Anil Madhyam

Note: This was originally posted on January 5, 2012 by sitardivine

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 ele 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.. “ Sanjoyda, sundar lagchhe to! Ki raag?” [Sanjoyda, this is sounding beautiful! What is the raga?]”

Sanjoyda chose to play Anil-Madhyam at 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… 

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


  1. R n1 S g S, R g P m
  2. P1 n1 P1, m1 P1 S
  3. P1 n1 g R n1  m1 P1 S
  4. P1 n1 R, S g S, R n1 S, P1 m1
  5. n1 S R g m, S g R n1 P1
  6. S R g m P m
  7. g m P n g,  R g m R, S g S, n1 g R, S R g P m
  8. R n1 S R g m P n – P
  9. m P S’, R’ S’ n – P
  10. P n R’, P n g’ R’ S’
  11. R g m P n S’ R’ g’ R’ S’
  12. S’ n P m g R S








Ahiri Marwa and Pt. Buddhadev Dasgupta

Note: This was originally posted on March29, 2014.

On the day before yesterday [27 Mar 2014] at the ‘Vistar’ program Buddhada [Padmabhushan Pt. Buddhadev Dasgupta] suddenly asked me if I knew ‘Ahiri Marwa’ [আহীরী মারোয়া জানিস?]. I said, no, I did not learn any rag named ‘Ahiri Marwa’ [না শিখিনি]. Next evening when I came back home with Dilip [Dilip Mukherjee, a wonderful tabla player and an excellent human being] and went straight to my riyaz-room. Suddenly I remembered Buddhada saying “আহীরী মারোয়া জানিস?” I thought why not try mixing some components of ‘Ahir Bhairav’ [frankly I have not learned Ahiri, but had the opportunity to listen to this raga from Pt. Balaram Pathak many years back… But I don’t remember anything and was not in a mood to consult any book to find out the raga details] and went straight working on blending the components of D1nr component of ‘Ahir Bhairav’ and ‘Marwa’ in the ‘rGMD’ region and playing phrases skipping ‘n’. It gave me a good feel.. I thought why not record it? I grabbed an audio recorder and pressed the red button and here it is… Today, before putting the raga for your evaluation I searched the google with “Ahiri Marwa” and did not come with any result. I think this might be also named as ‘Komal Marwa’ too. Listen and comment if you have time… It remained to be asked to Buddhada how he asked me on ‘Ahiri Marwa’, did he listen to it anywhere or contemplating on composing such a raga. In any case, it was fun to blend these two ragas of completely different moods and almost opposite playing times.

A depiction of Ahiri Marwa is available in Pt. Sanjoy Bandopadhyay’s Music Album titled ‘rare Ragas on the Sitar’.


March 29, 2014

This was posted in Facebook. Here are some interesting comments…

Uma Shankar Sharma asks: What will be time to play this raga?

SB replies: This is a good question. Firstly I played this for fun and wanted to feel how the combination of these two ragas sounds. I don’t know if the raga has been already composed by somebody and so on. If you ask me, then I would tell you that, it all depends on how this raga will get expressed by the performer. If you take this as a ‘Mishra Raga’ then a musician can highlight either the Ahiri part ore the Marwa parts. If someone makes the ‘Ahiri’ effectively prominent then it should be played in the morning and vice-versa. I find the probable application of Komal-re very interesting as you have altogether different komal-re for these two component ragas. I hope you enjoyed raga textures…

Anindya Banerjee:  We have learnt Ahiri Bhatiyar from Khansahib, where there is little resemblance with Marwa and Ahiri

 Sanjoy Bandopadhyay @Anindya Banerjee The reason possibly is, Bhatiyar and Marwa have similarities. Does ‘Ahiri Bhariyar’ take both the Madhyamas? Here, I used only ‘Tivra m’ for ‘Ahiri Marwa’. I also proposed a name for the raga ‘Komal Marva’.

Tim Hoffman: Thanks for the info on a vital process such as has throughout history of Hindustani music given the world some of its most interesting modal forms.  [March 30, 2014 at 8:58am]

A sketch discovered after 45 years…

This was originally posted on August 7, 2012. Then my Mejdi was happy, glad and constantly putting her full energy to keep us all happier with her glowing presence. We are not ready to accept that not seeing is missing her! Since July 22 2019 the feel of her presence, in a sense, has been getting stronger! – Bublu, Gangtok | March 22, 2020

I was trying to understand how to digitize books, studying the DIY Book-Scanner that Google adopted for digitizing millions of books [DIY is the acronym for ‘Do It Yourself’]. I managed somehow to erect a home set-up. Yes, the book stand made of cardboard, one camera and so on. I was trying the software that I would use for digitizing.

I wanted to try the set-up and first laid my hand on a sitar-notebook, my first one that was mostly written by my Guru Pandit Radhika Mohan Maitra. I discovered a loose leaf inside the notebook. This was already brittle. There was grocery list on one side and the other side showed a pen-sketch. I got excited! Someone drew my sketch!!

I liked the pen-lines. A simple ball point pen was used. ‘Bublu’ was written on the work. ‘Bublu’ is one of my pet names. I was not sure about the artist and started conjecturing. The drawing gave me the impression that it was done when I was around twelve year old. I thought I recognized the handwriting, I thought it was Mejdi’s. The other possibility was Chhordi. I was not sure. But they did not remember anything! Finally, Chhordi came and saw the sketch and ascertained that it was Mejdi’s handwriting…

Mejdi, Sushanta Siromoni [2010]

Mejdi loved to sketch, when she was young, during her school and college days. She did not have any formal training. But, she saw her aunt [Pishi] at work, who was a serious artist. I am glad that at least one of Mejdi’s work-specimen got discovered by chance. She almost forgot that she used to sketch for the sheer love of it.. This piece of art has been waiting for 45 years to be get rediscovered..! Thanks to DIY project!!!

