1

Short Takes – Kafi

The distinguished ragas, Bhimpalasi and Bageshree, associated with the Kafi that have been
the subjects of an earlier inquiry. In this paper we train our sights on Raga Kafi and its
tributaries, namely, Sindhura, Barwa, Neelambari and Piloo. Besides sharing genetic
material these ragas have another common attribute: they have arisen from dhuns, with their
fons et origo in the province of folk music. Although these tunes over time have come to be
formalized into ragas, they remain consigned to the bucket of kshudra ragas. That is to say,
their conveyance is largely via auxiliary genres such as hori, dadra, thumri,
bhajan and geet instead of the weighty classical forms like dhrupad and khayal.
Throughout this essay M represents the shuddha madhyam.
The Kafi that is among the ten proposed by Pandit Vishnu Narayan Bhatkhande in his
taxonomic scheme. It corresponds to the 22nd Carnatic melakarta Kharaharapriya, known in
early Carnatic literature as Shree-raga mela, and wields the following swara-set: S R g M P D
n. Large swaths of the Hindustani ragaspace remain beholden to this that for it is the mother
lode of not only major ragas but also of several key ragangas (Kanada, Malhar, Bhimpalasi,
Dhanashree, Bageshree and so on).
For several centuries the saptaka defined by the swaras of Kafi – and not Bilawal – was the
“shuddha” scale of the Hindustani system. Ancient Indians were deeply familiar with its
forerunner, the Shadja-grama of the treatises of antiquity. Kafi the raga, however, is not as
ancient. Bhatkhande writes that the name first appears in Raga Tarangini of Lochana
Pandit who lived in the Mithila district around 15th C (vide Bhatkhande’s Hindustani
Sangeet Paddhati and his concise commentary, A Comparative Study of Some of the
Leading Music Systems of the 15th, 16, 17th, & 18th Centuries). Furthermore,
Bhatkhande expresses surprise that post-Lochana, occurrences of Raga Kafi and
its lakshanas are found more in the works of Carnatic shastrakaras,
including Venkatamakhi‘s Chaturdandi Prakashika (17th C) and Tulaja‘s Sangeeta
Saramrta (18th C), than in their northern counterparts.
Raga Kafi
As mentioned in the prefatory remarks, Raga Kafi has come to us from folk music. To those
growing up in India with all its ambient cultural input, ragas such as Kafi, Bhairavi, Pahadi
and Piloo scarcely require formal instruction. One grows up with them, their spirit seeping
into the dermis through osmosis. By the time a student embarks on a systematic study, these
musical memes are expected to be part of his or her mental furniture.
Let us flesh out the central lakshanas. Raga Kafi’s signature is ensconced in the following
tonal phrase:
S, RgMP, M P D (M)g R
This recurring phrase and the avarohi termination on R are characteristic of Kafi.
Let us develop that motif.
S R R g g M M P, P M P (M)g R, n D n P D M P (M)g R
M P D n D P, n P (M)g R, g R S n’ D’ n’ S
Pancham and avarohi rishab are nyasa swaras.
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A sample uttaranga flight path:

M P D n S”, D n D P D n S”, R” n S” n D P
Shuddha nishad is often deployed:
M P D N S” N S”
As is shuddha gandhar, in a vivadi role. For instance:
P M P G M n D n P D M P (M)g R
A couple of final observations: it is not uncommon for gandhar to be skipped (langhan)
in arohi prayogas – S R M P D M P g R. An uttaranga foray bearing shuddha nishad of the
form M P N S” is also observed. These ploys betray an influence of Sindhura (to be treated
shortly).
Kafi is accorded a great deal of latitude in the interest of ranjakatva. In all kshudra ragas,
‘contamination’ on account of swaras not part of their intrinsic makeup is par for the course.
A ‘pure’ version of Kafi is seldom heard in performance; almost all instances fall to the
“Mishra Kafi” lot. With this understanding, the explicit Mishra qualifier shall be dispensed
with altogether. Bear in mind that strict conformity to etiquette is not expected
of kshudra ragas.
These preliminaries are appositely summarized by Ramashreya Jha “Ramrang“ in a
conversation recorded over the California-Allahabad telephone link.
Kafi comes in several flavours – Sindh Kafi (a touch of komal dhaivat), Zilla Kafi (seasoned
with shuddha gandhar), De-Kafi (with sugar and cream) and Bengali Kafi (who cares?). We
shall forego these finer distinctions since most musicians today peddle variations simply
under the “Mishra Kafi” roof. Horis, thumris and dadras set to talas such as Deepchandi,
Dhamar, Jat, Dhumali and Keherwa abound.
We have marshalled a lavish spread for your delectation. There is so much material
available in Kafi that there is a good chance you won’t find your own nanny goat in this
caboodle. If you develop an urge to bring it to my attention it would be a great idea not to.
With that said, Bon Appetit!
We hit the movie circuit first. On the few occasions he ventured there, Ravi
Shankar disclosed a keen talent for composing film songs (Alu, on the other hand, turned
out to be a thundering flop). His composition from GODAAN (1963), in Mohammad
Rafi‘s voice: hori khelata Nandalal biraja mein.
A couple of Lata sparklers follow.
Movie: CHACHA ZINDABAD (1959); Music: Madan Mohan.
Movie: MUNIMJI (1955); Music: S.D. Burman.
Yesudas and Haimanti Shukla in CHASM-E-BADDOOR (1981), with music
by Rajkamal.
Several years ago, a vast Bong conspiracy was uncovered & busted in the deep bowels of
Tollygunge, and the gifted composer N. Datta (Datta Naik) was finally revealed to be not
 3

a macher-jhol Bong dork but a true blue Goan stud. Sudha Malhotra in DHOOL KA
PHOOL (1959)
In the company of the great: K.L. Saigal‘s hori is set to Chachar tala: Hori ho brijaraja
dulare.
Saigal‘s gem: main jo dinana ki thori.
Marathi stage music has throughout its history looked to Kafi and Sindhura for sustenance.
From the drama SHAKUNTAL (premiered in 1880), in Sharad Zambhekar‘s voice: sadhya
nase munikanya.
Govindrao Tembe composed the music for VARAVANCHANA (1925). Bapurao Ketkar‘s
vocals.
Drama: SWAYAMVAR (1916); Composer: Bhaskarbuwa Bakhale; Singer: Manik
Varma: roopabali to nara shardula.
Over to the Department of Devotional Music where Kafi has an abiding association. In the
company of the great: K.L. Saigal‘s hori is set to Chachar tala: Hori ho brijaraja dulare.
Saigal‘s gem: main jo dinana ki thori.
Marathi stage music has throughout its history looked to Kafi and Sindhura for sustenance.
From the drama SHAKUNTAL (premiered in 1880), in Sharad Zambhekar‘s voice: sadhya
nase munikanya.
Govindrao Tembe composed the music for VARAVANCHANA (1925). Bapurao Ketkar‘s
vocals.
Drama: SWAYAMVAR (1916); Composer: Bhaskarbuwa Bakhale; Singer: Manik
Varma: roopabali to nara shardula.
Over to the Department of Devotional Music where Kafi has an abiding association. We
begin with a Kali kirtan in bongspeak.
A callow Mallikarjun Mansur, from his pre-Atrauli-Jaipur days.
The genre “Kafi,” popular in Gujarat, Punjab and Sindh, consists of Sufi poetry set to music.
We offer a Punjabi Kafi of Shah Hussain sung by Hamid Ali Bela: maai ni main kinoon
akhan dard wachore da hal. (to whom shall I relate the state/condition of parting’s anguish?)
Basavanna’s vacana in Kannada is rendered by Basavaraj Rajguru: nudidare muttina
haradantirabeku.
Vande Mataram by Omkarnath Thakur.
Ramashreya Jha “Ramrang“ recites a prabandha with its tightly structured antaras, in Zilla
Kafi.
Ramrang’s own tappa composition.
Another Kafi tappa by Malini Rajurkar.
 4

Abdul Karim Khan‘s attempt at Tyagaraja’s kriti in Kharaharapriya: rama nee

samanamevaru.
Switching to the instrumental lane, we catch Ravi Shankar.
Biswajit Roy Chowdhury on sarod.
Kafi provides excellent opportunities for Horing, as the actress said to the bishop. We begin
with Siddeshwari Devi.
Of her hori Shubha Mudgal says, “It is so close to the traditional Kafi horis that are sung in
Krishna temples by the raas artistes. In fact, the musical accompaniment that Aneesh
[Pradhan] suggested for this is also influenced by the use of pakhawaj and jhaanjh or kaansaa
that you hear with haveli sangeet, and raas performances.”
The Senior Dagar Brothers, N. Moinuddin and N. Aminuddin, sing an old dhamar lyric
in hori style: kesara ghar ke ranga.
This hori recording (1930s) serves as a marker for Kesarbai‘s evolution as a musician. At
the time she had freshly emerged from the exacting regimen imposed on her by Alladiya
Khan: ab to khelale phag.
This Zilla by Mushtaq Hussain Khan of Rampur paints Khamaj-like vistas.
Bandish in Kafi by Laxmanprasad Jaipurwale: kari ghata ghoomakara aayi.
Ramrang’s bandish-ki-thumri comes to flower in Jitendra Abhisheki‘s vocals: ranga jina
daro.
The high-octane Krishnarao Shankar Pandit.
We complete the Kafi circuit with two cuts of the well-known composition, jab se Shyam
sidhare.
Raga Sindhura
Known in earlier times as Saindhavi, this raga has cleaved a trail going back to the Sangeeta
Ratnakara of Sarangdeva (13th C) where it was considered a desi raga (as opposed
to margi), suggestive of its roots in the folk traditions of the land. Saindhavi is in circulation
in Carnatic music although, as Subbarao notes in his Raganidhi, it is the Carnatic Raga
Salaga Bhairavi that more resembles the contemporary Hindustani Sindhura. Despite its
chronological seniority, the lakshanas of Raga Sindhura have been subsumed under the Kafi
framework. Let us examine its key features.
S R M P, [PDMP] (M)g, R M g R S
S R M P D n D M P D S”
M P N, N S”, R” g” R” S”
S”, R” n D P, n P (M)g, R M P (M)g R, S
The gandhar is varjit in arohi passages. The approach to S” takes two pathways: one
drops nishad as in M P D S”, the other adopts the shuddha nishad-laden strip M P N, N S”.
The gandhar becomes deergha on occasion in avarohi prayogas. Sindhura being an uttaranga-
 5

pradhana raga, a judicious elongation of dhaivat can be put to good effect. These are the
primary points of distinction with Kafi.
Jha-sahab gives the rundown.
D.V. Paluskar presents a chatarang composed by his great father Vishnu Digambar. The
elongation of madhyam is idiosyncratic.
B.R. Deodhar‘s hori is textbook Sindhura: saja saja avata hai Brijanara.
Deodhar’s protégé, Kumar Gandharva.
Baba Allauddin Khan of Maihar on the violin.
Nikhil Banerjee, sitar.
Raga Barwa
Most Hindustani musicians today make ‘light’ of this raga but not the bards of Agra to whom
Barwa is serious business, deserving of a respectable khayal treatment. Barwa maintains a
filial association with Kafi and Sindhura, and a fleeting dalliance with Raga Desi in
its poorvanga. Let us outline its chalan.
S, R n’ D’ P, M’ P’ D’ N’, S
S R M, M P D g R, M g R M, M P
M P D g R, P g R, R P R g (S)R S
M P D S”, R” n D P, M P D N, N S”
Breaking it down we have:
S R M P or P g (Sindhura); M P (M)g R or M’ P’ D’ N’ S (Kafi); R P R g (Desi);
The key point here is the deergha nature of madhyam, a clear departure from both Kafi and
Sindhura.
Pandit Ramashreya Jha “Ramrang” holds forth on Raga Barwa.
Faiyyaz Khan (“Prempiya”) begins with a robust alap and tops it with his own composition,
now standard issue for Agra-ites: baje mori payaliyan.
Sohan Singh, Faiyyaz Khan’s disciple, is not a familiar name. A fluent vocalist, he was the
guru of the brilliant film music composer Jaidev.
Vilayat Hussain Khan “Pranpiya,” attractive in his rough-hewn manner.
Latafat Hussain Khan.
Kesarbai Kerkar‘s lapidary approach, swara-smithing if you will, never ceases to inspire
awe. Take stock of the gentle hints of Desi in this unpublished mehfil.
Sarangi-nawaz Bundu Khan.
Another instrumental performance, this time on the sitar by Vilayat Khan.
Ramkrishnabuwa Vaze‘s interpretation stands out from the rest. He does not appear to be a
votary of a deergha madhyam. His Barwa and Sindhura are cut from the same cloth, with
subtle points of difference such as, for instance, the R g S sangati in Barwa. Vazebuwa does
 6

acknowledge a modicum of Desi in his brief remarks in Sangeeta Kala Prakash (1938): bol
Radhe ab to chook pari.
It ought to be obvious by now why avirbhava of these ragas – and the ones to follow – are
viewed as a “tod-marod” of Kafi.
Raga Neelambari
This exquisite raga was popularized by Omkarnath Thakur. It has no resemblance to the
Carnatic raga of the same name. Raga Neelambari draws on both Kafi and Sindhura but
carves out its identity with two special pathos-imbuing prayogas: the melodic molecule D’ n’
g R (heard on the mukhda in the clips below), and the chromatic avarohi slide
from shuddha to komal gandhar, to wit: R M P D M G g R.
Susheela Mishra has written: “I still remember how at a huge music conference in Calcutta
many years ago, the audience requested [Omkarnath Thakur] to sing Neelambari. But he
begged to be excused as Neelambari had been a favourite of his late wife and he felt he would
have a breakdown if he tried to render it that evening!” (Great Masters of Hindustani
Music, Hem Publishers Pvt Ltd, 1981.)
Omkarnath Thakur: mitawa balamava.
Following in her guru’s footsteps, N. Rajam.
Ummeed Ali Khan of Gwalior.
Raga Piloo
Piloo is, in essence, a dhun, and the least structured of the ragas considered here. Which
means all the 12 swaras have visitation rights. But this is not to say it is an indiscriminate
gangbang. There is a definite kernel available on which to sew the supporting ad hoc
melodic threads. Bhatkhande recalls that its extreme popularity notwithstanding, the poo-
bahs of his day turned their noses up at the idea of regarding Piloo as a raga.
The following constitutes the kernel of Piloo:
P’ N’ S g, g R S N’, N’ S
The nyasa on gandhar and shuddha nishad of the lower register are Piloo’s genetic markers.
A few of the supplementary strands used to constitute Piloo are:
S, g R S N’, S N’ d’ P’, M’ P’ N’ S g, R S
S g, g M P (M)g, g (R)S N’, S
S G, G M g R, S G M P n D P, G M d P (M)g, (R)S N’
S, N’ S r S N’ d’ P’, M’ P’ N’ N’ S
A couple of final remarks before we repair to the audio parlour.
– Bhatkhande says that the preferred Piloo flavour of the heavyweights of Rampur (such
as Wazir Khan and Nawab Sadat Ali Khan) was grounded in the scale of the 9th
Carnatic melakarta Dhenuka: S r g M P d N. Some of the compositions he heard in Rampur
are documented in Panditji’s Kramika Pustaka Malika.
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– Although Hamsakinkini and Piloo share some phraseology there are significant differences
in their constitution.
Jha-sahab‘s words of wisdom.
A Saigal classic from the movie TANSEN (1943), music by Khemchand Prakash: kahe
gumana kare.
Saigal again, with a ghazal.
Movie: HOSPITAL (1943); Music: Kamal Dasgupta; Voice: Kanan Devi.
Asha Bhonsle in JORU KA BHAI (1955), with music by Jaidev: naina kahe ko lagaye.
Movie: DURGESH NANDINI (1956); Music: Hemant Kumar; Voice: Lata
Mangeshkar: mat maro Shyam pichkari.
O.P. Nayyar gets his Piloo swing going in the Geeta Dutt number from 12 O’CLOCK
(1958): kaisa jadoo balama tune.
Mukesh in CHHOTI CHHOTI BAATEIN (1965) to Anil Biswas‘s music: zindagi khwab
hai.
The celebrated Marathi natyageeta, nacha sundari, from SAUBHADRA (premiered in 1882)
is exquisitely rendered by Abdul Karim Khan.
This 1923 Marathi bhajan by Hirabai Barodekar is not for those dainty sucklings
accustomed to the warm feel of Dolby’s tit.
Faiyyaz Khan takes on a ghazal.
A pregnant thumri session awaits us.
Bade Ghulam Ali Khan: kate na biraha ki rat.
His brother, Barkat Ali: Radhe bano Shyam.
Ghulam Mustafa Khan: sham bhayi bina Shyam.
A few instrumental selections are in order.
Dinkarrao Amembal (D’Amel) on the flute.
Govindrao Tembe and his digital dexterity on the harmonium.
Bundu Khan on sarangi
Alu whips out his lil Piloo. (O behave, Alu!)
Laxmanprasad Jaipurwale (Caution! You are about to enter the No-Dolby-tit zone).
An unpublished recording (1957) of Krishnarao Shankar Pandit.
We conclude with Kishore Kumar, who has meant more to me musically than anyone else.
This is his own composition, from his movie DOOR KA RAHI (1971): khushi do ghadi ki
mile na mile.
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This pièce de résistance from ZINDAGI ZINDAGI (1972) was composed by S.D. Burman.
Its haunting refrain was included by the film-maker Sandip Ray in a collage
depicting Kishore Kumar‘s final journey in October 1987. Few among us are so fortunate in
the manner of our death as to have a hand in our own requiem: tune humein kya diya ri
zindagi.
 9

Short Takes – Bhinna Shadaj

The hoary Raga Bhinna Shadaj and its derivative melodies will absorb our interest in this
installment.
Raga Bhinna Shadaj
This old raga finds mention in the treatises of antiquity, among
them Matanga‘s Brhaddesi (9th C), Sarangdeva‘s Sangeeta Ratnakara (13th C).
Resolving the conflicting accounts in the commentaries and relating the lakshanas of the
ancien régime with the practice of our time present considerable difficulties. “Bhinna (lit.
differentiated) is so called because it is differentiated with reference to four (factors) viz.
sruti, jati, purity and tone (svara)” (Sangitaratnakara of Sarngdeva, Vol. II, English
Translation and Text by R.K. Shringy and Prem Lata Sharma, Munshiram Manoharlal
Publishers Pvt. Ltd., 1989). Bhinna Shadaj seems to refer to that grama-raga obtained by
deviating from the shadja-grama-raga (likewise with Bhinna Pancham and the madhyama-
grama). Sarangdeva is explicit in his description of Bhinna Shadaj: “Born of sadjodicyav
(jati), bhinnasadja is devoid of rsabha and panchama, has dhaivata as its fundamental and
initial note and madhyama for its final note?” (Ibid). This is seen to correspond to the
present-day version of the Hindustani Raga Bhinna Shadaj at least in its broad outline (the
Carnatic raga of the same name is very different).
Throughout this screed, M represents the shuddha madhyam. The swaras of the mandra
saptaka are denoted by ‘ and those of the tar saptaka by “. A swara encased in round
parenthesis furnishes a grace to the swara immediately following it.
Bhinna Shadaj is an audav-jati raga with the following swara profile: S G M D N.
The rishab and pancham are varjit. It is known by several other names: Kaushikdhwani,
Hindoli, Audav Bilawal, and Bhookosh/Bhavkosh/Bhavkauns. See Raga
Vyakarana by Vimalakanta Roy Chaudhury (Vani Prakashan, 1998), and Raganidhi by B.
Subba Rao (Music Academy, Madras).
The lakshanas are straightforward: it is an M-centric (madhyam-pradhana) raga, and allows
for nyasa on each of its swaras. This happy situation permits a large space for elaboration as
well as varied points of swara emphasis. The avarohi (downward) contour is characterized by
the meends G–>S, D–>M and S”–>D.
Let us write down some representative tonal phrases:
S, D’ N’ S G M, M, G, G–>S
(N’)D’ N’ S G M, G M D G M, M, G
G M (N)D, D, D N, N S”, S”–>D, G M G–>S
GMDNS”, D N S” G” M” G”–>S”, S”–>D, N–>D->M, G M G–>S
These preliminaries are summarized by Ramashreya Jha “Ramrang.”
In his Sangeetanjali (Omkarnath Thakur Estate Trust, 1959), Omkarnath Thakur reflects
on the raga’s “shanta-gambheer” bhava, the preponderance of its madhyam, and the role of
other swaras. A substitution of shuddha madhyam with its teevra counterpart, he writes,
brings forth Raga Hindol with its “teekha” and “ugra” (intense, fierce) bhava.
 10

At the top of our audio buffet we have a course of ‘light’ melodies inspired by the Bhinna
Shadaj motif. In this area, we seek not a strict fidelity to the raga structure, rather a melodic
scaffold that is recognizably of Bhinna Shadaj extraction.
Meerabai’s song, composed by Hridaynath Mangeshkar, delivered by Lata: uda ja re
kaga.
Bade Ghulam Ali Khan‘s wistful classic continues to move us deeply: yaada piya ki aaye.
In BAHURANI (1963), C. Ramchandra modeled his composition after the preceding
BGAK thumri. Lata Mangeshkar: balama anari mana bhaye.
Movie: BAWARCHI (1972), Composer: Madan Mohan, Voice: Manna Dey. The asthai is
of interest to us, the antara strays elsewhere: tuma bina jeevana kaisa jeevana.
From MAA BEHEN AUR BIWI (1973), the composer is Sharda, the singer Mohammad
Rafi: achcha hi hu’a dil toota gaya.
In the classical round that follows, the reader is invited to take stock of the treatment
accorded the raga as it journeys through diverse gharanas, hearts and minds.
We open with the finest Bhinna Shadaj there is. No man or woman, compos mentis, can
escape the force of Kishori Amonkar‘s genius on display here. Notice the
occasional rishab in the upper register.
Enter Banditji, the Mewati cockalorum. On his website we learn that in fruits he loves
“apples, pears and papaya.” This is not to say that lemons and taut, succulent melons hold no
charm for him. Whatever your fruit, Banditji-bhai can be counted on to make, er, a clean
breast of it.
Banditji’s vilambit khayal is Sadarang‘s, the cheez seems to be a composition
of Sugharpiya, colophon of the harmonium master, dhrupadiya,
and thumri composer, Bhaiyya Ganpatrao (1852-1920).
As mentioned earlier, this raga is also known as Kaushikdhwani.
Bade Ghulam Ali Khan.
Exponent of the Kirana style, Mani Prasad.
Nazakat Ali Khan and Salamat Ali Khan.
Ram Narayan on sarangi.
Some musicians, notably of the Agra school, go with the “Hindoli” brand name.
Younus Hussain Khan.
This concludes the Bhinna Shadaj segment. A recording of Amir Khan’s Hindoli exists, but
could not be procured in time for this article. We next turn our attention to the variations on
the Bhinna Shadaj theme where the same, basic idea runs through three ragas, namely,
Hemant, Chakradhar and Sohani-Hindoli.
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Raga Hemant
This raga was advanced by Baba Allauddin Khan of Maihar. Baba’s boy, the dark and
dimunitive (naked) Emperor Alu, rules from his potty throne in San Rafael, California.
During Alu’s reign, Google has prospered, Saddam was vanquished, and the universe
continued to expand.
Baba Allauddin’s choice of the raga name is curious. “Hemant” (winter) is embedded in
Sarangdeva’s shloka on Bhinna Shadaj: “Having Brahma for its presiding deity, it is sung on
the occasions of universal festivity in the first quarter of the day in winter [Hemant] to
express terror (bhayanaka) and disgust (bibhatsa)” (Shringy and Sharma, op. cit.).
The basic idea in Hemant is the positioning of pancham and rishab in the downward locus of
Bhinna Shadaj. The swara-lagav of pancham is measured, and occasions great delight if done
right.
S”–>D-P-M
G M D N D (M)P M
Pancham is given a glancing touch, often with a grace of M as in (M)P M. Although
the pramana of P in the overall scheme remains alpa, musicians bring along their individual
spin to its lagav, as will be observed even within the Maihar pool.
G M (G)R, S or G R S
Rishab is deployed only in the avarohi mode. In the first instance above, it may be
rendered deergha.
Hemant is a madhyam-pradhana raga and a little thought shows that
a murchhana on madhyam gives rise to an avirbhava (onset, appearance) of Raga MaruBihag.
Ramashreya Jha “Ramrang” dispenses his pearls of musical wisdom.
The mukhda of composer Anil Biswas‘s delicate creation in JALTI NISHANI (1955) leans
towards Hemant. Lata Mangeshkar: rooth ke tum to chal diye.
Expectedly, the Maihar contingent turns in a strong showing here.
We first turn to Ravi Shankar, whose interpretation of the raga may be regarded as the
closest to what Baba had in mind.
Ravi Shankar’s shagird, Shamim Ahmed.
Nikhil Banerjee, sitar.
The outstanding (but alas, underrated) Bahadur Khan on sarod.
Raga Hemant has increasingly found favour among the vocalists, a rare instance in our time
of a successful crossover from the instrumental provenance. Its voyage to the ‘other’ side,
adaptation to the new idiom, and the retention of its moola tatva (core values) merit some
consideration. Among the influential composers to have spun khayals in Hemant
are Ramashreya Jha “Ramrang,” Balwantrai Bhatt “Bhavrang”, Laxmanprasad
Jaipurwale and Dinkar Kaikini. Younger musicians such as Ashwini Bhide have also been
active on this front.
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Jha-sahab is enormously fond of Hemant and it shows in the several khayals he has
fashioned. He outlines his composition, kahan mana lago in vilambit Jhoomra, and
his cheez, bairana bhayo in druta Ektala, in successive clips. These make for instructive
listening because we later have Jitendra Abhisheki rendering both of them in an actual
performance.
Jitendra Abhisheki learnt the druta cheez directly from Ramrang and worked on
the vilambit himself off Ramrang’s written notation.
Ramrang sketches yet another composition, beeta gaye ri, set in vilambit Roopak.
Veena Sahasrabuddhe, invincibly middle-class, gets the melodics of beeta gaye ri right but
founders on its tala-baddha aspect. The second composition in Teentala was also composed
by Ramrang, the final item in druta Ada Chautala is due to Balwantrai Bhatt. This is one
long whine by Ms. Sahasrabuddhe.
Dinkar Kaikini‘s manner of voice production always gives the impression that his nuts have
come under severe duress in the middle of a root canal procedure. Other than that he is a fine
singer.
Raga Chakradhar
The idea of soliciting pancham and rishab in avarohi prayogas within the Bhinna Shadaj
framework didn’t begin with Allauddin Khan. In his work Kalpana Sangeet, Govindrao
Tembe mentions a “rare” raga by the name Sunavanti, and based on the one cheez he knew,
spells out its chalan. No more details are offered. The basic idea and structure appear similar
to that of Hemant although the swarocchara cannot be conclusively inferred from the written
word alone.
Balabhau Umdekar, Darbar Gayak at Gwalior, introduced Raga Chakradhar into Hindustani
music and detailed it in his book, Raga Sumanmala, first published around 1936.
The pancham is rendered varjit in arohi chalan but rishab is alpa. That is, both S R G M D
N and S G M D N are admitted. Umdekar adduces verses from the old treatises
of Ramamatya, Somanatha and Ahobala in support of its lakshanas and writes that the raga
survives in the Carnatic system under a different name: Saraswati Manohari
(the Dikshitar school version). Carnatic afficionados are referred to Ragas of the Sangita
Saramrta, Ed. T.V. Subba Rao and S.R. Janakiraman (Music Academy, Madras) for a
discussion of Saraswati Manohari.
Despite its proximity to Hemant, a few points relevant to Chakradhar merit
attention: rishab is permitted in arohi prayogas; the lagav of pancham appears coarse, not
finessed in the manner it is in Hemant. Finally, the melodic arrow in Chakradhar points
upward in the arohi direction whereas Hemant reveals its soul to the avarohi observer.
The two compositions heard in the clips are found in Umdekar’s book. The “Manrang”
colophon is embedded in the text of the vilambit khayal.
Gangubai Hangal.
Malini Rajurkar, Raga Chakradhar.
 13

We end these ruminations with a teaser from Khadim Hussain Khan of the Agra school. The
raga is called Sohani-Hindoli; the Sohani points to Shuddha Sohani, a type with the S G M D
N chalan.
So there we have it. Three ragas – Hemant, Chakradhar and Sohani-Hindoli – independently
conceived and separated in time and space, converging to a common melodic corner. Perhaps
the lesson here is that we are, after all, not that much smarter than one another.
 14

Short Takes – Narayani and Gorakh Kalyan

After the feature on Raga Multani at the end of 2002, we turned in and doused the glim. This
mini revival seeks to illuminate those interstices of the Hindustani ragaspace not considered
earlier. While at it, we intend to partake in our fruitful pastimes, of slaying familiar dragons
(Banditji, cheej-pijja-chompin’ Alubhai) and kicking Bong ass (note that Alu has his toes
sticking in both the puddles and is therefore entitled to Platinum level benefits).
Throughout the discussion below, M = shuddha madhyam.
Raga Narayani
An import from Carnatic music, the Hindustani Raga Narayani is a janya of the Khamaj that,
corresponding to the 28th melakarta Harikambhoji: S R G M P D n. It employs all
the swaras of the Khamaj that except for gandhar.
In the Carnatic tradition Narayani presents itself in two disparate avatars. The inspiration for
the Hindustani Narayani is Tyagaraja‘s conception parlayed by his kritis, bhajanaseyu
margamunu and Rama neevekani. The other version due to Dikshitar, instantiated by his
composition Mahishasura mardini, is a janya of the Dheerashankarabharanam melakarta.
In Ragas of the Sangita Saramrta (Music Academy, Madras, 1993), the authors T.V.
Subbarao and S.R. Janakiraman write that Dikshitar’s treatment “had its roots in the
description of Narayani as given by Tulaja [also known as Tukkaji, the Maratha ruler of
Tanjore from 1729-35].” They further observe that “the raga name ‘Narayani’ [appears] as
early as in the ‘Sangit Makaranda’ of Narada (7th-9th century AD).”
A brief discussion of Narayani is found in Pandit Vishnu Narayan Bhatkhande‘s
monumental work Hindustani Sangeet Paddhati. Bhatkhande’s own Dhrupad-
anga composition in Sooltal, Narayana ko nita bhaja re, is documented in his Kramika
Pustaka Malika and re-printed in Raja Nawab Ali‘s Marifunnaghmat. But as we shall see,
the prevailing structure and lakshanas of the Hindustani Narayani follow closely the blueprint
imbedded in the two compositions of S.N. Ratanjankar, to wit, the vilambit, bamana re
bichara and the druta bandish, sahelariyan gavo ri. Let us now tease out the main features of
the raga.
As noted earlier, gandhar is varjit (verboten) in Narayani. Since komal nishad is alpa in
the arohi passages, an avirbhava of Raga Durga (of Bilawal that) is readily purchased.
S R M R M R S, n’ D’ M’ P’ D’ S
S R P, M P n D…P, D P M R M R S
Notice the lapse into Durga’s territory and the subsequent recovery via komal nishad.
Consider the cluster: S R P, M P n D…P
The avarohi pause on dhaivat (deergha bahutva) is characteristic, and is followed by
a nyasa on pancham. The interested reader may at this juncture reflect on the distinction of
this particular tonal play vis-à-vis Raga Soor Malhar.
P, M P n D…P, D M P (S”)D S”, n D S”
P D S” R”, S” R” M” R” S”, S” n D, P
The melodic activity in the uttaranga proceeds along these lines.
 15

Even women and children know that it is not possible to convey the nuances of the swara-
lagav so vital to raga-based music via the written word aloone. With the advent of
multimedia, we now have access to the crisp and highly cultivated mind of Ramashreya Jha
“Ramrang.” Jha-sahab extolls Ratanjankar in this sermon recorded over the long-distance
California-Allahabad telephone link.
We roll out our audio cortège with two pieces of S.N. Ratanjankar‘s unpublished recording.
As the author of two definitive and highly regarded compositions, his is a macroscian
presence in the courtyard of Raga Narayani.
Ratanjankar alap.
Ratanjankar khayal.
Ratanjankar’s suite, laid out by his protégé K.G. Ginde.
Malini Rajurkar takes on Ratanjankar’s bamana re bichara.
Prabhudev Sardar.
Ashiq Ali Khan, son of the fabled ‘Colonel’ Fateh Ali Khan of Patiala: aaja mori laja.
Nathu Khan, the sarangi-nawaz from Pakistan.
Finally, M.L. Vasanthakumari‘s splendid Carnatic rendition serves as a reference frame
with which to compare and contrast the Hindustani adaptation.
Raga Gorakh Kalyan
Gorakh Kalyan, too, is affiliated with the Khamaj that, and again, like Narayani,
the gandhar is out of a job here. The “Kalyan” in its name is misleading since it contains not
the slightest trace of the Kalyan raganga. Some suggest, perhaps apocryphally, that it is
named in honour of Sant Gorakhnath.
The origins of Gorakh Kalyan remain uncertain. Pandit Bhatkhande makes no mention of it
in his published work. The popular vilambit khayal, dhana dhana bhaga, contains the
“Sadarang” colophon in the antara, but one wonders if the insertion is a later emendation
calculated to confer vintage and cachet on the composition.
Master Krishnarao has documented three compositions including dhana dhana bhaga in
his Raga Sangraha volumes. Were these handed down by his preceptor Bhaskarbuwa
Bakhale? If so, we can situate the raga to at least the beginning of the 20th century? This is
further strengthened by Vishnu Digambar Paluskar‘s published medley, Sangeet
Ramcharitamanas of Tulsidas, where he has set a doha – sab ke dekhata bedanha binati
keenhi udar – to a tune in Gorakh Kalyan.
At the present time, this dulcet-toned raga is an active and popular member of the Hindustani
repertory. It advertises an unambiguous swaroopa, but the doctors differ on the role and rope
accorded pancham. A sensible construction sans pancham seems eminently reasonable but
most performers admit of that swara, its proportion and implementation riding on the
musician’s background and temperament.
Let us now examine the raga-lakshanas.
 16

S, S R M, R M R S n’, n’ D’ S
This tonal sentence carries the soul of Gorakh Kalyan. The madhyam is powerful, a nyasa
bahutva swara. Recall Narayani, with its strong pancham, and consider how this swap
decisively alters the melodic compact. The second highlight here is the quaint avarohi
nyasa on mandra komal nishad: those with travel experience in Gorakh Kalyan know this
culmination on komal nishad to be its idée fixe.
This is a telling illustration of the power, meaning and significance of “swara” – the English
language has no equivalent term – “note” does not come within driving distance. In a well-
developed raga, the mutual interactions between swaras and clusters of swaras evolve into a
perceptible and stable gestalt. The overall form of the raga so developed in turn feeds back
and influences the behavior and properties of the swaras themselves. That is to say, the two
entities – swara and raga structure – are intertwined. The more evolved a raga, the stronger
this coupling. Within the framework of raga, it is meaningless to talk about a swara or
a shruti or a note in isolation (pace the litter left behind by intonation ‘theorists’). The
situation brings to mind an image expressed by Professor John A. Wheeler in the context of
General Relativity: “Spacetime tells matter how to move, matter tells spacetime how to
curve.”
M R M, M D, D n D M, M R n’ D’ S
Once again, the madhyam dominance is evident. The dhaivat may be elongated judiciously.
M D n D S”, S” n D n D S”
A representative uttaranga launch. Note the arohatmaka alpatva of komal nishad which helps
to widen the distance from Bageshree.
D n D M, R M P M R S n’
M R M, R M P D n D, P M R
D n D, n D (P) M, M R S
These are only three of the several schemes if and when pancham is deployed. Some are
subtle, grazing it along the D to M locus. Others seek a more deliberate and direct role
for pancham. All this fuss notwithstanding, it remains a relatively minor player. There will be
occasions aplenty to take its measure in the clipfest to follow.
We begin with the meditations of Pandit Ramashreya Jha “Ramrang.”
The next four cuts, all magnificently rendered by Lata Mangeshkar, make for the ‘light’
music round.
A chant from the Bhagavad Geeta.
Sant Dnyaneshwar’s (13th C) mogara phulala, music by Hridaynath Mangeshkar.
Ghalib‘s ghazal, phir mujhe deeda-e-tar yaad aaya, music by Hridaynath Mangeshkar.
From PALKI (1967), with music by Naushad, who apparently had Raga Narayani in his
sights (if so, he ought to have been careful to not empower madhyam): dil ki kashti.
We step into the realm of classical proper. The composition attributed to “Sadarang,” dhana
dhana bhaga, figures in several renditions. The reader is invited to take stock of P.
 17

Rasiklal Andharia‘s development culminates with Ramrang‘s bandish, sajana bina bavari
bhayi.
Basavraj Rajguru is liberal with his pancham.
N. Rajam on the violin.
Our familiar vilambit khayal morphs into a druta cheez in Bhimsen‘s hands, in what is
otherwise an uninspired, ho-hum effort.
Those were the salad days when Banditji sang beautifully, with feeling and thrust (details of
Banditji’s thrust are published in Protein Baby‘s memoirs “Timepass“). Alas, the Mewati
stallion of yore is now in irreversible stall (all drag and no lift).
Banditji-bhai, in a decorous mood.
Buddhadev Dasgupta, Raga Gorakh Kalyan.
Defending the Agra fort, Sharafat Hussain Khan.
Jyotsna Bhole (née Kelekar) from Goa got her early training from her sister, Girijabai
Kelekar, and later from a battery of Agra dons such as Bashir Ahmed Khan, Vilayat
Hussain Khan and Khadim Hussain Khan.
Ghulam Mustafa Khan of Rampur-Sahaswan.
Parveen Sultana‘s sam makes a soft landing on mandra nishad with a grace of dhaivat.
Unlike the preceding musicians, she has not much use for P.
Nazakat Ali Khan and Salamat Ali Khan have no room for pancham either, as witness this
scintillating live performance.
Their published HMV recording is well-known.
We bring the curtain down with a tarana by the brothers from Patiala, Dilbagh
Singh and Gulbagh Singh. This is from a private performance in Jalandhar.
 18

Short Takes: Multani

The final episode of Short Takes deals with the eponymous Raga Multani, and with it we
bring closure on our discussions on the nature and structure of ragas. (Update: As it turned
out, I wrote 3 more episodes later in 2005 – RP.)
Throughout our discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Multani
Multani is among the ‘big’ ragas, highly regarded by musicians for its weighty mien and wide
compass. We are talking big league surfing of the melodic waves here. Its
basic swaric material is drawn from the Todi that – S r g m P d N – but it carries no hint or
trace of the Todi raganga. Multani has an evolved, independent swaroopa all its own.
Let us examine the raga lakshanas.
To recap the notational convention: a swara enclosed in brackets represents a kan (grace) to
the swara immediately following it. The single quote ‘ on a swara (for example, P’) situates it
in the mandra saptaka, the double quote ” (for example, S”) situates it in the tar saptaka.
S, N’ S g (S)r(N’)S
Both r and d are dropped in arohi prayogas; the avaroha is sampoorna. The
peculiar uccharana (intonation) of r mediated by a kan of S is vital to Multani. Recall the
vastly different behavior of Todi in this region, in its case a deergha r and an intimate
coupling with g. An inopportune nyasa on the rishab is the kiss of death for Multani. Further
divergence between Todi and Multani in matters concerning g is suggested in the next tonal
strip.
N’ S (m)g m P, m P (m)g, m g (S)r(N’)S
Characteristic of Multani is the arohi uccharana of g: it is tugged with m as in (m)g (m)g m
P. Since g is approached from m, it has the effect of raising the shruti of g to a level above
its nominal komal value. This in turn has the effect of elevating the shruti of r. These
microtonal nuances are later demonstrated tellingly by Pandit Ramashreya Jha
“Ramrang.” The teevra madhyam in Multani is close to pancham, in the latter’s penumbra,
as it were.
P, (m)g P, P (P)d(m)P, P (m)g, m g m g (S)r(N’)S
The treatment of d is congruent to that accorded r. The purnavritti (repetition) of m
g in avarohi prayogas is a point of note. As is the langhan of m, occasionally from g to P and
more often through a meend-laden avarohi P to g. The importance of the
powerful pancham to Multani should be evident by now.
(m)g m P N, N, S”, S” g” (S”)r”(N)S”
The uttaranga launch proceeds thus, with a deergha N. The sharp m P N curve presents a
source of discomfort to many a khayal singer especially in the faster passages; the tendency
to instead detour through m d N must be checked.
S”, N S” N d P, m P (m)g, m g m g (S)r(N’)S
This sentence completes the overall avarohi picture.
 19

Obiter dictum: In his magnum opus, Hindustani Sangeet Paddhati, Pandit Vishnu Narayan
Bhatkhande observes that Multani is considered the daytime counterpart of the nightly Raga
Basant. He adds that the Rampur musicians of the Tansen tradition sing a g-laden version of
the latter by the name Utari Basant.
Pandit Ramashreya Jha “Ramrang” distills the essence of Raga Multani in this brilliant
discourse recorded over the telephone.
Multani does not lend itself readily to the purveyors of ‘light’ music. Be that as it may, S.D.
Burman springs a surprise with this gem from JEEVAN JYOTI (1953). Notice the superb
harmonium work in the interludes. Mohammad Rafi and Geeta Dutt: laga gayeen akhiyan.
Amir Khan sings a bhajan for composer Naushad in SHABAB (1954): daya karo hey
Girdhara Gopala.
The genre of Marathi natyageeta has drawn liberally from the classical reservoir. The
song prema seva sharana originally tuned in Raga Bhimpalasi (see Abdul Karim Khan‘s
rendition in Bhimpalasi Inc), was later cast by Dinanath Mangeshkar in Multani (for the
most part).
Vasantrao Deshpande considered himself a pupil of Master Dinanath. He offers his own
spin on prema seva.
The classical entrées that follow reveal that the Kirana musicians have in place a virtual lock
here, having installed their instantiation of Multani as the gold standard.
We warm up to Bhimsen Joshi’s classic, a bold statement of the famous khayal, gokul gama
ko chhora. The druta bandish is a Kirana specialty, kangana mundariya.
Abdul Karim Khan‘s old recording of the druta item.
The same cheez reprised by Roshanara Begum.
Acknowledged as a Kirana pioneer, Abdul Wahid Khan spent all of his performing career in
the shadow of his trailblazing cousin Abdul Karim Khan. Abdul Wahid was among those
early vocalists responsible for a paradigmatic shift to the leisurely vilambit laya in khayal
gayaki. He was an exceptional teacher who trained a number of pupils, among
them, Hirabai Barodekar, Sureshbabu Mane, Begum Akhtar and Pran Nath. But
perhaps it is Abdul Wahid’s powerful influence on Amir Khan that supercedes his other
attainments. He died in 1949 in Lahore. Here he deals a khayal in vilambit Jhoomra
Amir Khan’s Multani is the musical equivalent of Mt. Everest, the loftiest of them all.
An old composition by Omkarnath Thakur: surajana matwala.
Krishnarao Shankar Pandit.
The Gwalior musicians also sing a hybrid known as Multani-Dhanashree.
Next we turn to the Atrauli-Jaipur contingent.
Mogubai Kurdikar.
Kesarbai Kerkar wields an old composition: ina durajana logava ko.
 20

