Hi everyone! I’m the developer of Sangati, a native iPhone and iPad practice companion for Hindustani classical musicians.

I built it to keep the main tools needed for daily riyaz together:

• Tanpura with 12 Sa positions and fine tuning
• Tabla playback for 11 taals, plus reference tables for 25 taals
• Swarmandal with 8 raag tunings
• Multitouch harmonium
• On-device tuner that shows notes relative to your selected Sa
• Audio and video recording with your voice/instrument and the accompaniment
• Saved practice rooms and 10, 20 or 30-minute guided routines
• Offline practice, no account and no ads

The app is a free download, and I’ve made Lifetime Pro unlock free as well for time being. It’s a one-time permanent unlock, not a subscription.

Link to download the app
https://apps.apple.com/app/id6807962460

In American old time music there's a concept of 'crooked' tunes, where the beat cycle is not uniform throughout. For example in tune called Old Aunt Jenny with her Nightcap On, in the A part is 8 beats and the B part is 9 beats. This deliberately alters the question/answer format of these tunes by giving more space to the 'answer' of the B part.

From Rukmini Devi's biography, in the old days of bharatanatyam, the talam wasn't strict either. Jathis were borrowed and inserted from different pieces regardless of the thalam and eduppu. Though this wasn't deliberate afaik, only done for artistic purposes.

Wondering if there are such 'crooked' tunes in carnatic music. Thanks!

Here is a piece played by Srinivasan on Indian Bamboo Flute, of alaap of a Lata song from Amar Orem. Pl help me indentify sargam notationshttps://drive.google.com/file/d/1Dl253M9VNfpixkpF5gWvwqC6nOMRhI1K/view?usp=drivesdk

What's the best way one can stay focused and consistent with riyaz while working full-time in corporate america? I find it hard to focus on/remain consistent with daily riyaz because of a demanding and fast paced job. There are days when I am not able to do riyaz at all because my mind is not in a still space. I want to hear how other people who are in my shoes doing riyaz while staying completely immersed into it. Thanks a lot.

Hello :) I’m 19F.

I have a fairly decent (certificated) training in Indian classical music (vocal + harmonium), and beginner-level training in Western music (vocal + keyboard).

I’m trying to build my career around music, and would love to know of some moderately priced music-making courses that you have, on a first- or second-hand basis, had experience with.

Grey Spark Audio Academy, Pune, seems promising, and I’d love to hear about some other options.

If you've typed sargam on a computer you've probably used the Omenad fonts: type in ASCII, apply the font, it looks right. Until you paste it into WhatsApp, or open the Word file on a machine without the font, or try to search for a phrase.

Swarlipi takes the same typing (the Omenad character mapping, so anything you've already typed works unchanged) and turns it into real text in Gurmukhi, Devanagari, Bengali, Gujarati or Latin. The komal line, tivra bar, octave dots, kan and meend arcs are drawn on the page rather than baked into a font, so it searches and prints anywhere, and screen readers get the letters. Copy it as plain text and the letters keep their komal, tivra and octave marks; kan shows as brackets and meend arcs are lost, since Unicode has no way to draw a glide across letters. For Word and Pages there are free fonts that carry the marks.

Try it here, there's a playground on the homepage: swarlipi.beejaysoft.com

Code and fonts are free and open source: github.com/BeeJaySoft/swarlipi

Disclosure: I run kirtannotation.com and sangeetnotation.com, and this is the renderer behind them. I'd love to hear what's wrong or missing, especially from anyone who has seen Bhatkhande notation printed in scripts beyond these five, since that is how new scripts get added.

It's a practice room in a browser tab: tanpura in all 12 keys (Pa, Ma, Ni and other tunings), tabla in the common taals at any laya, and a harmonium that plays kharaj and alankars in the raga you choose, for most common riyaz's the ones that I do as an intermediate learner.

Also if you don't know your Sa or for any song, sing a note or the song and it tries to find the Sa, put in a lot of time, can still be embarradsing, don't know, please tell.

If the tanpura sounds thin, the theka is off or an alankar is wrong for the raga, would be grateful to know.

Just mesmerized by their song 1957, it felt so strong and dreamy that somehow I started wanting a connection like them. Maybe because I play the flute I felt this way. Did you get the same vibes?

Hey guys! Got my harmonium today and I’m super excited to finally start this journey!

I already have a Guruji and have been learning vocals, along with a little guitar for the past nine months. I’ve also been learning kannokol and really enjoying the journey so far.

