Swaravanshi - Music for the heart from the soul

Mother's Day felt complete for me when I had the joy of sharing music by listening to my own mother who sings absolutely beautifully. I was telling her and my daughter about this song "Uyirum Neeye", and she also started picking up the tune and singing. Here is my own style take of this beautiful Tamil song composed by A.R. Rahman from the 1994 film Pavithra. Penned by poet Vairamuthu, this song is a profound tribute to motherhood. The song highlights the mother's role as both the giver of life (body and soul) and the embodiment of love, stating that a mother's worth is greater than heaven itself. I love both Unnikrishnan and Harish Sivaramakrishnan of Agam's heart-touching versions - somehow this song hits in the low registers. The composition is designed to suit the male octave. This song is set to Carnatic Khamas ragam. I decided to sing it in Scale A# with some interesting vocal octave experimentation. Track is an experiment too using Ai. But I ...

Recently, we lost the diva of Indian music - the legendary Asha BhosleJi. Asha Tai - That lilting voice we all grew up with. There will never be another voice like the legendary Asha Tai—a truly versatile voice that could flirt, tease, soothe, soar, and pierce the soul all at once. This truly marks an end of a most special musical era. A voice of a thousand shades of sur… sometimes soft as a whisper, sometimes fiery and intoxicating, sometimes playful and natkhat, and at other times deeply devotional and full of gravitas. I’ve drawn so much inspiration from her music over the years—Listening to her music has been so humbling - Every song, every nuance is a masterclass to learn and imbibe so much from. Her Marathi bhavgeet, especially those composed by Pt. Hridaynathji, have always been very close to my heart. Sharing a performance of a beautiful song "Chandane Shimpit Jashi" from nearly 15 years ago at a music competition—grateful to have been the runner-up and for the...

Presenting a melancholic composition composed by Pt. Ravi Shankar for the movie Meera (1979) which was originally sung by Vani Jairamji. Featuring actress Hema Malini, the song is a traditional Meera Bai composition expressing intense longing and devotion (viraha) for Lord Krishna. The song portrays the bhakti of Meerabai as she calls out to Krishna, having left all worldly happiness for him. Tuned to Raag Poorvi by PanditJi, you will notice the heavy karuna ras, with a sprinkle of Shuddha Ma infused in a very subtle way. I had sung this song many years back - perhaps in 2012 when I had first learned raag Poorvi from my Guru Swati PandaJi. Fast forward now to 2026, and I was revisiting some Komal rishabh raags. Found a old recording in my archives but I said to myself - Let me try singing this again. Of course, technology has changed by leaps and bounds so I could orchestrate the track using Ai. Recorded the song fresh and of course in my voice :-) Hope you like my take! Song- Karuna ...

This is a timeless Marathi composition - a rollercoaster of a composition, a Marathi Ghazal, originally written by Poet, Suresh Bhatt, and composed by Pt. Hridaynath Mangeshkar, sung with ease and flair by none other than Asha Bhosle Ji. This is a song about a woman trying to convince her lover to pay attention to her. She lovingly calls him her prince, imploring him to wake up and not miss the beautiful night with its sky adorned with garlands of stars, begging him to wake up and not ignore her!  She continues to tease him about how she would approach the Harvest moon. And how the cold westerly wind is asking if he has robbed the fragrance of the Nightqueen flowers? A composition with a loving, beseeching tone in a "Shringar Ras", AshaJi's rendition, is unassuming yet so captivating that it lingers in the mind.  I enjoyed learning and attempting this song.  Song: Taruna Aahe Raatra Ajuni Artist: Asha Bhosle Music - Pt. Hridaynath Mangeshkar Lyrics - Sur...

Tukaram, also known as Sant Tukaram,  was a 17th-century poet-saint of the Bhakti movement in Maharashtra He was part of the egalitarian, personalized devotionalism t radition called Varkari. Having being born during the times of a prevalently strong caste system into a so-called lower caste then, he believed and propagated equality in devotion and access to worship by all.  Tukaram is known for his Abhangs in Marathi (devotional poetry) and community-oriented worship with spiritual songs known as  kirtans  - basically, group songs sung in a rhythmic and repetitive fashion to facilitate an immersive and meditative experience with devotion. His poetry was devoted to Vitthala or  Vithoba , an avatar of Hindu god  Vishnu . Tukaram encouraged  kirtan  as a music imbued, community-oriented group singing and dancing form of devotion and reverence to the supreme deity. The greatest merit in kirtan, according to Tukaram, is ...