A Poetic Praise

Pt. Sanjoy Bandopadhyay gave a sitar solo recital at his workplace Rabindra Bharati University. The program was arranged on February 26, 2012 at the Uday Shankar Hall at Emerald Bower Campus to observe the sesquicentennial birthday celebration of Swami Vivekananda. Professor Bandopadhyay played Shudh-Sarang and a dhun based on the Tagore song ‘Megher kole rod hesechhe..’ ..  The recital received very warm appreciations from the audiences.. Sanjoyjee’s colleague Dr. Bidyut Kanti Chaudhury, who is a natural poet and gives outlets to his expressions through poems, could not retain himself and immediately grabbed a piece of worn out paper and wrote a few lines. Later he gave it to Panditjee in a fresh new piece of paper.. We liked the poetry and take the opportunity to share with you.. the poetry by Dr. Bidyut Kanti Chaudhury on Pt. Sanjoy Bandopadhyay..

৬০ পেরিয়ে

৬০ পার করাটা অনেক চেষ্টা করেও শেষ পর্যন্ত আটকানো গেলনা| কুষ্ঠিতে ছিলনা তাও পৌঁছেই গেলাম|এগার বছর বয়সেই সটকে যাবার কথা ছিল, তার জায়গায় ষাট! অতএব এ পর্যন্ত ৪৯ বছর ফাউ| ফাউ সবারই ভালো লাগে, সত্যি বলতে কি আমারও অল্প অল্প লাগে| জন্মদিনের দুদিন আগে জানতে পারলাম আমার শ্রীমতীজী কিছু একটা ফাঁদছেন, টের পেলাম উনি ছাত্র-ছাত্রীদের সাথেও কথাবার্তা বলছেন| ১৬ সেপ্টেম্বর সকালে ওঠার পরই তাড়াতাড়ি ইউনিভার্সিটি থেকে ঘরে ফেরার ফরমান জারী হল|

বিকেল সাড়ে-চারটে নাগাদ বাড়ী ফিরে দেখি সাবির সেই বর্ধমান থেকে আমার আগেই হাজির| এরপর আস্তে আস্তে অন্যরাও হাজির হল| ত্রৈলী সেই হাওড়া থেকে সাবির এর পর-পরই চলে এল | একটু পর ঢুকল সুমেধা| এর মাঝে সাবির আর অনির্বান টুক করে গাড়ী নিয়ে বেরিয়ে গিয়ে কিছু বিশালাকায় পাত্রে খাবার নিয়ে চলে এসেছে| নভনীল, বাড়ীতে শোকের পরিবেশ থাকা সত্তেও, অল্প সময়ের জন্য চলে এসেছিল| ওকে পেয়ে আমাদের খুব ভাল লেগেছিল| সন্ধে গড়িয়ে গেলে এল দীপঙ্কর, অনুশ্রী আর তাদের ছোট্ট মিষ্টি মেয়ে| মাঝে বনুদি আর অঞ্জনদা| একটু রাত করেই দিলীপ আর সপরিবার পরিমল ঢুকল| সবশেষে এল সুজু, অরুন আর পুকলাই| ওরা যখন এলো তখন পার্টি বেশ জমজমাট| অনির্বাণ সরোদ নিয়ে বাজনার ঘরে বাজিয়ে চলেছে| মাঝের বড় ঘরে গান, হাসাহাসি, কবিতা| আর মা’র ঘরে অঞ্জনদা, বনুদি আর পরে জুড়ল আমার মেয়ে মিম্মাই| সেখানেও চলছে নানা মজার মজার গল্প-গুজব| আর অন্য ঘরগুলো? সেখানে ঢাই করা জিনিস-পত্র, প্রয়োজনে আমরা সেখানে গিয়ে কাজ করে বেরিয়ে আসছি| সব মিলিয়ে এক অদ্ভুত খুশীর মেজাজ| শব্দ নানা ধরনের হলেও তাতে ঠোকাঠুকি নেই| চলুক না আলাদা স্কেলে সরোদ আর গান| গানের পেছনে মৃদু সরোদের আওয়াজ, কখনও বা রান্নাঘর থেকে বাসনের শব্দ, সব আওয়াজই যেন মিলেমিশে খুশীর ছবি এঁকে চলেছে| ওই ছবিই কিছুটা ধরে রাখার চেষ্টা করেছি এই ছোট্ট ভিডিও তে| পার্টি যখন শেষ হল তখন আমার গিন্নির জন্মদিন ১৭ সেপ্টেম্বর ছুঁয়ে পরের দিন সকাল দু’টো!

আমরা সবাই মিস করলাম সুবীর, কর্নজিত, আয়ুষ, রাজরূপা, সুহাস, বিট্টু আর কুশলকে| কেউ বা ষ্টুডিও-তে আটকা, কেউ বা সেদিনই বিদেশ পারি দিল, কেউ আছে দেশের বাইরে বা কারুর বাড়ীতে পুজো| আর মিস করেছি তরাই, দেবাশিস আর তুলুকে|

 ঐদিন তোলা অল্প কিছু ছবি এই ছোট্ট এলবামে রাখা রইল|