this is so good. Never heard of Raag Rahasya before!

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.


SPANDAN

Hariprasad Chaurasia  Hamsadwani

Jai Jai Radha Raman Hari Bol -

abhangvani by Gaan Saraswati sri.Kishori Amonkar

marath abhang by kishori amonkar

8 - Adrenalin - Raag Rahasya

5 - Scratch - Raag Dhani

4 - Revulsion - Raag Bairagi

3 - Shock - Raag Gunkali

2 - Binary - Raag Smaran

1 - Elephant's Gait - Raag Bhairavi

One of the beautiful Hanuman Chalisas from Chinmaya Mission UK's Hanuman Jayanti celebrations on 9 April 2017.

Hanuman  Chalisa - Swara to Ishwara Tune - Live at Hanuman Jayanti 2017

ਸਿਰੀਰਾਗੁ ॥
ਤੋਹੀ ਮੋਹੀ ਮੋਹੀ ਤੋਹੀ ਅੰਤਰੁ ਕੈਸਾ ॥ ਕਨਕ ਕਟਿਕ ਜਲ ਤਰੰਗ ਜੈਸਾ ॥੧॥ ਜਉ ਪੈ ਹਮ ਨ ਪਾਪ ਕਰੰਤਾ ਅਹੇ ਅਨੰਤਾ ॥ ਪਤਿਤ ਪਾਵਨ ਨਾਮੁ ਕੈਸੇ ਹੁੰਤਾ ॥੧॥ ਰਹਾਉ ॥ ਤੁਮ੍ਹ੍ਹ ਜੁ ਨਾਇਕ ਆਛਹੁ ਅੰਤਰਜਾਮੀ ॥ ਪ੍ਰਭ ਤੇ ਜਨੁ ਜਾਨੀਜੈ ਜਨ ਤੇ ਸੁਆਮੀ ॥੨॥ ਸਰੀਰੁ ਆਰਾਧੈ ਮੋਕਉ ਬੀਚਾਰੁ ਦੇਹੂ ॥ ਰਵਿਦਾਸ ਸਮ ਦਲ ਸਮਝਾਵੈ ਕੋਊ ॥੩॥

Source | http://www.punjabiacademy.com/

Tohi Mohi Mohi Tohi Antar Kaisa, Raag Siri (Gundecha Brothers)

मेरा रूप वो जो तेरा रूप हो 
मेरा रंग वो जो तेरा रंग हो |

गर रूप हो तो तेरा रूप हो 
गर रंग हो तो तेरा रंग हो |

गर आरज़ू हो तेरे नाम हो 
गर जुस्तजू हो तेरे नाम हो |

गर बात हो तो तेरी बात हो 
गर साथ हो तो तेरा साथ हो |

गर प्राण हो तो तेरे नाम हो 
गर जान हो तो तेरे नाम हो |

गर जीना हो तो तेरे नाम हो 
गर मारना हो तो तेरे नाम हो |

तेरे नाम हो, तेरे नाम हो 
तेरे नाम हो, तेरे नाम हो |

तेरे चेहरे से नज़र हटाऊं कैसे 
तेरे चेहरे पे रब दिखता है 
तेरे रूप में मुझे रब दिखता है 
रब दिखता है, रब दिखता है, रब दिखता है |

गुरु जय गुरु जय गुरु जय गुरु जय 
गुरु जय गुरु जय गुरु जय गुरु जय 

गुरु ओम् गुरु ओम् गुरु ओम् गुरु ओम् 
गुरु ओम् गुरु ओम् गुरु ओम् गुरु ओम् 

गुरु जय गुरु जय गुरु ओम् गुरु ओम् 
गुरु जय गुरु जय गुरु ओम् गुरु ओम् 

गर सजदा हो तो तेरे नाम हो 
गर इबादत हो तो तेरे नाम हो ||

Mera Roop Vo Jo Tera Roop Ho ~ Bhajan by Chitra Roy

40 stanzas on Hanuman, a devotional hymn addressing Lord Hanuman, written by 16th-century poet Tulsidas in the Awadhi language.
It is the most popular hymn in praise of Lord Hanuman.

श्री गुरु चरन सरोज रज, निज मन मुकुर सुधारि।
बरनौ रघुवर बिमल जसु, जो दायकु फल चारि॥
Cleansing the mirror of my mind with the dust of the lotus-feet of the Guru, may I describe the glory of Sri Rama perfectly, which bestows the four fruits - Purushartha - Dharma, Artha, Kama & Moksha.

Hanuman Chalisa

Often scriptural stories seem to be too fantastical. Do such legends and stories in the ancient texts have any esoteric meaning? For example, who are Madhu-Kaitabha, Mahishasur, Raktabija, Chanda-Munda, Dhumralochan and Shumb-Nishumbh? Listen to this revealing discourse to understand the true meaning of Durga Saptashati and how it relates to the hurdles on the path of any seeker.

Durga Saptashati — The Esoteric Meaning

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

8 - Adrenalin - Raag Rahasya

Jay Thakkar

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