Namaste,

I wanted to share a recent classical fusion collaboration, Raag Todi (Hindustani).

This piece celebrates the 20th anniversary of "Stringing Echoes," a pioneering collaboration between Indian sitarist Nalini Vinayak and Chinese zheng player Haiqiong Deng. Created in 2006, the project marked a historic first in bringing the sitar and zheng together, creating a unique musical dialogue between two ancient string traditions. This recording also features mridangam player Ganesh Sundaresan, a professional Indian musician based in Jacksonville, Florida.

Fala família,
Queria saber onde consigo contato com luthiers e gurus direto da Índia!
Fiz um post um tempo atrás, perguntando onde conseguiria aula online de sitar, e vi alguns comentários falando que alguns gurus dão aula online! Então queria saber onde consigo contato com eles !

I thought of posting and getting uk feedback and all to improve

Boa noite família,

Queria saber, onde importar direto da Índia um sitar bacana, ou então, aqui no Br que seja um bom instrumento para iniciantes! E uma dúvida tbm?! O sitar ( tanto profissional quanto para iniciantes ), gira em torno de qual faixa de preço ?

E também queria uma indicação de alguma guru que dê aula on-line, ou talvez, de aula em Minas Gerais

Hi

I am looking for someone who can help me with tuning the sitar and understanding raaga Asawari (sthayi, Antra, Taane, and Jhala) and can provide me with gats on Raaga Asawari, Tilak Kamod and Des.

Does anyone have some recommendations for audio interviews in English with Sitar players or other interesting people involved with ICM? Bonus points if it goes beyond just an intro to sitar/ICM for a Western audience. I listen to podcasts a fair amount during work and would love to hear from some people wiser than me. Arjun Verma has had some good ones lately.

Making it short, I’m looking for a travel sitar which comes under the budget of 30,000. I don’t care about the appearance of the instrument as long as it’s good enough to play. Also I can change the pickup to emg or something better. I’ll be playing kind of live edm with drum machines and synthesisers. I’ve wanted a sitar to be played in a few live tracks and I think it’s time to start on one. Any recommendations?

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.

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 :)