Moving along –
Satya Kinkar Bandopadhyaya (1899-1980), the former Dean of the music faculty at
Rabindra Bharati University and a representative of the Vishnupur gharana, presents
a bandish in Bengali: Shiva Shankara.
Enchanting exhibits line our instrumental kiosk.
Z.M. Dagar‘s magnificent alap on the Rudra Veena.
Mushtaq Ali Khan‘s sitar.
The dispenser of melodic manna, Bismillah Khan.
If Amir Khan signifies the Mt. Everest, then Bade Ghulam Ali Khan‘s Multani is the Taj
Mahal of melody. The traditional vilambit khayal: kavana des gaye piya.
Raga Madhuvanti/Ambika
This is a relatively recent raga with shared credits for its development. The sitariya Vilayat
Khan is said to have conceived it sometime in the early 1940s. Independently and around
the same time, Wamanrao Padhye of Kolhapur composed a similar raga and called it
Ambika, after the Goddess.
Swara-wise Madhuvanti is attained to by rendering shuddha both rishab and dhaivat in the
Multani contour. And although in the poorvanga there is an abhasa of Multani, the similarity
stops there. Madhuvanti is pleasing to the ear but it carries neither the gravitas nor the range
nor the intonational nuance that characterises Multani. Nevertheless, it has cultivated a
devoted following and is frequently featured in the late afternoon sessions.
The Carnatic melakarta Raga Dharmavati resembles Madhuvanti. Its essence is now
summarized.
N’ S (m)g m g (S)R, S
The tug of m attending g is reminiscent of Multani, but the crucial element in Madhuvanti is
the deergha avarohi R through a kan of S.
(m)g m P, m P D P, (m)g m P N, N S” N, D m P
Pancham and nishad are locations for nyasa.
(m)g m P N, N S”, N S” g” R” S”, N S” D, D m P
Notice the deergha D and the prospect of a tirobhava due to Raga Patdeep from g” downward
until the revival of Madhuvanti through m. Some musicians introduce komal
nishad occasionally (for instance, via P n D P).
Pandit Ramashreya Jha “Ramrang” shares his thoughts on Raga Madhuvanti.
Lata Mangeshkar‘s recitation from Chapter 15 of the Bhagavad Geeta.
The kanakadhaara stotram of Adi Shankara in the sublime voice of M.S.
Subbulakshmi: sampatkaran sakalendriya.
MS again, in a bhajan composed by K. Venkataraman: guruvara deejo.
 21

Composer Hridaynath Mangeshkar and Lata Mangeshkar combine in this

Meerabai bhajan: ko birahini ko dukha jaanai ho.
Madan Mohan‘s beautiful composition in DIL KI RAHEIN (1973) calls on Lata: rasm-e-
ulfat ko nibhaye.
Sudha Raghunathan sings a composition of the 15th C saint-
composer Annamacharya: mangambudhi hanumantha.
An old 78 rpm reveals a young and crisp Vilayat Khan.
Bhimsen Joshi also flirts with komal nishad in intriguing ways in this commercial release.
Although it is labeled as Hemavati, I have cast it in this section. The liner notes (by a British
ethnopimp) assert that there is no pancham. Even a freshly born Indian baby can tell that
the pancham, is, in fact, heard right away on the opening syllable of the mukhda, and that it
figures prominently thereafter.
Bhimsen: kaahe maana karo.
Nazakat Ali Khan and Salamat Ali Khan.
A couple of compositions by Shubha Mudgal of which the first, bairana barkha rutu aayi,
was composed by Kumar Gandharva.
An old 78 rpm cut of Ali Akbar Khan (aka Alu), the dark, dimunitive (naked) Emperor of
San Rafael.
The Rampur sarangiyas, Hamid Hussain and Zahid Hussain, play a variation known as
Tanseni Madhuvanti. The “Tanseni” presumably qualifies the special sangati with the
two nishads à la Miyan Malhar.
We wrap up the Madhuvanti segment with the ethereal meditations of Bismillah Khan, the
greatest Hindustani instrumentalist of our times.
Raga Hemavati
Hemavati is the 58th Carnatic melakarta: S R g m P D n, and the raga crystallized from
this swara-set goes by the same name in Hindustani music. It is a fairly recent migrant.
Raga Anjani Kalyan
Ramashreya Jha “Ramrang” has named his conception after Shri Hanuman. The basic idea
involves rendering the arohana of Madhuvanti sampoorna by taking in both R and D.
The arohi contour thus assumes the form S R g m P D N and permits the advance of Kalyan-
like clusters (whence the Kalyan suffix in the name). Jha-sahab’s delicious composition
sings the glories of Hanuman:
hanana Hanuman maana ke
dalana danava ke jana ke palaka Lanka ke dahaka beera baanke
Rama ke payaka kapinha ke nayaka
“Ramrang” shamana santapa taapa namata pada jaake
 22

Short Takes: Bageshree

In this edition of Short Takes, we shine the spotlight on Raga Bageshree and its allies.
Bageshree is an old and ‘big’ raga, popular with even women and children. It finds mention
in the older treatises as “Vageeshwari.”
Throughout the following discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Bageshree
The constituent swaras of Bageshree map to the Kafi that (Kharaharapriya melakarta in the
Carnatic paddhati): S R g M P D n. Almost all versions of Bageshree can be grouped under
three main jatis:
(a) Audav-Shadava: R and P are varjit in arohi, P in avarohi prayogas.
(b) Audav-Sampoorna: R and P are varjit in arohi prayogas.
(c) Sampoorna-Sampoorna: All the swaras are present, albeit in vakra prayogas.
Of these, the first – Audav-Shadava – is sufficient to define the raga-lakshanas. Most of the
performed versions, however, adopt the second – Audav-Sampoorna – scheme which
involves a peculiar avarohi pancham-laden tonal cluster.
Let us now examine the structure through a set of characteristic phrases.
S, n’ D’, D’ n’ S M, M g, (S)R, S
The madhyam is powerful, the melodic centre of gravity, as it were. In the avarohi mode, a
modest pause on g is prescribed (it helps prevent a spillover into Kafi). Also notice
the kan of S imparted to R.
S g M, M g M D, D n D, D-M, g, (S)R, S
The raganga germ is embedded in this tonal sentence. Of particular interest are the nyasa
bahutva role of D and the D-M sangati.
g M D n S”
g M n D n S”
M D n S”
Each of these arohi tonal molecules is a candidate for the uttaranga launch.
S”, (n)D n D, M P D (M)g, (S)R, S
This phrase illustrates the modus operandi for insertion of pancham within a
broader avarohi context. The touch of P occasions moments of delicious frisson. In some
versions, P is explicity summoned in arohi prayogas such as D n D, P D n D. When the audio
clips roll out there will be opportunities aplenty to sample a variety of procedures
involving pancham.
S g M, M g, RgM, M g (S)R, S
Observe the vakra arohi prayoga of R. A thoughtless or cavalier approach here can lead to an
inadvertant run-in with Abhogi – recall the uccharana bheda that separates Bageshree and
Abhogi in this region of the poorvanga – and run afoul of the Bageshree spirit.
This completes our preamble.
 23

Pandit Ramashreya Jha “Ramrang” is on hand with his masterful précis, recorded over the
California-Allahabad telephone link. He accomplishes in 4 minutes what reams of paper
can’t.
A bountiful plate of samplers awaits us.
We inaugurate the proceedings with Lata‘s popular number from AZAD (1955), set to music
by C. Ramchandra: Radha na bole na bole.
The great composer duo of Shankar-Jaikishan fashioned a crisp Bageshree in RANGOLI
(1962), again centred on the theme of a naughty, intransigent Krishna. Nobody can
match Lata in this situation: jaa’o jaa’o Nand ke lala.
Not many today appreciate the extent of sway K.L. Saigal held over the Indian musical
imagination in the first half of the 20th century. Even if all Saigal-sahab did was snore, it
would still have musical value. Here he wields Naushad‘s tune in SHAHJEHAN
(1946): chaha barbad karegi hame.
S.N. Tripathi‘s bandish in SANGEET SAMRAT TANSEN (1962), by Pandharinath
Kolhapure and Poorna Seth: madhura madhura sangeeta.
Another bandish from the Bengali film KSHUDITO PASHAN (1960), composed by the au
naturel, nanga, naked, sans fabrique Emperor of San Rafael, Mr. Alu (I wonder why he
reminds me of a potato) and joined with the immaculate voice of Amir Khan: kaise kate
rajani.
The next item features Shubha Mudgal in a dual role of composer and singer. About the
verses she says: “They are from the Vaishnava temple texts that I enjoy so much, and it is
what the Vaishnavas call a Malhar ka pada. I have composed other verses from the same
category in Gaud Malhar, Miyan Malhar etc but I did not feel like singing this one in a
Malhar and for some inexplicable reason composed it in Bageshree.”
The terrain of Marathi natyageeta is studded with Bageshree gems. Vasantrao
Deshpande hauls a couple of delectable items of which the first is from
MRUCCHAKATIK: jana sare.
The much-loved dindi from SAUBHADRA (note the use of Urdu words in
the mukhda): bahut din nacha bhetalo.
We now slip into our classical robes. The kernel of Bageshree runs through all these
recordings. The ancillary details, in particular the treatment accorded pancham, may be of
interest to the more discerning reader.
An alumnus of the Dagar school of dhrupad, Nimai Chand Boral trained under Tansen
Pande (Husainuddin Dagar) and N. Moinuddin Dagar. His alap culminates in the Chautala-
based prathama nada.
The composition, binati suno mori, tuned by Vishnu Digambar Paluskar is standard issue
for Gwalior performers. His pupils Vinayakrao Patwardhan and Narayanrao Vyas.
 24

The reflective temper of Amir Khan is well-matched to Bageshree’s expansive space. The
rich, measured strokes of his vocal brush hold us captive to this séance. He picks up a
traditional vilambit composition, bahu guna ka mana, and tops it off with a tarana.
In his day, Rajab Ali Khan (1874-1959) was known as much for his tremendous musical
acumen as for his picaresque ways. A master vocalist, he was also proficient on the Rudra
Veena, Sitar and Jala-Tarang. Several musicians of high standing learnt from him, among
them his nephew Amanat Khan, Nivruttibuwa Sarnaik, Ganpatrao Dewaskar and others.
Lata Mangeshkar, too, briefly took taleem from Rajab Ali during her stint under Aman Ali.
He sings the traditional composition, kaun karata tori binati.
Mushtaq Hussain Khan of Rampur-Sahaswan.
Among the most curious phenomenon in Indian music in recent times is the emergence of the
“child prodigy.” There is one in every family, especially in Carnatic circles. Upon
examination, however, he usually turns out to be (in Bertrand Russell‘s marvelous phrase)
“more child than prodigy.” We have here a pre-pubescent Kumar Gandharva toying with
the chestnut, gunda laa’o re malaniyan. This may have some curio or flutter value, but not
much else.
Shaila Datar: eri piharva ghara aavo.
K.G. Ginde puts a spin on the standard Bageshree, calling it “Sampoorna Bageshree.” Here,
both rishab and pancham are free-flowing. The careful listener will also sense a
special sanchari or two: reeta na mori.
A couple of instrumental selections follow.
The Chicago-based bansuri artiste Shri Lyon Leifer plays khayal in this commercial release.
Bismillah Khan.
K.V. Narayanaswamy sings a composition of the renowned Carnatic vocal master, M.D.
Ramanathan. The raga-lakshanas come aglow in this beautiful rendition: sagara shayana
vibho.
Bade Ghulam Ali Khan deals a fantabulous Bageshree in this unpublished nugget. The
traditional vilambit, kaun gata bha’ili, is followed by a tarana.
The Bageshree suite concludes with a display of Atrauli-Jaipur power.
Mogubai Kurdikar‘s tarana is set to the 15-matra Sawari tala.
Kishori Amonkar matches Amir Khan swara-for-swara.
The final item is a two-part snapshot of Kesarbai Kerkar in a riveting unpublished mehfil.
The presentation is not pure Bageshree for freely interspersed are tidbits of Bahar and Kafi.
The second clip betrays Kesarbai’s genius, showing her for the glorious musician that she
was: ruta basanta.
 25

Kesarbai – I.
Kesarbai – II.
Raga Malgunji
Malgunji is a product of the synergy between elements of Khamaj and Bageshree. A sound
understanding of such ragas is acquired only after they have done a good deal of time within
the walls of your mind. They are best grasped in a two-stage process: the first round involves
cultivating an intuitive feeling for their dhatu which is later reinforced by working with a
representative composition. It takes experience (and, of course, a certain amount of
intelligence) to sift the central features of a raga from its sidelights. Let us examine Malgunji
through a set of characteristic tonal sentences.
S, D’ n’ S R G, M
This special arohi phrase represents Malgunji’s signature, a recurring theme.
S G M, G M D n D P M G M, M g R S
An otherwise Khamaj-like chalan is terminated with a Bageshree-inducing flavour. Also take
measure of the powerful M.
G M D N S”, N S” n D, P D n D M G M, M g R S
Some versions sideline shuddha nishad or greatly diminish its role. As will seen shortly in
Jha-sahab’s commentary, the occurrence of N is indicative of the influence of Raga Gara.
Although shuddha gandhar is dominant, the Bageshree influence lurks beneath the surface:
the G-M-D contour derives from Bageshree, as does the powerful madhyam.
Ramashreya Jha “Ramrang” provides a synopsis.
From PICNIC (1966), Lata Mangeshkar sings to S. Mohinder‘s tune: balamva bolo na.

The uncommon splendour, purity and power of Kishore Kumar‘s voice are united in this
creation of Kalyanji-Anandji for the movie SAFAR (1970). Many a college Romeo have
met their waterloo mauling this song: jeevan se bhari teri ankhen.
Earlier in the 1960s, Kishore Kumar had composed and rendered this delicious number for
SUHANA GEET; the movie was never released: baaje baaje baaje re kahin bansuriyan.
Malgunji is especially dear to Gwalior and is considered a specialty of that gharana. Their
treatment for the most part makes do with komal nishad only; the shuddha shade, when it
appears, does so in quick flourishes.
Vinayakrao Patwardhan and Narayanrao Vyas negotiate a
traditional vilambit khayal, bana mein charavata gaiyya, and cap it with a tarana composed by
their guru Vishnu Digambar Paluskar.
Yeshwantbuwa Joshi handles the same vilambit but in Tilwada tala.
Krishnarao Shankar Pandit: aare mana samajh, and a tarana.
The final selection in Malgunji features a violin solo by Allauddin Khan. Here the
two nishads (in the manner explicated earlier by Jha-sahab) are clearly observed.
 26

Raga Rageshree
This Khamaj-that raga is constituted from the following swara set: S R G M D n.
The pancham is varjya throughout, rishab is skipped (and at times, alpa) in the arohi mode.
Some postulate this to be a Bageshree-anga raga by suggesting that its contours take after
Bageshree with G in lieu of g. They argue that taken together with its powerful madhyam the
Bageshree-anga viewpoint is tenable. We have no quarrel with that position. However, we
shall record that there is also a Khamaj presence. For Rageshree’s counterpart in the
Carnatic paddhati, see Natakurinji by V.N. Muthukumar and M.V. Ramana.
Typical movements in Rageshree are now suggested.
S, D’ n’ S G, G M, M G R, S
Although nominally skipped in arohi prayogas, a soupçon of R is not out of place, typically
as a grace to G. To wit, S G (R)G M. Another point of note concerns the avarohi pattern
leading back to S: most contemporary performances embrace the vakra G M R S cluster.
The madhyam is strong, its arohi approach often mediated by a deergha G.
G M D n D, n D-G M, S” n D, M, G M (G)R S
The deergha D and the D-G coupling are points of interest. Although Khamaj tries to break
through, the nyasa on the dominant M dissipates any such inchoate aspirations.
G M D n S”, D n S” G”, G” M” (G”)R”, S”
A typical uttaranga foray.
Obiter dicta:
(1) The Rageshree heard nowadays is mostly the komal nishad-only type. In practice,
however, a higher shade of the nishad may accrue in arohi runs. Some musicians explicitly
seek the shuddha nishad in arohi prayogas.
(2) Compare the Atrauli-Jaipur version of Khambavati with Rageshree. See In the Khamaj
Orchard.
(3) A variant, Pancham Rageshree (i.e., a P-laden Rageshree), is occasionally heard in some
Agra quarters.
(4) An appropriate murchhana on Rageshree can precipitate Bihag-like flavours.
Once again, Jha-sahab’s pearls of wisdom.
Lata‘s sparkler from JAAGIR (1959), a Madan Mohan composition: mane na.
Bade Ghulam Ali Khan sings for Naushad in MUGHAL-E-AZAM (1960): shubha dina
aayo.
Parveen Sultana: deta badhaa’i.
Bismillah Khan adopts the older M G R S avarohi slide. Also note the unusual manner in
which N is taken, for instance, at 0:15 into the clip. The Maihar position by Bahadur Khan.
This 1935 78rpm recording of Gangubai Hangal is labeled “Khambavati.” Both nishads are
pressed into service and R is also used as a kan in arohi movements (for instance ~ 0:05
during the elongation of “ho” in “hori”): Hari khelata Brija mein hori.
 27

Agra is represented by Sharafat Hussain Khan. Kishori Amonkar unpublished.

D.V. Paluskar plies a traditional Jhaptala-based composition. The deergha bahutva
arohi role of G is aptly illustrated: prathama sura sadhe.
Bade Ghulam Ali Khan.
Raga Durga (Khamaj-that)
This is also known by the name “Madhuradhwani” so that it is not confused with the more
familiar Durga of the Bilawal-that. The contours of the Khamaj-that Durga assume the
following form: S G M D N S” : S” n D M G S. This is not a popular raga, its base eroded
by the popularity of Rageshree. Durga (Khamaj-that) is part of the Dagar family repertoire.
Nimai Chand Boral‘s treatment often skips nishad altogether en route to tar shadaj but
periodically figures a piquant insertion of N into the arohi flow.
Raga Rajeshwari
This is another unfamiliar audava-jati raga with the following swara set: S g M D N.Abdul
Halim Jaffer Khan on the sitar. We close with Mohammad Hussain Sarahang of
Afghanistan.

Short Takes: Bihag

 28

In this installment of Short Takes, we train our attention on Raga Bihag. After the customary
inspection of the raga’s internals, we shall set upon a lavish spread from both the Hindustani
and Carnatic paddhatis. We shall also survey a few sub-melodies of the parent Bihag.
Throughout this causerie, M = shuddha madhyam and m = teevra madhyam.
Raga Bihag
The name “Bihag” is said to derive from “vihag” or “vihang” (Note: Raga Vihang, the
Marwa-that melody in currency among the Atrauli-Jaipur vocalists bears no resemblance to
our subject du jour). Pandit Vishnu Narayan Bhatkhande has assigned it to the
Bilawal that with good reason: an inquiry into its structure betrays its Bilawal antecedents.
Bihag has carved for itself an independent swaroopa and garnered enough melodic heft to
qualify for the cachet of a raganga raga. In his widely-read work, Raga Vigyan, Vinayakrao
Patwardhan incorrectly observes that Bihag is a Kalyan-anga raga. This kind of nonsense is
unsurprising for he comes from a long line of Indian musicians given to talking through their
hat.
Let us now address the raga-lakshanas. Raga Bihag is composed of all the shuddha
swaras and a soupçon of teevra madhyam. Although elementary lessons proscribe
both rishab and dhaivat in arohi prayogas these swaras are nevertheless manifested subtly,
their conduct in this particular setting in accord with the overall raga-dharma (as Jha-sahab
puts it). Indeed, it will be seen later that most masters exploit the graces of R and D in
the arohi sequence.
The Bihag of yore had scant regard for teevra madhyam. An examination of the
compositions documented in Bhatkhande’s Kramika Pustaka Malika and Jha-
sahab’s Abhinava Geetanjali shows m to be a ‘gupt‘ (hidden) swara in almost all instances.
It occurs in the meend from P to G or sometimes in the shadow of P. The core lakshanas can
be stated without regard to m. In recent times, however, the teevra madhyam has advanced in
stature and the cluster P m G M G with its pointed reference to m has come to be associated
with Bihag.
S, N’, N’ S G M G-(R)-S
The poorvanga activity originates on mandra nishad (the graha swara). Both G and N are
powerful, the vadi and samvadi swaras, respectively. The meend-laden movement
represented by G-(R)-S is a crucial component of Bihag’s signature: the elongation
of G before the declination to S, finessing over R without its explicit acknowledgement. R is
also admitted in a more open, albeit weak, mode: G, RS. The G-(R)-S and the
symmetric uttaranga cluster, N-(D)-P, are important pieces of Bihag’s character.
N’ S G M G P, P->(m)G M G, P M G, RS
Notice the langhan (skipping) of the M from G to P. Sometimes an alternative prayoga takes
effect: S M G P. The teevra madhyam comes into play in a
‘soft’ meend from P to G (contrast this intonation with the ‘hard’ meend employed in
Shuddha Kalyan). As indicated earlier, m has now come to be accorded a more visible role
via P m G M G or P m P G M G.
[P] G M G, GMPD-G M G, P M G, RS
This movement, bridging the poorvanga-uttaranga regions, exhibits a pronounced Bilawal
 29

influence. Of interest are the khatka on P (i.e. a quick PDPmP pulse), designated by
enclosing it within a square bracket, the D-G coupling, a Bilawal giveaway, and the tonal
ribbon containing another Bilawal germ, P M G, RS.
G M P N, N, S”
This uttaranga launch is a Bihag signpost. Oftentimes the second instance of nishad is
imparted a subtle grace of D, as in P N (D)N (D)P. In performance the occasional intervallic
leap from M to N as in G M N-(D)-P is also observed.
P N, N, S”, S” N, DP
The paradoxical role played by R and D should be evident by now: both are weak swaras yet
essential to the Bihag spirit. Recall the symmetry of G-(R)-S and N-(D)-P clusters
with D and R forming exact counterparts in the manner of their uccharana.
This completes our overview. Clearly, there are important gaps to be filled for which the
reader is referred to the penetrating exegesis in Volume 4 of Abhinava Geetanjali by
Pandit Ramashreya Jha “Ramrang”, where he takes Bihag apart swara-by-swara and then
reconstitutes it. We are fortunate to have him in our midst with his inspirited commentary
recorded over the California-Allahabad telephone link. It is fitting that he concludes with a
recitation of the moving bhajan of “Khaalas”: nama japana kyon chhora diya? krodha na
chhora lobha na chhora satya vachana kyon chhora diya?
Ramrang on Raga Bihag.
We inaugurate the banquet with Chitragupta‘s composition from HUM MATWALE
NAUJAWAN (1961). This composer revelled in painting popular hues with serious ragas as
this Mukesh beauty reveals: banke chakori gori.
Vasant Desai and Lata Mangeshkar combine in this all-time masterpiece from GOONJ
UTHI SHEHNAI (1958): tere sur aur mere geeta.
Turning the clock back, K.L. Saigal sings for Naushad in SHAHJEHAN (1946) Pure ear
candy (to say the obvious): ai dil-e-beqarar jhoom.
Another great composer of yesteryear, Anil Biswas, philanders with both Bihag and Hameer
in MILAN (1946). Parul Ghosh: suhani beriya beeti jaaya.
Composer Jaidev recruits Yesudas in this splendidly-arranged composition in ALAAP
(1977): ko’i gata main so jata.
Tunesmith Kanu Roy wasn’t prolific in his output but whatever issued forth from his
beautiful mind has been worth preserving. In GRIHA PRAVESH (1980), Bhupinder is
paired with the godawful Sulakshana Pandit: boliye surilee boliyan.
Rendered by composer Ravindra Jain, this song from DAASI (1981) takes after an
old cheez: : palkan se mag jharun.
It is unusual for ‘Gantapaswini’ Mogubai Kurdikar to be seen in these ‘light’ corridors. We
have an old 1940s recording based successively in Ragas Bihag and Bahar. Madhukar
Rajasthani‘s verse is set to tune by Snehal Bhatkar in this celebration of India’s
Independence: phir aayi laut bahar.
 30

Our ‘light’ section fades out with a natyageeta from SVAYAMVAR by Kumar
Gandharva: mama atma gamala.
We repair to the classical lounge. Bihag has scores of compositions placed in its service
across every genre. The selection here is representative of the very best and much of it
remains unpublished. Ramashreya Jha “Ramrang” right away scythes to the core of the
raga with a fetching Jhaptala-based composition, and in the clip following, dwells on
its sahitya: navaneeta bhave na.
Ramrang, Raga Bihag.
Ramrang talks about the sahitya.
The Dagars specialize in the dhrupad idiom. They also specialize in talking a great deal of
balderdash, a trait they seem to have handed down to their pupils. It has become fashionable
in some small circles (especially in Europe and America, and now in India) to
glorify dhrupad and simultaneously deride khayal. The protagonists have all the zeal of
freshly-circumcized converts and try hard (but alas, founder) to sound more intelligent than
they really are. I have often put the condescending nod punctuated by a set of smirks to good
profit in these situations.
Moving along, we warm up to the younger Dagar brothers, N. Zahiruddin and N.
Faiyazuddin Dagar.
Tansen Pande (1908-1963) was born Husainuddin Khan Dagar, the fourth son of Alla
Bande Khan. He later embraced the Dharma of his forebears who were Pandes before their
forced conversion to Islam. Tansen Pande belongs to that rare breed of musicians given to
wholesale dealing in raga (most are retailers). We have two cuts of his magnificent alap.
Tansen Pande – I.
Tansen Pande – II.
Pandit Bhatkhande‘s dhamar finds a proponent in K.G. Ginde. The discerning reader may
wish to measure the proportion of m here: jobana madamati.
The precision and nuance of swara purveyed by Kumar Gandharva are breathtaking. The
compositions are his own: the vilambit, yeh mora mana, and the druta, yeh ka murjhayo re.
The sam in the latter calls on the key D-G sangati.
Sharatchandra Arolkar preserves the established Gwalior values with a traditional vilambit
khayal, pari ho paya pare more, set in Tilwada tala, and tops it off with a druta, hamare
gusaiyyan.
Reprising the composition is Krishnarao Shankar Pandit who pauses at around 0:26 to
recount Haddu Khan‘s taunt (“tum kadi-bhaat khanewale kya gaa’oge?“)
Vasantrao Deshpande‘s is a quality Bihag. The traditional vilambit composition has been
documented by Bhatkhande: ho ma dhana-dhana re.
The druta cheez was composed by Vasantrao’s dear friend Kumar Gandharva: na chhero na
chhero na.
 31

Sadarang’s khayal – kaise sukha sove – is synonymous with Bihag and is presented
in dheema Teentala by Bhimsen Joshi. He tops it off with another chestnut, lata urjhe.
Notice the dalliance with the komal nishad at 4:30.
Ganpat Ramchandra Behre (1890-1965), a Kirana voice from the past, was a direct
disciple of Abdul Karim Khan. Behrebuwa also had for his gurus other luminaries such
as Bhaskarbuwa Bakhale, Vazebuwa and Rajab Ali Khan. The clip opens with a
propulsive tan bearing the unmistakable stamp of his last-named guru. The compositions are
familiar: kaise sukha sove and baaje re mori payala.
Nivruttibuwa Sarnaik tempered his Atrauli-Jaipur training with decisive input from Rajab
Ali Khan. We have heard this composition earlier (from Vasantrao): ho ma dhana-dhana re.
Even amid the world-class Bihags on display here, this Amir Khan offering stands apart as a
celestial experience, although it is partly contaminated by atrocious harmonium sangat (most
likely, bongman Jnan Prakash Ghosh). Sadarang’s vilambit is followed by the druta, aali ri
albeli, which is a rejiggered version of an old cheez, presented with an odd choice for
the sam (tar saptaka rishab).
The Ektala-wound canonical version of aali ri albeli, is delivered by Basavraj Rajguru in
this radio recording.
The Rampur-Sahawan position on Bihag is established in the following two items.
Nissar Hussain Khan deals the well-known tarana. Notice the unabashed P D N
S” prayoga at, for instance, 0:16.
The voice of Agra, Khadim Hussain Khan.
On a good day, Banditji has the capacity to turn in a compelling Bihag. This rendition at
the Kesarbai Kerkar Samaroh held in Goa in the 1980s is offered primarily for the delectable
composition of ‘Kunwar Shyam’: dekho more ranga mein bhigoye daari.
An unpublished mehfil of Bade Ghulam Ali Khan singing his own composition.
The next three are instrumental selections.
First, Allauddin Khan saws the violin at warp speed.
Ravi Shankar‘s LP recording where he is accompanied by the greatest tabla master of the
20th C, Ahmedjan ‘Thirakhwa,’ has long been a sentimental favourite. Thirakhwa provides
an object lesson in the art of accompaniment: he has no urge to commandeer the proceedings
and is content to play a subordinate role, wholly in communion with, and in service of, the
music. Always. This simple lesson the likes of Mr. Zakir Hussain (voted “San Anselmo’s
Sexiest Man” in the “under 5′ 5″ and over 45 yrs” category) and other contemporary stage
bullies (like that fathead Swapan what’s-his-last name?) have failed to learn.
The swarasmith extraordinaire, Bismillah Khan.
The Hindustani Bihag has found favour with Carnatic musicians. The Carnatic adaptations
are seen to have a pronounced komal nishad and phrases such as RGMP. Whereas in the
Hindustani system, the komal nishad finds prominence in a variant of Bihag known as
 32

Bihagda. I understand that Gopalkrishna Bharati was the first Carnatician to compose in
Bihag.
S. Ramanathan, itu tano tillai.
Another Bharati composition, this time by K.V. Narayanaswamy: irakkam varamal.
K.V. Narayanaswamy again, with a composition of Swati Tirunal. This rendition bears the
most likeness to Hindustani Bihag: saramaina. Patnam Subramania Iyer‘s composition is
presented by Ramnad Krishnan, accompanied by T. Vishwanathan: samayam ide. We drop
the curtain on Bihag with a veena performance of S. Balachander playing Tirupati
Narayanaswamy‘s vagaladi.
I thank Dr. V.N. Muthukumar for his help in assembling this Carnatic montage. The
remainder of our session figures a flyby tour of Bihag variants, either jod ragas (hybrids) or
composites built on the Bihag substrate.
Raga Chhaya Bihag
This raga, traditionally heard under the aegis of Agra Gharana, obtains by infusing an element
of Raga Chhaya – in particular the P–>R arc – into the Bihag flow. Jha-sahab sketches his
beautiful composition and then, in the clip following, explains the textual context: baari
nihari chhaya chandra ki.
Ramrang, Raga Chhaya Bihag.
Ramrang on the sahitya of the composition.
Raga Chandni Bihag
This uncommon variant is realized through a chalan bheda on the parent melody. Both teevra
madhyam and komal nishad are introduced in enchanting tonal formulations. The chalan as
given by Jha-sahab in Volume 3 of his Abhinava Geetanjali assumes the following form:
S N’ S G M G, G M P D n [S”] n D P
D N S” N–>P, m P D n S” n D P, G M G
Ramrang sketches an old composition handed down to him by his guru, Bholanath Bhatt,
who in turn received it from the sarangi maestro Bundu Khan. As Jha-sahab explains in the
second clip, this raga and bandish have traditionally been the preserve of the Rampur
vocalists: aaja ananda mukha chandra.
Ramrang – I.
Ramrang – II.
Obiter dictum: On the Legacy album published by Mr. Alubhai (voted “San Rafael’s Sexiest
Man” in the “over 80 and under 1 foot” category), Asha Bhonsle sings the same text in Raga
Shankara Karan. It is interesting to compare the movements therein with the Chandni Bihag
rendition of Jha-sahab above.
Raga Savani (Bihag-anga)
 33

This type of Savani derives from a chalan bheda on Bihag: the teevra madhyam is banished,
the value of N is diminished, and special sangatis are introduced. Some musicians use
the dhaivat sparingly, others (notably from the Atrauli-Jaipur tribe) ply it with deliberate
piquancy. Among the special artifacts are the S-P’ and the S”-P sangatis, and the M P
G cluster. Since N is weak, the P-S”-P coupling oftentimes determines the trajectory to
the shadaj. We adduce four renditions (all set in Jhaptala) and invite readers to bring their
own measure.
Ramrang sings his own composition in this old radio recording: deva Mahadeva.
Bhatkhande has documented the old composition presented by Kumar Gandharva: jaane
akala saba.
Take stock of the dhaivat in G M D, D M P G in the Atrauli-Jaipur treatment. Mogubai
Kurdikar sings Alladiya Khan‘s dearly-loved composition: deva deva satsanga.

The same bandish is handled by Mallikarjun Mansur in an inspired 1980 mehfil in Mumbai.
At around 3:21, he pauses to inform that “this is [my guru] Manji Khansahab‘s gayaki” –
Raga Hem Bihag
This is a creation of Allauddin Khan of Maihar. The choice of label is misleading: the raga
is a hybrid formed with strands of Hemant woven into the Bihag fabric and laced with
special sancharis. The “Hem” here presumably derives from Hemant, certainly not from the
well-known Raga Hem/Hem Kalyan. Jha-sahab has documented a different Hem Bihag –
one fashioned from Hem and Bihag.
Alu’s alap.
Nikhil Banerjee, Hem Bihag.
A subtle difference or two in the above interpretations of Hem Bihag should provoke the
discriminating listener.
Raga Manjari Bihag
This specialty item of the Atrauli-Khurja musicians obtains through a chalan bheda on the
parent Bihag. It contains all shuddha swaras and has some resemblance to PatBihag. A
special strand M P G SR, S involving deergha rishab stands out.
Aslam Hussain Khan presents two compositions of which the druta is a creation of Azmat
Hussain Khan. (His colophon “Dilrang” can be heard in the antara.)

Raga Swanandi
 34

We owe this fascinating melody to Jagannathbuwa Purohit “Gunidas.” It draws upon three
ragas, namely, Bihag, Bhinna Shadaj and Bhatiyar (try isolating the respective strands).
Incidently, Allauddin Khan’s Hem Bihag and Gunidas’s Swanandi start out with similar raw
material but then evolve along different lines.
Gunidas’s vision was reified in his definitive composition, presented here by his pupil C.R.
Vyas: jiyara manata naahin.
The same composition dealt by Jitendra Abhisheki.
Raga Gagan Vihang
This baby of Dinkar Kaikini is erected on a Bihag substrate, spiced with chhayas of Savani
and Nand, and rounded off with special sangatis. Kaikini’s composition is charming but his
constipated voice-production makes you wonder if someone is turning his family jewels on
the lathe: sarasa sugandha aali.
Several other prakars of Bihag have been addressed in earlier features:
Bihagda and Pat Bihag, in Two Variants of Raga Bihag.
Nat Bihag, in Cracked Open – The Nats!
Shankara Bihag, in Shankara – Lord of Ragas.
MaruBihag, in An Evening with Raga MaruBihag.

Short Takes: Malkauns

 35

In this edition of Short Takes, we welcome the maha-raga Malkauns into our fold.
This Bismillah Khan classic, a permanent fixture in the Indian musical imagination, never
fails to dazzle and is fresh as new paint even today.
Our tour begins with a synopsis of the raga-lakshanas. The kernel of raganga Kauns is then
distilled. The high class Malkauns selections that follow are a feast fit for the Gods. The latter
half of this session features a portfolio of Malkauns derivatives.
Throughout our excursion, M = shuddha madhyam and m = teevra madhyam.
Raga Malkauns
The name “Malkauns” (cognates: Malkosh, Malkoshi, Malkans etc.) is said to derive from
“Malava Kaushik,” an old melody that finds mention in ancient treatises such as the Sangeet
Ratnakara of Sarangdeva. There is, however, no structural similarity between that Malava
Kaushik and the present-day Malkauns. The current swaroopa of the raga is conjectured to be
around 300-400 years old. The curious reader is referred to Pandit Vishnu Narayan
Bhatkhande‘s monumental work Hindustani Sangeet Paddhati where he traces the
Malkauns trail. The Carnatic raga carrying the swaras of Malkauns goes by the name
Hindolam.
The swara-set of Malkauns gives a wide berth to both R and P leaving behind an audav-
jati (pentatonic) contour: S g M d n. In Pandit Bhatkhande’s taxonomic scheme the raga is
placed under the Bhairavi that. Recall that certain gestures in Raga Bhairavi take after
Malkauns. The signal characteristic of Malkauns concerns its nyasa locations: each one of
its swaras is considered apposite for nyasa. No other raga has this attribute. The implication
being, you cannot go wrong in Malkauns. With five locations available for nyasa,
the vistar area extends far and wide, overcoming the limitations of a restricted tonal space
inherent to pentatonic ragas. The key lakshanas of Malkauns are now encapsulated.
S, d’ n’ S, n’ g–>S, S g M g–>S
The sui generis meend g–>S serves as a vital constituent of raganga Kauns. The uccharaaa is
crucial: g is rendered deergha before initiation of the meend. This precipitates the shanta-
gambheera rasa characteristic of Kauns. The langhan (skipping) of n in the
declining prayoga from S to d’ (or from S” to d) is another point of note.
d’ n’ S M, M d M, S g M g–>S
Although all the swaras are nyasa-worthy, the madhyam is considered primus inter pares, the
centre of melodic gravity, as it were. Notice the leap from S to M, a Malkaunsian trait.
g M d n, M d n S” d n d–>M
Here we have uttaranga modus operandi. The d–>M meend is analogous to the poorvanga g–
>S and serves as another artifact of the Raganga Kauns kernel; d is rendered deergha before
the slide to M, again reinforcing the shanta-gambheera effect.
S”, d n S” g”, g” M” g”, n g”–>S
Attention is drawn to the n to g c
Obiter dicta:
(a) In the Malkauns progression there is samvad (consonance) between the S-M, g-d and M-
n pairs.
 36

(b) It is observed that some vocalists (well-known names among them) occasionally admit a
higher value of n that falls within the penumbra of N, especially in the arohi prayogas. This
practice appears to be inadvertent given the inconsistency and irregularity with which it
occurs.
This completes our inspection of the Malkauns arena. Of course, the uccharana, vital in these
matters, cannot be adequately conveyed through the written word.
Malkauns lends itself to varying degrees of interpretation and complexity. To the novice it
presents a welcoming, friendly facade. To the vidwans and the masters, it reveals a compass
as vast as the Serengeti plains, a lifelong melodic hunting ground in which to exercise and
slake the creative daemon.
Who better than Pandit Ramashreya Jha “Ramrang” to eulogize Malkauns? His words in
the second half of the clip lay bare his enormous love and feelings for this great raga. This
riveting display was recorded over the California-Allahabad telephone line.
We now step into the Malkauns citadel. Although ‘light’ compositions in the melody are
legion we shall make do with only a token few here.
In BADA AADMI (1961), Mohammad Rafi sings to Chitragupta‘s tune: ankhiyana
sanga.
The 17th C saint Tukaram avers that he is smaller than an atom and as vast as the sky in a
beautiful Marathi abhanga. Dilip Chitre‘s translation of this abhanga is available in Says
Tuka (Penguin Classics).
Too scarce to occupy an atom,
Tuka is vast as the sky.
I swallowed my death, gave up the corpse,
I gave up the world of fantasy.
I have dissolved God, the self, and the world
To become one luminous being.
Says Tuka, now I remain
Only to oblige.
Bhimsen‘s delivery is in step with Tuka’s feelings: anuraniya thokada Tuka akasha
evadha.
In the Marathi drama RANADUNDUBHI (1927), Vazebuwa‘s tune is rendered
by Dinanath Mangeshkar: divya swatantraya ravi.
We swing open the classical vaults with a performance of the Gundecha brothers.
Their alap gives way to a dhrupad in honour of Lord Ganesha.
Gundecha alap.
Gundecha dhrupad.
‘Aftab-e-Mousiqui’ Faiyyaz Khan weighs in with a magnificent dhamar.
Two selections of D.V. Paluskar follow. First, a vilambit khayal.
 37

And Meerabai‘s immortal pada: pag ghungaroo baandha Meera nachi re.
Krishnarao Shankar Pandit deals the famous “Adarang” composition
in vilambit Ektala: aaja more ghara aa’ila.
That composition of “Adarang” has been popularized by Amir Khan as a cheez in Teentala
whereas Bhatkhande has documented it in druta Ektala. This is a good instance of
a bandish morphing over time and across stylistic schools.
Kumar Gandharva laces his Malkauns with (at least) a couple of quaint touches. The
measured g–>S meend emits an abhasa (impression, semblance) of the rishab. The reader is
invited to figure out the second quirk (Hint: hear out his druta bandish).
Omkarnath Thakur offers the Gwalior staple: peera na jaani.
Omkarnath again in a dramatic rendition of the immensely loved pag ghungaroo baandha
kara nachi re. His tweaking a key word in the mukhda (compare with D.V. Paluskar) is
intriguing.
The widely-performed Malkauns chestnut sasundara badana ke is a composition of Nawab
Ibrahim of Tonk (whose colophon is imprinted in the antara). It was first popularized in
Maharashtra by the Bhaskarbuwa Bakhale.
Here we have Bade Ghulam Ali Khan singing that bandish in this unpublished recording.
Another unpublished selection of Bade Ghulam Ali.
To round off the Bade Ghulam Ali Khan feast, his published classic: mandira dekha dare.
Barkat Ali Khan (BGAK’s brother) was an outstanding musician but, alas, he had to live in
the shadow cast by his giant of a brother. He, too, sings mandira dekha dare.
A couple of selections of Kesarbai’s empyrean artistry: maisana meeta.
Kesarbai – I.
Kesarbai – II.
Kishori Amonkar sparkles in this mehfil recording. Around 3:00 we find her reading the riot
act to an errant calf.
The bandish, peera na jaani, heard earlier in a vilambit gait is now presented by Abdul
Karim Khan in druta laya.
Basavraj Rajguru.
Master Krishnarao‘s (Krishna Phulambrikar) is a restrained Malkauns: kaahun ki reeta.

