About Me

Hindustani music is mainly found in North India. Khyal and dhrupad are its two main forms, but there are several other classical and semi-classical forms. There is a significant amount of Persian influence in Hindustani music in terms of the instruments, style of presentation, and ragas such as Hijaz Bhairav, Bhairavi, and Yaman. Ragas such as Kafi and Jaijaiwanti, are based on folk tunes. Players of the tabla, a type of drum, usually keep the rhythm, an indicator of time in Hindustani music. Another common instrument is the stringed tanpura, which is played at a steady tone (a drone) throughout the performance of the raga. This task traditionally falls to a student of the soloist, a task which might seem monotonous but is, in fact, an honour and a rare opportunity for the student who gets it. Other instruments for accompaniment include the sarangi and the harmonium. Emotions are the prime themes of the different ragas in Hindustani classical music. The performance usually begins with a slow elaboration of the raga, known as badhat. This can range from long (30–60 minutes) to short (8–10 minutes) depending on the raga and the style and preference of the musician.

Monday, August 29, 2011







Padma Vibhushan Sangeet Maartand Param Pujya Guruji Pandit Jasraj sings "Govinda Damodara Madhaveti" a bajan written and composed by him in raag Nat Bhairav, the lyrics to which are:




Kararavinden padaravindam
Mukharavinde viniveshayantam
Vatasya patrasya pute shayanam
Balam mukundam manasa smarami ||1.||


I meditate upon Bal-Mukund (baby Krishna), lying on a Bargad leaf. His hands, his feet, his face…all beautiful, delicate and pure like a lotus flower.


Vikretukama-khil gop-kanya
Murari-paadarpit-citta-vruttih
Dadhyadikam mohavashad-vochad
Govinda damodara madhaveti ||2.||


Krishna so mesmerized the gopis of Vrindavan, that when they went to sell their dairy produce, they called out the names of Krishna – Govind, Damodar, Madhav, instead of the milk, butter or yoghurt that they had taken to sell. (Gopis are the acharyas of devotion/Bhakti.)


Gruhe gruhe gopa-vadhu-kadambah
Sarve militva samavapya-yogam
Punyaani naamani pathanti nityam
Govinda damodara madhaveti ||3.||


When gopis get together in their homes, they always sing and talk about Krishna - Govind, Damodar, Madhav.


Sukham sayanam nilaye nijepi
Naamani vishno pravadanti martya
Te nischitam tanmayatam vrajanti
Govinda damodara madhaveti ||4.||


Always chant the names of Govind, Damodar, and Madhav...


Jihve sadaivam bhaja sundarani
Naamani krsnasya manoharani
Samasta-bhaktarti-vinasanani
Govinda damodara madhaveti ||5.||


O my tongue, by reciting Krishna's names – Govind, Damodar, Madhav; names that help the mind to focus, which otherwise is prone to distractions every second. By reciting the names of Krishna, a devotee's pains (aart) arising from a distracted, blundering, blustering mind dissolve.


Sukhavasaane idamev saaram
Duhkhavasaane idamev geyam
Dehavasaane idamev jaapyam
Govinda damodara madhaveti ||6.||


The essence of bliss is revealed on reciting Krishna's names. Krishna's names when sung during a sorrowful phase in life, remove the sadness. The last thought, the last word before death claims should also be the name of Krishna.


Sri krsna radha-var gokulesa
Gopal govardhan-natha vishno
Jihve pibasvamrut-metad-eva
Govinda damodara madhaveti ||7.||


O my tongue, I request only this: drink these blissful names - Sri Krsna, dearmost of Sri Radha, Lord of Gokul, Gopal, Lord of Govardhan, Vishnu, Govind, Damodar, and Madhav...


Tvaamev yache mam dehi jihve
Samaagate dand-dhare krutaante
Vaktavyam evam madhuram su-bhaktya
Govinda damodara madhaveti ||8.||


O my tongue, I request: Please remember the sweet names of Krishna, when it is time to leave this body and Yamraaj comes for me.


Jihve rasagne madhur-priya-tvam
Satyam hitam tvaam paramam vadaami
Avarnayetha madhuraksharaani
Govind damodara madhaveti ||9.||


O my tongue, you appreciate sweet things, let me tell you your highest good: recite these sweet words Govind, Damodar, and Madhav
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