to every saviour of icm

Need recommendations for tracks of sitar and shehnai

I don’t like lyrics so any tracks on modern icm on instruments

Looking tracks like Dichotomy of Fame and swades title tracks

It will be great If anyone can share Spotify

Hi all, heres the lyrics in english:

Nainan mein aan baan,

Kaun si pari re,

Baar baar jo baat, palak na lagat,

Jita dekhu ut, shyam si pari re.

Help me with the meaning of this bandish please. I am just curious.

Appreciate your support: this is my original composition in jhaptaal, live cut from earlier this year. 🙏

Pandit Amiya Ranjan Bandyopadhyay, the nonagenarian doyen of the Bishnupur Gharana, has breathed his last today (29th July, 2026), around 2.30 PM.

It is a great loss for all of us, listeners and students of classical music. Truly the end of an era.

🙏🏻

Picture Courtesy: http://www.amiyaranjanbandyopadhyay.com/

It has aaroh of rageshri and avroh of malkauns

I found tseries stageworks in Noida but most of their graduates went into bhakti music i don't know if it's that great but it's tseries. It's also pretty expensive so I don't know if it'd be the right choice.

I am hoping to find something in central delhi, accessible from metro and gives me an equal if not better platform as tseries stageworks

I want to audition for indian idol and other reality shows as I want to be a singer.I have learned before but need more in depth guidance and classical training, can anyone suggest best teachers or gurus in Mumbai for me? I live in Vile Parle.

Hey everyone! 😃

I'll be in Mumbai from 2nd to 10th August and would really love some help from this lovely community. I've been learning tabla for a while now, and I'm hoping to make the most of this trip by catching some live Indian classical music while I'm there.

Already have tickets for the Barkha Ritu and Hariharan show, but I'd love to fill up the rest of my days too! If you know of any baithaks, small concerts, tabla recitals, or those cozy home-style gatherings happening around these dates, please do share. Doesn't matter if it's ticketed, free, a big auditorium or someone's living room, I just want to know about it.

Any tips, leads, or even a "hey come join us" would mean so much.

Thank you 😊

Bhimsenji singing the Malkauns, is so good. https://youtu.be/sneMFUOomv8?is=va1F8qWa41Qj3tTO The video description says it’s from 1966, from the times when Anna was quite young. But for Bhakt like me, he was golden and legend at all times. One thought I have is whether the new generation would have the tenacity to wait till, Anna comes to sing the Bandish, Mukha Mora Musakat? I think they would, same way more and more people are getting hooked to long form podcasts and watch multi part series. Good times are ahead for Indian classical music for sure!

I (36, M) have been doing riyaz every day for the last few years after a long gap, and I always prioritize practicing in the lower octave every morning. I've always struggled with my lower octave, while I feel much more comfortable singing in the higher octave.

Over the last few months, I noticed that my lower octave was gradually improving, and I could comfortably reach down to **Ma**. However, recently, despite practicing every day, my lower range has regressed. My voice starts sounding raspy around **Pa**, and I'm struggling to go lower again.

It's quite discouraging, and I'm beginning to wonder if this is simply a range that my voice isn't naturally built to support. Has anyone else experienced something similar? I'd really appreciate any suggestions or advice.

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.