The keys to the sanctum sanctorum in the Malkauns temple are given only to the great vocal
masters. The ding-dongers have no place there although they are permitted to graze in the
courtyard outside. With one and only one exception: Nikhil Banerjee.
Shridhar Parsekar (1920-1964), from the tiny village of Parsem in Goa, established himself
as one of the great violin virtuosos of the day but died before his time
 38

When God created Malkauns, only two mortals were allowed the privilege of peeking over
His shoulder while He was at work. Bhimsen Joshi and Amir Khan both owe their elevation
to ‘Tansenhood’ to their extraordinary sway over Malkauns. To hear Bhimsen’s paga lagana
de on a good day is to come away an ennobled being. Although the recording adduced here is
very good, it scarcely does justice to Bhimsen’s powers.
Amir Khan‘s recording, on the other hand, is manna for the soul.
The vilambit composition, jinke mana Rama biraaje, places its sam on the mandra komal
nishad. To hear him enter the final ti-ra-ki-Ta orbit leading up to the sam is to experience
moksha here and now. I will never forget the kaleidoscopic display of expressions and
emotions that would envelope my father’s visage every time this LP perched on our turntable.
Three selections are offered, the last two still among the unpublished.
Amir Khan – LP recording.
Amir Khan – Live 1.
Amir Khan – Live 2.
We close the Malkauns segment with Kishori’s prattle which, if nothing else, shows that
there’s a funny bone in her.
There are many varieties (prakars) of Kauns. In most of these formulations, the template
of raganga Kauns serves as the starting point. Occasionally, a Kauns prakar may not directly
exhibit the swaric heritage of Malkauns but may instead be informed by its mannerisms.
Ragas Pancham Malkauns | Sampoorna Malkauns | Kaushi/Kaushiki
These ragas are brought under one umbrella because they share a common foundation. The
related Kaushi Kanada also shares genetic material with these forms.
As the name suggests, Pancham Malkauns comes to be when pancham is dropped into
Malkauns, usually in an avarohi prayoga such as g M d P or g M d n d M P. The arohi flow
retains the Malkauns contours. Amir Khan shows how.
A variation of Pancham Malkauns goes by the name Sundarkauns.
In Raga Sampoorna Malkauns, both R and P are added to the Malkauns template. Again,
while the arohi behavior hews to the Malkauns line, rishab and pancham primarily participate
in vakra avarohi phrases. This basic idea is also embraced in
ragas Kaushiki and Kaushi although the precise handling of swaras may show variation.
Jha-sahab presents Raga Kaushi, in which strands of Bhimpalasi are seen: he Mahadeva.
Sampoorna Malkauns is a specialty of the Atrauli-Jaipur school. Mogubai Kurdikar is
accompanied by her daughter Kishori in this lovely unpublished performance.
Their Atrauli-Jaipur confrere, Mallikarjun Mansur, shifts his sam to the pancham.
Nikhil Banerjee‘s performance in Raga Kaushiki from a Dover Lane conference in
Kolkotta in the 1970s.
 39

Raga Chandrakauns (Bageshree-anga)

This old, pentatonic version of Chandrakauns is composed of: S g M D n. The presence
of D imbues it with Bageshree-like features to which is joined the Kauns anga. Since it is a
type of Kauns, the emphasis is on highlighting the Kauns anga. This cast of Chandrakauns is
infrequently seen, today displaced by the more popular (and more melodious) recension to be
described in the next section.
S.N. Ratanjankar‘s composition is relayed by his disciple Dinkar Kaikini: vighana hara
Ganesha.
Malini Rajurkar.
Raga Chandrakauns (Malkauns-anga)
The neoteric Chandrakauns, introduced by the Gwalior musicians, is also of pentatonic build
– S g M d N – and has established itself as the default version. A simple switch
from n to N in the Malkauns axis yields the swara-set for this Chandrakauns.
The general lakshanas stay true to Malkauns but a few subtle changes wrought by N call for
attention. For instance, the nyasa on mandra nishad via M g S N. Other subtleties
– sookshma-bheda – between Malkauns and Chandrakauns will reveal themselves to the
experienced musician. Some few employ rishab occasionally as a sparsh-swara (brief touch)
especially in the tar saptaka.
SAMPOORNA RAMAYANA (1961), Lata Mangeshkar‘s voice, Vasant Desai‘s
composition: san sanana.
A nom-tom alap by the senior Dagar brothers, N. Aminuddin and N. Moinuddin. At the tail
end (2:28) notice the sparsh of the shuddha rishab.
The sisters – and daughters of Abdul Karim Khan – Hirabai Barodekar and Saraswati Rane.
Lakshmi Shankar: kavana bana aayi.
Shaila Datar.
Gangubai Hangal.
An unpublished tarana by Amir Khan.
Sharafat Hussain Khan of Atrauli-Agra.
Raga Chandrakauns (Agra style)
This maverick strain is adopted by one branch of the Agra family. With
both n and P included, it resembles the Sampoorna Malkauns relished by the Atrauli-Jaipur
musicians. A distinguishing artifact is the avarohi the use of komal rishab.
Latafat Hussain Khan begins with a composition of “Daraspiya” (Mehboob Khan of
Atrauli): begi awana kara.
Interestingly, another offshoot of Agra sings a similar formulation but with a shuddha rishab.
Earlier, we had Sharafat Hussain singing the modern Chandrakauns in standard format – and
 40

he was a pupil of Vilayat Hussain Khan “Pranpiya,” one of the pillars of Agra. Really, these
Agra punters are inscrutable.
Raga Kaishiki Ranjani
This raga which takes after the modern Chandrakauns was incubated in the mind
of Chidanand Nagarkar (1919-1971), a pupil of Acharya S.N. Ratanjankar. The key idea
here is the bold introduction of shuddha rishab in vakra phrases.
The following tonal progression captures its essence:
S, d’ N’ S R, g R g M
g M d N, d N S”, d N S” R”, g” R” S” N
d N S” R” S” N d, N d M, g R g M, g M (g)R S
Kaishiki Ranjani has caught on with the vocalists. C.R. Vyas has composed a couple of
attractive bandishes; Jitendra Abhisheki, Prabhakar Karekar and others have made it a
fixture in their repertoire.
Nagarkar had a winsome style but alas, a stroke of misfortune snatched him away before his
time. He was also a gifted composer with ‘Chit-Anand’ as his mudra. Here he sings his own
definitive Kaishiki Ranjani compositions. To wit, the vilambit, eri ma’i piya, and the
scintillating druta cheez, barkha rtu bairana.
Malini Rajurkar retails the same compositions
Raga Madhukauns
A graha-bheda on the madhyam of the modern Chandrakauns yields the five swaras of this
raga: S g m P n. The reader is by now surely au courant with the manoeuvres necessary to
advance the Kauns anga.
The finest Madhukauns there is: Vasantrao Deshpande. Very occasionally, we come across
minor variations of Madhukauns, for instance, the introduction of dhaivat in the avarohi flow.
Raga Harikauns
This is yet another audav-jati prakar of Kauns with the swara-set: S g m D n.
Raga Devkauns
The final item in the Kauns roster, again audav-jati: S g M P N.
Aslam Hussain Khan of Khurja.
 41

Short Takes: Bhoopali and Deshkar

The range of expression manifest on the world’s musical canvas reveals a full panoply of
underlying assumptions and values. At the heart of India’s Art music lies the notion
of Swara, a conception more fundamental than Raga and a prerequisite to its
realization. Swara is tough to pin down in words since there is no satisfactory English
equivalent. It is important to emphasize that although a note (or a group of notes) constitutes
the building block of Swara, the two are not synonymous. Swara encompasses a slew of
melodic experiences acquired by a note. Significantly, there is also a metaphysical component
involved, for Swara is imbued with ‘life’ and hence, with feeling. The enlightened musician
does not view Swara as fungible, to be traded and consumed in the marketplace of melody.
Both Indian musical thought and practice hold it as an ideal that the Swara is precious, to be
accorded the same care and love that one would reserve for one’s own children. The
difference between the Indian and Western conception of music is deeper than the superficial
melody vs. harmony dichotomy. Pitted against the sophistication of the idea and practice
of Swara, the dispensation of “notes” in all Western musics is seen to be rather primitive
despite their occasional complexity in formulation and technique.
The profoundly civilized approach to music conceived and developed in India has no equal
on this planet (this is a statement of fact, not an opinion). The principal subject of this edition
of Short Takes, Raga Bhoopali, stands as an exemplar of the coherence achieved
when Swara is brought within the ambit of ragadari.
Throughout this excursion, M = shuddha madhyam and m = teevra madhyam.
Bhoopali and Deshkar – The Basics
Bhoopali (also known as “Bhoop”) and Deshkar are both audav-jati (pentatonic) ragas with
an identical swara-set: S R G P D. The corresponding Carnatic raga goes by the name
Mohanam. This simplicity of scale belies the finespun gestures with which these ragas –
Bhoopali especially – are instantiated and consequently the unsually wide compass
for vistar (elaboration) they permit. Considerable musical maturity and ingenuity must be
marshalled to exploit and realize their full potential.
A fair amount of muddleheaded prattle is frequently heard apropos of these two ragas in the
ranks of both the innocent and the initiated. The cant typically proceeds from their
common aroha-avaroha, the vadi-samvadi flip-flop, and ends with the citation of their
respective poorvanga-uttaranga regimes. In the following causerie, aided and abetted by Jha-
sahab’s trenchant commentaries, I propose to dust off some of those cobwebs and pave the
way for a fuller understanding of the Bhoopali-Deshkar dichotomy. A few allied ragas are
also addressed.
Bhoopali is a Kalyan-anga raga whereas Deshkar is a Bilawal-anga raga; their respective
characteristics can be inferred from this proposition. It must be underscored that this is a
statement not of historical chronology but of the relevance of specific melodic groupings
– ragangas, in our terminology – attending the orthogenesis of ragas and of their continual
presence in the Indian musical imagination.
Let us first examine Bhoopali. The definitive tonal sentences are:
 42

S, S (S)D’ S R G, G R S (S)D’ S
The nyasa on G and the grace of S on D are points of note.
S (G)R G, G R P G, P R G, S R, R G R, S R S (S)’ S
The tonal activity is centred on G. Another important nyasa swara is R.
G R G P, P G D P (P)G, G P R G, G R, S R S (S)D’ S
The G-D coupling and the arohi nyasa on P are illustrated.
G P (S”)D, (S”)D, S”, S” (S”)D S” R”, R” S”
This represents a typical uttaranga launch.
To summarize, the nyasa locations in Bhoopali are S, R, G and P. Tonal activity revolves
around G. The G-D coupling and arohi nyasa on P are points of note. The
raga swaroopa unravels in the poorvanga region. Tonal clusters such as S R S (S)D’ S or S R
(S)D’ S serve as delimiters during elaboration. It should now be obvious that Bhoopali’s
simple aroha-avarohana masks its non-linearity. The perceptive mind will also see in
Bhoopali the shadow of raganga Kalyan. The nyasa swaras and formulation of tonal contours
derive from Kalyan minus madhyam and nishad, which is why some vidwans refer to
Bhoopali as “Bhoop Kalyan” or “Ma-Ni-varjit-Kalyan.” En passant, the P-G and the S-
D arcs may occasionally create an abhasa of m and N, respectively.
Let us turn to Deshkar. The definitive tonal sentences are:
P, P G P D, D, P, P D G P
This is an uttaranga-pradhana raga. The tonal activity is concentrated on D. The avarohi
nyasa on P and the D-G coupling attending Deshkar are gestures obverse of those plied in
Bhoopali.
P D G P (S”)D, (S”)D, S”, D R” S”, (S”)D, D, P, P D G P
Another raganga-vachaka sangati.
P D G P G R S R (S)D’ S, S G P D, D, P
The rishab is alpa; some musicians render it langhan (i.e. skip it) during alapi, others
acknowledge its presence without rendering it deergha. Whereas in Bhoopali R is an
important nyasa sthana.
To summarize, the nyasa locations in Deshkar are P, D and S” (tar shadaj). The D-G coupling
and avarohi nyasa on P are points of note. The raga swaroopa unravels in
the uttaranga region. A little reflection reveals the hand of raganga Bilawal lurking below the
Deshkar surface; the dominant D and the D-G sangati may be laid at Bilawal’s door.
The behaviours of Bhoopali and Deshkar are, as established above, driven by entirely
different genetic imperatives despite their sharing a common scale, a striking illustration of
the conceptual power of raga. Assigning them to two different thats also points to
Pandit Vishnu Narayan Bhatkhande‘s insight into the nature of raga. Incidently, it is
sometimes amusing to read knee-jerk criticism of the that system peddled by toddlers in this
field. Mind you, I am not talking about the ethnopimps spread over Canada, America and
Western Europe. It is infra dignitatem to even think of the droppings of ethnopimps in any
discussion of music, serious or otherwise. (Glossary: ethnopimps call themselves
“ethnomusicologists” and are found loitering in Western universities.)
 43

Our preamble is reinforced with a magnificent melologue of Pandit Ramashreya Jha

“Ramrang.” This telephone recording demonstrates his pedagogic virtuosity as we find him
engaged in a musical topiary of sorts, fashioning Bhoopali and Deshkar by pruning the
respective parent ragangas, Kalyan and Bilawal.
A truly stellar cast of audio clips has been assembled below and a good portion of this
extravaganza is either unpublished or not readily available. From this point on, I shall
proceed paucis verbis and mostly let the music do the talking.
Raga Bhoopali
Lata Mangeshkar’s chant from the Bhagavad Geeta (Ch. 15) set to music by Hridaynath
Mangeshkar rings in the magical Bhoopali ambience.
The ‘light’ melodies seldom adhere strictly to the raga-lakshanas over their full run and in
them it is not uncommon to hear both Bhoopali and Deshkar mannerisms placed cheek by
jowl. That caveat applies to the next two numbers, both composed by the recently-
deceased Sudhir Phadke. The first is the reason we hold Lata Mangeshkar, endowed that
she is with an extraordinary felicity of swara, so close to our hearts. From BHABHI KI
CHOODIYAAN (1961): jyoti kalasha.
Sudhir Phadke‘s bhaktigeeta from the Marathi movie AAMHI JAATO AMCHYA GAAVAA
has deeply affected a generation or two in Maharashtra and Goa: dehachi tijori.
Jitendra Abhisheki bares his ‘life song’ set to P.L. Deshpande‘s tune: mazhe jeevana
gaane.
Shobha Gurtu‘s E bandhana bandho in PAKEEZAH (1971).
Ramrang‘s composition honours Lord Shiva: Hara Hara Mahadeva.
Another creation of this rara avis, Ramrang: maana leeje sundarwa.
We now saunter into Bhoopali’s vilambit habitat. Basavraj Rajguru gives a fabulous
account of the traditional khayal, aba maana le ri pyari and tops it off with the popular druta
cheez, noon mana jobana manada ve.
Maniram Pandit (Banditji’s brother) deals the selfsame aba maana le ri.
We open the Gwalior files with the brilliant, albeit undisciplined, gayaki of Krishnarao
Shankar Pandit. The famous Gwalior composition, jaba hi saba neera pata nirasa bhaye,
precedes the all-weather noon mana jobana.
D.V. Paluskar is purity personified: jaba hi saba neera.
Another well-known Bhoopali composition, jaba se tumisana lagali, by the fabled Gwalior
pioneer Rahimat Khan (1852-1922).
Omkarnath Thakur’s cherished disciple and a composer of merit, Balwantrai Bhatt,
reprises jaba se tumisana lagali.
We close the Gwalior book with a mehfil recording of Malini Rajurkar: noon mana jobana.
 44

As an old maha-raga, Bhoopali commands a respectable array of traditional

compositions. Faiyyaz Khan sings one attributed to ‘Sadarang’: Eri aaja bhai’lava.
A nom-tom alap by the dhrupad specialist Ram Chatur Mallick.
Nazakat Ali Khan and Salamat Ali Khan serve a couple of superb cuts: a composition
in vilambit Jhoomra, Khwaja sudha aana de, and a Jhaptala-bound bandish, panjetan-e-paak
se noor-e-anand deyo.
Bade Ghulam Ali Khan, in a 1950s mehfil.
Mohammad Hussain Sarahang of Afghanistan.
In this very old recording, Zohrabai Agrawali identifies herself at the conclusion of her
item, as was the practice in those days.
Kumar Gandharva‘s searching mind had the capacity to tweak the familiar in surprising,
even audacious, ways. Consider his Chaiti Bhoop, where he breaks ranks with a finessed
induction of shuddha madhyam
Mallikarjun Mansur makes good on another old ‘Sadarang’ composition, jaba hon jaani
tihari bata, and as a bonus, throws in jaba se tumisana lagali.
Kishori Amonkar‘s artistry stands as tall as the Himalayas, and in Bhoopali is realized its
summit. Upon her sahela re no human hand can improve.
We bring the curtain down on Bhoopali with a private recording of Kesarbai Kerkar,
offered here without comment, singing what she refers to as “Shuddha Bhoopali.” The audio
could do with a digital vaccine to improve the signal-to-noise ratio.
Raga Deshkar
Lata Mangeshkar sings for Shankar-Jaikishan in LOVE IN TOKYO (1966): Sayonara
Sayonara.
MEERA (1947) carried a beautiful M.S. Subbulakshmi song composed by S.
Venkataraman: Giridhara Gopala.
From the Marathi drama SAUBHADRA, priye paha, by Chhota Gandharva.
A Purandaradasa pada by Mallikarjun Mansur: dharmave jayavemba divyamantra.
The classical segment features several recensions of the Deshkar chestnut, hoon to tore
karana jagi. We kick off with Mallikarjun Mansur‘s stirring effort.
Faiyyaz Khan: first an alap, then the bandish.
The composition again changes hands. Agrawale Vilayat Hussain Khan (‘Pranpiya’).
In the final lap of hoon to tore karana, Amir Khan in a Kolkota mehfil

.
 45

Let us turn to other compositions.

Omkarnath Thakur: jhanjariya jhanake.
Krishnarao Shankar Pandit.
Sawai Gandharva: jhananana jhananana baaje.
Kumar Gandharva‘s own cheez: ja ja re bhounra ja.
Laxmibai Jadhav‘s peccant version sticks out, for it seems to encroach on Jait Kalyan (to be
discussed below). Notice also the teevra madhyam (~ 0:14) and later an explicit shuddha
nishad. The bandish is the traditional katava gada galava.
Most of the compositions presented have been documented by Pandit Vishnu Narayan
Bhatkhande. He also mentions a Poorvi-that Deshkar that has now become scarce. Very
occasionally, another type of Deshkar akin to the standard version but with r instead of R is
heard; I recall listening to a recording of this type by the sitar maestro Mushtaq Ali Khan.
Raga Jait Kalyan
This raga employs the same scale as Bhoopali and Deshkar, viz., S R G P D. As the name
suggests, it is an amalgam of two ragas, Jait and Kalyan.
S G P, P D G P, P S”->P, P D G P
This strand is contributed by Jait: the langhan rishab, the P-S” and S”-P sangatis,
the nyasa on P. Some prayogas such as P D G P suggest Deshkar but in Jait Kalyan D is
diminished and P strengthened. The Kalyan component is reflected in D P (G)R S.
Jha-sahab amplifies on the shastra.
In the representative recordings, there is divergence in detail here and there; the readers are
invited to take their own measure.
First off, Vilayat Hussain Khan.
From the Delhi Gharana, Ramzan Khan.
Mallikarjun Mansur sings two different compositions. Here, the familiar papiha na bolo.
And in a private mehfil, zhakora na ve.
Mogubai Kurdikar‘s senior disciple Kaushalya Manjeshwar begins with zhakora na
ve and ends with a tarana.
The last-named composition again, by Master Krishnarao (Phulambrikar).
Jitendra Abhisheki, papiha na bolo.
Obiter dictum: Raga Audav Devgiri also employs the pentatonic scale-set, S R G P D.
 46

Raga Shuddha Kalyan/Bhoop Kalyan

There is difference of opinion in the nomenclature in this subject. Some regard Shuddha
Kalyan and Bhoop Kalyan as one and the same raga. Others maintain a distinction between
the two, for instance, Omkarnath Thakur, the Maihar dingbats. (A small coterie asserts
that Bhoopali, with its deep connection to raganga Kalyan, is itself a de facto “Bhoop
Kalyan.”)
Regardless of where you cast in your lot with, there is a broad consensus on the
chief lakshanas of Shuddha Kalyan and a recognition that it is incubated with material
furnished by Kalyan and Bhoopali. Those who consider Bhoop Kalyan as separate are agreed
that it, too, combines elements of Bhoop and Kalyan; the nub of their praxis lies in the
handling of m and N.
The arohi movements in Shuddha Kalyan co-opt Bhoopali. The avarohi behaviour gives the
raga away, in particular the sui generis P-m-G and S”-N-D meends; neither m nor N are
explicitly intoned. The primitive it tries to express is a yawn. Elsewhere the nishad may be
taken explicitly but not in a nyasa role. The Kalyan molecule G P (G)R, S is pervasive. The
special sangati G R S, D’ P’ G is associated with this raga. The vistar area primarily spans
the mandra and the madhya saptaks. That, in a nutshell, is Shuddha Kalyan.
Ramrang’s take on matters shastraic.
Shankar-Jaikishan‘s composition from CHORI CHORI (1956), Lata’s voice: rasika
balama.
The dearly-loved Mohammad Rafi classic from SIKANDER-E-AZAM (1965) was
composed by Hansraj Behl: jahan dala dala par.
A dip in Ramrang‘s pool nets us a rich haul. His exquisite vilambit Roopak composition: la
de la de.
The traditional cheez, mandara bajo re.
The next two selections are Ramrang‘s own compositions (Satyasheel Deshpande briefly
provides vocal support): bairana bhayi.
Ramrang: neendariya tu kahe na.
Faiyyaz Khan takes great delight in his meends and so do we.
Omkarnath Thakur‘s recording of a 1950s Varanasi mehfil: bolana lagi and bairana
nanadiya.
The P-m-G meend is heard right away in this segment of Allauddin Khan on the
surshringar.
As indicated earlier, the Maihar instrumentalists treat Shuddha Kalyan and Bhoop Kalyan as
two different Ragas. In the latter, the defining meends of Shuddha Kalyan are absent and
both m and N are relatively unornamented. Also heard are explicit Kalyan-
inspired arohi passages.
 47

Nikhil Banerjee‘s performance in this 1970s San Francisco concert is on the whole mediocre
(perhaps he was trying hard to impress the audience of hippie bums) but the vignette
produced here contains some bright moments.
Kishori Amonkar.
All said and done, Shuddha Kalyan is well and truly a specialty of the Kiranawallahs. It is to
them that we must look to for an unadulterated, rasa-pradhana experience.
Abdul Karim Khan‘s all-time classic: mandara bajo.
Yeshwantrai Purohit was influenced by Abdul Karim Khan and learnt from AKK’s
disciple Balkrishnabuwa Kapileshwari.
Amir Khan‘s meditations are utterly enchanting. E karama karo krupalu dayalu is topped off
by a tarana.
The top honours must go to Bhimsen Joshi who has attained some sort of enlightenment in
Shuddha Kalyan: tuma bina kaun and rasa bheeni bheeni.
Raga Savani Kalyan
This winsome raga has now gone out of fashion, trumped by the overwhelming preference
for Shuddha Kalyan. It should not be confused with Savani of the Bihag anga that is popular
with the Atrauli-Jaipur vocalists. Savani Kalyan takes after Kalyan but
drops madhyam completely (S R G P D N). Shuddha nishad is present in either direction but
is sometimes skipped in arohi movements. As in Shuddha Kalyan, the regions of prime
melodic activity are the mandra and madhya saptaks. Savani Kalyan deserves to be relumed.
The following two samples provide opportunity for abstraction of its lakshanas.
This old, moving composition was handed down to Jha-sahab by his guru Bholanath
Bhatt: banata bana’ooN bana nahin aave Hari ke bina ri.
A votary of the Bhendibazar style, T.D. Janorikar deals a composition of his guru Aman
Ali Khan whose colophon ‘Amar’ is heard in the antara: meeta ladila.
Some versions of Savani Kalyan use a weak shuddha
madhyam (vide Bhatkhande‘s Kramika Pustaka Malika).
Raga Kesari Kalyan
A creation of Ramashreya Jha “Ramrang,” it is named after Hanuman. It may be viewed as
a chalan bheda on the Savani Kalyan described earlier, together with an
altered swara emphasis. Seen through another prism it looks like Hamsadhwani augmented
with a dhaivat and imparted special sangatis. Let us hear Jha-sahab expound on it himself.
An enchanting composition joined to Jha-sahab’s masterful delivery: pavana puta
Hanumanta.
Raga Chandrakant Kalyan
Chandrakant Kalyan is an old raga, now moribund perhaps for the same reasons as Savani
Kalyan with which it has some overlap. The arohi sangatis drop the madhyam and while
the nishad is not verboten it often appears in a vakra form of the type G P N D S”.
 48

In avarohi movements the teevra madhyam is sought through D m G P. The Kalyan substrate
supporting the raga is transparent.
Faiyyaz Khan‘s nom-tom alap presented here does not fully clarify the raga-lakshanas but it
makes for a valuable document nonetheless.
Raga Bhoopeshwari
This recently introduced raga is attained to by attenuating Bhoopali’s shuddha dhaivat to
the komal shade: S R G P d. The resultant melody assumes a grave, haunting mien.
Hridaynath Mangeshkar has adapted Mehdi Hasan’s ghazal, ab ke bichhare, for his Marathi
composition rendered by Lata: malavoona taka.
A formal statement by Mani Prasad.
Raga Pahadi
Pahadi (meaning “of the mountains”) has its origins in folk music. What French fries are to
the healthy American diet Pahadi is to the Indian musical diet. It is fashioned from the scale
of Bhoopali but the smooth arcs decorating Bhoopali are pared. Both M and N are summoned
in avarohi tracts through special sangatis. Due to its kshudra nature, there is considerable
latitude available and ‘foreign’ swaras are often sought for embellishment as are other ragas
such as Yaman, Mand and Jhinjhoti. Pahadi’s sphere of activity is concentrated in
the mandra and madhya saptaks; for this reason the tonic shadaj is often translated to
the madhyam in performance. The following tonal sentences drive home its essence:
S, D’ , D’ N’ P’ D’ G’ P’ D’ S, D’ S R G R G M G
D’ S R G M G R S N’ D’, [P’] M’ G’
P’ D’ S R G M G gG, G P D S” D P G gG
We shall have occasion to size up many of the variations proposed. The available Pahadi pool
is extremely large but our pickings here must be limited. Should you find that your pet Pahadi
puppy is missing in the kennel below, keep that discovery to yourself.
From ANMOL GHADI (1946), composer Naushad and the voices
of Noorjehan and Surendranath: awaz de kahan hain.
Mohammad Rafi sings to Ravi’s tune in CHAUDHVIN KA CHAND (1960).
O.P. Nayyar sneaks in a Pahadi in KASHMIR KI KALI (1964) in this Asha Bhonsle-
Mohammad Rafi sparkler: isharon isharon.
Composer Khayyam has made a career in Pahadi, successfully exploiting its pliancy and its
yen for promiscuity. From SHAGUN (1964), the dulcet tones of Suman
Kalyanpur and Mohammad Rafi: parbaton ke pedon par.
The superhit from ARADHANA (1969) composed by S.D. Burman, delivered by Lata
Mangeshkar and Kishore Kumar: kora kaghaz.
Kishore Kumar‘s own composition in DOOR KA RAAHI (1971): jeevan se na haar O
jeenewale.
 49

Akka Mahadevi‘s Kannada vacana by Mallikarjun Mansur: akka kelavva nanondu

kanasu kande.
A confluence of Pahadi, Kalyan and Mand is seen in this universally loved Meera bhajan
by D.V. Paluskar: Rama ratana dhana payo.
From their celebrated album Call of the Valley, Shivkumar Sharma, Hariprasad
Chaurasia and Brijbhushan Kabra.
The famously playful Dadra, by Ghulam Mustafa Khan: baton baton mein beeta gayi raat.
We conclude with the supreme master of Pahadi, Bade Ghulam Ali Khan.
First, a live thumri recording.
And finally, the great man’s beloved bhajan, Hari Om Tatsat.
 50

Short Takes: Kamod and Shyam Kalyan

The nightly Ragas Kamod and Shyam Kalyan are the subject of this filing of Short Takes.
Both these melodies furnish a rich and fertile tonal space for elaboration.
Throughout our discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Kamod
It is hard to convey Kamod’s spirit through the written medium. The gestalt is best imbibed
through study and by listening to classic renditions of the past masters. Such ragas have very
little basis in scales. Among the deleterious habits to have come to nest in the realm of
Hindustani pedagogy is the urge to pigeonhole ragas into an aroha-avaroha set, then tack on
the vadi-samvadi pair, a pakkad phrase, and then presume that one has successfully described
the raga. The aroha-avaroha set is an ex post facto construct that ought not to be the starting
point of inquiry.
Let us now consider Kamod and put its key lakshanas under the lens. The reader who is not
familiar with the terminology I bring to bear in my writings is encouraged to remedy the
situation. For this is the language of Indian music and of raga in particular. Gone are the days
of the illiterate ustad with his indifference, not to mention ignorance, to the intellectual
component of our musical heritage.
S, (M)R (M)R P, G M P G M (S)R, S
This sentence represents Kamod’s signature. The R-P coupling is a recurring theme; the
special sangati G M P G M R S has come to embody the Kamod anga. The (M)R R P cluster
is suggestive of the Malhar anga.
S M R R P, m P D P, G M D D P, G M P G M (S)R S
Two points are of interest here. The teevra madhyam is weak in Kamod and appears only
under the aegis of pancham; it can be dispensed with without injury to the raga swaroop.
The G M D D P cluster draws on Raga Hameer.
P P S”, S” R” S”, S” R” (S”)D D, P
The uttaranga uthav is Kalyan-inspired (note, despite the absence/weakness of N). Notice the
elongation of D (deergha bahutva) in the avarohi sense and the weak N (alpatva). The komal
nishad is occasionally introduced in a vivadi dosha via S” D n P.
PDPPS”, S” (N)R” S” NS” D, P, m P D P
Another variation of an uttaranga launch.
The P and R swaras are powerful, the former in a sampoorna nyasa bahutva role (i.e. nyasa in
either direction), the latter as nyasa bahutva in the avarohi sense only. Tying together these
disparate and elusive strands into a seamless composite presents a challenge. The zigzagging
contours erect barriers to quick tans in a khayal setting. Their formulation, therefore,
assumes groups of swara doublets such as SSMRPPDDmPS”S”DP.
Strands of Malhar, Hameer and Kalyan prevail in varying degrees, so does some genetic
overlap with melodies such as Kedar and Chhayanat. But all these ragas have their
respective lakshana lines clearly marked out.
 51

A great vidwan, like great books, is a source of perpetual delight (to paraphrase Valluvar in
the Kural). Pandit Ramashreya Jha “Ramrang” gives us a magisterial account of Kamod,
recorded over the telephone.
The music redacted for this edition is calculated to illustrate and enthrall. Some of the key
selections are unpublished and hard-to-find. We kick off the clipathon with Lata
Mangeshkar‘s number from CHITRALEKHA (1964), adapted by Roshan from an old
Kamod bandish: eri jaane na doongi.
Straddling of the Kamod-Gaud Malhar boundary comes naturally to Roshan. Try, for
instance, his seductive composition from NOORJEHAN (1967) in Suman Kalyanpur‘s
voice: sharabi sharabi.
Shankar-Jaikishan affirm their trust in Lata in this strong tune from AMRAPALI
(1966): jaa’o re jogi tum.
The last two compositions were earlier filed under Gaud Malhar but they hew better to the
Kamod line (I had no intention of writing on Kamod at the time). As indicated earlier, Kamod
does carry a strand of the Malhar anga.
In RAAGINI (1958) Amanat Ali and Fateh Ali render a cheez for O.P. Nayyar. Not a
kosher Kamod but still a respectable effort: chhera diye mere dil ke taara ko.
The classical segment begins with a couple of druta compositions by Jha-sahab. The first,
his own: kala na Ave ho balama.
Jha-sahab picked up this fetching cheez in his nomadic young days with a drama company.
They don’t make these type of compositions anymore: maana mat maana kara maanani.
D.V. Paluskar lays bare Kamod’s soul with a couple of traditional compositions.
The vilambit, hoon to jana mana chhande, is followed by the chestnut, lagi re mori na’i lagan.
The Rampur-Sahaswan view by Mushtaq Hussain Khan.
‘Aftab-e-Mousiqui’ Faiyyaz Khan draws out long, graceful meends. Notice
the abhasa of n around 3:35: lagi re.

Kumar Gandharva‘s is a fine example of the recensions well-worn compositions are

subjected to: lagi re has its mukhda and sam re-vectored.
Kumar Gandharva’s own creation, Raga Kamodvanti – a smoothie whipped up with
Kamod and Jaijaivanti: ye to maana.

Sublime moments with Bismillah Khan.

Kamod was dear to Bade Ghulam Ali Khan. The cannonade of tans issuing in this popular
recording is a spectacle no words can adequately render. His own bandish: chhand de.
Heightening the frisson, Bade Ghulam Ali‘s tarana.
Raga Shyam Kalyan
 52

A chalan bheda within the Kalyan framework and an overlay of the Kamod signature G M P
G M R S are the chief features of Raga Shyam Kalyan. Although one observes idiosyncratic
touches across various stylistic schools, chiefly in the poorvanga, the core of the raga is
almost universally acknowledged. It goes without saying that a certain musical maturity is
required to abstract away the central themes.
The definitive tonal activity in Shyam Kalyan is summarized below (Reminder: m = teevra
madhyam):
S, R N’ S (M)R, R m, m P, P G M R, M R N’, R S
Much may be gleaned from the above phrase. The opening sangati is shared by Raga
Shuddha Sarang but the agency of intonation and punctuation keeps the two ragas apart. The
Sarang-anga demands a straight arohi approach and nyasa on R. Whereas in Shyam Kalyan
an arohi approach to R must formulated so as to not precipitate the Sarang-anga. This is
accomplished by spiriting away the sangatis in the direction of teevra madhyam. The avarohi
nyasa on R is necessary. The concluding G-laden cluster lent by Kamod smothers any
Shuddha Sarang aspirations: P G M R, S or G M P G M R, S.
R m, m P, D P, D m P, G M P, G M R, R N’ S
Teevra madhyam is elongated (deergha bahutva), gandhar is skipped in arohatmak
sangatis (langhan alpatva) going from R to m. Dhaivat receives Kalyan-like treatment
(another point of departure from Shuddha Sarang which, as a Sarang-anga raga, keeps a
weak D).
R m P N, N, S”, N S” D, D, P, S” N D P m P, N, N S”
The elongation of N in arohi and of D in avarohi passages are points of interest. In avarohi
prayogas, N may be skipped as indicated above.
With this preamble, we have in place all the necessary procedures to venture into the theatre
of performance.
Shyam Kalyan was the first to come under Jha-sahab’s critical gaze (vide Volume 1
of Abhinava Geetanjali). An entire audio library of his penetrating commentaries has now
grown in our archive, documents of inestimable value to the serious student of Indian music.
Ramrang holds forth on Shyam Kalyan.
We warm up to a cheez from Khandwa’s Pt. Kishore Kumar. Keep your ears peeled for
Panditji’s subtle caress of komal nishad in the antara (the Khandwa school specializes
in vivadis, among other things). The film is DARD KA RISHTA (1983) and the
composer, R.D. Burman: yoon neend se.
Ramdas Kamat‘s modern rendition of the Marathi natyageeta from the 1916 drama,
SAUNSHAY KALLOL: svakara shapatha vachani.
In the first offering from Jha-sahab’s felicitous suite, the raga-charitra emerges beautifully in
the astha’i itself: aise subana ke.
Ramrang‘s druta bandish in Ektala has made its way into the repertoire of several vocalists
(Satyasheel Deshpande briefly provides vocal support in the antara): bela sanjha ki.
 53

Some 30-35 years ago, a disciple of Omkarnath Thakur called on Ramrang and sang his
guru’s beautiful Shyam Kalyan composition. A couple of days later he dropped by again and
was astonished to find that Jha-sahab had not only remembered Omkarnath’s bandish but had
produced a near-identical match by sewing new words onto the melody. Jha-sahab
recounts the episode.
Jitendra Abhisheki‘s concert at the 1985 Kesarbai Kerkar Samaroh in Panjim, Goa, is
framed in the next two clips; both are Jha-sahab’s compositions. The vilambit, hamare piyare
maa’i.
We heard bela sanjha ki earlier in Ramrang’s own voice. Jitendra-bab also makes good on
it.
The Agra contingent is out in full strength. A careful listening will reveal some of the special
Agra touches, especially in the poorvanga.
Khadim Hussain Khan prefaces his khayal with a nomtom alap.
Vilayat Hussain Khan (“Pranpiya”) on an old 78 rpm.
Pranpiya’s son Younus Hussain Khan.
A mehfil of Basavraj Rajguru.
Tarana by Raja Kale.
No Shyam Kalyan catalogue can be complete without Bismillah Khan’s old recording.
Nikhil Banerjee.
Bade Ghulam Ali Khan‘s treatment stands apart from the rest of the pack for its maverick
turn of phrase, a brazen G m P sangati. The rasika is urged to find it in his heart to forgive
the great man for this venial sin.
Raga Shuddha Gunakali
This aprachalita raga is also called “Raat-ki-Gunakali.” It retains a Kamod base and draws
on tonal ribbons from Bhoopali/Deshkar. The following chalan expresses its essence:
S, (M)R (M)R P, P P D P, P D->R P, G M S R (S)D’ S
Ulhas Kashalkar deals an old bandish, mohe leta ri rasa batiyana sanga.
The same composition is presented by the Khan Brothers, Mohammad Sayeed and
Mohammad Rashid. As a vidwan and as a teacher, Ram Marathe was highly regarded. But
his effete vocalism, as any middle-class Marathi hag will tell you, had the virtue of running
out of steam even before he got down to his foreplay. The same cheez, mohe leta.

Short Takes: Desi

 54

In this edition of Short Takes we shall investigate Desi (‘Deshi’), a raga of highly vakra build
and independent swaroopa. Like other ragas in this genus, there is a measure of ‘abstraction’
involved in its manufacture. That is to say, a bare aroha-avaroha does not summarize its
essence nor is it a simple pastiche of linear tonal sentences sown together. Considerable
thought and taleem go into the mastery of such ragas. Perhaps that is one reason why Desi is
seldom heard on the concert stage today despite the rich rasa and aesthetics it embodies.
Desi is sometimes denominated as ‘Desi Todi’ but the modern form carries no trace of the
Todi-anga. A version known as Utari Desi or Komal Desi deploys both rishabs, komal in
the avarohi mode, thus opening up the possibility of a Todi-anga.
Throughout this discussion, M = shuddha madhyam.
Raga Desi
Desi’s kernel is obtained through a chalan-bheda on Raga Kafi. This is not to say that its
originator conceived it with a conscious and deliberate intent of turning Kafi around.
Nonetheless, ragas are not born in a vacuum; elemental melodic templates and the
accumulated corpus of ragangas colour and influence the active imagination. The process of
accretion of ragangas and distinct ‘melodic molecules,’ and their occurrence in disparate
melodies opens up potentially rich areas of inquiry. A serious research effort in this direction
awaits inauguration.
Desi comes in three primary flavours subject to the type and proportion of dhaivat employed.
The D-only flavour enjoys the most circulation. It is followed by the version with
both dhaivats but where D preponderates. The d-only type of Desi is less common.
With the D-only Desi, the choice of that is clear (Kafi) but along with the Kafi-anga, a
measure of Asavari-anga may be advanced through deergha use of the komal gandhar, as we
shall shortly see. In the case of the d-only Desi, the Asavari association naturally suggests
itself but the attack on rishab is through the agency of Kafi.
Let us now amplify on these themes. First, the key tonal sentences are written out. For
purposes of illustration, we shall work with the D-only flavour.
The definitive poorvanga phrases are:
S, R (R)n’ S, R M P, M P (M)g, R, R g S R (R)n’ S
R M P D M P (M)g R, R P (M)g R, R (R)g, S R (R)n’ S
Notice the strong rishab, its Kafi-like behaviour, and the trailing S R (R)n’
S cluster. Pancham and rishab are nyasa swaras. The kans (graces) mediating
the uccharana are critical to Desi. The soft landing on gandhar from P through a grace
of M and the eventual repose on R sweep a delicious arc. Gandhar may be elongated
(deergha bahutva) judiciously to create a brief chhaya of Asavari and then dissipated
by nyasa on R.
The uttaranga activity is now characterized.
 55

R M P D M P S”, S”–>P, D M P (M)g R

Gandhar and dhaivat are varjit in arohi prayogas. Nishad is often given short shrift as seen
above. The avarohi meend from S”–>P is a stand-out.
M P n S”, P n S” R”, R” n S”, S”–>P, P n D P, D M P (M)g R
Nishad is weak and must be carefully treated. A straight P D n S” and S” n D P are not
recommended since they tend to strengthen Kafi’s influence.
In the bi-dhaivat Desi flavour, a soupçon of d is introduced occasionally through clusters
such as P d M P (M)g R.
It should to be evident by now that Desi’s tonal space is not easy to get a handle on.
Pandit Vishnu Narayan Bhatkhande has chosen to place the raga under the Asavari that (a
somewhat questionable call) but the swaroopa and nuances of the different flavours have not
escaped his critical gaze in his monumental exegesis, Hindustani Sangeet Paddhati.
Bhatkhande has also documented the views of two of his gurus, Mohammad Ali Khan of
Jaipur and Wazir Khan of Rampur, including a dhrupad, dekho ri eka main jogi, taught to
him by the latter.
The ability of the peerless Ramashreya Jha “Ramrang” to cleave through and illuminate
the raga’s core with precision, clarity and economy of word is astounding. This tour de
force was recorded over the telephone.
Several Desi classics are assembled below. The key lakshanas will be immediately
recognized, the auxilliary details will show variance. We begin with the D-flavoured Desi.
In BAIJU BAWRA (1953), composer Naushad paired Amir Khan and D.V. Paluskar.
Legend has it that when possible names were suggested, Khansaheb insisted on having D.V.
Paluskar as his foil: aaja gawata mana mero.
A younger Ramashreya Jha elaborates on two traditional compositions of ‘Adarang’ in this
crisp All India Radio performance. The vilambit, patwara na lage. And the druta, sanchi
kahata hain ‘Adarang’ yaha.
The lakshanas of Desi are nicely threaded by D.V. Paluskar in his slower naiyya mori
bhayi followed by the aforementioned Adarang druta, sanchi kahata hai.
Salamat Ali Khan.
Basavraj Rajguru is in fine fettle as he deals a traditional sadra followed by
Adarang’s cheez.
Desi is a vocalist’s domain and very few instrumentalists are up to the demands placed by its
exacting character. This selection of Ravi Shankar, sparing of the dhaivat, emits flashes of
Sarang alluded to earlier by Jha-sahab.
Bade Ghulam Ali Khan‘s classic recording of his own bandish: manuva larje.
The next several items exhibit the bi-dhaivat flavour of Desi; the reader is encouraged to
measure the respective proportions.
‘Aftab-e-Mousiqui’ Faiyyaz Khan presents a full course meal, skillfully blending
the dhaivats in this cocktail preceded by an alap magnifique.
 56

Faiyyaz Khan’s entree – Adarang’s sanchi kahata hain. And for dessert, a dhamar.
S.N. Ratanjankar wields Adarang with a tinge of d through PdMP (M)g at 2:18.
Omkarnath Thakur‘s is mostly a D-oriented Desi. There is a fleeting abhas of d, for
instance, just after 0:59: kadama ki chaiyya.
Kumar Gandharva, and his nuanced swara-lagav.
In the concluding leg, we turn to the d-flavoured Desi where, as a consequence, the
Asavari anga is more explicit.
The Rampur doyen Mushtaq Hussain Khan offers a cheez of ‘Daraspiya’ (Mehboob
Khan of Atrauli).
Kesarbai Kerkar‘s rendition of Sadarang’s composition, mhare dere aa’oji, reveals
Jaunpuri-like M P d n S” clusters, but look out for the M P D n S” passage beginning at
2:01.
Raga Govardhani Todi
This aprachalita raga is a specialty of the Rampur-Sahaswan vocalists although some Agra
musicians (for instance, Faiyyaz Khan) have been known to render it as well. As in the case
of Desi, the “Todi” appellation is misleading because there is no Todi-anga in Govardhani
Todi.
The raga rests on a Desi base and is supplemented with two special interleaving strands, one
drawn from Kafi – M’ P’ D’ n’ S – and the other inspired by Darbari – M’ P’ (n’)d’ (n’)d’ S.
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Short Takes: Jog and Jogkauns

The highly pleasing Raga Jog has attracted wide attention in recent times. The
old dhrupad, prathama mana Allah, set in the raga and credited to Haji Sujan Khan has been
in circulation in the Agra gharana network for the past several decades. Counted among the
forebears of the Agra Gharana, Sujan Khan (the Rajput Sujan Singh, before his
conversion) was a court musician of Emperor Akbar. Whether Raga Jog actually goes that
far back is a matter of conjecture. Perhaps Sujan Khan’s text was adapted to the newly
conceived raga at a later time. Be that as it may, Raga Jog is a huge Agra fave and a necessary
fixture in that school’s repertory.
Throughout this note M = shuddha madhyam and m = teevra madhyam.
Raga Jog
Raga Jog takes Tilang for its base (for Tilang see In the Khamaj Orchard). The Carnatic
Raga Nata has some resemblance to Jog’s contours. The key idea here is the insertion
of komal gandhar in Tilang’s flow through a vakra avarohi prayoga. Consider the following
Tilang phrase:
G M P n P, P N S” n P M G
To that if we add M (S)g–>S there obtains an avirbhava of Raga Jog (“–>” denotes a meend).
Rishab and dhaivat are both absent. The Agra musicians use both nishads thus underscoring
its Tilang antecedents. Elsewhere, musicians dispense with shuddha nishad altogether and
treat Jog with komal nishad only.
Some key tonal sentences are now written down. We will adopt the bi-nishad version for the
purpose of illustration. The frequency of their relative occurrence may vary but the usage
almost always adheres to an old Indian principle: when two shades of the same swara are
present in a melodic sequence, the higher shade appears in arohi prayogas and the lower
shade in avarohi prayogas.
The switch to a single nishad (komal) version is straightforward. The uccharana in Jog is
drawn out – almost leisurely – with meends and can barely be conveyed via the written word.
S, S n’ P’, M’ P’ N’ S, g–>S
The meend g–>S is a signpost of Jog.
S G M P, nnPMP, P, M P G, M S (S)g–>S
Pancham is a nyasa swara.
G M P n P N S”, S” G” G” M” (S”)g”–>S”
A typical uttaranga launch.
S”, P n P M P, M P N S”, S” n P M G, G M G–>g–>S
A finely calibrated slide G–>g is deployed.
Those were the highlights of Raga Jog seen primarily from the perch of the Agra folks. Other
musicians have introduced variations. The use of only one nishad (komal) clears the deck for
a stronger Kauns anga via, for instance, S, n’-g-S. That, in turn, may be further reinforced by
empowering M and displacing P as the location for nyasa. Indeed, this has been the tendency
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in recent times especially among those wielding the komal nishad-only version. Some argue
that this manner of treatment of the ‘original’ Jog de facto turns it into a kind of Jogkauns.
This recension of Jog, however, is not only here to stay but is considered the dominant
interpretation today.
We set ball rolling with Pandit Ramashreya Jha “Ramrang.” These ruminations were
recorded over the California-Allahabad long-distance telephone line and are compelling, as
always.
Lata Mangeshkar’s number from SAWAN (1959) composed by Hansraj Behl: naina
dwara se.
No sooner had Jha-sahab touched down in Goa in Dec 2001 than he announced, “do-teen
achhi rachanayen abhi bani hai Jog mein, chalo tumko aaj suna denge” (I want to sing to you
a couple of compositions in Raga Jog that have recently occurred to me). He explained that
he had been “living and breathing Jog” the preceding two weeks. The childlike joy exuded by
this great vaggeyakara, now 73 years old, brought to mind the meaning of Einstein‘s
memorable words: “Only in Science and Art are we permitted to remain children all our
lives.”
These are then the freshly minted (and, as yet, unpublished) compositions Jha-sahab sang that
evening. The vilambit, jaanata ho mana ki.
Druta bandish in Teentala, dhare dhyana jogi yati.
Druta bandish in Ektala, avaguna na gino na gino.
Jha-sahab explains the textual import of the preceding compositions.
Jitendra Abhisheki’s inspirited performance at the 1985 Kesarbai Kerkar Samaroh in
Panjim, Goa, advertises the Agra view of the bi-nishad Jog. Both the compositions are
Ramrang’s older creations, the vilambit Roopak, jane na dehon, and the druta cheez, mori
madhaiyya sooni lage ri.
A traditional Agra sortie by Agrawale Vilayat Hussain Khan (“Pranpiya”). He presents
Daraspiya’s khayal, peeharva ko biramayo, and then his own ghari pala chhina.
Latafat Hussain Khan assays what is perhaps the most famous composition in Jog, Aftab-e-
Mousiqui Faiyyaz Khan’s baby sajana more ghara.
The selfsame cheez by the Goa-born Agra-ite Anjanibai Lolienkar.
The komal nishad-only Jog by the Pandit brothers, Maniram, Pratap
Narayan and Banditji.
Amir Khan’s rendition is komal nishad dominant. Well, almost. Notice the blip of shuddha
nishad at 2:07. The vilambit khayal is O balama aba ghara aa’o, the druta is the familiar sajan
more ghara.
A dhrupad statement, courtesy Uday Bhawalkar.
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The final two items are instrumental selections.

