Sitar Riyaz Sessions & Classical Music Insights
Sangeet is a sadhana, a lifelong spiritual journey. These are glimpses into my daily riyaz, where I connect with my instrument and explore the depths of a raga.
I feel it's a shame that as an Indian Classical musician, I know so little about Carnatic music. This is my humble experiment playing a favorite Carnatic composition, 'Maha Ganapathim', on the sitar after learning from an online tutorial.
This vilambit gat, a slow composition in Raag Malhar, embodies the essence of a rainy season afternoon for me. I can play this laidback tune endlessly without any improvisation and never get bored.
I wanted to play something for the turmoil we were going through, and this gat in Raag Kaunsi Kanhra seemed appropriate. It has elements of Veer rasa (heroism) but also the melancholy of loss. It is a difficult raga, but here is my humble take.
My Gurus say Raag Tilak Kamod is not for Taankari, or fast melodic runs, but a little show-off doesn't hurt, does it? The challenge is to maintain the raga's sweet form while not compromising on the boldness of strokes. It's a long road.
The only yellow thing I had to wear for this Basant Panchami recording was this sweatshirt. Here is a small piece in Raag Basant to mark the occasion of Saraswati Puja.
Good morning. I found this old recording of Jor in Raag Ahir Bhairav, a beautiful morning raga. This was recorded a while ago when I was staying in Bhiwadi.
I am trying the taan patterns of my Guru, Vidushi Sahana Banerjee Didi, in Raag Miyan ki Todi. These are fast melodic passages that require a lot of practice and precision.
Sharing music will not be the same again. This was recorded in Sankt Augustin, Germany, during a time of great loss in the music world. When a great banyan tree falls, even small blades of grass like me feel the emptiness.
An apparently easy raga, Nat Bhairav, presents a challenge in balancing both the Nat and Bhairav aspects. I feel my interpretation has a Bhairav bias, so I need to delve more into Nat to bring out its true essence.
As we approach the birthday of my Guruji, the Late Prof. Santosh Banerjee, here is my humble attempt to play Raag Abhogi, one of his favorite ragas.
About Riyaz Sessions: My Daily Sadhana
Riyaz is not just about technique, it is about connecting with the soul of the raga. When I sit for my daily practice, I focus on the nuances of Gayaki and Kharaj—exploring the lower notes that bring a deep, meditative quality to the sitar. Whether it is a slow Alaap or a complex Taan, these sessions are where I test my boundaries and strive to refine my understanding of the Rampur Senia Gharana.
My musical journey is defined by the Rampur Senia Gharana tradition, which emphasizes the Dhrupad baaj and a soulful, meditative approach to playing. For me, the sitar is not merely a performance instrument but a companion in my daily sadhana. When you listen to these sessions, you are hearing the very same processes I use to prepare for performances or to teach my students.
Why Daily Practice Matters
In Hindustani Classical music, the mastery of a raga lies in the details. You will hear me exploring various ragas like Yaman, Malhar, and Kaunsi Kanhra, focusing on the correct meend (gliding notes) and fret alignment. My goal is to balance the technical demand of fast melodic passages with the emotional depth required for a true raga representation.
My Approach to Learning
I believe that anyone can learn to play, provided they have the right guidance. In my classes, I teach using the traditional Guru-Shishya Parampara. Whether we are practicing sargam, alankar, or moving on to advanced bandishes, the focus remains on swaron ka gyaan (knowledge of notes). We work on:
- Fundamentals: Building a strong foundation with sargam and basic exercises.
- Gayaki Style: Learning to make the sitar sing like a human voice.
- Technique: Refining posture, holding the tumba, and executing complex taans.
If you are interested in exploring this path, I offer both online and in-person sessions in Gurgaon. We can start with a trial session to see if our musical wavelengths match. Galti Maaf, as I am still a student of this art myself, but I am happy to guide those who share this passion.
Shubhrodeep Pathak
I'm Shubhrodeep. Music is my constant, my way of breathing. When I’m not performing, I’m immersed in my daily riyaz, keeping the Rampur Senia Gharana tradition alive. I’d love to share this musical journey with you, whether you’re looking to learn or just appreciate the craft.
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