Recorded at Darbar Festival 2007, on 15th April, at the Phoenix Theatre, Leicester.

Musicians:
- Begum Parveen Sultana (Patiala gharana)
- Partha Sarathi Mukherjee (Tabla)
- Chiranjib Chakraborty (Harmonium)
- Gunwant Dhadyalla (Tanpura)
- Nina Burmi (Tanpura)
- Ranjana Ghatak (Tanpura)
- Debipriya Das (Support)

Raag Hamsadhwani; Thaat: Bilawal; Samay: Night

Upon the request of Pandit Vishwa Mohan Bhatt, who was also part of the Darbar 2007 line-up, Begum Parveen Sultana embarks upon this beautiful tarana in Raag Hamsadhwani. After a captivating alaap establishing the raga in all four octaves, Begum Sultana begins the tarana, embellishing it with alluring phrases and combinations.

Learn more about the music:
Hamsadhwani is a Carnatic import into the Hindustani system of ragas. It is an upanga janya of the 29th melakarta Dhirasankarabharana. It is an audav raga. The swaras present in this raga are ṣaḍja, chatusrutii riṣabha, antara gandhara, pachama, kakali nisaddha. Its arohana and avarohaṇa are

S R2 G3 P N3 Ṡ - Ṡ N3 P G3 R2 S.

In Western music notation, if C is taken as the base or tonic note, then the scale is

C D E G B C - C B G E D C

This raga was created by Ramaswami Dikṣhitar, who was the father of one among the trinity of Carnatic music, Muttuswami Dikṣitar. It is a rakti raga or a raga which pleases instantaneously. It offers ample scope for improvisation. It is considered as an auspicious raga and is well-suited as a minor raga in a concert. It gives rise to Nagasvaravaḷi from panchama through the process of grahabheda or modal shift of tonic.

Risabhaa, gandhara and nisadha are ragachaya swaras. All the swaras are nyasa swaras. G-N are vadi-samvadi. It can portray rasas adbhuta (wonder), vira (valour) very effectively, just as it can convey the feeling of devotion or bhakti bhava.

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