First, Ravi Shankar.
Vijay Raghav Rao.
Raga Nandkauns
Nandkauns is a happy marriage of Jog with Malkauns (it bears no relation to Raga Nand).
The poorvanga of Jog – S G M, (S)g–>S – is grafted onto Malkauns and a
powerful madhyam dominates the proceedings. A sample chalan:
S, (n’)d’ n’, n’ S, S n’ g, g->S
S G G M, G M (n)d (n)d n d, M P G M, S G M P, G M (S)g->S
Parveen Sultana’s recording in Nandkauns is exquisite. The vilambit, vyakula nainana, is
followed by paroon tore main paiyyan.
Raga Jogkauns
The raga was conceived in the late 1940s by Jagannathbuwa Purohit “Gunidas”. It made a
splash on the concert platform in 1951 when Kumar Gandharva signed on as an active
protagonist. Gunidas originally referred to his inspiration as simply ‘Kaunshi’ but a
subsequent discussion with B.R. Deodhar lead him to re-baptize it “Jogkauns” given its
harmonious blend of Jog with the Kauns-anga.
Gunidas’s key insight was to base his melody in Malkauns but with a twist – he
advanced shuddha nishad and assigned a cameo to komal nishad. Modern rasikas will say
that the melody is based in Chandrakauns but recall that in those days what we now refer to
as Chandrakauns was a novelty.
Jogkauns is a masterpiece of musical thought, all the pieces conforming to one another and to
an organic whole. Gunidas has been justly credited with fathering one of the greatest
melodies of the 20th century.
The core of Jogkauns may be encapsulated in the following prayogas:
S G M P M, M (S)g–>S, G G M, G M (N)d, d N, N S”
S” N S” (N)d, P d n d M P M G M, M (S)g–>S
Notice the powerful role of madhyam. Komal nishad comes along occasionally, bringing a
frisson of delight, in a phrase of the type: P d n d (P)M. Shuddha rishab is alpa and may
appear as a grace swara as in S G (R)G M.
Jha-sahab offers a concise commentary.
An early recording in Jogkauns is due to Manik Verma, among Gunidas’s prominent
disciples. Gunidas instantiated his vision through two compositions: the vilambit, sughara
bara paya, and the druta Teentala bandish, peera parayi, the latter cast in honour of his guru
Pranpiya (Agrawale Vilayat Hussain Khan). The text of the druta is as follows:
peera parayi jaane nahin balamava
Pranpiya tuma aise nithura bhaye
‘Gunidas’ ki sari aasa gama’i
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The reader may have noticed the introduction of komal nishad (a key lakshana) right away on
the first syllable of the mukhdas of both the compositions.
In addition to being a brilliant and highly imaginative musical mind, Gunidas was a devoted
teacher (see Appendix below). Another pupil, C.R. Vyas, plies sughara bara paya.
The melody quickly took root and spread across the land. Here we have Husanlal singing it
at a Jullandar conference. This is the same Husanlal of the “Husanlal-Bhagatram” composer
duo, famous in the 1940s and 1950s for their film scores. Notice here the fleeting but explicit
use of shuddha rishab in the tar saptaka (for instance at 0:20). Once again, sughara bara
paya.

We round off the Jogkauns session with Vasantrao Deshpande’s crackling rendition
of khelana aayo ri and seese ri sehera bandha le.
Raga Chandranandan
This is a baby of the dark and dimunitive (naked) Emperor of San Rafael, Mr. Alubhai
Khan. Its constituent elements draw on Nandkauns and Jogkauns, the former to a far greater
degree. Once Nandkauns and Jogkauns have been grasped, Chandranandan is then seen as a
relatively minor extension, not the stupendous feat of musical legerdemain that Alu would
have his firangi minions believe (Indeed, Alu has spun a yarn about how he was challenged to
produce something that nobody had heard before). To be sure, some of Alubhai’s bells and
whistles under the Chandranandan umbrella are interesting and it must be conceded that in
his long lost prime he could whip up an arresting melody.
Alubhai’s 78 rpm recording of Chandranandan.
Some of Alubhai’s “advanced” (biologically) students have been known to mud-wrestle
“Shandra-nyen-done” to the ground. Alubhai is encouraged to first instruct the blighters in the
art of molesting Malkauns.
Raga Malav
This is an admixture of Jog in the poorvanga and elements of Malkauns elsewhere. The buzz
here is a special prayoga involving shuddha dhaivat: P D D n DPM G M.
C.R. Vyas sings the traditional Radhe Radhe in dheema Teentala and then offers a tribute to
his guru, Gunidas, via a crisp self-composed cheez, tu hai rangeela mera.
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Bhairavi
Our voyages in the ocean of raga have connected us with worlds both familiar and alien. We
now stand in sight of what shall mark our terminus ad quem – Raga Bhairavi. A synoptic
account of this melody, universally prescribed for ringing down the curtain on a
Hindustani mehfil, makes for the final chapter of these chronicles. (Note: after a hiatus I did
write again, the Short Takes that followed.)
Throughout our discussion, M = shuddha madhyam and m = teevra madhyam.
The word “Bhairavi” derives from one of the eight forms of the Devi, born in the burial
grounds. So fanatically loved and widely embraced is Raga Bhairavi that its elemental
imprint is firmly fixed in the mind of even the untutored Indian rasika. Bhairavi is also one
of the ten fundamental Hindustani thats proposed by the great sangeetaggya Pandit Vishnu
Narayan Bhatkhande. Its swara-set hews to the 8th Carnatic melakarta, Hanumatodi: S r g
M P d n.
Although Bhairavi is a major league raga, it stands apart from other ragas of like stature in
one important aspect: its use of all 12 swaras, a signal feature of the Bhairavi praxis. The
five vivadi swaras that are not members of the original set are implemented judiciously,
without injury to the raga-dharma. In this latter form the melody instantiated is often termed
“Mishra Bhairavi.”
Dhrupad and dhamar compositions abound in Bhairavi. Khayal servings usually come in the
form of druta compositions. Bhairavi finds extensive application in auxiliary genres such
as tarana, tappa and thumri. Vilambit khayal presentations are rare although such
compositions have been conceived (eg. by S.N. Ratanjankar). Outside the realm of
Classical proper, it is impossible to tread without frequent run-ins with Bhairavi. It inhabits
every conceivable Indian musical form – bhajan, geet, ghazal, qawwali, natyasangeet, Rabby
shongeet – you name it.

The central Bhairavi themes will be first fleshed out followed by a brief discussion of the
normative variations. Clearly, much detail will be left unwritten. The curious reader will
have opportunities aplenty to partake of the minutiae at the accompanying audio banquet.
The driving phrases of the poorvanga are:
S n’ S r g M [g] r S
The square brackets on gandhar signify a shake of that swara that is sui generis to Bhairavi.
This cluster at once precipitates the essence of Bhairavi.
g M d P, d P M P (M)g, M (g)r S
The rishab and/or pancham are often skipped in arohi prayogas, viz., n’ S g M d P.
The uttaranga forays are launched via: g M d n S”.
This tonal phrase is Malkauns-like. An extension of the idea is: g M d n S”, d n S” r” n S”
(n)d P.
Since Bhairavi is a sampoorna raga, linear (“sapat“) runs of the S r g M P d n S” kind are
frequently admitted.
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Stitching together these elemental strips, a chalan of the ‘shuddha‘ swaroopa of Bhairavi is
formulated:
S n S g M d P, (M)g M P d M P (M)g, d’ n’ S r [g] r S
g M d n S”, S” r” n S” (n)d P, d P M P (M)g, S r g M, (g)r S
The typical modus operandi for each the five vivadi swaras is now outlined.
Shuddha rishab: arohi – S, d’ n’ S R [g] r S ; avarohi – P, d P M P (M)g R g, r S.
Invocation of the vivadi R is common in most Bhairavi renditions.
Shuddha dhaivat: g M P d P, D n d P
Teevra madhyam: P d M P (M)g, g M m g r S
Shuddha nishad: S, r N’ S, d’ n’ S r [g] r S r N’ S
Shuddha gandhar: S r g M, M G M, S r G r S
Notice that shuddha gandhar does not lend itself to as good a fit in the Bhairavi aesthetic.
The nyasa swaras are S, g and P; in addition, M and d are often sought for elongation. Care
has to be observed in the treatment of d so as to keep Asavari anga at bay. As to
the vadi, there is no prevailing consensus. Traditionally, M has been considered for the role
but in recent times the accent has shifted to other swaras. For instance, Ramashreya Jha
“Ramrang” argues in his classic work Abhinava Geetanjali that d and G are
the vadi and samvadi, respectively. These differences in outlook notwithstanding, there is no
mistaking the core of Bhairavi.
A variation known as Sindhu Bhairavi retains all the mannerisms of the parent but
with rishab augmented to its shuddha shade. These days Sindhu Bhairavi is sung with
both rishabs and both dhaivats. Other variants such as Jangla Bhairavi, Kasuri Bhairavi and
such like also exist. These are relatively minor offshoots originating from the Bhairavi stem; I
prefer to locate them all under the “Mishra Bhairavi” rubric.
This completes our prolegomenon on Bhairavi’s structural matters. The raga affords a wide
compass for rumination, and numerous melodic templates with which to develop its motif
have evolved.
Obiter dictum: The profoundly significant Raga Bilaskhani Todi is carved out of swaras from
the Bhairavi campus. The kinship ends there, for Bilaskhani Todi is a horse of an entirely
different colour with its special prayogas, its Todi-anga uccharana and its meends. An
inadvertent step into Bhairavi territory may deal the kiss of death to Bilaskhani.
In its width and penetration the work of Pandit Ramashreya Jha “Ramrang” is the only one
in recent times that approaches the standards established by Pandit Vishnu Narayan
Bhatkhande (see Appendix at the end of this essay). Jha-sahab regards Bhatkhande as his
param-guru, and has critically extended the Chaturpandit’s ideas on the nature and structure
of raga. Jha-sahab’s raganubhava is an accretion of decades of reflection and play. To get
there, the raga must have done time in your mind. Mere taleem won’t cut it. A musician with
years of rigorous taleem and not much else is little more than a well-trained dog. This point
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cannot be underscored enough, for the Hindustani firmament is littered with the droppings of
these “lakeer-ke-faqeer” chumps, these viveka-atrophied baboons.
Jha-sahab‘s parley opens with a demonstration of the vivadi swaras and then turns to
the ragavachaka prayogas. There is also a discussion of Bilaskhani Todi vis-a-vis Bhairavi.
This session (like many in this series of articles) was recorded over a California-to-Allahabad
telephone link.
Bhairavi has been cultivated extravagantly by the Hindi film music composers. Many of the
lasting creations of the 20th C have their roots in this raga. The distinction between ‘light’
and ‘classical’ is largely moot in this case since a good Bhairavi rendition is seen as
“Bhairavi” without regard to genre or source. Indeed, as will be clear soon, the greatest
Bhairavi on record sprung not under the auspices of the Classical world but through the
artistry of a musical genius affiliated with the popular imagination.
The banquet we are about to sink our teeth into contains many inviting items, but bear in
mind that it represents a tiny sample of the Bhairavi goodies extant. From this point on, I
intend to practice severe economy of word and chime in only when, and if, necessary (if I can
help it).
We begin with an invocation to that abiding symbol of learning, Goddess Saraswati. The text
is a traditional description of the devi. The tune, credited to Allaudin Khan, was adapted by
composer Jaidev for ALAAP (1977). Lata Mangeshkar is assisted by Dilraj Kaur: Mata
Saraswati Sharada.
There has not been a greater exponent of Bhairavi than K. L. Saigal and this is not an
opinion. It is in the fitness of things that we steal some moments with Saigal-sahab.
This number from MY SISTER (1944) was composed by Pankaj Mullick: aie katib-e-
taqdeer.
Every Bhairavi that Saigal touched turned to gold. Soordas’s famous bhajan, for instance,
from BHAKTA SOORDAS (1942), set to music by Gyan Dutt: Madhukar Shyam hamare
chor.
With this song on your lips, your small-beer tale of a life can acquire the sheen of an epic at
dinner parties. Composer Naushad pulls in an all-time pleaser for SHAHJEHAN
(1946): jab dil hi toot gaya.
These Saigal numbers reveal his mastery of Bhairavi and his flair for joining melody to word.
From KISMAT (1943), composer Anil Biswas, singer Amirbai Karnataki: ab tere siva.
A quick flavour of the creative ferment in Bhairavi can be had by examining Lata
Mangeshkar‘s oeuvre.
From DULARI (1949), composer Naushad: aie dil tujhe.
It was fresh then and it is fresh now. The classic from GOONJ UTHI SHEHNAI (1959)
composed by Vasant Desai: dil ka khilona.
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Composer Madan Mohan, film DEKH KABEERA ROYA (1957): tu pyar kare.
Chitragupta‘s tune in MAIN CHUP RAHUNGI (1962): tumhi ho mata.
Ravi Shankar‘s classic from ANURADHA (1960): sanware sanware.
S.D. Burman in TERE MERE SAPNE (1971): jaise Radha ne.
It is fashionable in the West to talk about the “complexity and beauty” of African drumming
or the “intoxicating beauty” of Gammelan or this and that and the other. The ‘savage’ has
now turned noble. Long before the advent of these childish Western fads, the brilliant Indian
duo of Shankar-Jaikishan scoured the world’s musical hotbeds incorporating into their work
the best from all lands while staying true to their Indian soul. For instance, their adaptation
of this number of the celebrated Arab chanteuse, Umm Kulthum (1898-1975)…
…for the runaway superhit from AWARA (1951): ghar aaya mera pardesi.
Shankar-Jaikishan‘s fondness for Bhairavi and their unshakeable faith in Lata‘s artistry
stood at the cradle of many of our national chants. These five corkers are all rooted in the
soil of the land.
PATITA (1953), kisi ne apna bana ke.
MAYUR PANKH (1954), kushiyonke chand.
SEEMA (1955), suno chhoti si.
This number from BASANT BAHAR (1956) is also famous for Pannalal Ghosh‘s interludes
on the bansuri: main piya teri.
DIL APNA AUR PREET PARAYI (1960), dil apna aur preet parayi.
Enter Mohammad Rafi.
From Naushad‘s workshop, this sparkling number was forged for MELA (1948): yeh
zindagi ke mele.
Some years ago, a vast and shameless Bong conspiracy to wangle a brilliant Goan composer
as one of their own was exposed. The man in question was N. Datta (Datta Naik), who
teamed with Sahir Ludhianvi to give us many unforgettable numbers. From DHOOL KA
PHOOL (1959), in Mohammad Rafi‘s voice: tu Hindu banega na Musalman banega.
Mahatma Gandhi’s life is celebrated in song by the poet Rajinder Kishan, music
composers Husanlal-Bhagatram, and Mohammad Rafi: suno suno aie duniyawalon Bapu
ki yeh amar kahani.
Lata Mangeshkar and Mohammad Rafi in a soft Khayyam composition from SHOLA
AUR SHABNAM (1961): jeet hi lenge.
Composer Roshan‘s turn. From DEVAR (1966), this is Mukesh‘s sole entry: aaya hain
mujhe phir yaad.
Ladies, it is time to pull out your hankies. Talat-bhai, the quivering doyen of the ronaa-
dhonaa brigade, is here. From DAGH (1952), composers Shankar-Jaikishan: aie mere dil
kahin.
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O.P. Nayyar goes balle balle, that unappetising Bhangra ritual invented by uncouth Punju
primates. Asha Bhonsle and Shamshad Begum in NAYA DAUR (1957): reshmi salvar
kurta.
Pt. Kishore Kumar‘s garden has a few Bhairavi lilies blooming. Such as this riveting
masterpiece from AMAR PREM (1971) fashioned by R.D. Burman: chingari ko’i bhadke.
S.D. Burman cajoles Panditji into nibbling at a few vivadi swaras in GAMBLER (1971): dil
aaja shayar hain.
The great man once again in BEMISAL (1982) under R.D. Burman: kisi baat par main.
That completes our Hindi film-based round. We next turn to melodies in other languages.
Dnyaneshwar‘s transcendental words in this Pasayadan are set to music by Hridaynath
Mangeshkar and recited by Lata.
Marathi natyasangeet has liberally drawn on Bhairavi. The famous musician-actress of
yesteryear, Jyotsna Bhole, in the drama KULAVADHU (1942), with music composed
by Master Krishnarao: bola amrutabola.
Jyotsnatai was born Durga Kelekar in a tiny village in Goa, younger sister of Girijabai
Kelekar (Jitendra Abhisheki’s first guru). I am often asked about the suffixes “tai” and “bai”
used on names of Maharashtrian and Goan women. Research has shown that they are tied to
the woman’s biological cycle: “tai” is assumed at the crack of puberty and automatically turns
to “bai” at the conclusion of menopause. As for women over 60 pretending to be the self-
righteous virgins – we call them “Lata-didi.”
The Marathi drama SANYASTA KHADGA (1931) written by the Indian nationalist and
freedom fighter Veer Savarkar features Dinanath Mangeshkar‘s arresting
Bhairavi: sukatatachi jagi ya.
The Marathi musical EKACH PYALA (1919) is packed with memorable tunes. Kumar
Gandharva: prabhuaji gamala.
Over to the Department of Kannada. Basavanna‘s vacana is tuned and rendered
by Basavraj Rajguru: chakorange chandramana.
Rabindranath Tagore is represented through his famous mor beena delivered here
by Debabrata Biswas.
We round off this section with a clip of Greek Rembetika music set in the scale of Bhairavi.
On this page we address Bhairavi’s manifestation in many other forms prevalent in
Hindustani music.
Pandit Ramashreya Jha “Ramrang” has put together a special Bhairavi Baithak. In this
remarkable session recorded in May 2002 at his home in Allahabad, he ranges over several
compositions of varied design and genre, traditional and self-composed. To me this shall
forever remain an example of Ramrang’s overwhelming love and kindness especially in light
of his fragile health at the time. When I said I was doing a feature on Bhairavi and that I
would like his input, he at once recorded a session himself and mailed me the tape. The
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recording was made with very basic equipment, hence the quality of the audio is not as good
as we would have liked. Nevertheless, what a priceless document!
Several items in this pool have been published in Jha-sahab’s 5th volume of Abhinava
Geetanjali. His presentation here is prototypic, not in the manner of a full concert-style
rendition. The intention is solely to illustrate and illuminate the underlying raga features.
The highlights include Jha-sahab’s exhibition of uccharana and gestures germane to the genre
under review; pertinent remarks punctuate the proceedings.
Pandit Bhatkhande was a composer of great merit. Parveen Sultana amplifies on his
famous sadra: Bhavani dayani. [Update: Dr. V.N. Muthukumar informs that according to
Inder Kishore, this composition is attributed to Anand Kishore Singh of the Betia dhrupad
tradition. I need to confirm this.]
Bhairavi’s looming presence in the Indian musical mind is in no small measure on account of
its nexus with the land’s religious and spiritual repertoire. No bhajani baithak can be
complete without a generous dose of Bhairavi. Sample an early Bhimsen Joshi rendering
this Hari bhajan: jo bhaje Hari ko sada.
Bhairavi lends itself well to brisk, taut bandishes. Exemplifying this type of composition is
a bandish of Tassaduq Hussain Khan “Vinodpiya” (1879-1940) rendered by Jitendra
Abhisheki: payaliyan baje re.
Of similar vintage is this old, well-worn cheez dealt by Shaila Datar: dekho mori churiyan.
The American khayal vocalist Shri Warren Senders has earned for himself the sobriquet
“Bostonbuwa.” In this recording of a Mumbai mehfil, Bostonbuwa unleashes a tarana.
From tarana it is a hop and skip to tappa for which Bhairavi is fertile ground. First, the
Rampur-Sahaswan buzurg Mushtaq Hussain Khan.
Among the current crop, Malini Rajurkar is the reigning tappa specialist.
Tappa was dear to the Gwalior elders. Three marvelous instances of Krishnarao Shankar
Pandit are attached.
The first is a younger KRSP at the peak of his powers.
The next two are unpublished items of a later KRSP.
KRSP – 2.
KRSP – 3.
The nanga Emperor Ali Akbar Khan recently spent quality time pissin’ & partyin’ in his San
Rafael swamp on the occasion of his 80th birthday (Happy Birthday, Alu! Pssssst, time to
now dispatch you to the knackers). Mr Alubhai has let the grass grow under his sarod for
years (it is now perhaps longer than the hair coming out of his ears). Long ago, before he
went to the winds, Alumeister had the capacity for a good Bhairavi. Here we must make do
with a ho-hum effort.
The swarasmith par excellence, perhaps the greatest Hindustani instrumentalist of the past 50
years – Bismillah Khan – reminds us of the good ol’ festive times in India.
 67

Abdul Halim Jaffer Khan never quite got the recognition he deserved as a sitar player of
high class. He breaks a few squares with Sindhu Bhairavi-esque variations.
Listening to harmonium solos for over 3 minutes is pure torture no matter how adept the
player. But Govindrao Tembe was special. His abilities touched a wide range of artistic
activity: author, playwright, actor, composer and musician. Govindrao’s wizardry on the
harmonium was admired even by the likes of Alladiya Khansaheb and Kesarbai Kerkar. This
scratchy 78 rpm reveals why.
We now turn to the thumri anga material. At the head of the line is Bade Ghulam Ali Khan.
This rare, unpublished instance finds him engaged in an informal session, playing with the
Bhairavi bag of tricks.
This classic BGAK recording is more familiar: naina more tarase.
Rasoolan Bai is enchanting in this cut. Notice the thumri-induced shuddha nishad mentioned
earlier by Jha-sahab.
A bandish-ki-thumri, courtesy Vasantrao Deshpande.
Abdul Karim Khan‘s jamuna ke teer, among the nation’s cultural treasures.
A promising student of Omkarnath Thakur and Balkrishnabuwa Kapileshwari (Abdul Karim
Khan’s direct disciple), Yeshwantrai Purohit‘s was a life cut short. His manner exudes
vestiges of Abdul Karim Khan.
Kesarbai Kerkar‘s old recording in Raga Bhairavi represents India’s music on the plaque
carried aboard NASA’s Voyager spacecraft that is now coasting in the desolate vastness of
interstellar space. It is a magnificent performance: jaata kahan ho.
Mallikarjun Mansur takes off his high brow hat for a change.
The pièce de résistance of the thumri round – a recording of Anjanibai Malpekar
administering taleem to Begum Akhtar.
Anjanibai Malpekar (1883-1974) from Goa – not to be confused with the Agra vocalist,
Anjanibai Lolienkar, also from Goa – trained under Nazir Khan, one of the founders of the
Bhendibazar Gharana (the others being Chajju Khan and Khadim Hussain Khan). Anjanibai
was known in her day for both for her musical gifts and her uncommon beauty. Kishori
Amonkar, currently the greatest living Hindustani musician, had the privilege of being
tutored by Anjanibai. In Between Two Tanpuras, Vamanrao Deshpande has this
passage: “…Another of Kishori’s gurus was Anjanibai Malpekar. Anjanibai loved Kishori
dearly, especially because of her great musical talent. She often said to Kishori, “In you, your
mother has given birth to a real gem. Go and tell your mother that I said this.” Tonal
sensitivity was something Kishori was born with. But she goes to great lengths to admit that
her enchanting glide (meend) was taught to her by Anjanibai…”
The senior Dagar brothers, N. Moinuddin and N. Aminuddin.
Meerabai‘s entreaty in mat ja jogi is renewed by Omkarnath Thakur, in what is surely
among the most memorable Bhairavis.
 68

We rein in these peregrinations with the celebrated lament that has become synonymous with
Bhairavi. Wajid Ali Shah, engulfed in wrenching grief, famously cried babul mora naihara
chhooto jay (see Appendix at the end of this essay). Scores of musicians have clocked in
their versions keeping alive the memory of Wajid Ali’s acute distress.
Khadim Hussain Khan of Agra.
Siddeshwari Devi.
Kesarbai Kerkar.
Kishori Amonkar.
“Aftab-e-Mousiqui” Faiyyaz Hussain Khan.
Our odyssey concludes with the supreme Bhairavi rendition of our age, among the finest
pieces of recorded music in human history. K.L. Saigal‘s performance has earned the
imprimatur and unvarnished admiration of the greatest classical masters, and it has for
decades seized the imagination of every lay Indian. This recording from STREET SINGER
(1938) is one of the reasons why, in Bertrand Russell’s words, “the human race is worth
preserving.”
It has been a pleasure and a privilege to bring to you these set of notes. Men of the calibre of
Pandit Vishnu Narayan Bhatkhande – with their telescopic vision, capacity for sadhana,
keen intellect, and ability to effect positive social change – come by very infrequently.
Between these instances of great men are longer periods when humbler hands must remain
ceaselessly at work nurturing and keeping the flame of raga burning. And so, “to these
serving hands mine also shall belong.”
 69

On Gaud Malhar and Miyan Malhar

A couple of aprachalita Malhar prakars were discussed in an earlier feature, A Tale of Two
Malhars. This note extends that discussion through a formal inquiry into the Malhar raganga,
culminating in an exploration of its two most significant representatives: Gaud Malhar and
Miyan Malhar (Note: A brief discussion on Raga Ramdasi Malhar was later added to this
feature).
The Malhar group is extremely popular and its sub-melodies legion. A nimble imagination
and an afternoon to spare are all it takes, it would seem, to add your personal Malhar to the
catalogue.
The traditionally significant Malhars are few, and all the derivatives are essentially extensions
of two central themes constituting the Malhar kernel. Earlier essays have illuminated the
power of the idea of the raganga, the fundamental guiding ‘principle’ of the Hindustani
melodic framework. To understand the variations, it is desirable to first internalize the tenets
of the raganga.
Throughout this excursion, M = shuddha madhyam and m = teevra madhyam.
Raganga Raga Shuddha Malhar
This very old raga is the original default “Malhar” and the carrier of the principal
Malhar lakshanas. However, it has become scarce in recent times with the result that
“Malhar” today has come to be synonymous with the vastly popular Miyan Malhar. For a
scholarly exegesis of the Malhar group, the reader is referred to the treatise Raga Malhar
Darshan authored by Jha-sahab’s disciple, Dr. Geeta Banerjee. Here we shall content ourself
with key points of the raga structure.
Shuddha Malhar has a pentatonic scale set – S R M P D – shared by later ragas such as
Jaladhar Kedar and Durga (of Bilawal that). The chief Malhar lakshana, the quintessence of
every Malhar, is:
M (M)R (M)R P
The uccharana (intonation) of rishab graced by the madhyam is crucial. The nominal M R
P construct is common to other ragas (eg. Durga) but the distinction lies in the uccharana.
Recall the dictum often heard in Jha-sahab’s discourses: uccharana bheda se raga bheda.
The second phrase contributed by Shuddha Malhar belongs to the uttaranga:
M P (S”)D S”, S”, D P M
Madhyam is the nyasa swara. This prayoga is heard in several Malhars, eg. Gaud Malhar.
A ponderous gait and a meend-rich contour characterize Shuddha Malhar. With its stately
mien, it is ideally suited for dhrupad gayaki. A sample chalan is now written out. Later, the
audio clips will bring home the nuance.
S, R M, M R (M)R P
M P (S”)D S”, S” R” S”, S”, D P M,
M (M)R (M)R P, P M, R M, M R S
Some remarks on the scale-congruent Jaladhar Kedar and Durga are in order.
 70

Jaladhar Kedar: The primary lakshana expresses the Kedar anga, viz., S R S M, M P M, M R
S. An abhas of Shuddha Malhar prevails in the uttaranga.
Durga: The key phrases are – (P)D (P)M R P and S R (S)D’ S. Both uccharana-
bheda and chalan-bheda insure a melody that steers clear of Shuddha Malhar
As always, Pandit Ramashreya Jha “Ramrang” brings to bear his knowledge, anubhava,
clarity, and felicity of expression in this interview broadcast many years ago from All India
Radio, Allahabad. His interlocutor is S.L. Kandara, a violin player and disciple of the sarangi
maestro Ram Narayan. Jha-sahab dwells on the structure of Shuddha Malhar, spells out the
highlights of the scale-congruent Jaladhar Kedar and Durga, and finally sketches a dhrupad.
A Shuddha Malhar composition of S.N. Ratanjankar rendered by his pupil K.G.
Ginde reinforces its features: dhooma dhooma dhooma aaye.
To recap, the tonal molecule M (M)R (M)R P forms the soul of raganga Malhar. In recent
times, the overwhelming influence of Raga Miyan Malhar has lead to the definition of a
second, subsidiary Malhar lakshana involving two nishads. To wit, S, N’ n’ D’ N’, N’
S and M’ P’ n’ D’ N’ S. More on this later in the Miyan Malhar section.
Raga Gaud Malhar
Among the oldest Malhars, it predates Miyan Malhar. As the name suggests, the basic
building blocks are supplied by Gaud and Shuddha Malhar. Additional material is contributed
by Bilawal. Tying these diverse strands together are special sancharis. The poorvanga activity
is typically initiated with clusters contributed by Gaud:
S, R G M, M G M G R G S, R G M, P M
The strong, glowing madhyam stands out. The Gaud-inspired tonal phrase paves the way for
a segue into Malhar territory: S, RGM, M (M)R (M)R P
Then comes: M (M)R P, D [n] P, G P M
The n in square brackets denotes a shake on that swara (heard in the clips later).
M P (S”)D S” (from Shuddha Malhar) or P P N D N S” (from Bilawal) are the two most
common modes of uttaranga launch. Also employed to good effect is a straight and
quick MPDNS”. Very occasionally there’s the P D n S” in a Khamaj-like manner.
The Miyan Malhar-inspired arohi uthav – M P n D N S” – plied in Atrauli-Jaipur and some
Gwalior treatments is frowned upon by the Malhar purist who considers it to be at best
superfluous and at worst injurious to Gaud Malhar’s dharma. The avarohi passages reveal the
influence of Bilawal – S” D n P – and Shuddha Malhar – S”, DPM.
Putting it all together, a façade of Gaud Malhar is synthesized:
– S, RGM, M (M)R (M)R P, D, [n] P
– MPDNS”R”, S”, S” D n P, D G P M
– P, P N D N S”, S” DPM, (M)R R P, G P M
– S, RGM, R G R M, G R S
 71

The above formulation contains the essence of the raga. The nitty-gritty of the various
supporting artifacts, we shall not delve into. The clips reveal them all and the discriminating
reader is encouraged to bring his own measure.
Obiter dicta: A few other versions of Gaud Malhar exist. There’s one that takes in the komal
gandhar only and another with both the gandhars. These are mostly favoured by
the dhrupadiyas. Yet another type of Gaud Malhar adopts the posture detailed above but with
an excess of Khamaj influence. And there’s the gandhar-less outlier too.
Pandit Ramashreya Jha “Ramrang” speaks on Gaud Malhar with not a word wasted in this
commentary recorded over the California-Allahabad telephone line.
Gaud Malhar has found much favour with film composers. The raga was especially close
to Roshan‘s heart as the next couple of clips bear out. In MALHAR (1951) he recruits Lata
Mangeshkar for an exquisite rendering of the traditional bandish: garajata barasata bheejata
aai’lo.
One wonders why nobody thought of systematically recording the traditional bandishes in
Lata’s voice while at its peak. What a valuable document that would have made. Today, we
have every Tom, Dick and Pussy (as in Ms. Pussy Galore), armed with the zeal of freshly
circumcised converts, scampering to “save” and “preserve” Indian music. Indian music will
survive but Indian barbers won’t as scissors give way to clippers and electronic doodads.
Chhayas of Gaud Malhar peer through now and then in this beautiful Lata number from TAJ
MAHAL (1963): jurm-e-ulfat pe.
Gaud Malhar is much adored in western India (i.e. Goa and Maharasthra), the hotbed of
Hindustani music and culture. I once revealed this latter fact to a gentleman who had been
introduced to me as a “Bengali intellectual.” Alas, he turned out to be more Bong than
intellectual. He was devastated and first turned into a pale shade of red. I thought he was
going to punch me in the face (luckily, this wasn’t the “Punjabi intellectual”). Then, without
warning, he went completely blue, shed a few tears and died with the words “keyhollo!
keyhollo!” on his lips.
The Marathi drama SAUBHADRA is full of memorable tunes. Prabhakar Karekar, who
speaks Marathi with a Konkani accent, tries his hand at this old favourite: nabha meghane
akramile.
Another Goan, Ramdas Kamat, sings a marvellous composition of Jitendra
Abhisheki conceived for the drama MEERA MADHURA: swapnata pahile je te.
Mehdi Hasan: phooli phool khil uthe.
For the classical banquet we have before us a spread of the fat of the land.
Jha-sahab’s guru Bholanath Bhatt came from a musical tradition that specialized in Malhars.
To the repertoire handed down, Jha-sahab has added his own compelling creations. For
instance, this bandish in dheema Teentala: ja re ja tu badara.
Much of the textual content of the Malhar bandishes revolves around descriptions of the rains
and associated seasonal phenomena.
 72

The Gwalior vocalists embrace this raga with relish. Malini Rajurkar‘s vilambit treatment in
Tilwada adopts the old “Sadarang” composition: kahe ho hama son.
Yeshwantbuwa Joshi wields another traditional bandish, also in Tilwada, in this solid
performance. Notice the very opening movement for the prayoga from komal nishad to tar
saptaka rishab: piyare aa’oji.
Faiyyaz Khan flashes the Agra picture with the Sadarang bandish, kahe ho. The treatment
takes a slightly different course – the n D N S tonal molecule is not employed, the tar S” is
approached via M P D n S”. The lakshanas emerge beautifully, stamped with certitude and
energy.
K.G. Ginde hauls in his bag of Gaud Malhars. His outline of the traditional bandish: maana
na kare ri gori.
Ginde-ji’s second take is Khamaj-laced.
The final Ginde item is a komal gandhar-laden version of Gaud Malhar, through a
composition of S.N. Ratanjankar: garva darun hara.
Ratanjankar has also composed in a type of Gaud Malhar that dispenses with
the gandhar altogether.
The Agra lass from Goa, Anjanibai Lolienkar, toys with an old bandish: balama bahar aa’ai.
The tarana specialist of Rampur-Sahaswan, Nissar Hussain Khan.
The next selection is our Ewe-lamb, an unpublished recording of Amir Khan. The great man
opens with remarks on the provenance of the bandish. The design of the mukhda is unusal
with its sam placed on the rishab in a Nat-like fashion, thus creating a tirobhava and
temporarily displacing Gaud Malhar. There are refreshing, magical moments to be had here.
The Atrauli-Jaipur innings opens with Kesarbai Kerkar‘s maana na kare ri. This
traditional bandish was refurbished by Alladiya Khansaheb to serve as the vilambit vehicle
for his vision of the raga. Kesarbai’s tans reveal extraordinary breath-control.
Kishori Amonkar breaks ranks with her gharana confrères by adopting a different
composition as her mainstay: ko’u yako barajata nahin.
We return to maana na kare ri in what is indisputably the greatest performance of Gaud
Malhar on record. Mallikarjun Mansur‘s tour de force is manna for the soul. This manner of
singing can only come to those in whose bones the daemon of ‘madness’ has taken refuge.
This cannot be the handiwork of rational beings.
Raga Miyan Malhar
The prevailing lore credits Tansen with creating this raga which has come to occupy a high
station in the Hindustani society. While ragangas of Malhar and Kanada support its
build, raganga Malhar supplies its signature phrase: M (M)R (M)R P
The Kanada component is expressed through: n P M P (M)g (M)g M R, S
Then there’s the sui generis prayoga (mentioned earlier in the Shuddha Malhar section) with
two nishads, a signpost of Miyan Malhar:
 73

arohi prayoga: S, N’ n’ n’ D’ N’, N’ S

avarohi praoyga: M’ P’ n’ n’ D’ N’ S (or P’ n’ N’ S)
Miyan Malhar bears kinship to Raga Bahar, a member of the Kanada group. But Bahar
flaunts a powerful madhyam and Miyan Malhar does not. The komal gandhar is andolita in
Miyan Malhar (à la avarohatmak komal gandhar of Darbari) whereas in Bahar it is not.
The uttaranga trek assumes familiar trails: M P n D N S” or a direct M P D N S”. We now
cobble up a portrait of Miyan Malhar:
– S”, N’, n’ D’ N’, N’ S
– M (M)R (M)R P, M [P] (M)g (M)g M R, S
– M P n D n D N, N S”, S” D n M P
– MPDNS”, S” R” S”, D n M P, nn P M P (M)g
– [P] (M)g (M)g M R, R S
The written word is superfluous when we have at hand the spoken word of
Pandit Ramashreya Jha “Ramrang.”
A couple of film compositions of Vasant Desai flag off the audio rally. The very familiar tune
from GUDDI (1971) in Vani Jairam‘s voice: bola re papihara.
Lata Mangeshkar in SAMRAT PRITHVIRAJ CHAUHAN (1959): na na na barso badal.
Lata again in a Marathi song tuned by Vasant Prabhu: jana pala bhara.
A formidable classical arsenal awaits us. We ignite the proceedings with Bhimsen Joshi‘s
classic recording of that most celebrated Miyan Malhar composition credited to
“Adarang”: kareema nama tero tu saheb sattara.
The selfsame bandish glistens in D.V. Paluskar‘s masterful hands. He tops it off with
the druta chestnut bola re papaiyara composed by “Sadarang.”
Amir Khan‘s deeply contemplative deportment more than matches the gravitas demanded by
the raga to make this an experience of the first water. The Adarang khayal is reprised, but
notice the change in the placement of the sam.
Ummeed Ali Khan.
We punctuate the khayal parade with a dhrupad rendering. N. Aminuddin Dagar‘s
long meends draw us in.
An old composition in this unpublished Faiyyaz Khan segment, none the worse for its
scratchy audio: bijuri chamake barase.
Among the first khayal singers in Maharashtra, Yashwant Sadashiv Pandit (popularly known
as “Mirashibuwa“) was born c. 1883 and received training from Balkrishnabuwa
Ichalkaranjikar. Like his gurubhai, Vishnu Digambarji, Mirashibuwa was an outstanding
teacher. He also authored books on Gwalior gayaki. In this collector’s
item, Mirashibuwa throws open a window to the past through which we hear echoes of the
traditional Gwalior values. Notice the pace of the ‘vilambit‘ bandish.
 74

