And here’s me trying to play it.
(Mp3 download)

The version below seems to be the ‘first’ version.

Rohanpreet Singh - TuThakurTumPeiArdaas KaheReBanKhojanJaaee (12311)
Rohanpreet Singh - Tu Prabh Data Daan Mat Poora (675)
Rohanpreet Singh - Dithe Sabhe Thaav (674)

You don’t really get an idea of how good his voice is because of the distorted sound in the recordings. The speakers in the Darbar Hall were too loud, and my recorder is too sensitive.
I’ve uploaded one file from the practice session as well so you get a clearer idea of how well he sings. Please note that it’s a very informal session that just happened to be recorded. Bhulla Chuka and Interruptions Di Maaf Karna
Rohanpreet Singh - Practice Session 1 (2680)
Rohanpreet Singh - Practice session - 2 (598)

Right click the links and choose “SAVE AS” to download to your computer.

I wish God blesses him with fantastic success in his music career, and I hope he continues to happily do Kirtan Seva like he does now.

Raag Malkauns – heard from Ustad Bismillah Khan.
This same tune is often heard on “Wedding Shehnai” type Cds – (most likely played by Ustad Bismillah Khansahib as well).

I like this tune – It’s GREAT practice for learning how to use different instances of a Sur in the same composition.
It’s TOUGH ( for me anyway ) – forces me to try and stay sharp … which . as you can see I’m not quite there yet.

I also tried converting it from it’s original fast 4 beat/8 beat rhythm into a relaxed 14 beat cycle .

All in good fun. Hope you like it.

Beant Singh said it’s a modified version of a composition he heard from recordings of Ragi Samund Singh Ji.


It’s Quite upbeat , and yet touching If you read the meanings – I love it . Anyway , here’s whatever I remember from what Beant Singh sang + a few improvisations + a few mistakes. Link to the Shabad & It’s interpretation in English: http://www.sikhitothemax.com/page.asp?ShabadID=299

Heard this on youtube a week ago from a Dharna sung by Sant Sujan Singh ji . ( 4:14 onwards )
Apparently the tune’s originally from an old hindi film. I like it , so I tried playing it.

Personally I’m happier with the Audio recording in my previous post, but this still feels quite OK, so I’ve put it up.

I read in the book Outliers by Malcolm Gladwell, that true mastery of a skill is only achieved after about 10,000 hours of practice. Makes great sense.
After some rough calculations, I’m guessing that I have only about 800 hours worth of practice, including all my lessons.. hahah. ( But in all fairness, I spend quite a lot of time listening to Indian Classical Music. Ustad-ji says listening and trying to pick up nuances from other great musicians is very, very important. )

I’ve come up with 2 conclusions.
1) I can really appreciate the effort and dedication that professional musicians must to put into their practice.
2) As an enthusiast, I’m very grateful for whatever I can do now.

I think it’s definitely worth it. The best thing is that it feels alive compared to the physical Tanpura and Tabla boxes. The Tanpura sounds very realistic. The Shruti-box type drone helps add to the atmosphere. Tabla accompaniment works great as expected.

It’s a great tool for practice.
Thanks Jackson for pointing it out to me, and Thanks to Jonathan for a very useful product.

I made a couple of recordings:

The warm up – hadn’t practiced this for a while, and just felt like playing it today. The mistakes you hear are due to indecision on my part.
Jamming – Composition for the Shabad, Mouli Dharti Moulia Akaash in Raag Shudh Basant , DeepChandi taal.
Mouli Dharti Moulia Akaash - Manav Jamming (832)

Second Tune:
Jamming – Tune for the Rajasthani folk song Kesariya Baalam
Kesariya Baalam Jam by Manav (969)

How I recorded these

I couldn’t record myself on a new track over the digital tabla recording because I don’t have a microphone attached to my computer.
RiyazStudio was playing on my speakers, and I positioned my portable recorder close to my Esraj – you’ll have to turn the volume up quite a bit in order to hear what the software Tabla and Tanpura sound like.

I think it’s a bit too rushed.

Tried again with Raag Tilang after a couple of days. This is what I remember from Bhai Avtar Singh Ji’s CD Set: 31 Ragas .. Shabad: Halle Yaara Halle Yaara Khushkhabri. May not be entirely accurate as I didn’t look it up before recording, but I’m quite happy with it.

As far as I know, the version of Raag Sarang in the first video is called Brindabani Sarang. ( which means other variants of Sarang also exist ).

Raag Tilang in the second video, I think, is not entirely correct either – so let’s just say it’s semi-classical eh? Dha Shudh and Re shudh were used for embellishments – I’ve been told that they should be avoided if you’re playing the proper, classical Raag Tilang.

Anyway, the point I want to make is: did you notice that Raag Sarang and Raag Tilang are similar?
By my estimates, the rules and structure for both Raags are 95% identical ; the key difference being ONE note.

Used the Iphone to record these two videos – I wont be doing so again, volume is a little too low.