Miyan ki Malhaar - The marvel and the mystique Malhar  is an old  raga  in  Indian classical music . [1]  Malhar is associated with the atmosphere of torrential rains. [2]  Besides the basic Shuddha Malhar, which was the original Malhar, there are several Malhar-related ragas that use the Malhar signature phrase m (m)R (m)R P, including Miyan Malhar, Ramdasi Malhar, Gaud Malhar, Sur Malhar, Des Malhar, Nat Malhar, and Meera ki Malhar.  In my post here, I am presenting some details on Miyan ki Malhaar, one of the most distinctive Malhaar prakaar ragas. Miyan Malhaar is a monsoon raga, popularly used for invoking and embracing rain to drench the earth and welcome monsoon. One of the Navaratnas (nine jewels) of Emperor Akbar's court - Miyan Tansen, created this raga - which is a musical prayer to monsoon for a rejuvenation of life.  The melodic structure of M.Malhaar stems largely from the raga's use of both Shuddha (while ascending) ...

Sorry for the time lapse with new posts.  In the semi-classical genre, I am always drawn to Bhajans, Abhangs and Asthapadis, due to the pace and rhythm, along with the ability to emote in honor of the Supreme Being. I had the opportunity to perform for a few Bhajan sandhyas - the first is a beautiful Bhajan originally by Pts. Rajan and Sajan Mishra - Chalo Man brindavan ki Or.. The second one is a performance I had during Rama Navami celebrations in the local Dwarkamai temple,  Aadi Ant Mera Hai Raam, originally sung by Smt. Haimanti Shukla and composed by Pt. Bhimsen Joshi:

Navarathri 2015 in Boston area was as colorful and festive as it always has been.  From displays of colorful dolls and dioramas on a set of odd numbered steps (Kolus) to belting out the different songs (devi krithis) in honor of the nine Devi goddesses to step dancing using colorful sticks (dandia or Garba raas) - Navarathri in Boston is abuzz and replete with traditions. Visiting several homes for Golus and Haldi-kumkum is a sweet tradition that the Indian Hindu community tries to follow so our traditions do get passed on to the younger generation even if it gets diluted.  I had the pleasure of attending a soulful concert by Pt. Sanjeev Abhyankar in Spring. I have been an avid follower of his music, and it's really generous of him to provide downloadable access to many of his compositions as well.   A pristine moment for me, sharing a click with Pt. Sanjeev AbhyankarJi. A down to earth person, truly dedicated to music, and delivers it with so much soul and bhaav o...

Happy Ganesh Chathurthi to one and all! Wishing a very Happy Ganesh Chathurthi to all those who celebrate. May the Lord Vighna Vinayaka remove all obstacles in your paths and shower you with peace, happiness and prosperity. Growing up in Mumbai, Ganpati festival has had a special significance to me.  Enjoying the day with Ganesh pooja performed by my father, lovely sweet and salty modaks (Vella Thengai and Kadalaparuppu kozhakattais) prepared by my mom, and visiting every possible Ganpati - Chembur, Dukes, Tilak Nagar, Matunga, Dadar, Siddhivinayak Mandir, Lalbaugcha Raja, GSB Seva Mandal in Kings Circle : this is a memory captured in the heart and etched in the mind of every true Mumbaikar. That combined with listens of Aartis and Ganpati bhajans by Lata Mangeshkar makes it a memorable treat. I would like to share with you my cover rendition of a traditional Marathi Aarti, popularised in Lataji's mellifluous sweet voice.  My musician friend, Adwait Ranade, h...

Marathi Abhang : Ya Pandhariche Sukha  Sorry for the long absence from my side on blogging and sharing my work.   I lost my beloved father in January 2015. He was my solid rock and support for all my musical endeavors and experiments and always encouraged me with all my work. He was one of my most avid followers on the blogworld. It is back to basics these days, as I have rekindled my love for Yaman, listening to stalwarts like Veena Sahasrabuddhe, Kishori Amonkar, Basavaraj Rajguru, and attending workshops in several Gharanas like Jaipur, Agra etc.  Coming to today's share, My love for this Sant Eknath Abhang is immense.  I listened to KishoriTai Amonkar's rendition on a loop.  Eknath was the grandson of Sant Bhanudas. Vitthal (Lord Vishnu who was established in Pandharpur, also known as Pandhari) was their family deity; Eknath also worshiped Vitthal from childhood. As Eknath was born in a family of saints he inherited bhakthi towards Vitthal ...

Further to my classical post on Raag Bhoop, I would like to share a lovely light composition on Raag Bhoop, by Late Bhupen Hazarikaji.  This is a beautiful song called "Dil Hoom Hoom Kare" from the 1993 Hindi movie, Rudaali. Its a very dark movie, about "Rudaali",  a custom in certain areas of Rajasthan where women of a lower caste are hired as professional mourners upon the death of upper-caste males. These women are referred to as a "rudaali" (roo-dah-lee), literally translated as "female weeper" or "weeping woman".   Their job is to publicly express grief of family members who are not permitted to display emotion due to social status.  The film is set in a small village in Rajasthan, India.  It tells the story of a woman named Shanichari, who was abandoned by her mother shortly after her father's death. Bad fortune follows as she marries an alcoholic, who leaves her with little hope of a brighter future for herself and her m...

