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 (344)

Second Tune:
Jamming – Tune for the Rajasthani folk song Kesariya Baalam
Kesariya Baalam Jam by Manav (342)

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.

Audio Recorded in Kuala Lumpur, Malaysia – for the 300 Saal Guru De Naal program. Shabad: Tu Thakur Tum Pai Ardaas

Didi (*is a casual title given to females you consider your sister) Arungeet Kaur is singing. We were blessed to have Sahib Singh, KL Malaysia Wale, on tabla. Several people told me he’s the best Tabalchi among Sikhs in Malaysia – I believe them. He didn’t do much fancy stuff in this recording as we had just met. He did a lot more in the following days after we requested he go all-out.

I’m using my friend Bakshish’s Esraj. It’s a RajMusicals teak wood Esraj.. smaller size than mine.  I had to borrow it becuase mine came with a cardboard box, and he has a proper hard case. I didnt want to risk taking mine on the plane.

Imagine, he LET me borrow it. Bro, if you read this, know that I’m very grateful, really.

As usual, kindly pardon my mistakes.

Ok here’s the file already: Arungeet Kaur - Tu Thakur Tum Pai Ardaas (514)
SAVE AS to your computer please – do not let it stream off this site.

–

Practice for an upcoming program.

I just learned this Guldasta from Aruna Didi (Arungeet Kaur).

Guldasta = a Raag Mala = More than 1 Raag is used in the composition.  It’s not like “Mishr” though, because you are not bending the rules of the Raag.

In this particular composition, every line is set to a different Raag.  Anyone care to guess + list which ones are used ?

I’ve got a lot more practice to do – I keep missing notes. It’s very confusing and it’s in a different scale from the one I’m accustomed to using.

New Style – but Ancient Looking – Stringed Instruments by Peter Biffin of Australia.

I am blown away.   The “Tarhu” sounds like a Cello/Violin/Esraj all in one. Maybe I’m just a little over-excited about this at the moment, but I currently think * * NOTHING * *  I have heard can compare to how good these instruments sound. The use of an internal cone that is safe from string tension to produce sound is brilliant.

I am going to get myself an Esraj from him in the (hopefully near) future.  Make sure to look through EVERY page on his site, and check out the sound samples – especially the “Tarhui” in Raag Desh.

When we all jammed together: