Aadi Ragas are the first six Ragas of Hindustani classical music that came into existence. I have presented these six powerful, awe inspiring melodies in Aalap form. I believe that only this kind of a solo approach to these Ragas can do justice to their grandeur.
These tracks are mp3 versions of my original tracks from the album "Aadi Ragas", which is currently out of print.
Copyright reserved by MUSICABSTRACT.

06 Raga Deepak - Aalap

03 Raga Megh - Aalap, Jod & Jhala

02 Raga Bhairav - Aalap & Jod

01 Raga Malkauns - Aalap, Jod & Jhala

Spandan
“Spandan”, in Sanskrit, means throb, pulsation, trembling, quivering, vibration. Through the present work, I attempt to convey the very basic throb or pulse of music and the environment of music manifesting, thereby.

About the album:
“Spandan” comprises of a group of ten Raags. A Raag in Indian classical music is a melody consisting of a group of notes within the musical octave, guided by definite grammar of patterns and movements, which convey a definite emotion. Eight of these ten Raags are in current usage. Two are my own creations. The entire work is my original conception and execution on the Indian bamboo flute, commonly known as “Bansuri”.
The ten Indian Classical Raags forming the body of this work are -
1) Bhairavi, 2) Smarana, 3) Gunkali 4) Bairagi, 5) Dhani, 6) Gyaankali, 
7) Bilaskhani Todi, 8) Rahasya, 9) Malkauns, and 10) Bhoopali Todi. 
(In the order of track listing)
Bhairavi is the parent Raag in this group. Seven out of the other nine Raags are its subsets and derivatives, whereas, the remaining two Raags are derivatives of other parent raags. Gunkali is a subset of Raag Bhairav, whereas, Dhani is derived from Raag Kaafi. But in my personal opinion, which goes contrary to the established norm, Raags Gunkali and Dhani can also be grouped under Raag Bhairavi, in terms of their note values. Out of the seven notes of the musical octave, Sa, Re, Ga, Ma, Pa, Dha and Ni, five notes, namely, Re, Ga, Ma, Dha and Ni are flat in Bhairavi, whereas, Sa and Pa are, perforce, natural. Hence, all the notes that can possibly go flat, do so in Bhairavi.
Raag Bhairavi and its subset Raags are particularly difficult to play on the flute because of the maximum number of flat notes present in them. A flat note corresponds to a half stop on the flute. This means that to play a flat note on the flute, the corresponding hole is opened only half, that too, not exactly half but precisely as much as would produce the desired frequency of the note in question. This difficulty is further augmented by the necessity to open the hole sideways from the outer end for reasons of dexterity and pitch. Since the flute is the least calibrated of all musical instruments, maintaining an equilibrium among the angulation, the volume modulation and the pitch, can be a rather tight rope walk.
Utmost care has been taken in maintaining the purity and character of Raags here. The form and the arrangement is where this work deviates from the tradition. Indian Music is essentially monophonic, i.e., only one melodic line is uttered at any given point in time. I have introduced the Western concept of harmony by creating polyphonic arrangements of each of the ten Raags as played by me on the flute. Essentially, this work is a flute ensemble. The only respect in which it differs from an ensemble, strictly speaking, is that it is a one-artist ensemble. Separate tracks of my rendition of a Raag are layered together to create a multi-flute arrangement set to that Raag. The same process is applied to the arrangements of all the pieces of music.
The only sound employed in the music other than the flute is the Tanpura as the background drone.


10 - Excruciation - Raag Bhoopali Todi

9 - Pulverize - Raag Malkauns

8 - Adrenalin - Raag Rahasya

7 - Burnout - Raag Bilaskhani Todi

6 - Continuum - Raag Gyaankali

5 - Scratch - Raag Dhani

4 - Revulsion - Raag Bairagi

3 - Shock - Raag Gunkali

2 - Binary - Raag Smaran

1 - Elephant's Gait - Raag Bhairavi

A majestic monsoon melody, Raag Miyan ki Malhar is the perfect aural treat while it rains. Here, I have presented a vocal composition on the Bansuri in Raag Miyan ki Malhar, set to Addha Teen Taal, a cyclic rhythm of 16 beats, played on the tabla. This is a restored recording from a private concert - hence, not of studio quality.

Raag Miyan Ki Malhar - Addha Teen Taal

Raag Marwa is a sunset song. 
Valour, aloneness and pathos are its definitive characteristics. 
I present a composition in Raag Marwa set to Addha Teen Taal.

Raag Marwa - Gat In Addha Teen Taal

MUSICABSTRACT brings you the purest and the best of Indian Classical Music on Bansuri (Bamboo Flute) by solo Flautist Jay Thakkar.

Jay Thakkar

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