Sanjoyda talks about the birth of Anil-Madhyam. “It was coldish 26 December… six notes came to me whispering.. I started humming… immediately started to love them. I called Dilip [Mukherjee] on his cell phone ‘Dilip, sandhyebelaa free aachho? Tumi aaisle aktu jantar niye bastaam’ [Dilip, are you free this evening? If you come then I would like to sit with my instrument]. Dilip readily agreed.
In the evening after playing a bit of Bihag I thought of the six notes.. I tuned my tarab strings and started strumming. Dilip immediately reacted.. “ Sajnjoyda, sundar lagchhe to! Ki raag?” [Sanjoyda, this is sounding beautiful! What is the raga?]”
Sanjoyda chose to play Anil-Madhyam during the 01 January 2012 evening concert to celebrate the birth-centenary of Acharya Anil Roychaudhury. Listen how he introduced the raga. He spoke in Bengali. Here is what he said…
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Enjoy the rendering …
Raga details
- 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-cenetenary celebration.
Notation system
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.
Raga: Anil-Madhyam
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:
- R n1 S g S, R g P m
- P1 n1 P1, m1 P1 S
- P1 n1 g R n1 m1 P1 S
- P1 n1 R, S g S, R n1 S, P1 m1
- n1 S R g m, S g R n1 P1
- S R g m P m
- g m P n g, R g m R, S g S, n1 g R, S R g P m
- R n1 S R g m P n – P
- m P S’, R’ S’ n – P
- P n R’, P n g’ R’ S’
- R g m P n S’ R’ g’ R’ S’
- S’ n P m g R S
The Ascending, Descending and Chalan in Western Notations system… Download the .MUS file in Finale
Ascending, Descending and Chalan
[Converted to Staff Notation System by Ranjan Ghosh.]
Pranam Guruji, this is really awesome and tempting.
I also started playing after listening to ur recording.
Regards: Pragya
I am glad that you are trying Anil-Madhyam. I shall add some more descriptions shortly. I hope you will find them helpful. For practicing you may try these:
1. P1 n S R g M P n S’ R’ S’ n P M g R S n1 P1 m1
2. S n1 P1 m1 P1 n1 S R n1 S g S, R g P m, P n S’ R’ g’ R’ S’ n P M g R S n1 P1 n1
Practice each one in 100 runs without stopping in between.
Best,:: sb
I m practicing these two sapats , please give me some more to practice.
regards
The second one is NOT a Sapat. A Sapat must go linear and take consecutive notes.
Here are some more to practice:
a. P1 S n1 R n1 S g R n1 S R m P n, m P S’ n R’ S’ g’ R’, S’ n P m g R, g’ R’ S’ n P R S
There can be many thousands like this!
Thanx aloy for the excercise Guruji, I m practicing regularily.
Regards: Pragya
A new raga for my painting. Soon this will also be on canvas.
Regards: Sushil
I am glad.
guruji please tell me something about the mood of Anil Madhyam. It will be helpful for me to paint.
I have received many comments in the auditorium immediately after the performance, through emails and phone calls. Most of the listeners said that it was serene [shanta] and with pathos [karuna]. Some listeners find this a mystical raga.
But, let me tell you that moods of ragas depend on how these are performed and who is listening to it and how. That means, this is dependent on the raga, the performer and listener. Shaping of some mood is quite a complex process. It is debatable whether a raga depicts some exclusive mood. The mood changes as the raga performance progresses, also it can be different if performed by different performers or performed under different mental conditions [by the same performer]. The response by the listeners is also subjective, that is, it may be different from listener to listener.
I wonder if this helps,:: sb
Moods are impermanent and fleeting, but the RAGA lives on…
hey sanjoyji,
Apaka bahoot bahoot dhanyawad for new raga …….
I fill like got motivated , made me enthusiast to start my day .
Very nice composition too thanks again . What is the vadi is that Tivra ma ? samvadi ?
You may consider S and P as vadi and samavadi svaras respectively.
Dear Sanjoy’da, Just listened “Anil Madhyam”, nice composition, just one personal opinion, though your noble intention of paying tribute to Gurubhai is purely justified, it would have been better to give this raga a name of Universal nature like Darbari, Todi etc. somehow naming raga after persons confines itself to that particular gharana or players, of course this is my personal opinion and I am extremely sorry if it hurts you. Once again congrats for this new Raga…
Thank you for your eloquent comment. I am not at all hurt and on the contrary very warmly appreciate this. You raised a very pertinent point. Please know that I took care that the literal meaning of ‘Anil’, that is ‘breeze’ gets reflected in the raga-rendering. This is the most important point in the raga contemplation, the ‘breezy madhyam’.. The ‘Breezy Madhyam’ [Anil-Madhyam] was presented as a tribute to Anilda [Acharya Anil Roychoudhury]. So, if any musician feels like depicting some breezy mood, I believe, s/he will surely like to consider this raga if this raga gets known widely. Also, as the creator, I shall be immensely happy yo witness this raga getting performed widely by many musicians.
What time of day is this raga to be played, please?
Anil-Madhyam is an evening raga.
thanx for posting the razakhani gat.
Regards: Pragya
This one is for the beginners. I shall post more compositions shortly. These will be for performers of different levels.