Sargam Music and piano Academy
TOWER-11, MAHAGUN MYWOODS, Gaur City 2, Greater Noida, Ghaziabad, Uttar Pradesh 201318, India
https://youtube.com/@bharti.sharmadec?si=_izlPFDE7DPD5gGV
Sargam Music & Piano Academy is a serene, purpose-built oasis for serious music learning tucked into a quiet cul-de-sac off Bengaluru’s Kanakapura Road. From the street, only a modest teak-and-brass sign hints at what lies inside: a 2,400-square-foot sound-scaped campus devoted entirely to melody, harmony and disciplined craft. A short stone pathway winds past a small lily pond whose gentle fountain masks city hum and prepares the ear. The façade is all curved brick and shaded glass; inside, the air is scented faintly with sandalwood from acoustic ceiling panels made in nearby Mysore.
Three acoustically independent studios anchor the program. Studio Sa, the piano wing, houses five Yamahas (a C3X grand, two U1 uprights and two silent b Series), plus a lovingly restored 1923 Bechstein for advanced performance coaching. Thick floating floors and floor-to-ceiling diffusers allow students to practice at midnight without waking even the guard dog. Studio Re concentrates on Hindustani vocal and rhythm; its western wall is a sliding shoji panel that can be opened to the adjoining miniature amphitheatre for baithak-style chamber concerts. Studio Ga doubles as a digital composition lab—eight workstations running Cubase, Sibelius and Native Instruments, linked to a 32-channel mixer—so film-score hopefuls can layer live tanpura drones over sampled cellos and export mixes before the next tabla class begins.
Faculty are audition-curated rather than merely degree-credentialed. Founder-director Vidushi Kalyani Krishnan—gold medalist from Trinity Laban and former rehearsal pianist for violinist L. Subramaniam—teaches advanced classical repertoire, while co-founder Pandit Murli Manohar brings three decades of sitar and surbahar pedagogy into every vocal masterclass, insisting that every pianist learns basic khayal taan patterns in order to “breathe phrases instead of counting bars.” A rotating guest list includes Berklee alumni, Chennai A. R. Rahman studio arrangers, and even luthiers who occasionally set up a pop-up repair bench in the foyer so students can learn what actually happens inside a grand when a damp-chipped hammer strikes an aged string.
Programs span eight graded streams (piano solo, piano-accompaniment, western theory, Hindustani vocal, Carnatic keyboard, composition for media, and two diplomas in collaborative performance). Adult hobbyists may opt for Tuesday-evening “Sip & Scales” sessions—single-malt pour followed by 90-minute small-group lessons. Younger scholars enter a merit scholarship seeded by alumni gigs that pays up to 80 % fees provided term-end jury boards award 85 % or higher. Every May and November, the academy hosts Antar-Antara, a ticketed festival where students share the stage with visiting artists—string quartets trading phrases with bansuri, jazz drummers locking lehara cycles to konnakol syllables.
Despite its high-end sheen, fees remain surprisingly humane: a two-hour masterclass costs roughly what two cinema tickets would, and a practice booth can be rented by the hour until 11 p.m. for less than a take-away dosa. Yet the lasting currency exchanged here is not money but time slowed to the length of a perfect cadence—and the sense that the ancient raga and the modern sonata are neighbors who greet each other every evening across this little musical courtyard.
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- Published: July 29, 2025
