According to Sanjeev Ji, the most creative opportunity for any classical musician lies in the elaboration within the few notes of every Raga by way of aalaps, taans and fine ornamentation of notes. The countless possibilities and their aesthetic expression contribute towards making a big musical picture in the presentation of the “Khyal”. The knowledge, the practice, the vision, the patience and perseverance are key factors in determining the depth of the musician’s creativity.
A musician has to keep in mind that while searching for the creativity, the “Bhav and Rasa” i.e the feel, emotion and soulfulness of music should not be compromised. A musician has to strike a wonderful balance between creativity and emotional appeal of his or her music.
Experimenting with the form of presenting music is something Sanjeev Ji strongly believes in. He thinks that the form may change and evolve with time. The designs of the gold ornaments change with time, but the purity of gold should remain the same. Similarly, the format and presentation of music may change, but the soul of music should remain untouched.
- Raag Chandrakauns
- Raag Chandrakauns
- Raag Miyan Ki Todi
- Raag Miyan Ki Todi
- Hori
- Raag Vrindavani Sarang
- Raag Vrindavani Sarang
- Raag Poorvi
- Raag Poorvi
- Hori
- Raag Bageshree Ang Ka Chandrakauns
- Raag Bageshree Ang Ka Chandrakauns
- Raag Madhukauns
- Raag Madhukauns
- Raag Mishra Khamaj
- Raag Megh
- Raag Megh
- Raag Bhoopal Todi
- Raag Bhoopal Todi
- Raag Bageshree
- Raag Anand Bhairav
- Raag Maru Bihag
- Raag Kalawati
- Raag Des
- Raag Shivranjani
- Raag Hansadhwani
- Raag Hansadhwani
- Raag Bhinna Shadja
- Raag Bhinna Shadja
- Raag Marwa
- Raag Marwa
- Raag Jogkauns
- Raag Jogkauns - Tarana
- Raag Bhatiyar
- Raag Bhatiyar
- Raag Charukeshi
- Raag Aasa Mand
- Raag Rageshree
- Raag Rageshree
- Raag Rageshree – Tarana
- Raag Jog
- Raag Jog – Tarana
- Raag Ramdasi Malhar
- Raag Lalat
- Raag Miyan Malhar

Composer - Sanjeev Abhyankar