Bade Ghulam Ali Khan‘s gayaki is the Achilles’ spear of our age with its power to both
wound and heal. This unpublished excerpt contains uncanny passages, especially the play on
two nishads, and is punctuated by Ghulam Ali’s shoptalk (see Appendix at the end of this
article).
The Bongs have been prattling about one Ajoy Chakraborty (allegedly listed in the Who’s
Who of Tollygrunge), suggesting that he is the successor to Bade Ghulam Ali
Khan. Bwahahahahahahahahahaha. What a hoot. Bongs, do you mean in terms of body
weight? Please clarify. Pandit V.N. Bhatkhande has written that the Bongs know no nuthin’
about vocal music. Today, of course, this fact is known to even women and children and the
qualifier “vocal” is deemed unnecessary.
Nazakat Ali Khan and Salamat Ali Khan.
The nauuuughty chick from Goa, Kishori Amonkar, in an All India Radio-Panjim recording.
Mallikarjun Mansur unpublished.
The great sitar player and teacher Mushtaq Ali Khan (1911-1989) had Barkatullah Khan for
his guru.
It is always a privilege to have in our midst sarangi-nawaz Bundu Khan of Delhi.
A very old recording of Abdul Karim Khan toying with Adarang’s bandish.
Gangubai Hangal, sweet and young.
Jha-sahab‘s creative impulse strikes gold in this superb design: a’ayi re badariya.
Ramkrishnabuwa Vaze.
It was given only to Kumar Gandharva to take bola re papaiyara to the nines. A fun ride all
the way.
Raga Ramdasi Malhar
Ramdasi Malhar is a sankeerna raga and comes in three or more flavours. No general
statement of swaroopa can be written down given the disparate strategies adopted in the
various designs. The Ramdasi Malhar most often heard nowadays employs both gandhars and
both nishads and the elaboration proceeds from a Miyan Malhar base. Consider the following
strands in the poorvanga:
M (M)R (M)R P, P (M)g (M)g M R S
To this Miyan Malhar strip is added the following (or a variation thereof):
S R G G M, M G M, P (M)g M R S
The first half here is Gaud-like.
In the uttaranga, the Miyan Malharic M P n D N S” phrase mingles with additional
special prayogas such as:
M P D N DPMGM
and
S” D n P, M P D n P
 75

We shall now consider a set of renditions and flesh out the lakshanas germane to the specific
case.
Pandit Ramashreya Jha “Ramrang” outlines his swaroopa and presents a few bandishes,
including one of the G-only flavour.
K.G. Ginde presents two compositions, the first one composed by his guru S.N. Ratanjankar,
the second traditional.
Amir Khan‘s is also a bi-gandhar flavour.
In the Atrauli-Jaipur design the komal gandhar dominates, the shuddha gandhar is of alpa-
pramana. Consequently, the Miyan Malhar influence is strong here. Special prayogas are
introduced, to wit, M P P D D n P.
Mallikarjun Mansur‘s beautiful performance in Mumbai in 1988. Notice the cameo shuddha
gandhar (for instance between 0:37 and 0:38).
The Maihar musicians play the G-only version (addressed earlier by Jha-sahab) and there
prevail hints of Gaud Malhar now and then but since the shuddha gandhar takes precedence
over the madhyam there is a clear demarcation. Alu whips up a spicy tikki in Ramdasi.
 76

The Province of Poorvi

We undertook a survey of Marwa and its purlieu in the monograph preceding this feature.
Marwa and its neighbouring tract of Poorvi are major contributors of vespertine ragas to the
Hindustani stream. The principal ragas Marwa & Poorvi together with their derivates form a
complex skein of interconnected melodic threads in the Hindustani ether. I invite you to join
us on this jaunt of the Poorvi Province.
Throughout the promenade, M = shuddha madhyam and m = teevra madhyam.
The Poorvi-Pooriya Dhanashree-Paraj-Basant Axis
Poorvi can represent all three entities: raganga, raga and that. The Poorvi that is coincident
with the 51st Carnatic melakarta Kamavardhini with the swara set: S r G m P d N. It differs
from the Marwa that by rendering its dhaivat komal. This seemingly minor alteration
generates a profoundly different governing dynamic. Recall that the chief ragas of the Marwa
group – Marwa, Pooriya and Sohani – all sidestep the pancham swara. But with komal
dhaivat present in Poorvi, the aesthetic imperative renders pancham indispensible. And so it
is that almost all major ragas aligned with this that contain that swara. The pancham is
often langhan alpatva (skipped) momentarily in key sangatis but it is never wholly absent
(there are, as always, notable exceptions).
The ragas of the Poorvi that fall broadly under two sub-classes subject to their anga heritage,
namely the Shree-anga ragas and the Poorvi-anga ragas. The weighty raganga Raga
Shree has been dealt with earlier. In the ensuing discussion, we write out the lakshanas of the
four chief ragas of the Poorvi ensemble and flesh out their gestural minutiae.
The lakshanas of Raga Poorvi are considered first.
S, N’ S r G and N’ r G
The shadaj may appear in the skipped mode. The development gravitates towards gandhar in
either direction, as we shall shortly see.
G r G m P, P m G, r S N’ S r G
With the right uccharana these poorvanga clusters are sufficient to establish Poorvi.
N’ S r G, r M G, Gm P, d, P m G M (r)G, r (G)M G
This tonal phrase packs a lot of ‘Poorvinformation.’ The peculiar behavior of shuddha
madhyam comes into play here and dispels any incipient ideas of Pooriya Dhanashree. Take
stock of the two different modes of approach to shuddha madhyam (it will be seen later
how uccharana and chala bheda keep Poorvi distinct from Paraj on this score).
The gandhar comes in for special treatment. Note, for instance, the kan of r in the M-laden
cluster.
m d S” and m d N, N S”
These tonal phrases are employed in the uttaranga launch. Although pancham is an
important nyasa swara it may be rendered langhan alpatva in either direction.
S”, N S”, r” N d, P
A crucial tonal sentence found in several ragas of the Poorvi that, notably Pooriya
Dhanashree and Shree. The uccharana of r” N d P for the Shree-anga ragas assumes a
distinct meend.
 77

P, m P d m G r S r G
The bridge that ties together poorvanga and uttaranga tonal traffic.
Putting it all together we formulate a chalan:
S, N S r G, m G r G r (G)M G, r G m P, d m P m G M (r)G;
m d N S”, S”, N r” N d, P, d m G M (r)G, r S N’ S r G
We now move to Raga Pooriya Dhanashree which is all the go these days and has elbowed
Poorvi out from the concert stage. This raga retains most of the lakshanas of Poorvi sans
the shuddha madhyam. However, while Poorvi is gandhar-based, the breath of Pooriya
Dhanashree’s life is pancham. Accordingly, most of the tonal activity is centred around
that swara. A couple of other additional lakshanas merit mention since they encase the raga
signature, to wit:
P, m G m r G, P
The reiteration of G m r G is a sine qua non and the concluding hook-up with P from G as
shown is recommended to establish the dominance of P. The arohi prayogas in Pooriya
Dhanashree are almost always via N’ r G m P whereas in Poorvi N’ S r G is also admitted.
Obiter dictum: On the subject of of nomenclature, Pandit Vishnu Narayan
Bhatkhande conjectures that when the erstwhile Kafi-that Raga Shree branched into a Poorvi-
that Shree, a similar transformation in its janya Raga Dhanyasi may have given rise to a
counterpart Dhanashree, which, on account of its Poorvi-that affiliation, took on the moniker
“Poorvi Dhanashree,” finally settling into “Pooriya Dhanashree.”
Next in line, Raga Paraj.
This is an uttaranga-pradhana raga with tonal activity clustered around tar saptaka shadaj. In
the poorvanga there are two madhyams, like Poorvi; the distinction lies
in uccharana and chalan bheda. The uttaranga has a superficial resemblance to Basant that
may confuse the casual ear. The melodic trajectory in Paraj hews to the Kalingada line while
retaining its Poorvi-that swaras. Sometimes the two are fused together and performed as
“Paraj-Kalingada.” Let us develop the raga heuristically:
P, Pd Pd mP, (m)G M G, m G r S
The intonation of the M-laden phrase is direct without intermediary kans (cf. Poorvi). The
Kalingada chalan can be retrieved from the above by replacing m with M. Sometimes an
explicit G M P M G is also taken.
md md N, N S” N d S” N
Again, a likeness of Kalingada surfaces (there we have only shuddha
madhyam and Pd replacing md). The elongation of N in S” N d S” N is a Paraj signpost.
S” N d P, G m d S” N, N S”r” S”r” N S” N d S” N
The dhaivat is rendered durbal throughout.
Paraj is a chanchal prakriti raga. Additionally, the recommended arohi locus forgoes rishab,
as in N’ S G m d N.
We come to the final constituent of the Poorvi quartet – Raga Basant.
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Like Paraj, Basant is an uttaranga-pradhana raga. The difference lies in

its chalan and uccharana, and its drawing on portions of the Shree-anga. There are also
special sangatis that are uniquely Basant. The following tonal sequence captures its essence:
m d r”, S”, r” N d P, [P] mG m->G, m G r S
The first half of this chalan derives its uccharana from Shree. It is meend-laden
and gambheer in prakriti. Note the jump from d to the tar saptak r”. The second half begins
with the square-bracketed pancham which denotes a shaken (and stirred) swara. The
molecule [P] mG m, G where the first m is quick and the second elongated is sui generis to
Basant.
d N r” N d P, G m d N m, G, m d G m G, m G r S
The r” N d P is Shree-inspired. Note, however, that the critical lakshanas of Shree – the
strong rishab and the r-P coupling – are absent in Basant. The rishab, in fact, is skipped
in arohi sancharis. The G m d N m and m d G m G are redolent of Pooriya gestures albeit
with komal dhaivat.
m G r S, S M, mMG, N d P
The shuddha madhyam is not required in Basant but is often included as an additional artifact
for raga bheda. It appears in a small Lalitanga cluster in the manner indicated above.
That completes our prolegomenon of Poorvi based melodies. These ragas are so pregnant
with nuance that they can scarcely be described adequately through the written word.
Nevertheless, it is hoped that some flavour of the melodic depth, ingenuity and the power of
raga has been conveyed. In practice the lakshanas of ragas are burnt into a musician’s mind
through taleem and, in the case of the ‘higher’ musician, through ceaseless reflection (manan-
chintan).
In the opening clip, Pandit Ramashreya Jha “Ramrang” discursively ranges over the Poorvi
terrain for 18 masterful minutes. This is by a long chalk the finest exposition on the topic
there is. He addresses both shastra and its praxis, adducing traditional compositions to fortify
the development. At one particularly poignant moment around 9:30, he briefly recites
a lakshangeet of Raga Basant composed by Pandit Bhatkhande and extols the
Chaturpandit’s drishti.
The audio selections to follow are the pick of the basket, many of them unpublished. It is left
to the reader to discern the fidelity to or the extent of departure from generally
accepted lakshanas.
Raga Poorvi
‘Light’ items adhering strictly to Poorvi are not common. From MEERA (1979), Ravi
Shankar‘s music and Vani Jairam‘s voice: karuna suno Shyam mori.
A traditional vilambit khayal by Ramashreya Jha “Ramrang”: tonama he ma’i.
This druta jod-bandish is Jha-sahab‘s own: kavana mantra tantra.
Aftab-e-Mousiqui Faiyyaz Khan‘s alap makes a masterful statement.
Faiyyaz Khan‘s 78 rpm rendition: Mathura na ja re.
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The Gwalior platoon is in full strength.

Sharatchandra Arolkar gives us the traditional piyarva more in Tilwada tala. Notice the
exquisite meend from m to M at around 1:49.
Yashwantbuwa Joshi: piharva ki base tu mohe. Ghulam Hasan Shaggan‘s rendition contains
an explicit chromatic use of the two madhyams: sukha sampata. A
traditional bandish in vilambit Jhoomra by Shaila Datar: Dilliya nagarwa. Mogubai
Kurdikar dwells on a Sadarang cheez: aavana kahi.The same bandish is developed by Azmat
Hussain Khan who had his feet in both the Atrauli and Agra schools.
Another Atrauli-Jaipur confrere, Padmavati Shaligram, plies a well-known traditional
composition: kagava bole.
Radhika Mohan Moitra is considered one of the most influential musicians to come out of
Bengal. He developed a style of sarod that is complementary to that of the Maihar turkey
Allauddin Khan. We join him at the beginning of his jhala.
Poorvi is sometimes rendered with a shuddha dhaivat particularly in Bengal as witness
this Tagore composition by Suchitra Mitra.
This concludes our Poorvi excursion.
It is a pity that such a profoundly beautiful melody has been cast off by most performers of
the day. En passant, Bhatkhande observes that some tantrakars, especially from Rampur,
regard the dhaivat in Poorvi as ‘chadhi‘ (raised). This is, of course, a matter of individual or
stylistic choice.
Asha Bhonsle‘s jeevalaga is held up by Marathi dingbats as the biggest pimple on the musical
face of Maharashtra. The composition by Hridaynath is C-grade but that is sufficient to send
the ghats and their lapdogs, the Goans, into raptures. The Shree-anga comes on so strong that
I have reluctantly included the song here in this section. There’s a soupçon of Gouri, too.
Asha‘s next effort is a knock-off by composer Roshan on a famous cheez (readers will recall
Lakshmi Shankar’s recording). From SOORAT AUR SEERAT (1962): prema lagana.
Two non-film tunes by Khaiyyam in Mohammad Rafi‘s voice:
dardminnat.
muddat hu’i hai.
From SAMPOORNA RAMAYANA (1961), Lata sways gently to Vasant Desai‘s baton: ruka
ja’o.
We repair to the classical lounge.
The lakshanas emerge beautifully in Gangubai Hangal: araja suno.
The same bandish is handled by Gangubai’s guru, Sawai Gandharva. The discriminating
listener will at once see how these voices carry in them the imprimatur of anubhava.
Kumar Gandharva sings his own compositon, bala gayee jyot.
From the unpublished files of Bade Ghulam Ali Khan.
 80

This section concludes with Kesarbai Kerkar. The label on HMV mistakenly has it as
Pooriya Dhanashree. The key Pooriya Dhanashree lakshanas are nowhere to be seen. And
notice the two dhaivats. This is a type of Gouri. See On Raga Lalit-Gouri for a rendition of
the same bandish by Abdul Karim Khan in the Marwa-that Gouri. Be that as it may, a
glorious display: ati prachandana.
Raga Paraj
Vasantrao Deshpande sets the Ganges on fire with this delightful live performance.
The vilambit is the traditional laal aaye ho followed by pavana chalata. Zakir Hussain of San
Anselmo is on the tabla.
Vasantrao’s druta cheez, pavana chalata, was composed by “Sanadpiya,” the colophon
of Tabaqqul Hussain Khan of Bareilly who was employed at the Rampur court. Pandit
Bhatkhande collected and documented several compositions from him. Thakur Jaideva
Singh writes in his book, Indian Music: “…[Sanadpiya’s] thumaris were based mostly on
instrumental pieces (gatas) which he heard from the instrumentalists of Ramapura. So they
strike the listener like instrumental pieces rendered in bolas (wordings). Such thumaris in
madhya laya (medium tempo) are known as Bandhana or Bandisa-ki- thumari or Bola-banta-
ki-thumari. Their beauty lies mostly in their dance-like rhythmic effect…”
Paraj’s uttaranga-pradhana mien is underscored in the Atrauli-Jaipur interpretation which
dispenses altogether with the shuddha madhyam.
Mallikarjun Mansur: akhiyan mori laga rahi.
The same composition in Kesarbai‘s imperious gayaki.
Bade Ghulam Ali Khan, too, has no use for shuddha madhyam but he comes close to treading
on Basant’s toes: lataka chalata.
The Rampur-Sahaswan view by its distinguished exponent Mushtaq Hussain Khan.
Agrawale Vilayat Hussain Khan sings the cheez we heard earlier from Vasantrao – pavana
chalata. It is curious that Vilayat Hussain’s antara attributes it to one “Alampiya” whereas
Bhatkhande has credited it to “Sanadpiya.”
There is no doubt whatsoever of the authorship of the next bandish. Faiyyaz Khan treats the
celebrated composition of “Saraspiya” (Kale Khan of Mathura): Manmohan Brij ko rasiya.
We wrap up with Ravi Shankar.
Raga Basant
The familiar song by Bhimsen Joshi from BASANT BAHAR (1956) composed
by Shankar-Jaikishan: ketaki gulaba.
The tans of Dinanath Mangeshkar were the musical equivalent of a Disneyland joyride:
precipitous and thrilling. Here he is with a composition of Sadarang: aba rtu.
Ramashreya Jha “Ramrang” in an enchanting mehfil.
 81

his unpublished edition of Basavraj Rajguru finds him in fine feather. The
traditional khayal composition of “Manrang,” nabi ke darbar, is followed by the well-
worn phagava braja dekhana ko.
A traditional composition, panaghatava thado ma’i, by Krishnarao Shankar Pandit.
A rare recorded instance of Abdul Karim Khan dealing a bada khayal.
The motivated reader may at this point reflect on the points of distinction between Paraj and
Basant, armed that he is now with actual renditions.
Pannalal Ghosh was indisputably the greatest flautist of our times.
We bring the curtain down on this segment with Bade Ghulam Ali Khan who blends Hindol
and Basant in this mehfil.
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The Province of Poorvi - PART 2

Knowledge of the lakshanas and gestural conduct of the basic ragas is key to understanding
the more complex constructions. For the latter are essentially a combination or a subset of
the fundamental behaviors, sometimes with a special sangati or two thrown in. From this
point on we will tread on the juice and keep the commentary terse.

Raga Din-ki-Pooriya
This raga and Lalit are perhaps the only two major ragas of the Poorvi that to dispense with
the pancham. In Lalit the shuddha madhyam provides a peg to hang the melodic hat on
whereas in Din-ki-Pooriya there is no such convenience. The swara contour is congruent
with Pooriya but with the dhaivat attenuated to the komal shade. The effect is striking and
casts a haunting shadow.
The first clip features an impromptu demonstration by Jitendra Abhisheki recorded at the
Kala Academy in Goa. He punctuates the proceedings with pertinent remarks in Konkani and
Marathi, in turn expanding on the text of the bandish and the various devices employed
in alapchari. The audio quality is sub-optimal but it ought not to detract (unless you are a
Dolby weenie).
Mr. Jasraj‘s pedestrian effort fails to realize the latent potential in this melody.

Raga Reva
The pentatonic Reva – S r G P d – is the evening’s ‘jawab‘ to Raga Bibhas of the
Bhairav that.
Pandit Ramashreya Jha “Ramrang” explains the relevant bheda and sings a
traditional sadra: guna ke grahak Akbar Shah.

Raga Bibhas (Poorvi that)

Recall the lakshanas of Bibhas of the Marwa that. In this Poorvi-that variant the accent is
on komal dhaivat and rishab. The affiliation to Poorvi is asserted through clusters such as P
m d, P.
This composition chosen by Roshanara Begum is identical to Kesarbai’s in the Marwa-
that Bibhas: mora re.

Raga Poorba (Poorvi that)

This uncommon raga preferred by the Atrauli-Jaipur musicians is essentially Raga Poorvi
adorned with bells and whistles. A couple of artifacts are grafted on the Poorvi chassis, to
wit:
S M, M G P and m, m P, P d, d N d P
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The regulation Atrauli-Jaipur bandish, mana ghero, does the rounds.

This excerpt of C.R. Vyas is from a tête-à-tête with Ramashreya Jha “Ramrang” held in
the mid 1990s in Bombay. In the latter half of the clip, Vyas sings another composition
credited to his guru Jagannathbuwa Purohit (‘Gunidas’). The recording of the entire session
is deposited in the Appendix at the end of this article.

Raga Triveni
With madhyam dropped the swara-set reduces to S r G P d N. Triveni is known variously as
Tirvan and Tirban. It is a Shree-anga raga with attendant emphasis on rishab and special
coupling of r and P.
The Shree-like character is evident in this traditional sadra by K.G. Ginde: Kalindi
Saraswati.
The same composition is now ambushed by Banditji and his hordes.

Raga Tankeshree (ShreeTanki)

This Shree-anga raga is closely allied to Triveni. Tankeshree is pancham-oriented and takes
in the teevra madhyam in alpa pramana (small measure).
Omkarnath Thakur‘s classic: malana la’i.

Raga Malavi (Poorvi that)

No consensus prevails on the swaroopa of this raga.
In K.G. Ginde‘s presentation, nishad is
rendered alpa in arohatmaka and dhaivat in avarohatmaka movements. Watch out for the G-
P, P-G and N-P type of sangatis. This is a composition of S.N. Ratanjankar: namo namo
namo Narayana.
The version advanced by Nivruttibuwa Sarnaik takes Pooriya Dhanashree for its base.
The shuddha madhyam is introduced strikingly in a special prayoga.

Raga Jaitashree
As the name suggests, the raga is an amalgam of Jait and Shree. The Jait thread is made up
of the clusters S G, G P and P-S”-P, and is knitted on the Shree fabric.
Kishori Amonkar illustrates.
Ratanjankar adopts a somewhat different posture in this composition of Bhatkhande
(his mudra “Hararang” is stamped in the antara): mhane akeli dara gayo.
 84

The Jait component is even more subtle in the rendition by Abdul Halim Jaffer Khan.
The gat is in madhya laya Ada Chautala.

Raga Dhavalshree
No consensus prevails on the raga swaroopa.
Kishori Amonkar‘s version extends Jaitashree by creatively introducing a shuddha dhaivat.
Be on the qui vive for the first instance of this D at 0:15: je more saiyyan re.
Mallikarjun Mansur‘s interpretation is another kettle of fish. The S-G-P sangati, a Shree-
like r N d P meend and chhayas of Pooriya Dhanashree are evident.

Raga Hamsanarayani
The raga drops the dhaivat. The development is centred around pancham. A
sample chalan is suggested:
G m P, P G m G r S, S P, S S” r” S”, N P, m G, m G r S

Raga Baradi (Poorvi that)

We have encountered varieties of this raga – variously referred to as Barari, Varari and Varati
– based in the Marwa that. The Poorvi-that Baradi is aprachalita.
Mallikarjun Mansur‘s version runs a chalan bheda on Pooriya Dhanashree: kaise karun
aa’oon re.

Raga Deepak (Poorvi that)

Much mythos is associated with this raga through its pairing with Tansen. We have
encountered the Khamaj-that Deepak earlier in In the Khamaj Orchard.
Bhatkhande writes: “…Most musicians will not sing this raga. Even if they venture to sing
the purported lakshanas of this raga they will hesitate to associate it with the name ‘Deepak’
out of fear that they will not be believed…” This aptly summarizes Deepak’s station, today
all but dead. It is, of course, very likely that many of its features have been absorbed and find
expression in other ragas.
We have three clips of the Poorvi-that Deepak. They could well have been branded with
three different names.
Jha-sahab outlines the chalan and then an old sadra.
Bundu Khan deploys both madhyams in his dhrupad in Chautala. There’s even a
brief avirbhava of Bhairav.
 85

Shujaat Khan‘s version shows influences of Shree. There is a piquant use of the shuddha
madhyam. His papa Vilayat perhaps got this “correct,” “authentic,” “true” and “original”
Deepak thanks to his seven-generations pedigree that traces it temporal roots to well before
the Big Bang.
This concludes our tour of the Poorvi Province.
Other ragas of this that such as Shree, Lalit and Gouri have been addressed in Raga Shree:
Close Encounters and On Raga Lalita-Gouri.
 86

The Marwa Matrix – Part 1

The thought of Raga Marwa stirs memories of many youthful evenings spent walking on the
Miramar beach in Panjim, bouncing Amir Khan’s stupendous opus in the corridors of my
mind. Lost in the intoxicating reverie wrought by music and colourful sunsets, I occasionally
allowed myself the fantasy of imagining what it might be like to feel and see raga from the
Himalayan heights of an Amir Khan. I wondered if that great man, too, had likened himself
to “a boy playing on the sea-shore, diverting myself in now and then finding a smoother
pebble or a prettier shell than ordinary, whilst the great ocean of raga lay all undiscovered
before me.” After sundown I would walk home to a hearty meal and then hit the sack. For
those were the days when we took pride in leisure. How times have changed. Today people
take pains to disclose just how “busy” they are, as if it is a badge of achievement. You’d
think they have been charged with re-designing God’s floor plan for the universe. [Update: I
am delighted to hear that this “pompous” introduction has given some folks piles. As always,
I aim to annoy and offend.]
In this installment devoted to the Marwa group, we will examine its familiar members and
unveil some of the lesser known affiliates. A companion feature to follow soon will be
devoted to the citizens of the Poorvi Province.
Throughout this discussion, M = shuddha madhyam and m = teevra madhyam.
The Marwa-Pooriya-Sohani axis
Marwa is among the ten thats enumerated by Pandit Vishnu Narayan Bhatkhande and is
characterized by the swara set S r G m P D N corresponding to the
Carnatic melakarta Gamanasrama. The flagship raga of this that – Raga Marwa – drops
the pancham altogether. The same is true for two other principals of this group – Pooriya and
Sohani. These three ragas maintain a collegial but distinct melodic dynamic. It is therefore
instructive to view them together under the same lens. This is a marvelous example of the
magic of raga music – the evolution of differences originating from the same scale-set
through the agency of chalan bheda (differences in melodic formulation), uccharana
bheda (differences in intonation of swara) and vadi bheda (differences in relative emphasis of
swara). Facility in this kind of sport demands cultivation of appropriate habits of mind
and manana-chintan (reflection). But the game is well worth the candle for the ananda it
brings.
The main idea in Raga Marwa is the overwhelming dominance of r and D. This is
an apavada since no consonance exists between r and D; it took some genius sense this germ
of an idea and fructify. The definitive tonal sentences are:
D’ N’ r G r, N’ D’, m’ D’ S N’ r, S
The points of note in this poorvanga construct are the nyasa on rishab and dhaivat,
the langhan (skipping) of shadaj in both arohi and avarohi directions, and
the alpatva (smallness/weakness) of N.
D, m G r G m D, D m G r
The madhya saptak movement. Marwa typically employs ‘khada‘ swaras – i.e. the lagav is
 87

direct and unwavering, shorn of delicacies and meends (the situation is different in the scale-
congruent Raga Pooriya).
D N r” N D, m D N D S”
The uttaranga marker where the nishad is often skipped en route to the shadaj (Pooriya shares
this lakshana, but not Sohani).
That was Marwa in a nutshell. It is an affective symbiotic relationship between r and D.
Both the swaras are full-blown nyasa locations, yet bound to one another by an invisible cord:
the pull of one is strongly felt when you visit the other.
We now prise open Raga Pooriya, an old raga with a swara locus identical to Marwa. Most
generic accounts – childish, really, mostly by people who ought to have no business talking
or writing on ragas – distinguish the two based on their vadi-samvadi pair: r-D in Marwa
and G-N in Pooriya. It takes much more than this simple swap to realize a raga. Pooriya
employs special sangatis to realize the G-N coupling. The lakshanas are:
N’ r G, G r N’ D’ N’, N’ m’ D’ S
The gandhar is advanced, both r and D recede.
G m D N, N (N)m, G; m D-G m G
This tonal phrase represents Pooriya’s prana and packs several key lakshanas: the dominance
of G, the N-m coupling, and the D-G sangati. There is a measure of delicacy to the
intonation.
G m D N D S”, N r” N (N)m, G, m D-G m G, r S
Although N is strong in Pooriya, it is, like Marwa, often skipped en route to S”. The swoop
from N to m is delicious; sometimes it works in the obverse as well (N’-m).
Next in line, Raga Sohani.
The first-order difference here is that instead of the N’-r-G chalan employed in Marwa and
Pooriya, the rishab is skipped and to yield a N’-S-G form. And unlike the other two,
Sohani’s strength is vested in D and G. Then there are the special gestures. Sohani is
an uttaranga-pradhana raga, its essence apprehended in the following sentence:
G m D N S”, S”r” S”r” N S” N D, N D-G m G
The nishad is a required conduit to the tar saptaka S”. As in Pooriya, the D-G sangati is also
observed but the attack is markedly different. In Sohani the D-G prayoga is initiated
from N whereas in Pooriya it is typically lauched from m. Attention to these minutiae is vital
and cuts to the core of raga music. Great musicians instinctively recognize such bheda-
bhava even though they may not have the requisite expository skills or the vocabulary to
verbalize them.
Everything I have written above is superfluous, for Jha-sahab has magnificently distilled the
essence of these three ragas and packaged it into 6 masterful minutes. We are privileged that
someone of his background and calibre is still among the living, and fortunate that the
technology now exists for bringing him to a worldwide audience.
Pandit Ramashreya Jha “Ramrang” on the Marwa-Pooriya-Sohani axis.
With that propaedeutic to build upon, it is time get our ears wet.
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Raga Marwa
Lata Mangeshkar‘s beauty from SAAZ AUR AAWAAZ (1966) composed
by Naushad belongs to the ranks of the finest ‘light’ numbers based in this raga: payaliyan
banwari baje.
This quasi-Marwa has been composed by K. Mahavir who comes from a long line of
accomplished classical musicians. His father, Mahadev Prasad Kathak, was associated
with Swami Hari Vallabh (after whom the famous annual sammelan in Jullunder takes its
name). Lata Mangeshkar: sanjha bhayi ghara aaja.
Jha-sahab unveils his suite with a vilambit Roopak composition that at once reveals the cut
of Marwa’s jib: joga le aaye tuma Udho.
Jha-sahab now explains the textual import, then sketches his elegantly designed cheez.
When Vasantrao Deshpande passed away, Bhimsen declared that Marwa had died in
Maharashtra. Vasantrao’s winsome phirat and spontaneous delivery make this a classic.
Bade Ghulam Ali Khan wields an old khayal (documented by Bhatkhande) that places
the sam on the mandra teevra madhyam: nanadiya chavava.
“Aftab-e-Mousiqui” Faiyyaz Khan‘s certitude in intonation expresses well the khada
swaras of Marwa as witness this unpublished excerpt.
Anant Manohar Joshi aka Antubuwa, a disciple of Balkrishnabuwa Ichalkaranjikar (the
man responsible for bringing khayal to Maharashtra), trained several musicians, among them
his son, Gajananrao Joshi. This recording of archival value has an avartana or two of
Antubuwa’s khayalnuma in Jhoomra tala followed by a traditional cheez attributed to
‘Rangile’, bolana bina kabahun (Note: Vasantrao sings this in druta Ektala, as documented by
Bhatkhande).
The popular piya more anata des gai’lava is put through the paces by Atrauli-
Jaipur’s Mallikarjun Mansur.
Bhimsen Joshi blends a soupçon of Raga Shree (mP–>r) into Marwa to haunting effect.
There’s a cameo role for komal dhaivat (1:56 into the clip).
Jagannathbuwa Purohit “Gunidas” conceived this explosive cheez, delivered here by his
pupil Jitendra Abhisheki: ho guniyana mela.
Abdul Karim Khan‘s tarana.
Ramkrishnabuwa Vaze‘s breezy manner is always a great pleasure.
What you just heard were very high quality renditions of Marwa. Now please wipe your slate
clean. Of Shakespeare, Ben Jonson remarked, “He was not of an age, but for all time.” The
same is true of Amir Khan‘s Marwa. It is not merely a performance. It is the ne plus ultra
in meditation. What Einstein’s General Theory is to scientific thought Amir Khan’s Marwa is
to musical thought. We must make do with but a snatch here. The traditional piya more
anata des gai’lava in vilambit Jhoomra, followed by guru bina gyana na pave.
 89

Raga Pooriya
Also known as Raat-ki-Pooriya, Pooriya’s lakshanas emerge resplendent in Bhimsen
Joshi (recall Jha-sahab’s discourse on the subject). Right away in the opening movement we
have the elongated N and the N-m sangati, eventually culminating on the sam via N’-r-N’-
m’. Both are traditional compositions: Sadarang’s vilambit pyare de gara lagi and the druta
cheez, ghadiyan ginata jaat.

Take stock of the D-G sangati embedded in GmD-Gm G within the first 30 seconds of
this Amir Khan classic. Bhatkhande has documented this khayal: yare maula yala yalala le.
We have come to expect coups de théâtre from Omkarnath Thakur and he doesn’t
disappoint. A traditional composition favoured by the Gwalior musicians, sughara bana.
D.V. Paluskar plies the selfsame sughara bana.
Digression: Bhatkhande’s documented notation for sughara bana shows the sam to be
on rishab but the subsequent movement converges on mandra nishad. Recall that Amir
Khan’s druta cheez in Marwa places its sam on mandra nishad but the melodic arrow points
to dhaivat. Now, if ethnopimp A read Bhatkhande (remember that no ethnopimp has the
ability and knowledge to understand much less critique Bhatkhande) he would conclude that
the Chaturpandit didn’t know his Pooriya from Marwa and publish this ‘finding’ in an
ethnoporn rag. Then, ethnopimp B will refer to A’s ejaculate and in a display of tautological
genius declare it to be “seminal.” Both A and B will then be awarded tenure at their
respective universities.
For the uninitiated, the ethnopimp calls himself “ethnomusicologist” and is found loitering in
the music departments of universities in Western Europe, America and Canada. The racist
term “ethnomusicology” (when did you last hear the music of Beethoven studied under
“ethnomusicology”?) refers to the field infested by these worthless parasites masquerading as
academics. There are PhD theses, careers and tenure to be had for the asking, for the
benevolent Lord expressly created the “third-world” cultures to be a font of rich pastureland
for the vultures inhabiting the humanities departments in the West.
Apropos of Indian music, the ethnopimp had once fancied himself as the intermediary
between the ustad and the lay Indian masses, arrogating to himself the onerous task (the
proverbial “white man’s burden”) of explaining to the Indians their own music. Never mind
that the titmouse wouldn’t recognize swara even if it bit off his (or her) buttcheeks. Alas,
things haven’t gone quite the way the ethnopimp had hoped. The newer generation of
Indians decided it wasn’t going to play possum while the ethnopimp peddled his balderdash.
Today, the ethnopimp lies in ruins, his family jewels shattered and his head combed at will by
even Indian children.
En passant, as a pleasurable pastime, I propose that Indians fund a ‘research’ grant to study
the ethnopimps and the twaddle they have excreted all these years. A few ethnopimps could
be rounded up to be our lab rats. At the end of this study (which ought not to take long – the
combined ‘knowledge’ of all ethnopimps put together can be had for a penny and you’ll get
some change back) the poseurs can be officially certified for the sewer rats that they are. End
of digression.
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Reverting to the topic at hand, Bhatkhande‘s discourse on Pooriya contains a rare and telling
display of emotion. Recall that his magnum opus Hindustani Sangeet Paddhati is in the
form of a Socratic dialogue between pupil and master. At one point, Panditji recounts (my
translation cannot quite convey the same effect as that in Marathi): “…Many years ago I
heard this raga from a very famous Musalman gayak. Believe it or not, for a few moments I
was lost to the world. You will not be able to imagine the magnitude of the effect that his
music wrought on my person. Because you have not had that kind of anubhava yet and
because you have yet to acquire the requisite depth in this field…”
Bhatkhande must be made compulsory reading for anyone setting out to write anything on
Hindustani music. His work is, to put it mildly, “a feast of reason and flow of soul.” Finally,
he was not a “musicologist” as is commonly cited by the uneducated. Bhatkhande’s work
encompassed Music. He was a musician, a vaggeyakara, a shastrakara and a vidwan all
rolled into one. He was also a visionary (that much molested word of the dotcom era) with a
deep social conscience. “Musicologist” is suggestive of a relatively low-level activity. There
is no need at all to seek recourse to inadequate foreign terminology, to describe a
phenomenon the Western world is unfamiliar with, when several Indian terms serve the
purpose admirably.
Vilayat Hussain Khan, accompanied by his son Younus Hussain Khan: pyara de gara lage.
A vigorous nom-tom inaugurates this rendition of “Aftab-e-Mausiqui” Faiyyaz Khan. His
colophon “Prempiya” is heard in the antara: main kara aayi piya sanga.
An unpublished cut of Mallikarjun Mansur completes our survey of Pooriya.
Raga Sohani
This sprightly raga is an instant pleaser much like that buxom leotard-wrapped babe at your
local gym that you lust after while pretending to work out (by way of comparison, think of
Marwa as your mother-in-law: solid, ponderous and unfunny). The Carnatic equivalent of
Sohani is Hamsananda.
The SUVARNA SUNDARI (1957) number set to music by Adi Narayana Rao is a perennial
favourite. Lata Mangeshkar and Mohammad Rafi: kuhu kuhu bole koyaliya.
Another old classic, from SANGEET SAMRAT TANSEN (1962), tuned by S.N.
Tripathi for Mukesh: jhoomti chali hava.
From GRIHASTHI (1963), music by Ravi, Asha Bhonsle‘s voice: jeevana jyota jale.
Composer and singer of this beautiful Marathi bhajan: Jitendra Abhisheki.
That much of Sohani’s activity is uttaranga-based should be evident by now.
Moving along, Jha-sahab sketches a traditional cheez: bari bari ja’oon Murari.
The movie MUGHAL-E-AAZAM (1960) featured a rendition by Bade Ghulam Ali Khan,
patterned after the well-known thumri, prema ki mari qatara: prema jogana bana.
BGAK’s unpublished Punjabi bandish.
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Kumar Gandharva‘s fetching composition is delivered with his customary verve: ranga na
daro Shyamji.
Bismillah Khan, the swarasmith par excellence, weaves his magic.
The final entry in the Sohani catalogue is the sankeerna Raga Sohani-Pancham. As the name
suggests, the raga blends elements of Raga Pancham (see On Raga Bhatiyar) with those of
Sohani. The motivated reader is invited to figure out the dynamic.
Vilayat Hussain Khan “Pranpiya”: sakhi mori.
Raga Bibhas (Marwa that)
Bibhas has cast in its lot not with one but with three thats – Bhairav, Poorvi and Marwa. Even
within each that it has spun off subsidiary versions. The audav-jati Bibhas of the
Marwa that – S r G P D – is the most popular. D and r dominate the proceedings
although pancham is another important nyasa location. Oftentimes, r is rendered durbal or
even langhan alpatva (skipped) in arohatmaka prayogas. An avirbhava of Deshkar obtains in
this formulation. The following sentence conveys the essence:
G P D, D, P G r, S (P)G P, D, P (S”)D S” r” S, D, P
The kans of m and N occasionally observed cause no injury to the raga-bhava.
Jitendra Abhisheki sings the popular composition, He Narahara Narayana, a creation of
Pandit Bhatkhande. The original dhrupad composition has been adapted by the khayaliyas.
Abhisheki stays textually true (almost) to Bhatkhande whose colophon ‘chatura‘ is cleverly
wedged in the antara.
The lakshanas are clearly enunciated in this segment of Shruti Sadolikar. Attention is
drawn to the strong dhaivat and the langhan of rishab in arohi sancharis.
Kishori Amonkar‘s Bibhas is an exemplar of sensitivity and subtlety in intonation. She
singles out dhaivat for her shruti-play, toying with it, not explicitly advancing komal
dhaivat but creating a deliberate abhas through delicate meends. Watch out for the first
instance at 0.05 into the clip. Narahari Narayana, this time in Roopak tala.
A maverick version by Kesarbai Kerkar concludes this section. Catch the distinct teevra
madhyam in the mandra saptak in S (D’)m’ D’ S at 0:17. Then comes a startling shuddha
rishab in the tar saptak, viz., G”R”S” at around 0:53. There are more deliberate occurrences
of this shuddha rishab in the tans following. The composition mora re is also heard in
renditions of the Poorvi-that Bibhas.
Raga Jait
Jait has a degree of overlap with Bibhas but there are compelling differences. Consider the
following chalan:
S G P G P, P DG P, P D P S”, S” r” S”, S”->P, P D G P, P G r S
P has now advanced whereas D is in the back seat. O the beauty of ragadari! The clusters P
DG P and P D P S”, and the S“-P swoop are Jait’s signposts.
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Jha-sahab recites the chalan and then sketches a composition.

