Encapsulating the eternal essence of Indian Classical Music, the album Eternal Music presents three beautiful ragas rendered by Shree Madhup Mudgal. As the roots of Indian Classical Music lay in Vedas, it is a means of connecting with the divine being that elevates the human consciousness to a higher degree. One of the distinguished vocalists, Shree Madhup Mudgal has contributed immensely in the field of Indian Classical Music and this album is yet another expression of his effervescent style.

About the Tracks

Track 1: Raga Jaijaiwanti

Mathe Jada Chanda - Vilambit Ektaal;

Composition – Traditional

Ye Main Layee Sera Banara ka - Drut Teentaal;

Composition - Pt. Kumar Gandharva


Jaijaiwanti is a very sweet sounding, delicate raga of the “khamaj thaat” (family) that is supposed to be sung and played late in the night. While the raga freely traverses all three octaves, it is compulsorily started with a dive in the lower octave and keeps returning there. Both gandhaars and both nishaads (the natural and the flat) grace the raga at appropriate times to make it a most light and exhilarating experience. The lilting melody of the raga or a deemed imploring quality of its presentation comes from affording to each note a touch of the preceding note in the descent.


Raga Darbari Kanhada

Jhanak Jhankawa More Bichhuwa; Madhyalaya – Teen taal;

Composition - Traditional

Nain So Nain Milaye Rakhunji - Drut Ektaal;

Composition - Traditional

Darbari kanhada is a sombre and melodious late night raga of the “Asavari thaat” (family). It stays a lot in the middle and lower octaves and brings about a serious and contemplative mood. It is a notion that this raga must be handled by mature senior musicians. As the name suggests, it has a royal and deep tone about it that both excites and calms the listener. It is said that this raga was composed by the legendary navaratna musician of Emperor Akbar’s court, the great Miya Tansen.
Raga Jog

Banara Bani Aayo;

Madhyalaya – Teentaal;

Composition - Pt. S.N. Ratanjankar

A naturally commanding raga, a compelling melody that beckons even without assertion, is Raga Jog, which stems from the “kaafi thaat”. Ascribed to be sung or played in the midnight hours, it evokes strong emotions in the listener. For the Agra Gharana of musicians (one of the several musical lineages of India), it is one of the flagship ragas, having embellished it in their inimitable strong style.

A forceful raga, it touches all octaves but is comfortably delineated in the middle octave around the pancham “pa”, which is the resting place for the raga, often replaced with madhyama “ma” for a change in mood, apart from “sa” and natural (shuddha) “ga”.