saj-e-saaz

Mridangam maestro T.K.Murthy,played for M.S.Subbulakshmi for over five decades,"When we sing there is raga bhava,sahitya bhava and swara bhava.Similarly there is tala bhava." Jaipur-Atrauli gharana: Mallikarjun Mansur,Kishori Amonkar,Ratnakar Pai,Ashwini Bhide Deshpande Jod-raga SAwani Nat speciality of this gharana.Sawani is a variant of Bihag.Unlike Bihag where Nishad is prominently used Sawani uses it very judiciously and in a very small measure.Sawani following its parent Bihag eschews the use of teevra madhyam and Nat also employs only shuddha madhyam. Late Pandit Omkar Nath Thakur,one of the great Gwalior gharana vocalist of the last century. Contemporary Hindustani Classical Music Scene:Maharashtra and West Bengal dominate it completely.Maharashtra limits extending to Dharwad in Karnataka that has produced many top notch musicians such as Sawai Gandharva,Mallikarjun Mansur,Kumar Gandharva,Gangubai Hangal,Basavraj Rajguru and Bhimsen Joshi.These days M.Venkate

Hamsadhwani raag -bright and auspicious.Kritis in Lord Ganesha abound in this raga.Its an Audava raga(5 notes-sa,re,ga,pa,ni).Created by Ramaswamy Dikshitar,father of Muthuswamy Dikshitar,brought to Hindustani classical by Ustad Aman Ali Khan of the Bhendibazaar gharana.'Ja tose Nahin Boloon'from Parivar(music Salil Choudhary),sung gloriously by Lata Mangeshkar and Manna Dey,is a sterling piece in Hamsadhvani. Poorvikalyani:SRGMPDPS/SNDPMGRS.It is a vakra raaga,audava sampoorna in scale(having six notes in ascent and all the seven in descent).The notes present in Poorvikalyani apart from Shadaj and Pancham include Shudha Rishabh,Antara Gandhara,Prati Madhyama,Chatusruti Dhaivata,and Kakali Nishada.This raga is suited for singing after dusk and makes the mind calm and meditative. Shree:Hoary and sombre,audava-sampoorna,gives wde berth to gandhara and dhaivat in its ascending movement while all the notes are used in the descent.Meend is employed profusely and the emphasis re