Vasantrao Deshpande: kalasha jyoti lagi.
The Atrauli-Jaipur version is bi-rishab, a variant documented by (who else?) Bhatkhande.
Observe the first instance of shuddha rishab at around 0:18 in Mallikarjun Mansur‘s
hitherto unpublished excerpt.
The Rampur-Sahaswan vocalist Hafeez Ahmed Khan.
These five preceding ragas constitute a core from which most other Marwa-that melodies
derive their genetic material. A study of these fundamental forms is sufficient to understand
the rest the members of the Marwa Matrix since they are simply variations of the foregoing
melodic behaviors. The rest of the elements of the matrix are discussion in Part 2.
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The Marwa Matrix - Part 2

Sankeerna and jod ragas usually have a limited compass. Their lakshanas are inferred from a
heritage composition. The asthai-antara holds the key to these ragas (hence the phrase
“asthai-antare ke raga“). A quick sampler of prachalit and aprachalita ragas of the Marwa-
that is presented on this page. It is assumed that the reader has by now developed a fair
degree of familiarity with the driving lakshanas. The pace will be brisk and the commentary
minimal.
Ragas with their Marwa that affiliation explicity cited have a counterpart in the Poorvi-
that (sometimes merely a shared name with no structural commonality) and are
addressed elsewhere. When a raga contains both dhaivats, one has to draw on ad hoc
considerations before assigning the that. Bhatkhande often appealed to the raga’s internal
structure in these instances.
Raga Pooriya Kalyan
The main theme here is the mingling of the Kalyan-anga, typically in the uttaranga space,
with elements of either Pooriya or Pooriya Dhanashree in the poorvanga. The raga runs the
full gamut of the Marwa that: S r G m P D N.
We have examined raganga Kalyan at length in another feature. Pooriya Dhanashree is
discussed in the companion feature dealing with Poorvi-that ragas. Pooriya Kalyan is
observed in several flavours, gotten by varying the proportion and balance of swaras, and
through introduction of special sangatis.
Jitendra Abhisheki‘s composition in the Marathi drama, KATYAAR KALJAAT GHUSLI, is
rendered by a fellow Goan, Prasad Savkar: Muralidhar Shyam.
Another Marathi song, tuned by Vasant Prabhu for Lata Mangeshkar: haravale te.
The opening moments of this vintage Bhimsen Joshi excerpt hew to the Kalyan line before
elements of Pooriya Dhanashree kick in.
Special sangatis dot this version advertised as “Poorva Kalyan” by K.G. Ginde. Take stock
of m D m G and the elongation of D for an abhas of Marwa. This is a composition of S.N.
Ratanjankar: hovana lagi.
Laxmanprasad Jaipurwale‘s own composition: aali mora mana har leeno.
The cheej pijja lover, Mr. Alubhai Khan of San Rafael.
An unpublished recording of Bade Ghulam Ali Khan rounds off the Pooriya Kalyan montage.
En passant, Pannalal Ghosh has composed a new melody called Raga Deepawali that is a
clever play on Pooriya Kalyan. He does a graha bheda (murchana) by which the shadaj of
Pooriya Kalyan is translated to pancham; this gives him an opening for a
nice Lalitanga effect.
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Raga Shree Kalyan

This raga was conceieved by Kumar Gandharva. It is scale-congruent with Pooriya Kalyan
but the Kalyan-anga here cohabits with Shree-anga (see Raga Shree: Close Encounters). The
latter is expressed through appropriate uccharana and the S-P and P-r sangatis: dekho re rut.
Raga Maligoura
Ali Akbar Khan‘s version of this aprachalita raga employs only one dhaivat – shuddha
dhaivat – and is scale-congruent with Pooriya Kalyan. Personality-wise, however, it is a
horse of a different colour. The Kalyan-anga is de-emphasized and subtle sangatis are
inserted (G-P; the meend-laden P-m-G, N-P etc). The G-m-G, m-P-m, P-D-P combinations
employed in Pooriya Kalyan are eschewed (cf. his Pooriya Kalyan clip above).
Both dhaivats grace this version advanced by S.N. Ratanjankar. The komal dhaivat is seen in
Shree-laced phrases such as S, r N’ d P. The shuddha dhaivat is deployed in Pooriya-like
gestures. This performance of a traditional khayal (documented by Bhatkhande) begins with
a brief introduction to the raga.
Both dhaivats in attendance here as well but a different flavour: Khadim Hussain Khan.
The odd one out (Why? Figure it out yourself): Omkarnath Thakur.
And finally, a version by Kishori Amonkar.
Raga Sazgiri
Although there is scant evidence to support the case, folklore accuses Amir Khusro of
fathering this raga. Perhaps the name (not the raga as we know it) does go back to Khusro’s
time. Both dhaivats and both madhyams find employment here. The tole of komal
dhaivat is limited to Poorvi phrases such as P, m d P and r” N d P. The shuddha madhyam is
manifested in a striking movement: G M, M N (D)m G. Observe that the tail end of the
preceding phrase derives from Pooriya.
Ramashreya Jha “Ramrang”: darbara ga’oon tore Khwaja Moiuddin Auliya.
K.G. Ginde‘s voice and S.N. Ratanjankar’s composition.
The ersatz two-bit Sazgiri peddled by Vilayat Khan (of the “Mommy-mommy-I-didn’t-get-
the-Bharat-Ratna” fame) does not merit space here.
Raga Bhankari
A creation of Ramashreya Jha “Ramrang,” this tantalizing melody blends facets of Bhatiyar,
Jait, Bibhas and Deshkar while retaining an aesthetic coherence in the end product.
Ramrang navigates the tight rope with ease: sanga na keejiye manuva.
Raga Malavi (Marwa that)
This uttaranga-pradhana raga draws on Deshkar (eg. P D P G, G P D, P D S” etc). The teevra
madhyam is introduced via m D S”. A sample chalan is:
P D P G, P G r S, S G P, G P D, P, PDS”, S” r” S”, S” (D)m D S”
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Mallikarjun Mansur: anga sugandha.

Raga Poorba (Marwa that)
The version of Poorba served by Mr. Jasraj uses both the madhyams and the shuddha
dhaivat. Banditji‘s sargam reveals the melodic outline.
Bhatkhande has described a different Poorba, also of the Marwa-that, that only takes
the teevra madhyam.
Raga Vihang
This aprachalita item is a specialty of Atrauli-Jaipur. The Kalyan anga is clearly expressed
through tonal strips such as m D N D P. The shuddha madhyam saunters in via G M G r G.
Raga Baradi (Marwa that)
This aprachalita raga goes by Barari, Varari and Varati and has accreted different facets (and
sometimes names) in its journey across gharana boundaries. Several melodic themes
encountered earlier are easily discerned in the ragas under the Baradi umbrella.
Consider K.G. Ginde. The pramukha swara sangatis here are:
S G P DG P; P D m G, m G r S; N r” N D N D P
The first cluster draws from Jait, the second from Bhankar, the third from Pooriya Kalyan.
The skill lies in bonding these swara molecules to synthesize a coherent swaroopa.
Ginde sings his guru’s (S.N. Ratanjankar) compositions.
Changing a syllable here and there, a swara here and there, and marketing it as a “rare raga”
has been a longtime cottage industry in Hindustani music. The underlying raga behaviour –
if you have cultivated the acuity to recognize it – is of primary importance, not the label
affixed. Richard Feynman has expressed this idea succintly in another context: “…You can
know the name of that bird in all the languages of the world, but when you are finished,
you’ll know absolutely nothing whatsoever about that bird…”
The version of Anandrao Limaye (Limayebuwa) goes by the name “Virat” (probably an
emendation of “Varati”). This flavour is similar in spirit to Ginde’s although there are minor
points of departure. Limayebuwa’s consummate mastery of his material makes even the
most vakra raga look like putty in his hands. Notice the sparing, subtle komal dhaivat just
after 0:09.
Mr. Jasraj‘s Baradi (prefixed with “Shuddha” to qualify the dhaivat) is a different kettle of
fish. The stretched nishad (durbal in the Ginde and Limayebuwa versions) lends a different
flavour. Banditji‘s explicit sargam gives the game away.
Nivruttibuwa Sarnaik offers yet another version (Note: I have also seen this filed under the
label Phoolshree).
 96

Raga Shuddha Basant

This older variety of Basant typically favoured by the dhrupadiyas employs shuddha
dhaivat and drops pancham. Recall that the Basant in vogue is komal dhaivat-based and falls
to the Poorvi that. The shuddha madhyam is introduced through a dash of Lalitanga. The
interested reader is urged to measure this raga against Raga Pancham.
Several other important ragas of the Marwa that have been dealt with in the earlier features.
For Ragas Bhatiyar, Bhankar, Pancham, Lalit and Gouri, see On Raga Bhatiyar and On Raga
Lalita Gouri
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Kalyan – Part 1
In this conspectus we look at one of the foundational melodic blocks of the Hindustani
edifice – Raganga Raga Kalyan. It is denominated variously as Yaman, Iman, Eman and
Aiman. Although the raga is as old as the hills, its historical antecedents are not easy to pin
down. The fog of uncertainty concerning its origins has engendered many mythologies, such
as the ipse dixit that awards credit for its conception to Amir Khusro. In recent times several
writers have reflected an awful lot of moonshine off Mr. Khusro; a recent ‘study’ at a
‘leading’ American university revealed that he was the first man in the world to perform
surgery on the testicles of the axolotl. We, on the other hand, will train our scalpel on the
Kalyan raganga, its contemporary musical structure and performance practice.
Raganga Kalyan and Raga Kalyan
Raga Kalyan – we shall use the name interchangeably with Yaman – shares its scale with
Kalyani, the 65th melakarta raga of Carnatic music. The reader is referred to the companion
feature Kalyani by Dr. V.N. Muthukumar and Dr. M.V. Ramana for a considered Carnatic
perspective. In the Hindustani system, Kalyan can mean a that, raganga, or raga.
Throughout this discussion, M = shuddha madhyam and m = teevra madhyam.
What do we mean by the term raganga? The word is a sandhi of raga+anga and signifies a
collection of tonal phrases and the supporting uccharana that have been abstracted from a
‘parent’ raga. The parent is usually drawn from the pool of the big, basic ragas.
The raganga has a life of its own and is seen in full flower under the auspices of its parent
raga. It contributes seed material to the derivates (prakars) of the parent raga. The raganga is
akin to a DNA blueprint containing the key ‘instructions’ for the melodic conduct & gestures
of the entire class of ragas under its jurisdiction. Alternatively, it may also be viewed as a
summary, a generalization of melodic ‘observations,’ analogous to a generalized theory or a
law in science, which may then be brought to bear in specific situations. The “raganga raga”
is, as should be apparent by now, the supplier parent. It furnishes the building blocks for
the raganga and hence best embodies it. For instance, Raga Bhairav is the raganga raga of
the Bhairav anga.
The Kalyan that is among the ten recognized in the taxonomic scheme proposed by the great
musician, vaggeyakara, shastrakara and scholar, Pandit Vishnu Narayan Bhatkhande. It
takes its basis the following swara set: S R G m P D N. Raga Kalyan employs all of these
seven swaras which makes it a sampoorna jati raga. The raganga-vachaka swaras (the
definitive tonal clusters) are:
1) S, N’ D’ N’ R G R S
In this poorvanga cluster the mere hint of N’ R G R S at once suggests the onset of Kalyan.
Notice the characteristic langhan (skipped) shadaj in the arohi movement.
2) G m P->(mG)R, S
A seminal tonal sentence; the uccharana (intonation) of the P–>R coupling, mediated by a
grace of the teevra madhyam and gandhar, represents a key raganga gesture. The P–
>R coupling is also observed in Ragas Gaud Sarang and Chhaya but in each of these
instances it is kept distinct by their respective uccharana. Recall the dictum: uccharana bheda
 98

se raga bheda. It is this manner of subtlety and sophistication of the idea of swara that
elevates Indian music to a level unmatched and unattained by any other civilization.
Let us digest this assertion with a brilliant demonstration of the varied modes of P–
>R coupling by Pandit Ramashreya Jha “Ramrang.”
3) m D N D P
This tonal strip furnishes a bridge to poorvanga and uttaranga tonal traffic.
4) S” N D N D P
This avarohatmaka phrase in the uttaranga completes the raganga abstract.
Raganga Kalyan is verily the mother lode of several ‘big’ ragas, its fecund terrain allowing
for melodies to flow naturally from variations imposed on its kernel. A sufficiently insightful
musician should to be able to ‘see’ the resulting linkages. For instance, the chalan of Ragas
Bhoop and Shuddha Kalyan may be inferred from the raganga. It is important to note that the
historical development may not have followed this sequence and that a raga may predate
its raganga. Nevertheless the raganga viewpoint provides a powerful unifying framework
attending the thought processes that have counseled the Indian musical mind through the
ages.
Some additional details of the flagship of the Kalyan raganga – Raga Yaman – bear scrutiny.
The existence of several nyasa sthanas – S, R, G, P, N – is indicative of its expansive melodic
space. The teevra madhyam is often elongated during the elaboration portion of the
performance. The odd one out is dhaivat – we make short shrift of it since a nyasa there is
damaging to the raga dharma. Some of the launch phrases for the antara are now outlined:
G m D S”
m D N S”
P P S”
P (m)G P P N D S”
The skipping of shadaj and pancham in arohi movements – N’ R G and m D N – lends
Yaman a distinct locus. Some musicians (typically non-Indians) tend to view these two tonal
molecules as symmetric on account of their prima facie intervallic likeness. Viewing the raga
structure in terms of intervals is a seriously flawed enterprise and completely misses its
essence. No Indian musician worth his salt thinks in terms of intervals, not as a matter of
instinct anyway. Apropos of the above two apparently symmetrical tonal molecules, the vital
point is that R is a nyasa bahutva swara in both the arohi and avarohi directions
whereas D enjoys no such treatment.
The langhan alpatva of S and P is sometimes observed in avarohi movements as well. To
wit, R” N D m G R. Although the skipping of S and P is part of Yaman’s normative
behavior, the inclusion of arohi S and P is not verboten. A deliberate construct such as S R G
m or m P D N is observed in bandishes and tans (as some of the clips will later attest). Other
features seen in performance – leaps spanning G-N and N-G, m-N and N-m.
Putting back together the pieces, a sample chalan is formulated:
S, (N’)D’ N’ R G(nyasa), R S, G m D N(nyasa),
S” N D N D P(nyasa), m (G)R G(nyasa), G m P->(mG)R(nyasa), G R S
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This completes the introduction to the lakshanas of Raga Yaman. It is not possible to
chronicle every auxiliary gesture or construct deployed. A careful study of the clips is urged
so that the key ideas are settled and assimilated. Kalyan is so pervasive that there is little
divergence in its behavior across gharana boundaries. The differences, when they are
observed, are more of proportion of particular melodic gestures rather than of design.
The inclusion of shuddha madhyam M in Raga Yaman gives rise to the unfortunately-named
Raga Yaman Kalyan (sometimes also called Jaimini Kalyan). This nomenclature is
widespread but not universally accepted and one comes across the occasional musician
partaking in the shuddha madhyam under the ‘Yaman’ brand itself.
The nature of M in Yaman is not unlike that of a vivadi swara; soft and judicious use
occasions moments of great delight. Latitude is allowed in the frequency of occurrence
and swara-lagav for these are matters of stylistic taste. Except for the shuddha madhyam-
laden tonal construct in the poorvanga the rest of the structural contours of Yaman Kalyan are
congruent with Yaman. The distinguishing phrase assumes the following form (or a minor
variation of it):
N’ R G, m G R G, M G R S
The shuddha madhyam does not have an independent existence. It is either sandwiched
between the gandhars – G, M G – or receives a kan of gandhar – (G)M G R S. In particular,
a direct approach from the pancham can be ungainly (P M G – not!). Occasionally, and
especially in the lighter genres, the chromatic slide m M is heard.
These ideas are encapsulated superbly by Ramashreya Jha “Ramrang” in this discussion
pinched off the telephone line. Such is Jha-sahab’s sweep and precision that once he is done
speaking on a raga virtually nothing more needs to be said on the subject.
As the preeminent night-time raga, Yaman embodies considerable gravitas. No other raga has
cut so wide a swathe across all genres of music and no other raga has purchased so viselike a
hold on the Indian’s thoughts and feelings. Every child embarking on a preliminary study of
classical music brings with her a working familiarity of Kalyan obtained through folk and
other sources. Yaman has come to be acknowledged as the touchstone among classical
musicians in calibrating a peer’s quality and depth, its mastery deemed a sine qua non for any
serious student. This magnitude and extent of Yaman’s reach impel us to offer here a
substantial listening experience both in the realm of the ‘light’ and the classical.
In the posse of clips that follows, the Yaman and Yaman Kalyan items are commingled.
Yaman – The ‘Lighter’ Side
That Yaman has seduced every creative mind of the post-recording era generation is evident
from the enormous volume of documented work. Here we must content ourselves with only
a modest slice of that output. Not every ‘light’ composition will align with Yaman according
to Hoyle, but some important, and sometimes surprising, gesture will be manifested in each
of the adduced clips. This session should serve as a master class in the nexus between
classical and ‘light’ music.
 100

We open with an invocation to Ganesha, an arati in Marathi, written by the 17th century
saint Swami Samarth Ramdas. Hridaynath Mangeshkar‘s tune and Lata‘s voice are
joined in this hymn dearly loved in Goa and Maharashtra: sukha karta dukha harta.
Lata again beseeches Ganapati: tujha magato mi aata.
Another prarthana to Ganesha. Vasantrao Deshpande is joined by Anuradha
Paudwal: prathama tula vandito.
M.S. Subbulakshmi‘s ethereal voice infuses the chant, vande padmakaram.
Asha Bhonsle‘s in the Marathi movie MAHANANDA (1985). Composer Hridaynath
Mangeshkar: maage ubha Mangesh.
Kalyan is Lata and Lata is Kalyan. Not even the classical masters can hope to hold a
candle to the magic she conjures in this terrain.
These verses from the Bhagavad Geeta are set to music by Hridaynath.
Another bhakti rasa assay, this time from the Gurbani. The transcendent words of the 3rd
Guru, Amardas, are set to music by the Singh brothers and rendered by Lata: mila mere
preetama jiyo.
Tulsidas‘s feelings for Shri Rama are famously expressed in his Shri Ramanchandra
krupalu bhajamana.
Meerabai‘s bhajan, Hridaynath‘s tune: kenu sanga.
From BHABHI KI CHOODIYAAN (1961), a luscious Yaman-based beauty set to music
by Sudhir Phadke: lau lagati.
The next two corkers were conceived in the fertile mind of Madan Mohan. From
BAHAANA (1960), ja re badara bairi ja.
Film: ANPADH (1962), jiya le gayo.
Ghalib‘s exceptional ability with verse more than meets its match in Lata in this memorable
composition set to music by Faiyaaz Shauqat: har eka baat pe.
Vasant Desai finds an ally in Lata‘s gentle treatment of swara. From ARDHAANGINI
(1959), bade bhole ho.
Film: SHOKHIYAAN (1951), Music: Jamal Sen: supna bana sajana aaye.
Film: SUNHERE QADAM (1966), Music: Bulo C. Rani: maangne se.
Film: PAKEEZAH (1971), Music: Ghulam Mohammad: mausam hai.
Film: SATI SAVITRI (1964), Music: Laxmikant-Pyarelal: jeevana dor.
Ragas Yaman, Bhairavi and Pahadi have been mined extensively by the Hindi film
composers. Roshan and Madan Mohan, in particular, had a very special relationship with
Yaman. In their shared penchant for conceiving melodies that blended intimately with the
lyric, in their drawing on India’s classical music and traditional bandishes, and in their
attention to the design of the interludes, they seemed to be cut from the same cloth. Both
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remained in a state of creative ferment throughout their relatively short lives. Roshan‘s
genius came to full flower in Yaman as witness the extraordinary compositions that follow.
Film: RAGRANG (1952), a take on the very popular classical bandish, eri aali piya bina.
The words of the mukhda are attributed to Meerabai. Lata delivers admirably.
A haunting composition from MAMTA (1966), distinguished by Lata‘s intensity of feeling.
Co-singer: Hemant Kumar.
In this immortal composition, with its celebrated sarod and flute interludes, Roshan draws
inspiration from an old Yaman Kalyan composition, manaa tu kahe na dheera dharata aba,
words of which are attributed to Tulsidas. Lyricist Sahir Ludhianvi‘s knock-off reflects
Tulsi’s sentiment in the movie CHITRALEKHA (1964). Mohammad Rafi: mana re tu kahe
na dheera dhare.
Roshan and Sahir combine again in the following three classics.
Mohammad Rafi in BARSAT KI RAAT (1960): zindagi bhar nahin.
Asha Bhonsle‘s tour de force in the qawwali from DIL HI TO HAI (1963): nigahen milane
ko ji chahata hai.
Film: BABAR (1960), Voice: Sudha Malhotra: salam-e-hasrat.
We change tracks now.
Bhimsen Joshi is joined by Vasantrao Deshpande in this abhanga set to music by Ram
Kadam: tala bole.
Bhimsen Joshi in yet another bout of bhakti, in this magnificent creation of the bel esprit
Govindrao Tembe. Look out for the first occurrence of atmaranga rangale for the piercing
streak in Bhimsen’s voice: mana ho Ramarangi rangale.
Two of Goa’s finest creative minds collaborate in the next enterprise: the poet laureate B.B.
Borkar and the musician-composer par excellence Jitendra Abhisheki: kashi tuzha.
Bhaskarbuwa Bakhale‘s enduring tune by Kumar Gandharva in a natyageeta from
SWAYAMVAR: natha ha mazha.
This natyageeta from SAUBHADRA brings sweet childhood memories as I recall my father’s
superb renditions in his role as Narada. Sharad Zambekar: Radhadhara madhu milinda.
Asha’s recital of Sant Dnyaneshwar‘s poetry, set to music by Hridaynath, is glorious
enough to give one pause before conceding the Yaman dominion to Lata: kanada-o-
Vitthalu.
K.L. Saigal‘s hit from ZINDAGI (1940), Music: Pankaj Mullick: main kya janu.
K.L. Saigal in TANSEN (1943), Music: Khemchand Prakash: diya jala’o.
The transparent sincerity in Mukesh‘s voice has deposited quite a few Yaman-based
compositions permanently into the public memory bank. This bhajan composed
by Lacchiram, for instance: chhoda jhamela jhoothe jaga ka.
Madan Mohan‘s gem from SANJOG (1961): bhooli hui yadon.
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Who hasn’t heard of this jeremiad from PARVARISH (1958), tuned by Dattaram? aansoo
bhari hain yeh jeevan ki rahein.
Every college Romeo has at some stage allowed himself the fantasy of wooing a babe with
this well-worn number from SARASWATICHANDRA (1968), under Kalyanji-Anandji‘s
baton: chandan sa badan.
Mukesh finds some more romance in this Sardar Malik classic from SARANGA
(1960): saranga teri yaad mein.
We now turn to the suzerain from Khandwa, Pandit Kishore Kumar.
Panditji’s first offering is a canonical Khandwa cheez from ANURODH (1977) composed
by Laxmikant- Pyarelal: aapke anurodh pe.
Panditji deals dhrupad-anga treatment to this sadra in Jhaptala, composed by the Punjabi
ruffian O.P. Nayyar in EK BAAR MUSKURA DO (1972): savere ka sooraj.
Panditji coos wistfully for composer Hemant Kumar in KHAMOSHI (1969): woh sham
kuch ajeeba thhi.
Panditji sings Anu Malik‘s tune in AAPAS KI BAAT (1982): tera chehra mujhe gulab
lage.
The final gem from the Khandwa trove from CHALA MURARI HERO BANNE (1977)
nicely illuminates the raganga lakshanas: na jaane din kaise.
Ghalib‘s classic ghazal is tuned by Ghulam Mohammad for Suraiyya in MIRZA GHALIB
(1954): nuktacheen ha gham-e-dil.
Another ghazal of Ahmad Faraz delivered by the gifted Mehdi Hasan: ranjish hi sahi.
The Pakistani songstress Farida Khanoum‘s stentorian voice takes charge: woh mujhse.
Only rarely did Laxmikant-Pyarelal surpass themselves, one such instance being the movie
PARASMANI (1963): woh jaba yaad aaye.
Ravindra Jain‘s handsome tune in CHITCHOR (1976) was a rage following its release. K.J.
Yesudas: jaba deep jale.
Feminine beauty and form are extolled in this luscious composition of Shambhu
Sen rendered by Mohammad Rafi in MRIG TRISHNA: nava kalpana nava roopa se.
We wind down this Ya’mania’ with a couple of Shankar-Jaikishan compositions. Their
folksy number in TEESRI KASAM (1966) was in its day the national chant. A
rollicking Asha rises to the occasion: paan khaye saiyyan.
In LAL PATTHAR (1971) we watch in despair as Manna Dey comes a cropper vis-a-
vis Asha. It hurts to see an adult man whipped so badly by a girl but the pain is instantly
diminished by the realization that the male in question is a Bong. Those Manna Dey tans are
indistinguishable from the bawling of a freshly baked baby as it tries to cope with life outside
the amnion: re mana sur mein ga.
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Kalyan – Part 2

Yaman – The Classical View

Much of the material marshaled on this page remains unpublished. So let’s right away hitch
our wagon to a star and soak in the ananda of Yaman.
Pandit Ramashreya Jha “Ramrang” ‘s meditations in music have spanned over six
decades. Raga Kalyan is very dear to him, the milch-cow that keeps his creative urn
churning. Jha-sahab has fashioned over two score and more compositions of varied designs
in Yaman, some of them decidedly among the finest of all time. My personal favourite is
the dheema Teentala composition about Lord Shiva – devana deva Mahadeva hara – with
its sam located on the mandra nishad. As the composition unfolds so does the raga. The
development is organic and systematically moves from one strata to another. This manner of
elaboration is known in the trade as “asthai bharna” (lit. to fill the asthai) and is characteristic
of the tradition of Jha-sahab’s guru, Bholanath Bhatt. Although popular a few decades
back, this type of gayaki is rarely heard nowadays.
Jha-sahab is in fine fettle in what is surely one of the great
Ramrang‘s bandish – ranga de ranga de – packs a catchy punch (it is adapted from an older
composition from the Patiala repertoire). In the latter part of the clip, he engages in shoptalk
and concludes with a dramatic flourish. The alert listener will notice the route taken by
the tan on the word “more“: GmPDND (i.e. without skipping pancham).
The mind of a great vaggeyakara is seldom at rest. This composition came to be during the
course of an evening stroll: tumari aasa lagi aaja.
Jha-sahab sketches a khayalnuma.
Take stock of Jha-sahab‘s treatment of M in Yaman Kalyan. Some of his tonal constructs
are novel, not part of the run-of-the-mill routine. Only those in whos minds the raga has done
time can work this kind of magic. The text draws on an episode from
the Ramayana: nirakha nirakha gagana.
Another pleasing instance of shuddha madhyam: sangata keenhe guniyana ki.
The long drawn out vilambit khayal, typically set in Ektala, has become the standard vehicle
for raga expression today. Ramrang‘s composition pits him against the celebrated
‘Sadarang’ with their identical opening bols, mera mana bandha leeno re. The similarity
stops there as the compositions differ significantly in all other respects. Jha-
sahab‘s canvas is melodically and textually richer.
Shubha Mudgal parlays her guru’s composition.
The mere mention of Omkarnath Thakur is enough to send the fat into the fire.
The shuddha madhyam is liberally courted in this play on Sadarang’s canoncial khayal, mera
mana. Omkarnath (sometimes called “Ahamkarnath” for his not inconsiderable ego) steals
the thunder from the Gods in this erumpent, high-voltage drama. He tops it off with the
traditional mandara mana laye.
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Vasantrao Deshpande‘s treatment is staid by comparison. The shuddha madhyam here is

sparing.
In an interesting variation, Vasantrao drops the pancham altogether in a raga he brands Raj
Kalyan. The relief-inducing nyasa on the pancham is missing, giving this raga a restive
persona: araja suno. (Update: A reader sent feedback saying that Vasantrao thought of this
raga as Marwa with a shuddha rishab. My description of it as “restive” is apposite in light of
this for that is a deliberate effect Vasantrao seems to have aimed for.)
Ulhas Kashalkar handles a bandish favoured by the Gwalior musicians, in Tilwada: jiya
manata.
Faiyyaz Khan brings his imperial gayaki to bear on Yaman Kalyan as graceful meends and a
judicious shuddha madhyam decorate this unpublished recording.
Dinkar Kaikini brings his own compositions – the vilambit, he mana kaise gaoon, is
followed by the lithe matwari aaja hoon.
This rare item of the Agrawali Zohrabai singing the well-known cheez, piharva tihari comes
with linear SRGmPDN runs.
The Rampur-Sahaswan statement from its distinguished representative, the late Nissar
Hussain Khan. The traditional khayal, kaise ki, is followed with piharva tihari. Notice the
explicit SRGm sargam beginning at around 8:02 into the clip.
A supreme master of the ‘big’ ragas, Bhimsen Joshi‘s is a powerful presence in this raga. He
is not one to put much store by the textual content but he has an unerring sense of and respect
for bandish structure. The shuddha madhyam-laden piyabina ratiya in Jhaptala is paired with
the scintillating eri aali piyabina.
We turn to Gwalior.
Rahimat Khan (1852-1922), the second son of the Gwalior pioneer Haddu Khan, was
among the most renowned musicians of India in his time. Some of the influential names
impacted by his artistry include Abdul Karim Khan, Bhaskarbuwa Bakhale, Omkarnath
Thakur and – much to the chagrin of dad Alladiya Khan – Manji Khan. Rahimat Khan‘s
explosive tans are preserved in this invaluable archival recording published recently by HMV.
The khayalnuma, a form where tarana bols are dressed up in khayal clothing, is a Gwalior
specialty Sharatchandra Arolkar‘s rendition in vilambit Jhoomra is followed by the now-
familiar piharva tihari.
The traditional cheez, langarva turaka jina chhuvo, comes alive in the pliant voice of D.V.
Paluskar.
Interestingly, Jha-sahab sketches the same cheez with a small twist: he transposes the second
word “turaka” to “tu kara.”
Jha-sahab has composed a jod (match) of the foregoing composition, co-opting its key
phrases. Nachiketa Sharma gives an account: banwari na karo na karo.
Kashinath Bodas puts to good effect a composition of his guru Balwantrai
Bhatt “Bhavrang”: sukha data sabana ke Shankara.
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Kumar Gandharva always has an ace or two up his sleeve. Notice the soupçon of shuddha
madhyam served with a khatka in his own composition: mukha tero karo.
Master Krishnarao places the sam on the tar saptaka shadaj in his composition rendered
by Shaila Datar: preethama saiyyan lagi re.
Whenever you run a ‘big’ raga by Amir Khan he cannot help but erect a monument. In this
unpublished recording the great man sings a khayal in vilambit Jhoomra, kajra kaise darun,
which has its sam located on the mandra nishad, and follows it up with the breezy aiso
sughara sundarava balamava.
Basavraj Rajguru emphasizes teevra madhyam in the earlier half of the clip, its solidity
furnishing a contrast to the weak and circumspect shuddha madhyam.
A prized recording of the sarangi-nawaz Bundu Khan.
In this 1966 mehfil in Hyderabad, Bade Ghulam Ali Khan begins gingerly before warming
up.
Salamat Ali Khan.
A couple of offerings from the Dagar dudes. First, Rahimuddin Khan Dagar‘s alap.
The resounding tones of Z.M. Dagar‘s rudra beena in this unpublished recording.
We pick up on a jhala in an old jugalbandi of Vilayat Khan and Mr. Alubhai Khan, the
(naked) Emperor of San Rafael who has been resting on his oars for a few decades now.
Vilayat Khan and Bismillah Khan.
Nivruttibuwa Sarnaik, compelling as usual.
Kishori Amonkar‘s extended rendition of eri aali piya bina is severely enchanting, and there
is perhaps no better elaboration of the chestnut on tape.
When queried about the shuddha madhyam in Kalyan’s midst, Kishori Amonkar is known to
unload a great deal of hocus-pocus on the unsuspecting. In this tarana the first instance
of M is around 1:41. Then at 2:02 comes an ungainly m-M slide.
Mogubai‘s tarana is set in Gatala (15.5 beats), a tala designed by
“Layabhaskar” Khaprumama Parvatkar. The story is told that Mogubai went through
numerous takes without success and had to finally request Khaprumama’s presence in the
studio to get through to her satisfaction.
Another Atrauli-Jaipur lady, Laxmibai Jadhav: eri eka najara.
The crowning Atrauli-Jaipur offering – Mallikarjun Mansur. Like a hen on a hot girdle, he
gets down to business in less than no time: beeta gaye.
Mallikarjun spins an old cheez for a round of hijinks: mukuta para vara ja’oon.
Mallikarjun Mansur did not mix his Yaman and Yaman Kalyan. The latter now, through the
traditional bandish, pata tore kavana.
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Any account of Yaman would remain incomplete if we didn’t acknowledge Vilayat Hussain
Khan‘s popular and busy cheez, main vari vari ja’oongi. His colophon, ‘Pranpiya,’ is heard
in the antara in this rendition by K.G. Ginde.
We conclude the our Yaman adventure with the empyrean artistry of Pannalal Ghosh, the
greatest Hindustani flautist of our times.
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On Raga Charukeshi
Some weeks ago there was a request on the Usenet newsgroup, rec.music.indian.classical, for
a scoop on Raga Charukeshi, a relatively recent import into Hindustani music from the
Carnatic parampara. This abstract is in response to that query.
The discussion will be short, and our treatment wholly confined to the manner in which the
scale has been processed within the Hindustani system. Since the raga is a relatively recent
entrant it is still in a state of gestation in the Hindustani mind. Which means there is no one
dominant interpretation. Four different viewpoints will be considered to initiate the exercise
of drawing out points of convergence and divergence in melodic behaviour. I intend to
address only the highlights.
A serious comparative study of the treatment of common congruent scales in the Hindustani
and Carnatic systems is desirable and remains to be done. The very few attempts hitherto,
when they have not been undertaken by the thoroughly incompetent, have been at the mercy
of the unremarkable.
Raga Charukeshi is a janya of the 26th melakarta of the same name with the following set: S
R G M P d n, where M = shuddha madhyam.
Faced with a ‘new’ scale set, there are several ways to go about constructing a raga. The
Hindustani instinct is to view the constituent poorvanga and uttaranga portions of the scale in
terms of already familiar templates. Thus, for instance, the poorvanga cluster, S R G M,
suggests itself as a staging ground for Nat-like behaviour. That would entail positing a
powerful madhyam with concomitant dilution of gandhar (eg. Jha).
An alternative is to advance the gandhar to evolve a different swaroopa (eg. Ravi Shankar,
Vijay Raghav Rao et al). Similarly, the uttaranga opportunities readily sought by the
Hindustani mind are Asavari (and through it, Darbari-like behaviour) and Bhairavi. The
strength and importance of the dhaivat (nyasa sthana) seems to have been appreciated by all.
The vault in avarohi sangatis – S, (n’)d’ – brings in a fleeting avirbhava of Darbari but since
the full Darbari machinery is not employed the promise remains unfulfilled. Bridging
the poorvanga-uttaranga interface is yet another familiar phrase fruitfully exploited: the
definitive Bhairav cluster – G M d, d, P. These are some of the favoured lakshanas to look
for in Hindustani accounts of Charukeshi.
We have with us an especially fortunate set of clips that provide a snapshot of the raga’s
evolution as it passes through the creative filters of two
great vaggeyaksras in Jha and Ratanjankar, and a superlative performer in Amir Khan. A
clip of Vijay Raghav Rao ropes in Ravi Shankar‘s interpretation.
But first, we warm up to the scale through a sequence of ‘light’ compositions in this quick
run-up.
Lata Mangeshkar‘s recites verses from the Bhagvad Geeta (adhyaya 9-12) tuned
by Hridaynath Mangeshkar.
The composer duo, Kalyanji-Anandji, have pressed the Charukeshi scale to good use in a
few songs. Here we present a couple of them. From HIMALAYA KI GOD MEIN (1965),
Lata Mangeshkar: ek tu jo mila.
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Mukesh and Lata in MERE HUMSAFAR (1970): kisi raha mein.

The very popular Shankar-Jaikishen number from ARZOO (1965) by Lata: bedardi
balama.
Charukeshi-like elements are also found in the ethnic music of Western Europe, as witness
this ditty by Shri Franz Schubert from his Impromptu (First piece “Allegro Molto
Moderato” from his Op 90).
Final confirmation that the West owes its musical ideas to India comes from the
Russian Mikhail Ippolitov-Ivanov: “Procession of the Sardaar,” from his “Caucasian
Sketches for Orchestra.” This is an NPR recording from Dec 1966, by the Philadelphia
Symphony, Eugene Ormandy conducting.
From the adolescent efforts of Western ethnic musicians we once again soar to the Himalayan
heights of Indian classical music.
Amir Khan‘s manner of dhaivatic approach and attack stands out. There is the R G M R
S type of movement, also heard in Nat Bhairav; and the Bhairav-esque G M d, P. Take note
of the n’SRSd’ and d’n’R S Darbari chhayas not to mention the bright, mukta madhyam.
The composition is Amir Khan’s own. The ustad was closely associated with
the Vallabhacharya sampradaya (Pushti Marg) and has dedicated this bandish to
Vallabhacharya’s son “Gusain.” For more, see the Hindi biography, Ustad Amir
Khan by Ibrahim Ali (2000), Classical Publishing Company, New Delhi: laja rakho tuma
mori Gussaiyyan.
S.N. Ratanjankar‘s conception is strong on pancham. The advance is through S (G)R G, M
P. Another standout is the SRGMPMGR cluster. The Darbaric n’SRSd’ is also heard.
Special sancharis – GMPdn, d, P and G M n d, P – reach out to komal nishad and retreat.
Ratanjankar was very familiar with the conceptual foundations as well as the practice of
Carnatic music and one wonders if his treatment retains any of the original Carnatic
flavour. K.G. Ginde delivers the bandish, set in Tilwada tala: naiyya pari majhdhar.
Ramashreya Jha “Ramrang” has composed a whole suite in Charukeshi and the two
compositions presented here are masterpieces. He places a premium on madhyam. There are
Nat-like phrases such as SR RG GM, in the poorvanga as also the Bhairav effect via G M d,
P. Pancham is skipped occasionally in avarohi sangatis (d M). The dominance of dhaivat,
pancham and madhyam is evident.
The lyrics of Ramrang’s package are drawn from the famous Ramayana prasanga involving
Shri Rama’s encounter with the boatman. The vilambit places its sam on mandra dhaivat (like
Amir Khan does). It is an exquisite composition; the matra of the tala and the swara are
closely coupled as they should be in a well-conceived bandish: Raghuvara raja naiyya na
chadha’oon.
The mukhda of the druta bandish has a quirk that is commented on by Jha-sahab in the clip.
He demonstrates the intuitive way of doing it and then the way it actually is – off by a beat.
These are superb compositions and deserve a wider embrace on the concert circuit: hamari
tumari Rajan.We round off this excursion with a beautiful piece on the flute by Vijay
Raghav Rao. The premium in the poorvanga is on the gandhar.
 109

Des: Tunes from the Countryside

We open this feature with a salute to the matrubhoomi.
Vande Mataram
In the heyday of radio, Indians arose every morning to Bankim Chandra
Chatterjee‘s Vande Mataram broadcast nationwide by All India Radio. Our national song
has been matched to several other tunes but the impress of the Raga Des version has been the
most lasting, unmatched in its sweetness. That is no coincidence. Des, arising from the soil
of the land, is a raga of prodigious seductive power.
Throughout the discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Des
Raga Des falls to the Khamaj that and has the following aroha-avarohana contour:
S R M P N S”::S” n D P M G R, S
The gandhar and dhaivat are varjit (absent) in arohi movements (although in some older
compositions the gandhar is occasionally discerned in aroha), the avaroha is sampoorna.
The shuddha nishad is employed in aroha and the komal nishad in avaroha; this hews to the
line of the well-established aesthetic principle in Indian music where the higher shade of
a swara prevails in ascent. The enchanting ambience created by Des lies in its special swara
prayogas, in particular the potent role assigned to rishab. The definitive gestures are now
addressed:
R M P D–>M–>G–>R, P M G R
The rishab serves not only as a location of nyasa but also as a centre of melodic gravity, the
point where forays often originate from, point to and terminate at. The D–>M–>G–
>R intonation is crucial, pregnant with a meend from M to R grazing G en route. It is this
subtle, seemingly innocuous, touch of the gandhar that has turned Des into a horse of a
different colour and hastened the demise of its progenitor, Raga Sorath (to be addressed
shortly).
R n D n D P, R M P N, N, S”, R” n D P, D–>M–>G–>R
The first cluster shows a quaint Des artifact, namely the jump from R to n. The
elongated N in the second sub-group is standard Des issue for the uttaranga launch. Notice
the langhan (skip) of the tar S” on the way down via R” n D P. A straight trajectory
along S” n D P M G R is also customary.
S R M P n D P, R P M–>G–>R, (R)G, N’ S
This prayoga illustrates another key G-laden cluster, to wit, (R)G, N’ S. The coupling
between R and P is vital. The role of G cannot be overstated: it is not a nyasa sthala but its
mediation along the M–>R locus makes for Des’s lifeline.
Like Khamaj, Des is a kshudra prakriti raga and is often subjected to variations drawn from
other ragas. The fund of melodic variety brought into play will be evident in the audio
banquet. The komal gandhar is occasionally recruited in a vivadi swaroopa, especially in
the tar saptak. Elements of Malhar (M R P or the chromatic slide from n-N or N-n) are
sometimes woven into Des and the melody then branded as ‘Des Malhar.’
 110

Pandit Ramashreya Jha “Ramrang” initiates a masterful inquiry into Des, illustrating its
underpinnings and essence.
Des is a strong presence in virtually all musical genres and the amount of available material is
voluminous. Although several estimable items have had to necessarily sit out, our panoply
gathers the finest cuts available, many of them hitherto unpublished. As a kshudra raga, much
of the expression of Des takes place in a non-khayal setting, through thumri, hori, geet,
ghazal, sadra and so on. The full spectrum of Des will be surveyed in this report and the pace
onward will be brisk, the commentary terse.
The first few selections are culled from the ‘light’ arena and they are a rich source of
variations purchased through creative license with the raga structure.
Asha Bhonsle‘s Guru Vandana warms up to the Des theme. The music is composed by
Mr. Alubhai Khan, the (naked) Emperor of San Rafael and a great afficionado of cheej pijja
(ethnopimps in Canada and America may now write a thesis on Italian influences in Indian
music): Gurur Brahma Gurur Vishnu Gurur Maheshwara.
Lacchiram‘s composition for the movie MAIN SUHAGAN HOON (1964) is textbook
Des. Mohammad Rafi ends up sounding like a rookie in the face of Asha
Bhonsle‘s phirat: gori tore naina.
Another romp by K.L. Saigal and Suraiya to Lal Mohammad‘s tune in TADBIR
(1945): milne ka din aa gaya.
The extraordinary Saigal–sahab turns the mood around in this haunting masterpiece from
DEVDAS (1935) tuned by Timir Baran: dukha ke aba dina bitata nahin.
Lata Mangeshkar and the gifted tunesmith Anil Biswas combine to create a memorable
melody for MAAN (1954): mere pyar mein.
G.S. Kohli‘s elegant composition in THE ADVENTURES OF ROBINHOOD (1965). This
time Mohammad Rafi rises to the occasion: mana mere haseen sanam.
From ANUBHAV (1971), composer Kanu Roy‘s baby is delivered by Manna Dey: phir
kahin ko’i phool khila.
Shubha Mudgal is primarily known for her vocal talents. Not as widely known are her skills
as a composer. She has tuned the verses of the 17th century poet Rasleen in this steely
rendition: bajata nagare ghana.
Lakshmi Shankar‘s plaintive plea …
… is formally elaborated upon by Malavika Kanan through the parent bandish: Eri beeti
jata barkhartu.
The ghazal expert from Pakistan, Mehdi Hasan: umada ghumada.
It is not often that one hears a vilambit khayal in Des. Roshanara Begum offers one.
The sonorous tones of Z.M. Dagar‘s rudra beena.
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K.G. Ginde wields Des through his guru S.N. Ratanjankar‘s composition. Notice the
subtle drop of vivadi komal gandhar in the tar saptak just past 0:56 into the clip. The reader
is urged to smoke it out in the other clips: eri bansuri kauna kiyo tona.
Acharya S.N. Ratanjankar himself steps up to the plate with another splendid composition
of his own making, a brisk Hori: hori khelana ko chale Kanhaiyya.
The komal gandhar is even more subtle in this popular chestnut. Shaila Datar: piya kara
dhara dekho dharakata hai.
Pushparaj Koshti, a student of Z.M. Dagar, plays sitar in the been baj of his guru in
this dhamar performance.
The next serving is decidedly the pièce de résistance of this feature. Mallikarjun Mansur on
two unpublished occasions, the first in Ichalkaranji in 1979, the second in Calcutta in the
1980s. In some commercial releases the rendition of this bandish carries “Raga Sorath” for
its label. However, Mallikarjun clearly paints the lakshanas of Des through the very devices
calculated to keep the two ragas apart, namely the uccharana of the gandhar-laden sequences
in Des. In my considered opinion, there is no better Des than Mansur’s: nahin bane.
Mansur, Des – 1.
Mansur, Des – 2.
Bade Ghulam Ali Khan, accompanied by his son Munawar Ali: kAri ghaTA.
Faiyyaz Khan‘s hori set in dhamar tala: aaja hori khelata.
A traditional cheez by Ulhas Kashalkar: ghana gagana ghana.
Among the most influential Agra figures of the second half of the last century, Khadim
Hussain Khan studied under his father Altaf Hussain and uncle Kallan Khan. Commercial
recordings of Khadim Hussain are hard to obtain and private recordings are few and far
between. We are pleased to offer this engaging mehfil: neendiya bairana bhayi.
The Gwalior doyen, Krishnarao Shankar Pandit. We wind down the Des banquet with
a tarana by Nissar Hussain Khan.
Raga Sorath
This raga is virtually extinct today. Which is ironic since the two – Des and Sorath – are
joined at the hip and the hugely popular Des derives all its genetic material from Sorath.
The gandhar in Sorath is very weak, hidden in the D–>M–>R sangati, to the point of not
being explicitly intoned. This is a splendid example of a seemingly trivial tweak setting off a
chain of unexpected returns. The increase in gandhar‘s strength imbued Des with so great a
melodic appeal that it put paid to Sorath’s days in the ring. The rest of the lakshanas coincide
with Des’s. Some few accept a stronger role for dhaivat in Sorath as another point of
departure from its ‘Des’cendent. We examine a couple of recordings in this raga.
Z.M. Dagar‘s rudra beena walks the tightrope steering clear of Des. The reader is urged to
flesh out the difference(s) by comparing this to his earlier clip of Des, in particular by
examining the treatment of the gandhar.
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S.N. Ratanjankar brings his own compositions.

