Ever since Parveen Sultana made her appearance on the Savai Gandharva Mahotsav platform, she has continued to keep her audience attracted to her music. An amazing range of voice spread over three octaves, an extremely flexible voice, tunefulness, flashy and intricate taans, gamaks, expressiveness... there are so many virtues that have endeared her to the masses. Parveen was initiated into music by her father Ikram-ul Majid a disciple of Ustad Bade Gulam All Khan of Patiala Gharana. Later she learnt from Prof. Chinmay Lahiri of Calcutta. Ustad Dilshad Khan, her partner for life, added new dimensions to her singing. Today, her style shows a beautiful blend of the Patiala and Kirana traditions. She has been honoured with Mian Tansen Award, Sangeet Kalanidhi Award, Padmashree and many other titles. She has been instrumental in popularizing classical music in India and abroad. While her khayals sparkle with the brilliance of lightening, her Thumris or Bhajans have a moving emotive quality. Parveen thus has an equal appeal for both - the classes and the masses. Raag Gujari Todi Whenever Parveen Sultana sings at the Savai Gandharva Festival, she invariably leaves a tremendous impact on the audience; this year she proved it once again, Her singing of Gujri Todi was an amazing mixture of effortlessness, aggressiveness... and she sang with such a happiness all through her performance. It was a demonstration of 'Sudh Mudra, Sudh Bani' - the pre-requisites for every performer. Parveen has an amazing range of voice. In the very beginning alap of her performance, she displayed the 'Sa' in the lower register - clean, powerful and blending with the drone. Her tuneful approach to each note and expressive vocalization was in keeping with the mood of the 'raag' and that of the 'cheez'. Note by note, the structure of the 'raag' was taking shape. Imaginative phrasing coupled with modulations and changes in focusing of the volume enhanced the beauty of the performance. Sargams followed by reproducing the same phrases in aakar, and the powerful volley of taans through all the three octaves, left the audience stunned at times- The drut cheez (speedier composition) was equally delightful. When the cheez concluded one did not know almost an hour had passed. Parveen had presented so much in the limited time span, and so precisely; it was indeed marvellous! Raag Jaunpuri Contrasted with that aggressive Gujri Todi, the Jaunpuri opened with very pliant and pleading notes. The composition expressed the dejection of a woman whose husband had spent the night in the 'other woman's house' and had returned to her at the early dawn. Now it was impossible to adjust with him; the grief was unbearable. Parveen expressed this content musically like a skillful actor casting herself in a role. This composition was followed by a Tarana and there was ample scope for Parveen to display her command of the 'sur', 'taal' and 'taans'.