Raag Nand । Devaki pandit । Drut bandish । Ajab Anokhe Naina

DEVAKI PANDIT

Born in a household with phenomenal performers in her lineage, Devaki Pandit was exposed to a plethora of art.

Devaki Pandit received initial training of music from her mother Smt. Usha Pandit followed by Pt.Vasantrao Kulkarni, Padma Vibhushan Ganasaraswati Kishori Amonkar and Padmashree Late Pt. Jitendra Abhisheki. She Says ''My mother Usha Pandit, my 1st Guru, also a disciple of Pt. Jitendra Abhisheki taught me the basics of music but always tested me time and again; whether I had the perseverance to remain dedicated to an intense, lifelong commitment with Music. This vigilant and self-analytical approach helped me in my pursuit to acquire knowledge from great legendary gurus.''

Music is known to surpass all boundaries, and it was no different with Devaki Pandit. With training from the Agra Gharana, she started singing professionally by twelve years of age when she recorded for a childrens album. With learning the intricacies from her mother and her gurus, Devaki flourished as an accomplished singer. Her keen sensibilities and eagerness to achieve versatility led her to sing various forms such as bhajans, ghazals, abhangas, and songs for films apart from Indian classical music.
She went on to collaborate with renowned artists such as Pt. Hridaynath Mangeshkar, Ustad Raees Khan, Gulzar, Vishal Bharadwaj, Naushad, Jaidev, Jatin - Lalit, Ustad Zakir Hussain in the field of films, television, and live classical performances.

About Raga Nand

In the series of ragas of the Kalyan family, perhaps the most heard but least known is a short and elegant raga called Nand, variously called Anandi or Nand Kalyan. Some think that the creation of Nand raag is inspired by the cry of a human baby and the fawn of a deer.


The reason it is very well heard has to do with a very famous film song called 'Tu Jahan Jahan Chalega' from the Indian film Mera Sayaa (1966). Nand expresses a similar personality to most of the Kalyan ragas – an elegant, eloquent raga, like a handsome person with a sweet voice. It’s appeal is ethereal, and very fragile. 

  Structure of Raga Nand

Raag Nand belongs to Kalyan Thaat. It is an evening raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. This melodic combination cimpresses instantly and without any difficulty creates its own unique mood. However, the Vakra movements in rendering result more in repetition and hence it cannot be performed for longer duration and the effect is then lost. 


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