Raga Tilak Kamod
Nomenclature in Hindustani music can be misleading for there is neither hide nor hair of
Kamod in Tilak Kamod. Tilak Kamod works with the same raw material used to fashion
Des. The resulting dichotomy resoundingly demonstrates the signal possibilities in the very
notion of raga: a chalan-bheda within a swara-set may lead to a radically different melodic
organism of equal or more beauty.
The essence of Tilak Kamod’s poorvanga is encapsulated in the following tonal sentence:
P’ N’ S R G S N’, S R P M G, S R G S N’…
The nyasa on mandra nishad is a key lakshana. Take stock of the relative weight
accorded shuddha gandhar here vis-à-vis Des. The rishab is now relegated from the powerful
station it occupied in Des.
The uttaranga markers are embedded in the next cluster:
S R M P N S”, S”–>P, D M G, S R G S N’…
The arohi launch is Des-like but the nishad is rarely elongated. The swoop from S”–>P is
characteristic of Tilak Kamod. Oftentimes the shuddha nishad is skipped in aroha as in M P
S”. Attention is also drawn to a mild Khamaj chhaya via D M G. The departure from Des
ought to be abundantly clear at this point.
The komal nishad is not deemed necessary in Tilak Kamod but when it occurs
an avirbhava of Des obtains. To wit: S R M P S”, S”–>P, P n D M G, P M G, S R G S N’…
Once again we pick Jha-sahab‘s brains and have him dwell on the vitals of Tilak Kamod.
There is only one soul alive in the Hindustani parampara today who has what it takes to bring
to the topic the depth and certainty of knowledge, and the precision and verve in expression:
Pandit Ramashreya Jha “Ramrang.”

We inaugurate the Tilak Kamod fest with a well-known Lata number from PREM PARBAT
(1973). The composer, Jaidev, was among the very best we’ve had in recent memory: yeh
neera kahan se barse.
Salil Chowdhary, indisputably the finest bong musician-composer ever, (and incidently the
only bong musician to be considered seriously outside Bongland) extracts an inspired
performance from Asha Bhonsle in this gem from JAAGTE RAHO (1956): thandi thandi
sawana ki.
Ravi Shankar‘s creative faculties sparkle in the Mukesh number from GODAAN
(1963): hiya jarata rahata dina-raina.
Tilak Kamod is much loved in Goa, Maharashtra and in a few other areas lying below the
Tropic of Cancer (i.e. the last remaining civilized regions of India). Dinanath
Mangeshkar‘s classic ravi mee is all too familiar. Presented here is another Dinanath
beauty, from the Marathi drama RANADUNDUBHI: vitari prakhara tejobala.
 113

That natyageeta was much later parlayed by Dina’s son Hridaynath and then handed
to Lata: gagana sadana tejomaya.
Mehdi Hasan‘s rich voice embellishes a traditional bandish composed by “Premdas”: kase
kahun more sajani.
Among Jha-sahab‘s personal favourites is his suite of compositions in Raga Tilak Kamod.
He had passed them on to Jitendra Abhisheki to whom they were very dear. The prasang in
the text is that singular episode in the Mahabharata – Draupadi’s vastraharana (disrobing).
The vilambit Roopak composition expresses with striking economy of verse and melody
Draupadi’s predicament and her call to the Lord, stunned that she is at the sight of her supine,
helpless husbands and other apathetic elders in the assemblage over Duhshasana’s outrage. It
can be an unforgettable experience, hearing these compositions pratyaksha from Jha-sahab.
mero pata rakho Murari
Bheesham-Drona baithe panwara vhai
soora sabha saba kroora vhai baithe
“Ramrang” baithe pati Parath pathara vhai
Sri Krishna responds with alacrity.
begi-begi aaye Hari
arata suni bani dhaye paga ughare
deenanatha anatha ki pata rakhi
“Ramrang” jana hita basana-roopa dhare
Jha-sahab concludes with a tarana.
The traditional composition of “Manrang” – teeratha ko saba karein – is dealt by two masters.
Ramkrishnabuwa Vaze.
Bhimsen Joshi.
The astounding beauty of Tilak Kamod unravels in this moving rendition by Bade Ghulam
Ali Khan: tana-mana-dhana tope vara.
D.V. Paluskar: koyaliya bole ambuva.
A sprightly dhun, the kind that is right up Bismillah Khan‘s alley.
The Atrauli-Jaipur vision of Tilak Kamod resides in the composition conceived in the
supremely original mind of Alladiya Khansahab and vouchsafed to Kesarbai Kerkar. The
structure of the bandish and its organic evolution in Kesarbai make for an arresting
session: sura sangata raga vidya.
The same composition, passed through the filter of Alladiya’s son Manji Khan, acquires a
few quirks as witness this treatment of Mallikarjun Mansur.

Faiyyaz Khan‘s felicity in the auxiliary genres is evident in this dadra. Liberties are taken
with the raga structure but judiciously so. The fly in the ointment is the uninspired violin
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accompaniment which fails to duplicate some of the Aftab-e-Mousiqui’s delicate graces (the
sole suspect that comes to mind is V.G. Jogstermeister): more jobana pe aayi bahar.
Raga Jaijaivanti
This raga comes in two versions, the Des-anga Jaijaivanti and the (mistakenly called)
Bageshree-anga Jaijaivanti. The former type is dominant and hence will be taken up for
discussion of the lakshanas.
Two special sancharis give Jaijaivanti away: S N’ S D’ n’ (G)R…
A small variation on the above is sometimes observed. As a sidelight, it is interesting to note
that an appropriate graha bhedam on this cluster yields intonationally and scalically a seminal
phrase of Raga Hameer: P m P G M (N)D.
P’ (G)R…
This leap from mandra pancham to rishab is a Jaijaivanti marker.
The Des influence, with its special approach to and attack on rishab, is characteristic of the
raga’s structure. The rishab lords it over as the following tonal sentences illustrate:
R G M P N S”, R” n D P D M G R
N’ S R G M G R, R P M G R
Variations of these may prevail. Needless to say, it is not possible to capture every nuance
and detail on paper. Almost always the above phrases are concluded with another Jaijaivanti
artifact: R g R S. The komal gandhar has no independent existence and is always
sandwiched between rishabs. Some versions of Jaijaivanti drop komal gandhar completely
(S.N. Ratanjankar has written a composition for this type).
The heroic role awarded to rishab will be apparent as soon as we set up the audio buffet.
Jaijaivanti carries chhayas of two other ragas besides Des, namely, Gaud (S, R G M) and
Bilaval (P D G P M G etc).
The Bageshree-anga Jaijaivanti and the Des-anga Jaijaivanti differ primarily in
their uttaranga launch. The Bageshree-anga Jaijaivanti takes off via G M D n S” and
sometimes also via G M D N S”. The Bageshree label is a misnomer – the justification
advanced is that the chalan, if not the notes, follows a Bageshree-like contour.
Pandit Ramashreya Jha “Ramrang” makes a compelling case that it is in fact Raga Gara
(not Bageshree) that furnishes the basis for this type of Jaijaivanti. We go straight
to Ramrang‘s briefing.
Lata Mangeshkar‘s invocation of Shri Rama’s name coincides with the P’–(G)R signpost of
Jaijaivanti in this Tulshidas bhajan.
The composer duo of Shankar-Jaikishan were known to whip up tunes in two shakes of a
lamb’s tail. Their recourse to ragas often produced pleasant surprises. Take, for instance, this
Jaijaivanti corker by Lata Mangeshkar in SEEMA (1955): manamohana bade jhoote.

Shankar-Jaikishan again, in TEESRI KASAM (1966), a flippant, folksy tune that filches
Jaijaivanti’s signature cluster for its mukhda: mare gaye gulfam.
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We now repair to the classical lounge. Unless otherwise stated the Jaijaivantis portrayed are
of Des-anga.
N. Aminuddin and N. Moinuddin Dagar‘s clip begins with forceful gamaka-laden alapi and
culminates in a dhamar.
Amir Khan‘s stately performance.
A peek at the Bageshree-anga Jaijaivanti via an old Gwalior bandish, treated with relish
by D.V. Paluskar: achala raho raja.
The Agra view is presented by the Atrauli-born Sharafat Hussain Khan (1920-1985).
Sharafat Hussain learnt from his father-in-law Vilayat Hussain Khan (“Pranpiya”). Most
Agrawallahs are wont to sing the Bageshree-anga Jaijaivanti. A vigorous round of nom-tom
alapi is followed by the very popular cheez composed by Aftab-e-Mausiqui Faiyyaz
Khan “Prempiya.” Recall that Jha-sahab recites it in the Jaijaivanti-speak clip to strengthen
his point concerning Gara’s influence: more mandira aba.
Krishnarao Shankar Pandit‘s rendition illustrates the diversity of treatment within the
larger Gwalior family. His is a Des-anga Jaijaivanti. A syncopated tarana by Ramashreya
Jha “Ramrang.” The final act – Bade Ghulam Ali‘s classic recording of his self-
composed bandish: binati ka kariye.
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In the Khamaj Orchard

In the comity of ragas, there is a certain class of denizens ordained to be “kshudra prakriti ke
raga” by the long arm of tradition. They are so called because of their provenance in the folk
idiom. A number of kshudra ragas are acknowledged as the mother lode of the highly
structured, expansive ragas that nest at the top of the pecking order. The heavyweights are the
preferred choice for formal classical treatment and they exercise their noblesse oblige by
marshaling the dhrupads and the khayals devoted to them. The kshudra ragas, on the other
hand, are mired in the native soil, and in sync with the pulse of the laity. They seduce us
through the many subsidiary forms such as thumri, tappa, dadra, bhajan, geet and so on. In
general, they0020do not figure in elaborate khayal or dhrupad settings and it is in this sense
only that they are deemed “kshudra” (lit. small).
Our present subject Raga Khamaj is the cock of the walk of the kshudra block. Continuing
with our exploration of the Hindustani ragaspace we now enter the inviting confines of the
Khamaj orchard where a special son et lumière arranged by the the refined and cultured
ladies of SAWF awaits us. The lark includes an added attraction – From the Carnatic
Gallery, a compendium of enchanting perspectives from the South authored by V.N.
Muthukumar, Ram Naidu and M.V. Ramana.
Throughout the discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Khamaj
Khamaj represents three separate entities: that, raganga and raga. The Khamaj that is
congruent with the 28th Carnatic melakarta, Harikambhoji, with the following scale set: S R
G M P D n. The sampoorna-jati Raga Khamaj draws on all the notes from the
parent that plus an additional shuddha nishad. The raganga kernel is encapsulated in the
following tonal clusters:
G M P D n D, M P D-M-G
S” n D P D-M-G
In the Indian musical traditions, the swaras cannot be viewed as isolated tonal units. The
Indian term “swara” should not be confused with “note” (in the sense commonly used in the
West) or a tone with a specific assigned frequency point. The idea of swara circumscribes the
‘space’ around a nominal note as well as its interaction with itself and its neighbours
mediated through kans, andolans and gamakas. This is the primary reason the essence of
Indian music and the nuance of swara cannot be effectively conveyed through the written
word or notation. It also explains why non-Indians (Westerners in particular) find themselves
at sea upon first encountering Indian music.
The curvature and intonation of Khamaj’s locus classicus, D-M-G, are vital. This arc is found
in other allied ragas but only in Khamaj is its uccharana fully realized. The tonal strips of
the raganga outlined above direct the raga’s conduct. The rishab is varjit in arohi sangatis.
The shuddha nishad, typically employed in upward movements, is on the whole subordinate
to the komal nishad. The gandhar in the poorvanga and dhaivat in the uttaranga are the
dominant swaras.
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Let us explore the raga some more.

S, G M P D n D, [S”] n D, M P D-M-G
This tonal sentence elucidates the raganga. [S”] denotes a khaTkA on the tAra shaDaj. That
is, a quick twirl of the type R”S”NS” or S”R”NS”.
G M P D N S”
G M P D n D, P D N S”
G M n D, P D N S”
G M D N S”
G M P N S”
Each of these tonal groups is a candidate for an uttaranga launch.
S, G M P D N [S”] n D, G M P DG M G, R S
Notice the langhan of the rishab in arohi runs, the deergha bahutva role assigned to D, as well
as the D-G coupling, often put to good effect.
The Khamaj terrain ranges over all manner of melodic twists and turns and has been
extensively mined. The kshudra prakriti ragas are permitted lattitude for play with vivadi
swaras and the main raga thus elaborated upon usually goes by the prefix “Mishra.”
The teevra madhyam is a prime vivadi candidate in Khamaj, used to ornament the pancham.
There are also specialized constructs involving m that lead to interesting situations such as
an avirbhava of Raga Gara – in this form, called Pancham-se-Gara – especially in renditions
of thumri and dadra.
P m P M G, GMPDnD GMDNS”nD P m P M G
Raga Gara may be explicitly invoked through a graha bhedam (murchhana) by translating the
original tonic to the pancham.
It is scarcely practicable to list the myriad variations attending the Khamaj praxis. For a firm
grasp, the raga has to do time in your mind.
Pandit Ramashreya Jha “Ramrang” kicks off with an inquiry into Khamaj structure. In the
first clip, pinched off the telephone line, he discursively addresses the Khamaj domain,
training his sights on its three principal members: Khamaj, Jhinjhoti and Khambavati. The
discourse closes with a recitation of a famous dadra in Pancham-se-Gara to illustrate the
insertion effect of the teevra madhyam indicated earlier. The reader is encouraged to be on
the qui vive for the uccharana of the Khamaj arc D-M-G.
In this second cut, Jha-sahab responds to a query initiated by Raja Kale and Satyasheel
Deshpande and clarifies the difference in intonation and curvature of the D-M-
G uccharana in both Khamaj and Bilawal situations. The parley concludes with a dramatic
recitation of Kabir’s words to drive home an important point about the nature of shruti and
the premium placed on anubhava (there is no satisfactory English equivalent of this beautiful
word) in Indian tradition.
The platter put together for this presentation features several inviting and rare delicacies. The
amount of material available in Khamaj is forbiddingly large but our gauge limits admission
to purveyors of the highest quality. Even the most exacting, fastidious palate ought to be
sated by our selection. We begin with Lata Mangeshkar‘s rendition of Narsi
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Mehta‘s bhajan, a favourite of Mahatma Gandhi. The ennobling sentiments expressed and
the tune dovetail beautifully: Vaishnava jana to.

Khamaj looms large in the folk music of Bengal. We adduce a composition of Rabindranath
Tagore rendered by Pandit Kishore Kumar, Khalifa of the Khandwa gharana. Rabby was an
extraordinary individual, a man possessed of transcendent intellect. While his appreciation of
music was deep his musical talents were rather pedestrian if Robindra Shongeet is anything to
go by. At its best his is “pretty” music. On the other hand, Pt. Kishore Kumar’s genius lay in
music and music alone, to be sure, in the flourish of his vocal brush. Although Panditji came
from Khandwa the bongs shamelessly claim him as one of their own. Even a cursory analysis
of the eigenvalues of Panditji’s personality matrix betrays not a sliver of bong influence or
trait. Panditji loved amangshor jhol, true, but the story goes that the day he discovered the
pleasures of Goan prawn curry he foreswore the sissy bong cuisine for good. Every bong
should put that in a pipe and smoke it.
Kishore Kumar‘s voice, Rabby’s bongspeak: bidhir bandhon.
K.L. Saigal‘s number from BHANWARA (1944) for master tunesmith Khemchand
Prakash offers Khamaj vistas here and there: hum apna unhe bana na sake.
Shubha Mudgal adapts an old thumri tune to a modern orchestral arrangement in her rustic,
full-throated babul jiya mora ghabaraye.
Hindi film numbers in Khamaj are legion but this one is a personal favourite. R.D.
Burman is said to have received counsel from his illustrious father S.D. Burman while
developing this tune. Lata brings a keen maternal instinct and love to flower in this flawless
take. From AMAR PREM (1971): bada natkhat hai re.
From the Marathi stage comes this crisp composition of Govindrao Tembe for the drama
MANAPAMAN, reprised in recent times by Prabhakar Karekar: ya nava navala
nayanotsava.
Next in line, a triple header from the fecund mind of Ramashreya Jha “Ramrang.” The
first, a thumri in vilambit Keharwa, is seasoned with all the essential ingredients of
Khamaj: na lage jiyara.
Another poorab-anga thumri, this time of a different design, in madhya-laya Teentala: jina
chhuvo mori baiyyan.
The final item in Ramrang‘s suite: a bandish-ki-thumri, in Ektala: bole amava ki darana.
These were Jha-sahab’s own compositions. He imbibed the thumri technique from his
guru, Bholanath Bhatt, who was regarded in his own day as one of the great masters of that
form.
The well-known traditional bandish-ki-thumri – na manoongi – has many votaries but it is
given only to ‘Aftab-e-Mousiqui’ Faiyyaz Khan to take it to the nines.
Vilambit khayal compositions in Khamaj are uncommon. More typical are sadra, dhamar,
hori, dadra, thumris, khayalnuma and tarana.
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Ulhas Kashalkar unwraps a traditional tarana (documented by Bhatkhande in his Kramik

Pustaka Malika).
Kesarbai Kerkar‘s hori reveals her consummate command of voice, its modulations
and phirat. A vivadi komal gandhar is casually dropped at 1:47 into the clip: aaye Shyam
mose khelana holi.
Among the most celebrated thumri exponents of our time, Begum Akhtar uncorks a
flavoured Khamaj: na ja balama pardes.
This thumri by Lakshmi Shankar, set to Deepchandi, is from a 1995 private mehfil. On the
harmonium is yours truly, tabla support is provided by Pranesh Khan. We join in the
climactic moments of the recital: aba na bajavo Shyam.
Nikhil Banerjee‘s fingers sing Khamaj in this delectable piece.
The richly gifted Sureshbabu Mane (1902-1953) inherited his yen for thumri from his great
father Abdul Karim Khan. Some of papa’s vocal mannerisms are replicated in the son, as
witness this recording of piyatirchhi nazariya.
True to form, the lifelong maverick Ramkrishnabuwa Vaze deals Khamaj in a brisk Ektala
composition: piya nahin aaye.
By several accounts Barkat Ali Khan was a superior thumri singer but had to content
himself playing second fiddle to his redoubtable brother, Bade Ghulam Ali Khan. Here he
presents dekhe bina bechaina.
The same thumri by Bade Ghulam Ali Khan.
We ring down the curtain on Khamaj with a delectable thumri rendition by Siddheswari
Devi: tumse lagi preeta, sanwariya.
Raga Jhinjhoti
Jhinjhoti’s warm, incandescent personality has earned for itself a permanent slot in the hearts
of Indians. Some vidwans regard it as the principal raga of the Khamaj that (see for instance,
Pandit Vishnu Narayan Bhatkhande‘s commentary in his epochal Hindustani Sangeet
Paddhati volumes) since its swara-set is exactly aligned with the parent that. The reader is
encouraged to review Jha-sahab’s very first clip above.
The distillate of the raga is represented in the following tonal sentence:
D’ S R M G, R G S R n’ D’ P’ D’ S
Jhinjhoti is best expressed in the mandra and madhya saptak. Typical forays are initiated from
the mandra P’ or D’. Jha-sahab‘s commentary has already touched upon the chalan and
associations with allied Ragas Khamaj and Khambavati. Here we shall content ourselves by
depositing a few key phrases.
P’ D’ S R G M G, M G R G S, R n’ D’
This inchoative arohi movement is typical. The gandhar assumed a nyasa bahutva role but
only in the avarohi direction.
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S R M P D n D, P D-M-G, R G S R n’ D’ S
The gandhar is skipped (langhan alpatva) in arohi movement. The sentence is pregnant with
the Khamaj raganga morceau D-M-G, although its intonation differs just a shade from that
plied in Raga Khamaj.
R M P D n D, P D S”, S” R” n D P, D P M G, M G R G S
A sample uttaranga-bound foray. The andolan of n is a point of note.
It should now be obvious to even women and children that Jhinjhoti’s vakra build demands
special tonal construction and careful handling of swara uccharana. In the hands of a master
the raga exudes a magical aroma.
We begin with the soothing strains of dohas from Tulsidas‘s Ramcharitamanas, in Lata
Mangeshkar‘s voice.
The Jhinjhoti exemplar from the Hindi film genre – Kishore Kumar borrows a tune from an
earlier era for JHUMROO (1961) and casts it into a wistful jaunt down memory lane: ko’i
humdum na raha.
Ramrang‘s exquisite composition is hobbled by fractured sound quality. Nonetheless we
have salvaged and pieced together the outline: tana mana dhana main to varun re.
A burst of nomtom alap precedes this dhamar by Agra’s Vilayat Hussain Khan “Pranpiya,”
assisted by his son Younus Hussain Khan: hori khelata Nandlal.
The Maihar statement from its distinguished representative, Ravi Shankar.
From the Rampur-Sahaswan desk, a tarana by Mushtaq Hussain Khan.
The piece de resistance: Abdul Karim Khan‘s supreme rendition, the abiding masterpiece
that gives the rest the look of schoolboy howlers: piya bina nahin.
Raga Khambavati
This Khamaj affiliate draws on both Khamaj and Jhinjhoti for its genetic blueprint. A
soupçon of Mand is thrown in for good measure and a special sanchari G M->S designed to
be Khambavati’s signature rounds off the theme. The reader is once again urged to
review Jha-sahab’s first clip.
Let us amplify on the highlights heuristically as Jha-sahab has done in his own Volume III
of Abhinava Geetanjali.
S R M P, M P D n n D, n D P D S” R” n
This tonal sentence is redolent of Jhinjhoti.
S n D P D-M-G
This appeals to the Khamaj raganga.
S” D n P D M P G M->S
A strand of Mand is terminated with Khambavati’s signature. The molecule G M->S contains
a soft meend from M to S. With N in lieu of n the tonal construct above yields
an avirbhava of Mand (with appropriate insertion of R), a point recorded by
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Pandit Bhatkhande and also remarked upon by Jha-sahab. Occasionally the shuddha
nishad is observed in uttaranga movements en route to the tar saptaka shadaj: M P N, N S”.
We open with D.V. Paluskar‘s classic recording of the “Daraspiya” (Mehboob Khan)
composition, aali ri main jagi. The colophon can be heard in the antara. Keep your ears tuned
for the G M->S signature.
Another traditional favourite, sakhi mukha chandra in Jhaptala, developed beautifully
by Basavraj Rajguru.
Vazebuwa‘s take on the same composition. Notice the M P N foray in the uttaranga at 0:27.
Ramzan Khan of the Delhi gharana sings a composition of Mamman Khan, a leading
figure of that school. Mamman Khan (d. 1940) was an expert vocalist and sarangi player and
had for his students such notables as aarangi-nawaz Bundu Khan.
Narayanrao Vyas presents a composition of his brother Shankarrao: chalo ri aaja.
The Atrauli-Jaipur vocalists render a private version of Khambavati. Here the pancham
is varjit and the swara contour is: S G M D n. The signature G M->S is retained and helps
ward off Rageshree. The rishab is occasionally touched in the tar saptak. All these points are
summarized by Ashwini Bhide. Note that Daraspiya’s composition is now co-opted to this
version.
Finally, another variation offered by the eminent Atrauli-Agra ustad, Azmat Hussain Khan.
The reader is invited to take his own measure.
Raga Tilang
This exceedingly sweet (“karnapriya“) raga is attained to by eliminating R and D from Raga
Khamaj. The surviving audav contour assumes the following form:
S G M P N S”::S” n P M G S
But a mere scale does not a raga make. Tilang’s highlights are summarized below:
G M P n P M G, S
G M P N S” n P G M G
Notice how the avarohi movement drops M and embraces P-G in the second instance. A
momentary hint of Bihag through G M P N is eradicated by subsequent construction.
G M P n P N S”, P N S” G” S” N S”R”NS” n P G M G
The rishab is verboten in textbook Tilang but it is common practice to deploy it in the tara
saptak.
Like most of the ragas in this feature, Tilang springs from the folk music of the land.
A Rajasthani wedding song of the Manganiars carries the germ.
S.D. Burman‘s keen appreciation for this raga is established in the next two numbers.
Perhaps nobody else exploited Kishore Kumar‘s depth and range to the degree Burmanda
did. S.D. Burman came from Tripura (not Bongland, mind you) and is rightly considered one
of the most creative musical minds of our time. First, the song from YEH GULISTAN
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HUMARA (1972). The mise-en-scène has Dev Anand drooling around a succulent, luscious
Sharmila Tagore (a bong, alas): gori gori ga’on ki gori re.
From SHARMILEE (1971), Kishore‘s sardonic kaise kahen hum.
Omkarnath Thakur, deft and delicate: nanadiya kaise neera bharo.
Once again, the irrepressible Vazebuwa.
Laxmibai Jadhav, a contemporary of Kesarbai and an affiliate of the Baroda Darbar, was
trained primarily by Atrauli-Jaipur’s Haider Khan (brother of Alladiya Khan). Her thumri in
Mishra Tilang is interesting for its liberal use of the dhaivat. Also notice the
beautiful chhaya of Raga Nand introduced around 0:15 into the clip: deejyo mori navranga
chunari.
Sureshbabu Mane: dekho jiya bechaina.
We wrap up the Tilang round with Abdul Karim Khan. Watch out for the caress of the tar
saptaka komal gandhar at 3:27 into the clip.
Most of the remaining Khamaj derivatives addressed below have a somewhat localized
compass, their performance limited to specific gharanas or performers. We will make short
work of these melodies, touching upon their pertinent features.
Raga Kambhoji
In recent times this raga has come under the exclusive dominion of the Dagar clan. It has a
strong resemblance to Jhinjhoti but a difference in formulation (chalan bheda) keeps the two
apart. The madhyam is skipped in arohi sangatis thus provoking a chhaya of Kalavati.
The andolita n and Jhinjhoti prayogas cut a familiar story.
G P D, P D, D P M G, R M G
G P P D D n D, n D S”, P D S” R n, D, P
The senior Dagar brothers, N. Aminuddin and N. Moinuddin, turn in a splendid
performance.
Dagar alap.
Dagar dhrupad.

Raga Khokar
This is primarily an Atrauli-Jaipur specialty although its altered states are found elsewhere
(vide Vazebuwa‘s Sangeet Kala Prakash). Govindrao Tembe suggests that Khokar may be
viewed as a variant of Bihagda (vide Kalpana Sangeet). Bihagda itself is fashioned from an
interplay of Khamaj and Bihag. The attack on the komal nishad here is pronounced and
suggestive of Shukla Bilawal (also a Khamaj-infected prakar of Bilawal).
The ineffable splendour of Kesarbai Kerkar‘s performance is overwhelming. One
instinctively senses a higher musical force at work here. The conception, execution and
resolution of her tans as they take flight, soar and eventually swoop back into the orbit of
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the tala make for a awe-inspiring spectacle. Kesarbai’s artistry blew the curve, instituting for
us a new touchstone for what defines the ne plus ultra. This bandish set in Jhaptala locates
its sam on the dhaivat: mukha chandra.
On the heels of Kesarbai, Mallikarjun Mansur holds his own with the same bandish. It is a
tough act to follow but Mansur’s display is nothing to sneeze at.
Raga Champak
To the casual ear this uncommon raga will sound no different than Khambavati. However, the
latter’s key G M->S marker is absent in Champak. Another point of difference is the
relatively higher importance accorded the madhyam.
Narayanrao Vyas alternates his ascent between G M P D S” and G M P D N. The komal
nishad enters via the avarohi S” R” n cluster. The keen reader is encouraged to ferret out
additional points of departure from Khambavati: bana mein bajavata bansi.
Omkarnath Thakur‘s version takes a different turn. There is no shuddha nishad and the
development devolves into hairsplitting with Khambavati. The cheez is set to fast-ish
Jhoomra: maga jai ho.
Raga Deepak
This raga figures prominently in the mythos surrounding Tansen. Three types of Deepak have
been traditionally acknowledged, subject to their that – Bilawal, Poorvi and Khamaj –
affiliation.
The melodic activity of the Khamaj-that Deepak spans the mandra and madhya saptakas for
the most part. The key phrases are:
S, R n’, D’ P’, P’D’ P’D’ M’, P’ N’, N’ S
SR SR (S)N, S M G, R S
S, GMPD, M, P n D, P, PD PD M, P G R S
K.G. Ginde presents a vilambit composition of his guru, S.N. Ratanjankar: chaunka
puravo.

Raga (Khamaji) Bhatiyar

Khamaji Bhatiyar bears no kinship to the very popular Bhatiyar of the Marwa that. In this
type, there are chhayas of Khambavati, Jhinjhoti and Sindhura. The andolita komal gandhar is
clearly discerned in this recording of Bande Hussain Khan, a member of the same extended
family as Faiyyaz Hussain and Ata Hussain: Mahadeva Shiva Shankara.
Raga Gavati
Although the swaras of this raga nominally line up with the Khamaj that, they do not carry
the burden of the Khamaj raganga. The following chalan captures Gavati’s essence:
G M P (S”)n S” (P)D, P, D M P G M R n’ S
S M, M P G M P n, S”, P n S” (P)D, P
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Gavati is also known as Bheem. Some distinguish the two by adding to the latter a vivadi
komal gandhar in the tar saptaka. Note that this Bheem is not the same as that of the
Kafi that. For further discussion on Bheem/Gavati the reader is referred to Ramrang‘s
Volume 2 of Abhinava Geetanjali.
Bade Ghulam Ali Khan is said to have taught Gavati to the great Carnatic vocalist G.N.
Balasubramaniam who reciprocated by teaching Raga Andolika to BGAK. The druta
bandish in this BGAK recording (para na payo) is cited in Ramrang’s essay. Bade Ghulam
Ali Khan‘s unpublished Raga Gavati.
This 1960s recording of Nazakat Ali and Salamat Ali Khan is a modern classic.
We conclude with Jitendra Abhisheki‘s performance where he sings two compositions
of Ramrang, the vilambit khayal, aasa lagi tumhare charana ki and the druta cheez, humari
para karo Sai.
This brings us to the end of our excursion. We have addressed almost all of its important
members of the Khamaj family. Khamaj-that ragas such as Des ply their own raganga and
thus merit a separate feature which we hope to bring to you in the fullness of time
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Bhimpalasi Inc
The ati-madhur and ati-priya Raga Bhimpalasi has the penetrating power to infect the human
mind and control it for days and weeks on end. There is as yet no known antidote to the
Bhimpalasi contagion. Fortunately, it strikes only those with a mind and so the damage is
restricted to a very small fraction of humanity. My first memories of this expansive, orphic
raga hark back to the many bhajani utsavs in Goa I had the good fortune to be part of as a lad
in shorts. Here I invite you to join me on what promises to be a balmy afternoon cruise
through the enticing waters of Bhimpalasi. This special package also comes with a guest
contribution, From The Carnatic Gallery by V.N. Muthukumar.
Raga Bhimpalasi
The constituent swaras of Bhimpalasi are drawn from the Kafi that corresponding to the 22nd
Carnatic melakarta Kharaharapriya: S R g M P D n where M = shuddha madhyam.
The aroha-avarohana set may be stated as:
n’ S g M P n S”::S” n D P M g R S
The aroha-avarohana barely betrays the rich fund of melodic promise vested in this mode.
The very idea of raga impels us to look for fulfilment beyond mere scales. The insight,
intellectual leap, and abstraction required to ferry us beyond a scale and into the raga realm
must be considered a signal achievement in the history of music.
Bhimpalasi traces its antecedents to the almost defunct Raga Dhanashree of the
Kafi that (Note: Dhanashree of the Bilawal that is still occasionally performed, and hence the
clarifier). In Dhanashree the primary aroha-avaroha contour sketched above is retained, but it
is instead characterized by a dominant pancham. When the accent is shifted off
the pancham and the madhyam is advanced, the result is an avirbhava of Bhimpalasi and it is
precisely this preponderance of the madhyam (nyasa bahutva) that bestows on Bhimpalasi its
allure.
The kernel of Bhimpalasi is encapsulated in the following tonal movement:
P’ n’ S M… S g M, M g M g R S
Notice the M-centric nature of the phrase and the reprise of M g.
Supporting movements are:
n’ S g R, S, n’ S M, M P, g M P n D, P
The rishab and dhaivat are langhan (skipped) in arohi movements but assume the role
of deergha bahutva in avarohi runs. There is symmetry in the elongation of R and D through
the clusters n’ S g R and M P n D, respectively.
M P g M P (S”)n, n S”, P n S” g” R” S”
The typical launch vehicle for the antara.
S” n D, P, D (P)M P (M)g, M, M P (M)g M g R, S
The descent looks innocuous but there are always those gotchas to watch for. A spurious
phrase of the type n S” D P may soil the development (we shall have occasion to experience
this event later from a great master).
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Obiter dictum: Some musicians, notably from the Agra school, view Bhimpalasi as a union of
two component ragas, viz., Bheem and Palasi. Accordingly, their Bheem drops
the rishab altogether and Palasi the dhaivat (the Bheem of the Khamaj that is today better
known by the name “Gavati”). There is a recording of Faiyyaz Khan in Raga Bheem (not
adduced here).
The innards of Bhimpalasi are irradiated in this delightful clip of Pandit Ramashreya Jha
“Ramrang” gleaned off the telephone line. Jha-sahab holds forth gloriously for over 5
minutes with economy of word, stripping the raga bare until its essentials emerge with clarity.
Seldom are the virtues of scholarship and expression joined in a single person and when
someone of such persuasion comes by, every word he or she utters in their area of expertise
ought to be captured on tape.
Ramashreya Jha “Ramrang” on Bhimpalasi.
The reader is now invited to participate in a sumptuous Bhimpalasi spread. Several selections
in this cornucopia are out of the ordinary and every item has something substantial to say or a
nook to illuminate. Bhimpalasi’s penetration in genres outside classical proper is a matter of
common knowledge. Through numerous folk, film, stage and devotional songs, in varied
languages, the raga has wedged its way into the subcutaneous regions of the Indian melodic
ethos.
Shankar-Jaikishan‘s number from DIL TERA DIWANA (1962) is perhaps the most
enchanting from the Hindi film department. For reasons unknown it is seldom quoted in a
‘light’ catalogue of Bhimpalasi. Mohammad Rafi and Lata Mangeshkar: masoom chehra.
Marathi stage music can never adequately discharge its debt to Bhimpalasi. From the drama
SWAYAMVAR, Bhaskarbuwa Bakhale‘s tune and Kumar Gandharva‘s voice: svakula taraka
suta suvara.
Abdul Karim Khan‘s rendition from the play MANAPAMAN was set to music by Govindrao
Tembe. The rocketing intensity and safa’i of Khansahib’s tans inspire awe: prema seva.
A complete suite in Bhimpalasi by Ramashreya Jha “Ramrang” inaugurates the classical
parade. The vitality and spontaneity of Jha-sahab’s delivery dispense delight. There is the
occasional shoptalk and a histrionic moment or two dotting this memorable entrée.
The vilambit Roopak bandish is structurally significant for the decisive placement
of swara and words at key positions in the tala cycle. Take note of the unusual location of
the sam, on the mandra komal nishad.
mandara kaba aave piya deho bichara beera bamanava
lagana batade pee avana ki “Ramrang” de’oon dakshina jo mana bhave
The next three items are druta compositions one of which is a tarana.
Ramrang – 1.
Ramrang – 2.
Ramrang – tarana.
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In this dhrupad recital of the senior Dagar brothers N. Aminuddin and N. Moinuddin, a small
strip of sargam adds a surprise element.
Savour the athleticism in “Aftab-e-Mousiqui” Faiyyaz Khan‘s alap.
Faiyyaz Khan, dhamar.
Gwalior’s Sharatchandra Arolkar took taleem from Krishnarao Shankar Pandit and the latter’s
uncle Eknath Pandit.
Amir Khan‘s Bhimpalasi has a problem that has been hinted at earlier and reinforced by Jha-
sahab in his “Bhimpalasispeak” (although he does not name names). To wit, the n S” D
P prayoga. To aggravate matters the errant cluster has been placed squarely on the mukhda.
Another issue concerns the madhyam treatment – Khansahib appears hesitant to give
that swara its due. These transgression of raga notwithstanding, his voice is in fine fettle and
the consuming barhat makes this unpublished recording a treat: kagava bole.
The next three items are drawn from the Atrauli-Jaipur contingent. Kesarbai Kerkar‘s
recording is of poor audio quality but it is still possible to get at her wondrous performance.
In our times in the realm of Hindustani music – vocal and instrumental – only Kishori has
equalled, but not surpassed, Kesarbai’s level of musicianship.
Notice the beautiful dhaivat-laden prayogas in Mallikarjun Mansur.
Kishori Amonkar‘s unpublished Bhimpalasi is one for the gods, almost certainly the greatest
exposition of that raga on tape.
In his exegetic volumes Hindustani Sangeet Paddhati, Pandit Vishnu Narayan
Bhatkhande refers to a variant of Bhimpalasi obtained by
rendering komal both rishab and dhaivat. Evidence for this is provided by Allauddin
Khan Maiharwale in a marvellous clip which also has him reciting the bandish.
Baba Allauddin Khan had to undergo unimaginable hardship in his quest for musical
enlightenment. This great sage remained a lifelong devotee and student of music. His boy, the
naked Emperor of San Rafael, on the other hand, is a disgrace who has squandered his time
and gifts on ragtag and bobtail American and European material. Whereas Baba Allauddin
attracted several remarkable students, Ali Akbar has been a magnet for hippies of
insignificant musical ability (if at all any effort has to be expended in that direction we must
endeavour to attract a better kind of American to our music). Ali Akbar Khan’s musical
growth stopped long ago. Living off the musical capital inherited from his father does not
count for greatness or qualify for worship. The phenomenon to which he has succumbed is
not unusual. The quote from Edward Gibbon‘s Decline and Fall of the Roman
Empire appositely summarizes his situation: “…But the frequent and familiar companions of
the great are those parasites who practise the most useful of all arts, the art of flattery; who
eagerly applaud each word and every action of their immortal patron; gaze with rapture on
his marble columns and variegated pavements, and strenuously praise the pomp and elegance
which he is taught to consider as a part of his personal merit…”
Recent concert announcements tell us that Mr. Khan is a “Swara Samrat.” There ought to be a
law of Nature that imposes a limit on men’s fantasies. “Besura Bumrat” is what comes to
mind if you listen to the fellow these days.
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Moving along, a couple of Kirana contributions.

Roshanara Begum‘s legwork in the uttaranga…
…and its conclusion by Gangubai Hangal.
Vasantrao Deshpande‘s dégagé style works up a magical ambience. The sam is placed
on rishab in this excerpt.
A textbook Bhimpalasi and its author, Jitendra Abhisheki.
Ghulam Mustafa Khan‘s rugged voice supplies the Sahaswan-Rampur viewpoint.
The dependable Fateh Ali Khan of Patiala.
The familiar old release of Bade Ghulam Ali Khan: beguna gaye.
The senior Dagars take a break from dhrupad and step into the demesne of khayal.
We wrap up the Bhimpalasi proceedings with a violin solo by M.S. Gopalakrishnan.
Although MSG is a peerless virtuoso his Bhimpalasi leaves something to be desired.
Raga Dhani
Jha-sahab addresses Dhani in the latter portion of his “Bhimpalasispeak” above. This audav
jati raga contains the following swaras: S g M P n.
In contrast to Bhimpalasi, the influence of madhyam is severely diminished and instead
transferred to the gandhar. In some treatments the rishab is solicited in avarohi movements.
Very occasionally the dhaivat (shuddha and/or komal) is reined in as a vivadi. Dhani is
considered a kshudra raga fit for a chanchal, ‘lighter’ treatment, and is immensely popular in
folk and auxillary genres despite the short shrift given it in Bhimpalasi’s presence. In the
Western hemisphere only the African-American musicians have done something worthwhile
with Dhani’s scale.
Consider a sample chalan: n’ S g, gRSn’ P’ n’ S g, SgMP g, n P g S
Of the many choices available in the ‘light’ arena we have culled three. S.D. Burman‘s
splendid composition in SHARMILEE (1971) was recorded separately in two voices of
which the Kishore Kumar version is superior. The teevra madhyam in the antara is a classic
Burman-esque flourish: khilte hain gul yahan.
From HUM DONO (1961), this is the number most identified with Dhani. There have not
been many composers of Jaidev‘s calibre. Catch both the dhaivats here, used to stunning
effect. Sahir Ludhianvi‘s lyrics and Lata‘s flawless delivery elevate it to the ranks of the
classics: Prabhu tero nama.

