Pandit Sanjoy Bandopadhyay takes pleasure in depicting obsolescent ragas and toying with laya and tala. This CD is bringing before the music lovers a bunch of rare ragas. This is the first CD of the series on rare and obsolescent ragas. This CD also contains two very interesting ragas Ahiri-Marwa and Anil-Madhyam, both creations of Prof. Sanjoy. Dilip Mukherjee provided brilliant tabla support.
Used Notation style
Shudh svaras in Caps: SRGMPDN | Vikrit svaras in smalls: r g m d n | Tar saptak : S’ R’ G’ M’ etc. | Mandra saptak: N1 D1 P1 etc.
- Nat Bilaval
‘Nat Bilaval’ is a combination of ‘Bilaval’ and ‘Nat. This version of the raga depicted artistic blend of these two ragas. You will listen to Nat related phrases like P1P1SS, RR GG MM P, RGMPM, and for the Bilaval it takes phrases like DMPG, RGPMG, PNDNS’.
Raga Bhairav-Bahar is Bhairav variant that takes the components of Bahar. This version of the raga takes two Dhaivats, two Nishads, komal Rishav and rest of the notes are shuddha. Chalan: 1. S M P G M d d P, G M n D N S’ S’ n P M, G M d d P, r G M P G M r S
- Ananda Bhairav
Raga Ananda Bhairav takes komal rishav, both the nishads and the rest are shudh svaras. The raga shows Bilaval components including the Komal-Nishad of Alahiya in the P to S’ region when it shows Bhairav ang in the S to P region. It takes PNDNS’ of Bilaval and profusely use different Bhairav combinations like r G M P G M r S. It also a bit of komal nishad, e.g. S’ N D P D n D P M G M r
- Saurashtra Bhairav
Raga Saurashtra Bhairav takes both the Dha and re komal. Both the re and dha are played with the Bhairav intonation. This is a rare raga. Arohan: S r G M P, G M d d P, G M D N S’ Avarohan: S’ N d P M G M r – S.
- Ahiri Marwa
Ahiri-Marwas was composed by Pt. Sanjoy Bandopadhyay on 29 March 2014. This raga uses komal rishav, tivra madhyam and the rest of the notes are shuddha. The raga takes the components of Marwa in the rGmD region and takes D1 n1 r of Ahir Bhairav. The mix brings out vibrant musical colors. The Komal Rishav are used with both the intonations of Marwa and also of Bhairav depending on the artistic requirements.
- Roopmanjari Malhar
Roopmanjari Malhar is a rare variety of Malhar. This takes its characteristic phrase ‘nPMRG’, takes the Malhar ang phrase ‘MRP’. It also takes n1SRG and nS’DP phrases. It also take RgSRP once in a while. This raga can also take S’nDnP descending. Though it usually goes S’nS’DP.
Such ragas cannot be nicely described through arohan-avarohans. However to have a guide for practicing here is the ascending-descending:
Arohan: n1 S R G, M R P, M P D n S’ Avarohan: S’ n S’ D P, n P M R G, G M R S
7. Anil Madhyam
Name of the raga: Anil-Madhyam | Conceptualized by: Pt. Sanjoy Bandopadhyay on 24 December 2011 | First performed by Pt. Sanjoy Bandopadhyay on the sitar on 01 January 2012 in a concert organized by Vistar as a tribute to Acharya Anil Roychaudhury during his birth-centenary celebration.
Arohan: S R g m P n S’ | Avarohan: S’ n P m g R S | Pakad: R n1 S, RgPm | Important note focus: Tivra-m
Chalan: (1) R n1 S g S, R g P m | (2) P1 n1 P1, m1 P1 S | (3) P1 n1 g R n1 m1 P1 S | (4) P1 n1 R, S g S, R n1 S, P1 m1 | (5) n1 S R g m, S g R n1 P1 | (6) S R g m P m | (7) g m P n g, R g m R, S g S, n1 g R, S R g P m | (8) R n1 S R g m P n – P | (9) m P S’, R’ S’ n – P | (10) P n R’, P n g’ R’ S’ | (11) R g m P n S’ R’ g’ R’ S’ | (12) S’ n P m g R S