Mohi Bahauddin Dagar
This is Mohi Bahauddin’s word on his music:
I began training with my father after age 16. It is only when I expressed my desire to learn that he accepted me as his disciple. My interest in learning intensified after my tanpura playing for him in the tour to America for the Festival Of India then in 1986. The rules of learning were, be and behave like a student, don’t question and if you ever learn never use your wisdom of music to suppress others. Two initial lines were then given in Raag Yaman to be practiced over continuously for a period of two year without changing or modifying them. From time to time small discussions across the table were the only other inputs into music. Over all I remember learning three ragas from him. The others were shown as a glimpse and I was told that just listen carefully, when the time is right they shall come back to you. After his demise in 1990 I continued to practice and got big encouragement from Pt Pushpraj Koshti who used to sit with me and make me play with him. At the same time I continued further learning with Ustad Zia Fariduddin Dagar. The film maker who made Dhrupad, Mani Kaul also shared with me what things he had learnt with my teachers . All in all I had quite a few different kinds of inputs all coming from the same maestro indirectly. My first face to face experience of the Ahir Bhairav was at a studio where he was recording it for a company Swarshree in Mumbai. Apart from that in various occasions when the Raga was discussed with various students, it was explained that this was a combination of two ragas Ahir And Bhairav and that the proportions had to be mixed with caution. The position of the Nishad and the application of Pancham was discussed quite a few times. I had never learnt this raga from him but if I may say so it has taken me years to understand what he meant when he explained the raga. It was also important for him that the raga having all its characteristics should be finally played with the heart.