Meera Bhajan - Mharo Pranaam, Banke Bihari ji This is a very pristine composition in Raag Yaman Kalyan, based on Meerabai's beautiful poetry in Braj bhasha.  I was mesmerized when I heard the soulful rendition of Gaansaraswati Smt. Kishori Amonkar. Truly an amazing composition in praise of Mohan, and a clean rendition that lingers in the heart for days on. Please check out my humble attempt. I performed this for a Diwali party and it was very well received. Bhajan: Mharo Pranaam Poet: Mirabai    Language: Braj bhasha Based on performance by: Kishori Amonkar Raag: Yaman Kalyan     Taal : Keherwa, Madhyalaya Translator: Animesh Kumar (from Internet) Words and interpretation: Mharo pranaam Banke Bihari ji Mharo pranaam Mor mukut mathya tilak biraja Kundal alaka kari ji Mharo pranaam Banke Bihari ji Adhar madhur dhar bansi bajav Ri jhiri jhawa braj nari ji Mharo pranaam Banke Bihari ji Ya chhab dekhya mohya Meera Mohan giriwar...

Raag Bhimpalasi  I have to admit, like many a music lover, I have also fallen in love with this naturally sweet raag. As Rajan ParrikarJi quotes in his music site, "The ati-madhur and ati-priya Raga Bhimpalasi has the penetrating power to infect the human mind and control it for days and weeks on end. There is as yet no known antidote to the Bhimpalasi contagion." It is a raag we have been quite attuned to, Thanks to the many light music compositions extensively employed in Indian cinema. I first learnt the simpler Drut composition, Jaa Ja re Apne Mandirwa, but it was an absolute pleasure to learn a beautiful khayal - Akhiyan Mori laag rahi, in Vilambit ektaal from my Guru. I have a long way to go mastering this raaga, but I can say learning it made me immensely happy, and helped shape my vocal skills as well. This raaga sounds very similar to Abheri ragam of Carnatic (derived, janya of Karaharapriya) The structure of Raag Bhimpalasi is as follows: Aroha: n' S g M P...

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....

 I was absolutely captivated and enthralled by this song, originally sung by Gaan Saraswathi Smt. Kishoritai Amonkar, composed by Pt. Hridaynath Mangeshkar, and lyrics by the wonderful poetess, Shanta Shelke.  This song haunted me so much, that I had to succumb to attempting it, even if it was a shot in the dark. Complex nuances with every possible gayaki pattern I can perceive - Gamaks, quick murkhis, long meends, straight notes, layakaari, all interwoven in a lovely Rupak taal, this song was surely a challenge created by Pt. Hridaynathji, and sung simply stunningly by Smt. Kishori Amonkarji. This is based on Raag Paraj Bahar. कवयित्री - शांता शेळके संगीत : पं. हृदयनाथ मंगेशकर गायिका : किशोरी आमोणकर हे श्याम सुन्दर राजसा मनमोहना विनवुनी सांगते तुज जाऊ दे मला परतुनी || ध्रु || गाव गोकुळ दूर राहे दूर यमुना नीर वाहे ...(२) हरवले मी कसे मज चालले कुठे घनवनी || १ || पावरीचा सूर भिडला मजसी माझा विसर पडला ...(२) नकळता पाउले मम राहिली इथे थबकुनी || २ || पानजाळी ...

Presenting an aurally pleasing raaga - a simple, elegant raag Bhoopali (Bhopali or Bhoop) - I am a Hindustani vocal student, and find the Hindustani style of singing immensely calming. Needless to say the vast improvement in breath control with long singing techniques. I would like to thank my Hindustani Guru, for her constant guidance and tutelage in accordance with the timeless musical tradition of Gwalior-Kirana Gharana. Have always been drawn to Pentatonic raags - Bhoop (Mohanam in Carnatic) is one such raag which uses a pentatonic scale (5 ascending and 5 descending). Uses only shuddha swaras, and hence has an inane beauty and simplicity to its tone. Thaat: Kalyan Aaroh : Sa Re Ga Pa Dha Sa' Avaroh : Sa' Dha Pa Ga Re Sa, (Dha) Sa Pakad (signature phrase) : G R, S (D), S R G, P G, R S, (D) (D) S P G D P, G R S, ( ) is for lower octave (mandra saptak) notes, ' denotes upper octave (taar saptak) notes Vaadi: (Predominant sound) Ga Samvaadi (next of ...