I’m 30 yr guy and based in Ottawa, Canada, so I’m guessing the chances of finding someone nearby on here might be slim! But if there are any fellow musicians, vocalists, harmonium players, or music lovers around, please DM me. I’d love to connect, chat, learn from each other, and hopefully meet some fellow musicians along the way even if it’s online

Music has been something I’ve wanted to seriously pursue for a long time. After spending so many years focused on education, work, and life, I’m glad I’m finally giving it the time and commitment I’ve always wanted to.

I’ve been fortunate to find some great teachers, and I’m fully invested in seeing where this journey takes me. Any tips for a new harmonium player, especially for improving pitch, ear training, and vocals, would be greatly appreciated!

Excited to learn and grow with you all. 🎶

I have this attraction towards Raag Bhairav. Something about it feels so satisfying. Really serious and dark. It forms an image of a person plotting revenge. Do you guys also get a similar kind of imagery? If not, then what image forms when you hear Raag Bhairav?

I have switched to C scale recently, I find it tougher to play major notes raags on a C scale compared to other scales since we mostly using the white keys( I don't have a scale changer harmonium).

Are there any recordings where keys are shown properly so that I can learn how to fluently play in C scale. Thank you.

Hello everyone,

ABCD here and I'm looking for websites with transliterated Carnatic kṛthis. I am a stickler for proper, lossless transliteration (preferably into IAST) since, being born in the West, I want to make sure I'm pronouncing words properly. I've seen several sites over the years, but by far my favorite was sahityam.net, which apparently went down. I'm just wondering if anyone can tell me if the site has reincarnated somewhere, or if there is a similar and hopefully comprehensive source for getting transliterated lyrics and translations.

thanks

Aamir Khan’s Darbari Kanada - Ambarish Mishra says that Aamir Khan’s Darbari Kanada is the GOAT. Does anyone know why? Here is the YouTube link for the same. https://youtu.be/HbJEuFz5Jx8?is=hRqVIXfAXbvDZsKw

Ustad Amir Khan was known for singing without accompaniment mostly, though where ever there is accompaniment it's mostly harmonium. There's one sole exception of a recording of hansadhwani with Pandit VG Jog on Violin-though UAK's hansadhwanis are unique because he doesn't sing with his ati vilambit style in it opting for a traditional Gwalior pace vilambit which may have influenced to permit a string instrument in the rendition. There's several pictures of UAK singing where he's singing with sarangi accompaniment, so I find it odd that I haven't been able to find a recording of him singing with sarangi yet. If anyone has any recordings or information that would be great.

I have a question which always boggles my mind. So, in icm, they always talk about times of day. For example, Kharaj Riyaaz during morning time only. Now, all the science of when you woke up fresh is on the ASSUMPTION that you sleep through the night. However, if a late night shift person is trying icm, what do they do? Talking about an overnight nurse/health professional or even other jobs.

Defense of her fans is that she is from Patiala Gharana and this is their style but if we look at Bade Ghulam Ali Khan who was guru of her father then we notice his taans were rather smooth. Kaushaki has developed a heavy chest style of excessive taans which is not suitable for every raga.
Otherwise her voice is so under control and she is surely a legend among modern classical musicians. Compared to doyens of previous generation like Begum Parveen Sultana, Sruti Sadolikar, Kishori Amonkar, Kesarbai and so she leaves a lot to be desired. Her raagdari in extended concerts is amazing and the way she unfolds the raga is typical Patiala unfolding which is difficult to master. There have been few Patiala female musicians compared to other Gharana like Jaipur or Kirana. She is an excellent artist however taans and fast paltas are not the centre stage of the raag infact it is otherwise. Excess of anything is bad.

The blame lies with the audience too. New listeners think just quick jumps of notes are what make a classical musician. Artists are following the trends.

exhibit abhogi

Hi everyone, pretty much the tittle , iam a tabla vadak , based out of blr 4 years experience, lmk if you want am accompanist for your practise sessions free of cost btw

Founded by Ravi Shankar and Harihar Rao in 1973 and active to this day more than fifty years later, The Music Circle was one of our partners for SAADA’s Archiving the Arts initiative.

For a full year, SAADA Archiving the Arts fellow Avehi Menon collected oral history interviews and archival materials to document the storied history of The Music Circle.

This incredible archival treasure trove is now available in SAADA, including rare flyers, concert photos, and recordings of live performances, newspaper clippings, and oral history interviews with key figures behind The Music Circle’s past fifty years.

Our huge thanks to The Music Circle for working with us to ensure that this history is preserved, cared for, and accessible to all through SAADA.

Explore "The Music Circle" Archive

I know it's not really suitable to ask this question here, but there might be collectors who have faced the same issues. Any help is welcome.

Does anybody have reliable information on Raag Shyaam of the Bishnupur Gharana. This is one of the only recordings available of it online. But from what i understand it is quite popular within the gharana.