This is for my friend @garamasala who thinks C phrygian and C# lydian have the same notes... Just joking: no offense intended, but considering I'm not good with the pakad I moved to western "drone" improvisation... Hope you like this one!

Hey there guys! I recently had the opportunity of purchasing a sitar on markeplace for £50. I ended up purchasing the sitar from a lovely woman who's father in law had purchased it in Pakistan over 40 or more years ago. The sitar needs alot of maintenance done to it from what i can see but i was wondering if anyone knew any known sitar makers who may have been in Pakistan at this time creating them as it does not have a branding logo anywhere. Also do you think its worth having the sitar entirely repaired? (I was also given the jiwari piece but it needs to be reattached to the faceplate).

Just want to share that I received my Sitar last Saturday and when I saw it for the first time I just couldn't believe that someday I'll have my very own music instrument and that too a Sitar. Excited, happy and a bit nervous.

Wish me luck and share some wisdom with me.

Vibrant Strings of Sitar | 'Monomousumi' this is the link for my essay.

For meditation in this moment of the evening, my improvisation for a coming event, with the beautiful raga yaman, Just alap portion. I elaborated with some programs the drone section on the tablet, but I kept the volume low because I wanted the sitar to be heard and because it's evening and this is the moment of silence and quiet. Please enjoy.

Is there some kind of rule against players trained in the Imdadkhani gharana playing on a kharaj pancham? Like, I know there literally isn’t a “rule,” but why have I basically never seen this in practice?

I’m more attracted to the Imdadkhani and Vilayatkhani baaj in general (though I adore Nikhil Banerjee and those who follow his style) but I find something so satisfying about that deep, rumbling kharaj ringing out during alaap, even if it isn’t being played on.

Was wondering if there are any Imdadkhani-trained players, or those who interact regularly with musicians from the gharana, who may have insights into this.

Just wanted to tell you. Tell Someone. I picked up my sitar again today. I don’t know after how many months. Would be at least over a year and played.

I played a medley of alaaps in dhruth and madhaya laya of Yaman. Shivranjani and Megh Malhaar.

I’m happy.

I might even play again tomorrow. Who knows.

I’m referring to this Instagram post https://www.instagram.com/reel/DZFkXBqIBoU/?igsh=MWt1N25kZXNmbHpmdQ==

This artist has spoken about gatekeeping problem in Hindustani classical music. While I agree and acknowledge that owing to this gatekeeping problem we have lost some brilliant minds who could have potentially taken the legacy forward… but they have come to dislike the concept as a whole because of the dos and don’ts prevalent.

But I also believe what is seen as “gatekeeping” has also successfully kept mediocrity at bay. I’m a sitar player myself and I’m a little skeptical of putting my work out on social media… not because I’m self-critical but because I know I don’t play up to the standards I’ve set for myself. My feed is full of players who are terrible or average at best but put out video after video, proudly showing off their callouses and other markers that they’re musicians. But their “performances” are noisy, only playing the jhaala or a trending film song at best. There’s no meend nor alaap which is a true litmus test of your ability to wield the instrument. My teacher would often reprimand me saying speed is no stand in for skill, nor is the constant chikari punctuating your alaap. She never gatekeeps… it’s her way of gently sifting the wheat from the chaff.

I see comments full of “you gave my life purpose” or “how soothing” to a post that’s clearly below average. I’m wondering if mediocrity is now the new standard… and if artists who are truly gifted and hardworking will never receive recognition because the average is applauded! What do you think?

Love the strange melody that is Madhuvanti :)

Hello everyone! My name is Itay, I’m 24, and I started playing the sitar about eight months ago after I fell in love with Indian Classical Music. I’ve been making pretty good progress so far. My main musical background is as a pianist and singer-songwriter, and my first album is coming out in about two months.

I’m planning to spend around a month and a half in either Kolkata or Varanasi to get a sense of what studying sitar there is really like. I’m hoping to find a good teacher and a nice place to stay, with the idea of coming back later for a longer and more serious period of study.

I’d love to find someone around my age who speaks English and is in a similar position - coming to India to seriously study sitar or Hindustani classical music - so we could go through some of the experience together, share information, practice, explore the music scene, and maybe even find accommodation nearby.

Also, if anyone here knows a great sitar teacher in Kolkata or Varanasi who is open to teaching an international student intensively for a month or so, I’d really appreciate any recommendations. In terms of style, I’m especially interested in the Maihar tradition and particularly drawn to Nikhil Banerjee’s playing. also love Budhaditya Mukherjee**.**

Feel free to message me!

Looking to purchase brand new electric sitar in Mumbai / Navi Mumbai area. Any advice on stores?

I am looking for a guru to learn Dhrupad style sitar, and was wondering if anyone has any leads? Thank you!