Swaravanshi - Music for the heart from the soul

This is a beautiful bhajan in reverence to Goddess Bhavani - the giver of Life. This was originally sung by Smt. Ashwini Bhide. In wake of all the devastating news we have heard recently, it was my honor to learn this song from my Guru and perform it for a Bhajan Sandhya organized by her.  I hope Mata Bhavani gives us all the strength and courage to face all the vicissitudes in life. So many of us have lost our loved ones, or are facing some major difficulties. This is a humble prayer from me to the Lord to give us strength and relentless energy to face Life. God also save those who have ill thoughts and bad notions of people. Let’s please think positive… Love Begets Love – our actions are a mirror of what we think. Bhajan : Tero Chakar Kare Pukar Scale: G# Taal : Dadra (on iTablaPro) Lyrics: Tero chaakar kare pukaar bhavani beig padhaaro na Aisi bhool bhayi kya karni sankat taaro na bigad gayi kachhu rahi na baaki beg sudharo na Bhavani beig padhhaaro na Aiso sa...

I am presenting an Abhang (Marathi devotional) from Marathi drama Sant Kanhopatra (1931). The abhang was written in 14th century by saint-poet Sant Chokhamela, a Mahar devotee of Vithoba. The era was when the “Mahars” (an outcaste, based on the caste system) used to be forcibly kept outside city limits and only allowed to perform tasks deemed too lowly for uppercastes. The poet Chokhamela was a Dalit Mahar devotee of Vitthala living in Pandharpur, and they used to refer to their social superiors as “Johar”… In this Abhang, Sant Chokhamela pays obeisance, in all humility, to Vitthala, (referring to him as his Johar parent) offering himself as a servant of his servants and pleads that he be given any left overs of food other bhaktas have consumed… Forced to work as an indentured servant to build a wall, Chokhamela was buried under the rubble as the wall collapsed. Sant Namdev picked up his remains and buried him outside the Vitthala temple in Pandharpur where he used to worship. H...

Raag Bageshree/Bageshwari is a very beautiful raag & the main beauty of this raag lies in swars म ध & नि॒. In this raag swar प is eliminated generally, but used stylistically to anchor the beauty of its Ma and Dha. Raag Details: Bageshri is an old and ‘big’ raga, the warmth in its tones wraps the listener in enchantment. It finds mention in the older treatises as “Vageeshwari.” Thaat – Kafi Jaati – Shadav- Sampoorna Vadi Swar – M i.e म (मध्यम ) Samvadi Swar- S i.e सा (षडज) Time – Midnight Aaroh – सा नि़॒ ध नि़॒ सा, म ग॒ म, ध नि॒ सां । Avroh – सां नि॒ ध , म ग॒, (to detail… म प ध ग॒) म ग॒ रे सा । pakad – सा नि़॒ ध, नि़॒ सा, म ध नि़॒ ध म ग॒ रे सा (़ this indicates that it is a lower octave (मंद्र सप्तक) Andolan on Komal Ga (g) and nyaas on Shuddha Ma (M) Komal Swars : ग॒,नि॒ (g,n) Sharing a beginning alaap to start with.. Raag Bageshree - A beginning Alaap by swaravanshi On the lighter side, one of the songs I have always enjoyed is "Radha Na Bo...

Taare Zameen Par is one of my most favorite movies to date. This is one movie that gives such a distinct message for both parents and teachers on how to treat their children and students. It's a film about parents and children, about the pressures we put on our kids, about how we push them into becoming assembly-line products instead of encouraging them to find their own unique strengths. It's also about finding our heroes. The awareness of respect, inclusion and empathy to be fostered towards children, and specifically children with any disabilities is gradually permeating amongst the educated community. However, both parents and teachers, at times are poor role models themselves for children as they expect so much from kids, and resort to labeling or identifying or classifying children with disorders in order to deal with them. This movie gives us a perspective of how we lose sight of the big picture and makes one introspect as we identify ourselves with each of its chara...

Most of you must have heard or be aware of this plaintive contemplative deep raag called Todi also called Miyan ki Todi since it was originally composed by Mian Tansen, and was a raag that he was particularly fond of. Todi (Hindi: तोडी) is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten modes of Hindustani classical music. Ragas from the Todi ‘raganga’ include Todi (a.k.a. Miya ki Todi) itself, Bilaskhani Todi, Bahaduri Todi, and Gurjari Todi. Gurjari Todi is a commonly used derivative raag of Todi Thaat but unlike Miya ki Todi, it omits Pa both in Aaroh and Avaroh. Other Todi Thaat raags are Multani, Lilavati and Madhuvanti. Structure : Sampoorna/Sampoorna Aaroh: S r g M’ P d N S’ Avarah: S’ N d P M’ g r S Vadi – Komal Dha i.e d Samvadi – Komal Ga i.e g r, g, d are Komal/Flat notes. M’ is Tivra Ma Samay/Time : Todi is performed in the late morning. Pakad/Signature: The distinctive phrase is r/g-\r\S, where r may be subtly oscillated....