Behind the Scenes: My Sitar Practice Sessions
The sitar is my voice, and my daily practice is a form of meditation. Here is a glimpse into how I work, improvise, and explore the traditional ragas I hold dear.
A practice session in Raga Bihaag. I created some basic loops to improvise on, showing how one can be creative and explore the beautiful notes of the raga while maintaining its purity.
The monsoon season in Delhi always inspires me to practice Raga Malhar. This is an old composition I learned from my Guru decades ago, and it's a great practice for the "krintan" and "zamzama" techniques of the Maihar Gharana.
Remembering and playing a beautiful song in Raga Yaman Manj, written and composed by my Guru. I have vivid memories of him teaching this composition in the late 1970s.
The first practice of Miyan ki Malhar for the season. I was inspired to spontaneously compose a piece in the rare Saadra Tala of 10 beats, letting nature guide my music.
While teaching a young disciple, I was inspired to create this new composition in the beautiful Raga Jhinjoti. My Guru taught me many such pieces that help in understanding both the raga and the complexity of rhythms.
I often remember watching my Guru's fingers dance on the strings. It was magical. This is a short excerpt from my practice of Raga Gangeshwari, one of the beautiful ragas he composed.
This wonderful bandish in Raga Bihag was taught to me by my senior Guru bhai, Pandit Deepak Chowdhury. The beauty of these compositions is their deceptive simplicity, which requires years of practice to master.
About The Sitarist's Practice
When I practice, I often use simple loops to create a foundation for improvisation. It is not just about playing the notes, but finding the right meend (glide) and tension that defines the Maihar Gharana style. Whether I am correcting a technique or revisiting a composition my Guru taught me decades ago, each session is about returning to the essence of the raga.
For me, the sitar is a lifelong companion. My practice sessions are where I keep the Maihar Gharana traditions alive. When the rains come to Delhi, I instinctively turn to Raga Malhar to practice the krintan and zamzama techniques that give this raga its emotive power.
My practice is not just about technical drills. It is about understanding the conversation between the strings. I often recall how my Guru, the legendary Pandit Ravi Shankar, would make his fingers dance on the fretboard. That memory guides me when I compose new pieces, like the ones I explore in Raga Jhinjoti or the rare 10-beat Saadra Tala of Miyan ki Malhar.
These sessions are also a space for me to bridge the gap between tradition and innovation. Even when working on a familiar Raga like Bihaag, I look for fresh ways to improvise, keeping the structure pure but the expression alive.
If you are a serious practitioner looking to delve into these techniques, I offer private mentorship at my home in Padmini Enclave. We focus on the Gayaki Ang style, working on microphone technique, stagecraft, and the deep, disciplined study required to truly internalize a raga. It is a journey of heart and mind, and I am always looking for students who are ready to dedicate the time to this beautiful art form.
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