Riyaz & Sadhana: My Daily Practice
Music is a journey, not just a destination. Here is a look into my daily practice sessions, exploring the nuances of Ragas and the discipline of my craft.
A look into my daily riyaz with a fellow musician. This is where the real work happens, practicing 'gamaks' and exploring the nuances of a raag like Bilaskhani Todi. Every session is a step forward in my learning.
A riyaz session of Raag Malkauns in a fast tempo (Drut Teentaal). In playing this, I feel the immense influence of the great Pt. Nikhil Banerjee, whose sadhana continues to inspire generations.
Morning riyaz sessions are about setting the right vibe for the day. Here, we are exploring some morning raags, a regular practice that helps me stay connected to my music.
Practicing a fast composition in Raag Desh. The challenge here is not just the speed, but maintaining clarity and emotion, especially with the fan off for the recording!
Sometimes music is a response to what is happening around us. I played this gat in Raag Kaunsi Kanhra to process a period of turmoil, as the raag has elements of both valor and melancholy.
Music for me is often about capturing a mood. This vilambit gat in Raag Malhar is my feeling of a rainy afternoon, a slow and peaceful melody that you can get lost in.
Practicing 'sapaat taans' all the way down to the 'kharaj' (lowest octave) is both fun and challenging. It requires speed and precision to get that clean, howling sound from the low notes.
The deep, resonant tone of the 'kharaj' is a moving target. This is a clip of me practicing these lower octaves, which are perfect for setting the mood on a quiet winter night.
The 'kharaj' or lower octave is a sound I deeply love, and it's a signature of my Guru's style. Here I am doing a 'vistar' or expansion in Raag Multani.
Raag Miyan ki Malhar naturally lends itself to the lower octaves. This is a short clip of me exploring the 'kharaj' in this beautiful monsoon raag.
About Riyaz & Sadhana: My Daily Practice
True riyaz is rarely as polished as a concert performance. You will hear me working through the complexities of 'kharaj' in the lower octaves and refining 'taan' patterns across various Ragas. Sometimes the fan is off to ensure recording clarity, and I am essentially just a student attempting to get closer to the purity of the notes, flaws and all.
Understanding the Riyaz Process
In the Rampur Senia Gharana, we focus deeply on the Alaap and Dhrupad baaj. My daily practice is where I dissect the structure of a Raga. When I practice compositions like Raag Malkauns or Miyan ki Malhar, I am looking for the specific gravity of each note. It is not about speed, but about the 'kharaj'—that deep, resonant sound in the lower octave that defines our lineage.
Why I Share These Recordings
Recording these sessions helps me listen back objectively. I identify where my meends (glides) lack precision or where my taans need more clarity. It is a necessary part of the sadhana. If you are learning the instrument, look closely at my hand placement and stroke work in these clips. These are not final performances, but a record of the effort required to master the aesthetics of a Raga.
Can I help you with your practice?
If you are struggling with a specific technique, such as sapaat taans or maintaining the Raga-roop while exploring 'kharaj', feel free to reach out. I conduct both online and in-person sessions in Gurgaon where we can break down these technical challenges together. My goal is not just to teach you to play, but to help you understand the philosophy of the sound.
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