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Channel: Indrajit Banerjee
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Bhajan


HOLA

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https://mysp.ac/2naVG?play=1

I think Indrajit is a phenomenal musician – the musical sensitivity and
intelligence with which he interweaves with the flamenco modes is
astonishing. There are other indian/flamenco crossovers, but they can’t
hold a light to this track

…..Tom Robinson, BBC Radio


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Mishra Kafi

i tabla pro your perfect companions for practice .

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i recommend even practicing murchanas  and paltas  with s tempo and in a tala cycle . If you have an I phone this app has a great sound that sounds like real tabla and also has realistic theka  variations  . This piece was recorded with this app .


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15th August India Independence day celebration in Milwaukee.

Exploring and learning new Ragas , is one of the primary joys of Indian Classical music apart from being a virtuoso.

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Playing a raga and playing an instrument are two different skills that we need to combine. The most common question I face while teaching is how to improvise in a raga within it’s structure.This is the most exciting part of our music.
Two or more ragas may use the same note but sound subtly different or totally different. I think one can not have a sound grasp of melodic patterns created in Raga without studying the different Angs (Bhar, Ahair, kadana, mallhar, Nat, Kalyan etc.) and also learning the groups (Sarang, Kanada, Mallhar, Nat, Kalyan etc.). The use of correct sruti and andolan is very important also to give life to a Raga thus to a performance.
A Raga has its own enchanting power even when played in a simplified way. A raga should be analysed in the light of 10 elements (Trayadash lakhsan). It’s Jati, Arohan and Avarohan, Samay, Vadi and Samavadi, Nayas Swara, Pakad, Arohan or Avarohan gati (intention), vivid Swara, Andolan at the correct note with specified suruti and it’s Utpatti or origin flavour of the parent Thaat. The spontaneity on Raga rendition comes from knowing it well. I recommend learning at least 50 basic Ragas, including all the ropes and tricks and then analytical l”SANGATIK” and they use to have a raga and Banish meet with musicians and musicologists from all over the India for 2 days non stop expect the early mornings and nights.That is a delghtful memory I cherish.
Here is an interesting Example of Raga Bhopali and Deshkar useing the same notes but yet sounding different. Below are 2 links with some interesting info:
http://www.parrikar.org/hindustani/bhoopali/
http://www.itcsra.org/sra_raga/bhupali_deshkar_shuddhkalyan.html


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Jai Hind best wishes to all.


Article in International Musicians Magazine this month.

Black Record of my Guruji , Pandit Kartick Kumar from 60’s and 70’s

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Times Of India on India Fest Milwaukee.

September 11th and 12th .

A rare picture of Manju Banerjee (my mother) at my grandfathers residence. Courtesy of Pdt. Barun Pal (my uncle).

Sitar knowledge: Trick for long middle and index finger stretch.

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I am very happy to find this picture of Ustad Vilayat Khan Sahab capturing this trick. Notice that the index and the middle finger form a 90 degree angle. It is not possible to stretch the fingers this much in a flat position sideways. For example, this technique is used to play Sa with index (fixed), Re and Ga with the middle finger moving. This is one of the important left hand techniques of sitar to learn.


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Guitar and Sitar ( The Bridge )


Will play in Seattle September 4 th .

Fall Semester 2015 in progress ,August through December .

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“Learn the techniques you always dreamed of playing or just enjoy learning ragas on any instrument.

https://www.youtube.com/watch?v=FhTDIvkA4S8

Raga lessons on all instruments and  SITAR specific lessons are offered. For Online classes and face to face lessons please visit our site  www.antaraschool.com

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11th and 12th This weekend WOBEON FEST

Surbahar (Bass Sitar) in Traditional form and Modern context.

Today at 8.45 pm

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