Another world-class composer, Jitendra Abhisheki, stretched his talents on the Marathi stage.
The next item is a good example of his agility. Recall the natyageeta, gheyi chhanda
makaranda based in Raga Salagavarali – vide The Empire of Todi. Here he turns it upside
down by re-tuning it in Dhani and passing it on to Vasantrao Deshpande.
Ramrang‘s captivating composition, la de la de.
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la de la de chunara piya dhani ranga ki

manabhavani hulasavani navarasasani saba gunakhani
la de chunara more meeta piyarava
pahira lagun tore garava “Ramrang” angiya suhavani
It is rare to have on tape a great vaggeyakara transferring his composition to a pupil. Jha-
sahab gives taleem to Shubha Mudgal.
Jha & Mudgal – 1.
Jha & Mudgal – 2.
Yet another Ramrang composition, a different design this time: murakayi kahe Kanha’i mori
baiyyan.
The next composition was picked up by Ramrang when he was still wet behind his ears. The
composer “Vyakul” (the mudra is stamped in the antara) of Ayodhya was with the drama
company that Ramrang worked for at the time. The mukhda is launched from the
11th matra of Teentala: tore more mana bhavaniyan.
A piquant shuddha dhaivat begs for attention in this Kumar Gandharva cheez: aa’i ruta aa’i.
We close the Dhani chapter with C.R. Vyas: E manava tuma na jane.
A quick survey of three allied ragas follows.
Raga Patdeep
The swaras employed in Patdeep map to the 23rd Carnatic melakarta Gourimanohari: S R g
M P D N. The rishab and dhaivat are varjya in arohana, thus making the scalar profile
congruent to Bhimpalasi with a shuddha nishad. The crucial point is that Patdeep is carved
out of the Dhanashree raganga which means the pancham – not the madhyam – gets top
billing. Other artifacts of Dhanashree are also observed such as the P-g sangati. A heuristic
set of runs is developed below.
N’ S g (S)R, S, N’ S g M P
The mandra nishad is typically the origin of tonal activity. The rishab receives a kan of
the shadaj and the action quickly gravitates to the pancham.
N’ S g M P g, g M P N, D, P
The gandhar is deergha bahutva in arohi and nyasa bahutva in avarohi sancharis.
The dhaivat is elongated as in Bhimpalasi, the nishad is nyasa bahutva.
M P g M P N, N (D)N S”, N S” g” R” S”, N S” D, P
The first half is a typical antara foray. Notice that the nishad is sometimes skipped in the
descent from the tar saptaka shadaj.
S.D. Burman‘s tune in SHARMILEE (1971) flags off our Patdeep rally. Lata
Mangeshkar, meghachhaye adhi rat.
Raga Hamsakinkini
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This Dhanashree anga raga employs two gandhars and two nishads, which makes for a rather
busy swaraspace. There are chhayas of both Patdeep and Piloo. The highlights are stated
simply as follows:
S G M P, G M P g, R S
G M P n D, P, G M P N, S”
S” g” R” S”, n D P, D M P G, M P g, R, S
Lata Mangeshkar‘s delectable rendition in NAYA ZAMANA (1957) for composer Kanu
Ghosh is (surprisingly) moored in Raga Hamsakinkini.
An old “Sadarang” composition courtesy D.V. Paluskar.
Krishnarao Shankar Pandit‘s unpublished recording packs memorable moments. The
declining approach to the komal gandhar is some piece of work: tero mana maya.
Kishori Amonkar treads delicately.
Raga Pradeepaki or Patdeepaki
The Kafi-that Pradeepaki (there is also one of the Bilawal that) is complementary to
Hamsakinkini. Whereas the latter is given the Dhanashree treatment Pradeepaki is affiliated
with the Bhimpalasi anga. Which means the madhyam is the dominant, controlling swara.
Four selections are offered. The quirks in these treatments are left as an exercise to the
curious reader.
Maniram.
Bhimsen Joshi.
Latafat Hussain Khan.
And to close out this session, the Agra veteran Khadim Hussain Khan.
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Shankara – Lord of Ragas

Shankara is an epithet of Lord Shiva whose primal association with music & dance have long
been a source of inspiration to Indians. The image of Shiva as Nataraja has moved millions of
hearts and fired the imagination of artists through the ages. This leitmotif is a powerful
stimulus to many an intoxicated soul, a spoor to the creative impulse as it searches for the
ideal sounded in the famous apothegm: Satyam Shivam Sundaram (Truth Divinity Beauty).
Raga Shankara’s immense popularity and prestige derive not merely from a share in the
Lord’s name. The raga is the musical embodiment of His personality, comporting with all its
attributes: raudra, veera, irrascible, volatile, capricious and, above all, cool. This high-
powered melody is the subject of our present exposé.
Throughout the ride, M = shuddha madhyam and m = teevra madhyam.
Raga Shankara
This shadava jati raga employs all shuddha swaras except madhyam and is filed under the
Bilawal that corresponding to the 29th Carnatic melakarta, Shankarabharanam. Two
definitive threads constitute Shankara’s woof and they are:
(1) S (P)G P, P (R)G–>S (poorvanga marker)
(2) G P N D S” N (uttaranga marker)
A swara in parenthesis represents a kan (grace) imparted to the one following it.
Let us amplify on the dominant themes. In (1) above, the gandhar receives a tug
of pancham in arohi prayogas – S (P)G P – and a kan of rishab in avarohi prayogas – G P
(R)G . The “–>” placed between G and S denotes a meend-laden retreat grazing rishab en
route (a la Bihag). The rishab‘s role is paradoxical – it is durbal (weak) yet vital for the
manner in which it services G and P.
In the uttaranga signpost (2), nyasa on N following G P N D S” N is required. An abhasa of
Bihag prevails but the absence of M keeps it in check. The Bihag-like movement N–>P,
grazing D along its declining locus, is the uttaranga foil for the G–>S gesture indicated
earlier; a little reflection shows how the Bihag presence permeates Shankara’s strata.
Obiter dicta: P and N are crucial nyasa sthanas. The rishab is occasionally brightened for
effect in the tar saptak as in, say, PP N S” R, S”. This may induce a tirobhava by inviting
Hamsadhwani where rishab is dominant. The dhaivat is subdued, descried in quick clusters
such as SGPDPP or GPDGP.
The aprachalita Raga Malashree (to be treated later in this feature) has a mild alliance with
Shankara but there the dhaivat is varjit. Comparisons are often drawn between Shankara and
Hamsadhwani but the points of departure are significant and should be evident by now.
Linear up and down runs, the norm in Hamsadhwani, do not sit well with Shankara. Instead,
the tans are conceived in zigzagging clusters such as SGPDPPNDPP, GPNDS”NPP and so
on.
The foregoing raga behaviour is now amplified through actual demonstration. An aroha-
avarohana set is first proposed (D and R are not explicitly depicted in the grazing instances
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described earlier). Bear in mind that the aroha-avarohana is a basic mnemonic device and is
of limited value in understanding the finer points of raga structure.
S, (P)G P, N D S” N, S” :: S” N–>P, G P (R)G–>S
A sample chalan ropes in the highlights (the square bracket around S” signifies
the gamaka centred around it):
S (P)G P, G P N D [S”] N, G P N S”
P N S” G”–>[S”] N, P N D S” N–>P, G P DG P (R)G–>S
The vocalist in the above clips is Nachiketa Sharma.
Assembled on the Shankara tableau are many of the finest recordings extant. Its praxis is
fairly uniform throughout the Hindustani landscape, its dhatu regnant across almost all
stylistic and regional schools. The variations, where they prevail, are primarily in
the pramana (proportion), in particular the treatment of rishab. The textual content of most of
the compositions speaks to the Lord Shiva’s visage and mien. I intend to keep the
commentary terse from this point on as we make our way through the catalogue.
We begin with K.L. Saigal‘s gem, composed by Khemchand Prakash for the movie
TANSEN (1943). The mise-en-scène has Saigal-sahab pacifying an agitated pachyderm: rum
jhum rum jhum chala tihari kahe bhayi matwari.
Saigal’s tsunamic splashdown on the Indian musical shores in the early 1930s brought with it
radically new waves of musical expression. The germ of Pandit Kishore
Kumar‘s gayaki can be laid directly at Saigal’s door. Under Rajesh Roshan‘s direction in
DES PARDES (1978) Panditji offers an unusual twist on Shankara.
From SUSHEELA (1963), Mubarak Begum, for composer C. Arjun: bemuravvata
bewafa.
The brilliant Dinanath Mangeshkar of Goa died young (in 1942) but his samskaras live on
in his daughters Asha and Lata. Among his most famous renditions: Shankara bhandara
bole.
Shankara’s virile bearing comes to flower in the intonational certitude inherent to dhrupad-
dhamar gayaki.
N. Zahiruddin and N. Faiyazuddin Dagar‘s dhamar: chaunka pari ho.

This dhrupad set to Sooltala of 10 matras is from a live Gundecha

brothers performance: varun ri mriga drgana ko.
Siyaram Tiwari‘s full-bodied, forceful style originates in a different stream of
the dhrupad tradition with its roots in Darbhanga, Bihar: Hara Hara Mahadeva.
The canonical vilambit khayal of “Manrang” invokes Lord Shankara while paying tribute to
the khayal pioneer, Nyamat Khan “Sadarang.”
Basavraj Rajguru‘s old All India Radio recording: Ada Mahadeva been bajaa’i, Nyamat
Khan piya Sadarang kara karama dikhaa’i.
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Bhimsen Joshi has recorded some forgettable Shankaras in the 1980s. This cut of a
traditional chestnut, so janu re, barely passes muster. Keep your ears peeled for the brush
with teevra madhyam (a la Shuddha Kalyan), first heard ~ 0:34 into the clip.
Roshanara Begum redraws the popular druta composition, mAthe tilaka dhare, fitting it
to vilambit Ektala.
An impassioned cri de coeur by Anjanibai Lolienkar of Agra gharana: balama balama
balama.
Mr. Jasraj (of Viagra gharana) responds by lending a free hand to his spiritual libido. The
musician in Banditji occasionally threatens to break out: vibhushitananga riputtamanga.
Abdul Karim Khan‘s felicity with swara is stamped all over this recording. The caress of
the dhaivat at ~ 0:06 is delicious. Watch out for a Hamsadhwani-like PNS”R G (~ 0:35) : eri
aaja suhaga.
Also check out his 1905 vintage tarana.
Several renditions of the popular kala na pare are in circulation. My pick is this stylish assay
by Sawai Gandharva.
Kumar Gandharva makes the dust fly in an erumpent display. The composition is his very
own:
sira pe dhari Ganga, kamara mruga chhala
mundaki galamala, hatheli soola saje
Pinaki mahagyani, ajaba roopa dhare
dulata dula aave, dimaru dima baje
A habit of listening regularly to Kesarbai Kerkar has the effect of rendering one intolerant
of mediocrity. Everything about her music is stupendous and those tans, the living end. This
composition is in madhya laya Jhaptala, aaye ri.
My choice for the finest Shankara in this collection, perhaps the greatest Shankara recording
there is: an unpublished mehfil of Kishori Amonkar. It is only given to those possessed few
to do music at this level. The traditional bandish, anahata ada nada bheda na payo.

Basavaraj Rajguru re-vists with an Agra hottie conceived by one of that school’s influential
composers, Tasadduq Hussain Khan “Vinod Piya” of Baroda. Take measure of the
syncopation: aiso dheeta langara kare jhakajhori.
The same cheez, performed on the sitar by Vilayat Khan.
Ramashreya Jha “Ramrang” has composed delightful melodies in Shankara, most of them
yet unpublished. His Shiva-stuti is informally sketched by Shubha Mudgal specially for this
feature: chandrama bhala biraje.
Swara-smithing is Bismillah Khan‘s forte and this old All India Radio recording, pure ear
candy.
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In his day, Rajab Ali Khan (1874-1959) was known as much for his musical acumen as for
his picaresque ways. A master vocalist, he was also proficient on the rudra veena, sitar and
jala-tarang. Several musicians of high standing learnt from him, among them his precocious
nephew Amanat Khan, Nivruttibuwa Sarnaik, Ganpatrao Dewaskar and others. Lata
Mangeshkar is said to have taken taleem from Rajab Ali during her apprenticeship under
Amanat Khan in Mumbai. Note that Amanat Khan (Rajab Ali’s nephew) and Aman Ali Khan
Bhendibazarwale are two different musicians. Amir Khan was influenced by both of them. [I
would like to thank Jyoti Swarup Pande and Debashish Chakravarti for their input in
clarifying this.] Prof. B.R. Deodhar‘s published analects contain several charming stories of
Rajab Ali (see Appendix at the end of this essay). Some of his archived recordings have been
made available in recent years, among them a Shankara. We have heard
this bandish earlier: mathe tilaka dhare.

That cheez also shows up with an emended mukhda as witness the Gwalior treatment
by Narayanrao Vyas.
It is also Mohammad Hussain Sarahang‘s choice for a soirée in Kabul.
Our Shankara expo concludes with an old Gwalior favourite, sanwal do mhane bhayo,
by Malini Rajurkar.
Three basic prakars of Shankara – Shankara Bharan, Shankara Karan and Shankara Aran –
have been traditionally acknowledged and all of them have gone out of fashion. Furthermore,
no consensus prevails on their swaroopa. A hybrid involving Kedar and Shankara known as
Adambari Kedar, has been discussed in an earlier feature (see On the Variants of Kedar). In
the remainder of this article we briefly address a few allied Shankara melodies.
Raga Shankara Bharan
The few old surviving dhrupads are at sixes and sevens over the nature of this raga. Typically,
the basic Shankara frame is extended with one or both madhyams. In the version advanced
by Ali Akbar Khan, a soupçon of Bihag and Kalyan is injected via the two madhyams.
The teevra madhyam is subtle, a la Shuddha Kalyan: P->m->G. The tonal phrase G M N–
>D–>P stands out.
Raga Shankara Karan
Mr. Alubhai virtually eliminates the rishab and ropes in elements of Khamaj via the komal
nishad. The play on two nishads is masterly, so are the prayogas involving the madhyams.
K.G. Ginde purveys a very different Shankara Karan. Here, too, the rishab is severely
diminished. The teevra madhyam is deployed to evoke chhayas of both Kalyan and Hindol.
The compositions are due to Ginde’s guru, the great vaggeyakara, S.N. Ratanjankar.
Raga Shankara-Bihag
Rais Khan exploits the collegial kinship of Shankara and Bihag in this winsome hybrid.
An enchanting recital in this jod-raga by the grand old man of Gwalior Krishnarao Shankar
Pandit: nijapada davi atritanaya.
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Raga Malashree
This old raga stands out for its use of just four swaras: S, G, P, N. The nishad is alpa which
further reduces the tonal space for elaboration. In performance, however, teevra madhyam is
sometimes employed as in P-m-G.
Pandit Ramashreya Jha “Ramrang” gives a tonal briefing peppered with pertinent remarks.
We ring down the curtain with Alubhai.
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Asavari & Associates

Our incurable wanderlust through ragaspace brings us to the next port of call: Raga Asavari.
With its cachet as an elemental raga in the Hindustani firmament, Asavari’s counsel and
influence have profoundly shaped the Indian musical imagination. Today’s installment is an
inquiry into this engaging melody and its derivative ragas, or Asavariants, as I like to call
them.
Asavari is a very ancient raga as is the allied Raga Gandhari; both find mention
in Sarangdeva‘s treatise Sangeeta Ratnakara. In his great exegesis, Hindustani Sangeet
Paddhati, Pandit Vishnu Narayan Bhatkhande runs his fine-toothed comb through the – often
conflicting – ancient works, cutting as best as he can the Gordian knot of raga nomenclature
and structure in their journey through time. The curious reader is referred to his magnum
opus for historical minutiae concerning both the surviving raga forms as well as those of the
ancien regime. We will here train our sights on contemporary musical practice.
Throughout this discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Asavari
Asavari denotes a that, a raganga and a raga. The Asavari that, introduced ad hoc by
Bhatkhande as one of his 10 basic groups, represents the scale corresponding to the 20th
Carnatic melakarta Nata Bhairavi: S R g M P d n. The raga, Asavari, itself comes in three
flavours, each distinguished by the deployment of rishab. They are, respectively, the shuddha
rishab-only (R) Asavari, the komal rishab-only (r) Asavari, and the third type employing
both r and R. The swaras of the R-only Asavari are aligned with Bhatkhande’s
Asavari that proper whereas those of the r-only Asavari align with the Bhairavi that.
The oldest version is the r-only Asavari and it is the preferred choice of the dhrupadiyas. The
switch to the R-only is relatively recent and has come about through the agency of the
Gwalior school. Bhatkhande alludes to the khayals by the Gwalior pioneers Haddu Khan,
Hassu Khan and Natthu Khan in support of this claim. This shift to the
augmented rishab facilitates fast tans so dear to khayaliyas in contrast to the original S r
M movement. Bhatkhande observes that the dhrupad performers of Rampur favour the r-
only Asavari. However, he also records, and this will be borne out when we hear Allauddin
Khan later, that he heard Vazir Khan render Asavari with both the rishabs.
The aroha-avarohana set for the r-only Asavari is:
S r M P (n)d, (n)d S” :: S”, r” n d P, d M P (M)g, r S
The shuddha rishab Asavari is obtained by appointing R in lieu of r in the above contour.
The essential features of Raga Asavari and Asavariants such as Jaunpuri, Gandhari and
Devgandhar are contained in raganga Asavari. In the discussion below, we illustrate
the lakshanas with the r-only Asavari.
S r P (n)d, d M P (M)g, r S
The key idea here is avarohi movement from P to g with only a hint of M (langhan alpatva).
Neighbourly amity between r and g must be held in check, for a
potential tirobhava (disappearance of raga swaroopa) due to Todi lies in wait (see The
Empire of Todi for details of raganga Todi).
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M P (n)d, (n)d S”, r” n d, P, M P n d, P, d M P (M)g, r S

The langhan alpatva of n en route to the shadaj in arohi movements is an Asavari signpost.
The dhaivat and pancham are locations of repose (nyasa bahutva). The gandhar is also
a nyasa swara but less so than P and d. Notice the Bilaskhani Todi-esque descending
contour. The prescribed pause on P from d puts paid to any Bilaskhani aspirations.
That was the gist of the Asavari raganga, according to Hoyle. Not every subtlety and nuance
can be conveyed or put down in words. While we do not wish to make light of the details,
our guiding philosophy is that espoused by Einstein: “I want to know God’s thoughts; the
rest are mere details.”
Obiter dicta: An oft-heard phrase, P M P S” (n)d P, serves as a conduit for uttaranga forays.
The uccharana (intonation) of M P (n)d above radically differs from that in Darbari (see The
Kanada Constellation). The motivated reader is encouraged to think up
possible tirobhava combinations brought on by Bhairavi. Although a kosher Asavari omits
the nishad in arohi prayogas, it is sometimes solicited in clusters around the shadaj, the tar
saptaka shadaj in particular. To wit, n S” or n S” r”.
Ramashreya Jha “Ramrang” takes us on a guided tour of Asavari. In him are joined the
twin virtues of clarity of thought and gift of expression. The exposition was taped via long-
distance telephone and reins in all the points made above and more.
Jha-sahab’s fifth volume of Abhinava Gitanjali, long overdue, will be off the press within
the next 2-3 weeks. A complete discourse on Asavari is among the contents. (Update: The
fifth volume is now out.)
A superb cast of clips awaits us as we ring up the curtain in the classical theatre. The r-only
Asavari is presented first and we set the ball rolling with a druta rendition by D.V. Paluskar.
Both the old bandish and Paluskar’s elaboration sign up to a canonical Asavari: badhaiyya
lavo.
Renditions of komal rishab Asavari abound. Several of the well-known conceptions appear
to be seduced by Bilaskhani, leading to a violation of at least one standard Asavari clause,
namely, the skipping of P in descent. Recall that r” n d M g is a vital Bilaskhani gesture.
When introduced into the Asavari stream, quick measures are – or must be – implemented to
stem any incipient Bilaskhani tide. One strategy is to first assert Asavari by, say, M P (n)d M
P, before the slide down d M g, then reinstate Asavari through r M P, d M P. Although the
specifics will vary, the reflective musician will signal his intent to stave off Bilaskhani and
advance Asavari. Let us now examine the prevailing mores in light of this point and the
various imperatives adopted.
An excerpt of alap by Rahimuddin and Fahimuddin Dagar reveals their cards. Later they
pick up on a traditional dhrupad: aayo re jeet hi Raja Ramachandra.
Sawai Gandharva charms with delicate touches: preeta na keeje.
Following in his guru footsteps, Bhimsen Joshi.
Same lineage, similar mannerisms, a different bandish. Gangubai Hangal: mata Bhavani.
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A vigorous Agra rendition by Younus Hussain Khan is somewhat tainted by his stepping
once too often into Bilaskhani’s circle of influence
Amir Khan‘s mehfil recording was first offered in the Todi feature under “Asavari Todi.”
Komal Rishab Asavari and Asavari Todi are names of the same raga although some posit a
distinction by prescribing an explicit Todi-anga for the latter. This masterly statement by one
of the greatest musicians of all time shows Asavari at its most satvic.
Bade Ghulam Ali Khan sounds crisp and fresh in this 1950s mehfil recording.
Now, for the sole R-only Asavari exhibit, by the Gwalior duo of Akhtar Ali Khan and Zakir
Ali Khan. It is a textbook Asavari mediated by the traditional Gwalior bandish, navariya
jhanjari.
The third flavour of Asavari embraces both the rishabs. Typically, the higher shade prevails
in arohi sancharis (S R M P d etc).
Faiyyaz Khan‘s stately alap makes it abundantly clear why the old bean was called “Aftab-e-
Mausiqui.” Marvel at the swara lagav and his delicate meend work.
Allauddin Khan Maiharwale plays Asavari with both the rishabs as did his guru Vazir
Khan (vide Bhatkhande). The proportion of r is calibrated, the Asavari lakshanas are
beautifully cultivated and nourished.
Allauddin Khan’s boy, the nanga (naked) Emperor Ali Akbar Khan San Rafaelwale,
surpassed him in performance. At his peak (pre-1970) Mr. Alubhai was without doubt the
most complete instrumentalist of his generation. Ah, what a lovely Asavari!
Raga Jaunpuri
This raga is very close in spirit and substance to the R-only Asavari so much so that some
musicians (for instance, Omkarnath Thakur) do not acknowledge any difference between
the two. In recent times Jaunpuri’s dominance on the concert stage has virtually extinguished
the shuddha rishab Asavari. A widely accepted point of departure in Jaunpuri concerns
the komal nishad in arohi sancharis. Whereas in Asavari n is langhan alpatva (skipped) en
route to the shadaj, that stipulation is relaxed in Jaunpuri. Still other minor areas of
independence from Asavari are suggested, such as a higher weight for P over d. As in
the shuddha rishab Asavari, R receives a pronounced grace of S. Whatever the case, Jaunpuri
(and the ragas to follow) deeply embodies the Asavari-anga. A sample chalan is formulated:
P M P S” (n)d, P… PdnS”, d g” R” g” R” S” R” n d, P, d M P (M)g, (S)R S, (M)R M P n
d, P
Madan Mohan‘s enduring composition from MADHOSH (1951) is among the myriad
Jaunpuri-inspired melodies. It is delivered by that doyen of the maudlin brigade, the
quivering palindromic lallu, Talat: meri yad mein tum na.
Jaunpuri is often rendered with a lightness of touch in contrast to the solemn Asavari. An
energetic dhamar by Younus Hussain Khan spreads the spirit: marata pichakari.
The Atrauli-Jaipur musicians relish Jaunpuri and Kesarbai‘s is a superb performance: hun to
jaiyyo.
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The same bandish from her gharana confrère, Mallikarjun Mansur.

Kishori Amonkar‘s old masterpiece is well-known. Here we have her in an
unpublished mehfil. The traditional vilambit, baje jhanana and the druta chestnut, chhom
chhananana bichuva baje.
Roshanara Begum, a traditional khayal: so aba ranga ghuliya.
Faiyyaz Khan imparts deft graces to a well-worn Jaunpuri staple: phulavana ki gendana.
Kumar Gandharva‘s Jaunpuri marches to the beat of a different drum, as is to be expected
from a man who was no liege to any existing style or ideology. The bandish, his own: ari yeri
jagari.
Ramkrishnabuwa Vaze breezes through as only he could.
Bismillah‘s piece will evoke nostalgic memories of festive occasions back home.
The final two items in Jaunpuri are among the earliest recordings made in India.
First, Gauhar Jan‘s 1902 release of the famous bandish…
… and a 1905 tarana by Abdul Karim Khan.
Raga Gandhari
Although Gandhari is of ancient vintage there is no consensus regarding its
contemporary swaroopa. The Gandhari in common currency takes in both rishabs,
the shuddha in arohi and the komal in avarohi prayogas. This puts it in proximity of the bi-
rishab Asavari discussed earlier. Then there’s the Gandhari that likes both dhaivats. And yet
another one that could be mistaken for Jaunpuri. Precise raga bheda within a specific school
must, therefore, be determined empirically by examining their complete suite of Asavariants.
The Gandhari of two rishabs purveyed by Ramashreya Jha “Ramrang” has Bhatkhande‘s
sanction. The Chaturpandit, in turn, holds out the dhrupad taught to him by Vazir
Khan – kahiyo Udho tuma – as the touchstone for this raga. The contours of Gandhari take
after Asavari/Jaunpuri and the komal rishab typically enters the frame in conclusion of a
melodic idea. For instance:
R M P d M P (M)g, (S)R M P n d P (M)g, (g)r (g)r S
Ramrang suggests that there is a increased presence of Todi here. Hence the raga also goes
by Gandhari Todi. Both these compositions lay bare the raga.
S.N. Ratanjankar takes a similar view of Gandhari in two marvelous compositions one of
which is a tarana rendered by K.G. Ginde.
Mushtaq Hussain Khan‘s version is for all intents and purposes a standard issue R-only
Asavari. There was clearly more than one version circulating in Rampur-Sahaswan.
Gwalior, too, is ambivalent on the issue. There’s the bi-rishab Gandhari, recorded in this
splendid performance of D.V. Paluskar: beerava manuva saguna bicharo.
And there’s this breakaway version with just one rishab (shuddha) and both dhaivats, as
witness this rendition by Hameed Ali and Fateh Ali Khan.
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Atrauli-Jaipur gets to have the last word. True to form, Alladiya Khan has conceived his
Gandhari with a twist. There’s just one rishab (shuddha), the avaroha traces out a peculiar
trajectory bypassing the pancham (R” n d M g R). The cameo role of the shuddha dhaivat is
masterful and will be left to the reader to ferret out. Mallikarjun Mansur, kara mana tero.
Raga Devgandhar
The recipe for Devgandhar: take shuddha rishab Asavari, add shuddha gandhar as in R n’ S
R G, M. Shake well (but don’t stir). This proviso of G adds a most beautiful touch to the
proceedings if executed judiciously. The raga is popular with the Gwalior musicians. A
sample chalan assumes the following form:
R M P n d P, d M P (M)g, (S)R S, R n S R G, M, P (M)g (S)R S
K. L. Saigal‘s very first recording in 1932 went on to become a national chant. He was
initially paid 25 rupees for the song, and when the recording company later offered him much
more in response to the massive sales, Saigal-sahab refused the largesse: jhulana jhula’o.
From SARGAM (1950) comes this nugget conceived by C. Ramchandra. Lata
Mangeshkar and Saraswati Rane: jab dil ko satave gham.
Ramrang‘s composition, samajhata nAhiN, formally introduces the raga.
S.N. Ratanjankar: first the traditional composition, raina ke jage, and then his own bandish,
aaja suna’o.
C.R. Vyas: raina ke jage, and then the Gwalior favourite, ladili bana bana.
Ladili bana is reprised in vilambit Tilwada by Krishnarao Shankar Pandit.
The concluding piece by Jitendra Abhisheki is the much-loved cheez of “Manrang,”
distinguished by its staccato design: barajori na karo re Kanhaie.
En passant: An extension of Devgandhar with an additional komal rishab has been developed
by S.N. Ratanjankar and it goes by “Devgandhari Todi.”
Abdul Karim Khan‘s recording of chandrika hi janu mistakenly carries the “Devgandhar”
label. It is the Carnatic Raga Devgandhari (not Devgandhar) that has swara contours closely
allied to the song, a clue to the origin of the labeling error.
Raga Khat
Most vidwans are of the opinion that the word “Khat” is an apabhransha of “Shat” (meaning
six in Sanskrit); the reference is to the six ragas said to constitute Raga Khat. However, even
among those who work with this premise, there is no consensus on just what those six ragas
are. Consequently, a wide variety of opinion is encountered concerning the swaroopa of
this sankeerna raga. The curious reader is referred to Pandit Bhatkhande‘s detailed
discussion of the several prevalent flavours of Khat. Here we shall take the empirical
approach and briefly nibble at snapshots from available recordings.
Although Raga Khat does not lend itself to a generalized shastraic capture, a few
observations usually hold up: most current versions take Asavari for their base and then co-
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opt material from other ragas. The andolita nature of komal dhaivat stands out as a defining
characteristic. None of the versions finds use for the teevra madhyam. The adjunct ragas are
drawn from a pool with members as varied as, but not limited to, Bhairavi, Desi, Sarang,
Suha Kanada, Sughrai and Khamaj. With its inscrutable twists and turns, Raga Khat has
traditionally shown a bias for dhrupad-oriented treatment. The sadra in Jhaptala, vidyadhara
guniyana son, has been the vehicle of choice for a number of performers as seen in the next
four expositions.
The andolita nature of d and the recurring n P sangati find expression in K.G. Ginde‘s
excerpt. Also take measure of the avarohi D in the astha’i and the arohi M P D n
S” prayoga in the antara.
Vazebuwa‘s treatment of the andolita komal dhaivat occasions delight.
The influence of Raga Desi in the poorvanga is conspicuous in the Atrauli-Jaipur panorama
flashed by Kesarbai Kerkar.
Mallikarjun Mansur injects an occasional P D n S” sangati in the antara (for instance at
around 3:29 into the clip).
The final item in the Khat parade markedly deviates from its predecessors. Whereas the
earlier flavours all employed shuddha rishab, Bade Ghulam Ali Khan builds on matériel
furnished by Komal Rishab Asavari.
Raga Shobhavari and Audav Asavari
The audav-jati (pentatonic) scale – S R M P d – has been developed into a raga. The absence
of gandhar inhibits the full realization of the Asavari anga. We have two instances on offer.
Mohammad Hussain Sarahang of Afghanistan sings it as Raga Shobhavari: Prabhu
karatara.
Another approach is taken by Amarnath, a pupil of Amir Khan, who files it under the
Audav Asavari label. After listening to his rendition a friend perceptively observed that he
aspires for the heights of an Amir Khan but ends up being waylaid by Banditji.
Other variants of Asavari, mainly hybrids such as Jogiya-Asavari, Sindhura-Asavari etc., are
also heard in the lighter genres. They are not considered ‘big’ ragas.
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Cracked Open – the Nats - Part 1

The saga of raga continues. The primary focus in this series is the structure and contemporary
practice of ragas. Their fons et origo, the associated lore and legend, insofar as we can say
something with any degree of certainty – and there’s not a great deal we can say with a high
degree of certainty in matters of Indian cultural history – lie outside the ambit of our present
discussion. The ladies at SAWF invite you to join them this week on a safari deep within the
reaches of Hindustani ragaspace inhabited by “The Nats.” Expect a smooth ride but in the
event we run into any unforeseen turbulence we ask that you hold on to your, er, Nats.
Raganga Nat
Raga Nat (pronounced with a hard ‘t’) is an old melody, sometimes also known as “Naat”;
the latter denomination bears no resemblance to its Carnatic namesake. A standalone display
of this raga is very rare nowadays. Instead, Nat is singular for its unabashed promiscuity and
its liaisons. Its musical conduct has come to be consolidated into a raganga that provides
seed material for synthesis of newer, usually hybrid, ragas.
Throughout the causerie M = shuddha madhyam and m = teevra madhyam.
Nat is an M-centric raga; the rishab and pancham are strong in their nyasa bahutva role. The
main clusters belong to the poorvanga region:
S, S R, R G, G M…, M P…, S (G)R, R G M P, G G M, P
S G (R)G M, M, M P, P M, G M R S
The uttaranga is much less busy to the point of being sparse, the highlight being the
frequent P-S”-P interval. The shuddha nishad is rendered durbal (weak) whereas komal
nishad is admitted occasionally via S” D n P. An uttaranga chalan is suggested:
PDPP S”, S” P, P S”, S” R” S”S” (N)D P M
That, in a Natshell, is the basic topology of raganga Nat.
Mallikarjun Mansur surveys the Nat terrain in this tonal briefing: bairana nanandiya.
With this propaedeutic behind us we investigate l’amours de Nat.
Raga Chhayanat
Few ragas in the Hindustani community measure up to Chhayanat in popularity. The union
of its two constituents – Chhaya and Nat – is so natural as to leave virtually no trace of any
suture. Chhaya, like Nat, rarely strikes out on its own. There is some overlap with Nat, and
although differences of opinion prevail on the details, there’s a meeting of minds that
the meend-laden swoop P–>R is Chhaya’s signpost. The curvature of this P–>R trajectory
is subject to variation. It must be underscored that the uccharana here is distinct from the
Kalyanic uccharana P-R. A few other features distinguish Chhaya from Nat, such as the de-
emphasis of madhyam and rishab, and the injection of shades of Bilawal and Bihag.
These lakshanas are succinctly reviewed by Ramashreya Jha “Ramrang” in this telephone
conversation last week. He concludes with an old composition in Chhaya.
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The bandish in the foregoing clip, bendiya gir jayagi, is credited to Ramzan Khan
“Rangile” of Sikandarabad. “Aftab-e-Mausiqui” Faiyyaz Khan was born into the Rangile
tradition and although he came into his own later under the auspices of Agra,
his samskaras are said to have been imbibed from the Rangile clan. This Rangile is not to be
confused with Mohammad Shah “Rangile” who was contemporaneous with Sadarang.
Chhayanat’s poorvanga heritage comes from Nat, leading to a dominant rishab and madhyam.
R is the lifeblood of Chhayanat, its treatment vital to the realization of the raga-swaroopa.
The tug on R with a kan of G, the repose following the Chhaya-esque swoop P–>R – all
these ploys advance the rishab‘s credentials. Several forays are either initiated from or
conclude on that swara.
Although pancham is strong it lives in the shadow of R and M. The uttaranga is typically
launched from pancham as in PDPP S” or PP S”. Some few take to P N S” or even D S”.
The brightened dhaivat – R G M D, D, P – adds a piquant effect. The gandhar, although
necessary, is relatively low key; the shuddha nishad gets to eat the humble pie. A soupçon
of teevra madhyam registers but that swara is not essential: m has no independent existence
and is chained to pancham in kans or quick trills such as PDmP or PmP or RGMDmP.
Finally, there remains the case of komal nishad. In arohi passages, it shows up in clusters
such as R G M n D P, and in avarohi passages via D n P.
A précis of the foregoing discussion in written out in notation:
S, RGMP, P–>R, RG, GM, M R, S
S, D’ n’ P’, P’ S, N’ S (G)R, R G M D, D P
P–>R G M R S, S R, R G, R G M n D P, PDPP S”
S” (N)R” S”, D P M, G M n D P–>R, R G, G M R S
S S M G P, DNS”, S” D P–>R, GMP G M R S
At various points in Chhayanat there obtains avirbhava of ragas such as Kedar (P M), Kamod
(G M P G M R S), Hameer (R G M D, P) and Bilawal (S” D n P).
Coming up, some choice cuts of Chhayanat. Arrayed in the flotilla are almost all the
traditional khayal compositions and their elaboration by the masters. Although it boasts a
refined musical stature, Chhayanat is no caviar to the general. The lay Indian listener is well-
acquainted with its genius loci for the elementals of Nat are pervasive in the musical memory
of the land. The first few exhibits are drawn from the popular sphere where the raga-
swaroopa may not present itself in full flower. Nevertheless, there are compelling vista points
to be enjoyed en route.
From ZIDDI (1948) comes this gem by Lata Mangeshkar, for composer Khemchand
Prakash: chanda re ja re ja re.
S.D. Burman nudges Mohammad Rafi towards some Nat phrases in this classic from
KALA PANI (1958): hum bekhudi mein.
S.D. Burman again in TALAASH (1969), delivered by Manna Dey: tere naina talash kara.
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Composer Madan Mohan had few peers in the art of wrapping tune around verse as witness
this beautiful creation from JAHAN ARA (1964) rendered by Mohammad Rafi and Suman
Kalyanpur. The mukhda is textbook Chhayanat: baad muddat ke yeh ghadi aayi.
Over three decades later Madan Mohan is re-cycled by composer Rajesh Roshan (he first
did so in LOOTMAAR but nobody noticed) in PAPA KEHTE HAIN (1996). Sonu
Nigam: mujhse naraz ho to.
A very subtle flavour is stocked by Khandwa’s Pandit Kishore Kumar. Panditji’s
interpretation retains the appropriate ingredients of Nat although you may have to look long
and hard for them. From BOMBAY TO GOA (1972), set to R.D. Burman‘s music, Panditji
coos with Lata Mangeshkar: tum meri zingadi mein.
The classical parade opens with a zesty Ramashreya Jha “Ramrang” hitting his stride in
this superb mehfil cut. Both traditional compositions come in for unalloyed praise from Jha-
sahab. The vilambit khayal, Eri ab gundala’o, and the druta, jhanana jhanana, are definitive
Chhayanat, the latter a celebrated creation of Sahaswan’s Inayat Hussain Khan.
D.V. Paluskar‘s engaging rendition presses the canonical Nat bandish, E karata ho mose
neha ki jhoothi batiyan, into Chhayanat’s service (in a sense certifying Nat’s de facto demise
as an independent operator). Observe that the catchy mukhda points to its Nat antecedents.
The same composition is handled by Omkarnath Thakur and his theatrics come along for
the ride.
The Atrauli-Jaipur Chhayanat by Mallikarjun Mansur places its sam on madhyam, at once
illuminating the mukhda.
A prized hearing of the Rampur heavyweight of yesteryear, Mushtaq Hussain Khan. Notice
the uttaranga launch via GMP N S” or PP N S”: Eri ab gundala’o.
Kumar Gandharva‘s Vesuvian gayaki is a great pleasure. He chooses another
traditional khayal: nevara ki jhankara in Jhoomra tala.
K.G. Ginde‘s is the lone dhrupad voice. The traditional chhaya pari Jamuna jala mein is set
to Chautala.
A vignette of Kashinath Bodas‘s private mehfil in Berkeley in 1995, a couple of weeks
before his passing away in Canada. On the harmonium is yours truly and on the tabla is
Pranesh Khan. He sings the traditional cheez: sandeshwa piya se mora kaiyyo ja.
Enter Mr. Khan, the dark and dimunitive (naked) Emperor of San Rafael. It is given to only
a few, Alumeister among them, to personify raga.
One wonders why anyone would ever give Amjad Ali Khan or Buddhadeb Dasgupta the
time of day. Amjad Ali and his silk kurta are more attuned to the rigours of the fashion
catwalk. As for Buds, may we interest him in a box of Lego blocks? It would be terrible to
let all that gold-medalist engineering talent go to pot.
We now come to the best clip in this feature, perhaps the greatest Chhayanat on record. Time
spent listening to Bade Ghulam Ali Khan is time spent in the company of a supreme
musical intelligence. There is nothing for us to do but kneel down and praise the Lord for
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depositing Ghulam Ali on this planet if only for a brief while. He settles into an
old khayal describing a well-known prasanga from the Ramayana: Sugreeva Rama-krupa. It
is followed by another chestnut, nevara bajo. (This latter cheez is sometimes played as a gat
on the sarod by our potential Lego expert.) Bade Ghulam’s spontaneous shoptalk adds to our
delight. The segment 7 minutes into the clip is particularly instructive. Hint: On
which swara do the tans terminate? Chhayanat can’t get any better than this.
The selfsame Sugreeva Rama-krupa from Rampur-Sahaswan’s Nissar Hussain Khan. In
the druta segment he rolls out his gharana patent, Inayat Hussain’s jhanana jhanana.
Faiyyaz Khan‘s composition, pavana chalata, takes after Inayat.
This chapter concludes with a rendition of an old Chhaya composition by Bhimsen Joshi.
The Nat component is de-emphasized and the role of madhyam diminished. There is no hint
of komal nishad whereas shuddha nishad hews to the Bihag line. This bandish and several
other traditional chestnuts encountered earlier have been documented by Bhatkhande in
his Kramika Pustaka Malika: tana-mana-dhana saba un par vara darun.
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Cracked Open – the Nats – Part 2

The varieties of Nat on this page fall to two lots. They are either perturbations about the
parent raganga or joint projects with other ragas, i.e. hybrids. Apropos of the perturbed
variants, typically a special tonal cluster is injected into the poorvanga. Or the relative
weighting of a swara rejiggered, for instance, by diminishing M and advancing G instead. Or
there may be an uttaranga marker – a dropped dhaivat or nishad, or some combination
thereof. In the commentary that follows I will touch upon the essentials. Those readers
excited about the nitty-gritty are invited to take their own measure.
Raga Shuddha Nat
The prefix “Shuddha” has many connotations. It may mean a “pure,” “unadulterated” or
“original” version of a raga. Or it may denote a derived raga where the vikrit swaras of the
parent have been substituted with their shuddha counterparts. In some instances the
nomenclature may not have any rational explanation.
Faiyyaz Khan‘s “Shuddha Nat” has all the classical markers of Nat enumerated earlier (I put
that in quotes because I understand that Khansahib may not have called it by this name. But
a Nat it certainly is). Additionally, a distinct phrase containing dhaivat stands out.
Recall Omkarnath Thakur‘s Chhayanat rendering of the old Nat composition, E karata ho
mose. He treats that composition differently here under the Shuddha Nat brand: Chhaya’s
signature P–>R is spirited away leaving behind mostly ‘pure’ Nat.
In the Atrauli-Jaipur dispensation of Shuddha Nat, the accent is shifted from M down to G.
The “Shuddha” qualifier purportedly refers to Shuddha Kalyan. However, Mallikarjun
Mansur‘s version does not exactly make a bold case for Shuddha Kalyan. A recurrent M
GRG RSR cluster observed later in another Nat variant does, however, register. The G P S”,
N DN P (G)R movement may hint at Kalyan but goes no further than that.
Kishori Amonkar, on the other hand, affirms Shuddha Kalyan amid Nat.
Finally, the Me too! candidate by Mr. Jasraj, the musician manque. It is an unappetizing
sight, Banditji laying an egg.

Raga Bihari-Nat
Notice the congruence with the Atrauli-Jaipur Shuddha Nat (M GRG RSR et al) as well as the
likeness of the mukhda. K. G. Ginde: ja’o ji tuma ja’o langarwa.
Same raga, same cheez: Vilayat Hussain Khan “Pranpiya”.

Raga Sar-Nat
G P (N)D N, D P G M GRG – the distinguishing sentence of this obscure Agra specialty.
Bihari Nat, Atrauli-Jaipur’s Shuddha Nat and Agra’s Sar-Nat – monuments all to the art of
hairsplitting.
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Raga Nat-Nagari
It is anchored in Chhayanat but special swara design in the poorvanga impart a distinct
personality. This is a splendid example of the dictum uccharana bheda se raga bheda.
Ramrang‘s composition addresses an event in the life of Bhartrhari. At the conclusion of
his sanyasa he returns to his unfaithful wife and asks for alms, as enjoined by his guru. The
penitent woman now responds:
kahe alakha jagayo jogi tum mere prana adhara
janama sudhare apno kanta
“Ramrang” humhi chhadii majadhara
Another Nat variant called Nat Narayan is rarely heard. Bhatkhande has discussed it and
there’s a composition of S.N. Ratanjankar too. This is not to be confused with “Nat
Narayani” peddled by Maniram and Banditji. Next, we survey a few jod prakars of Nat.

Raga Savani-Nat
The constituent Savani is a variation of Bihag with definitive identifiers such as the P-
S” and S”-P pair, the downward slide P to G bypassing M, the cluster G MP MP G and so
on. The nishad, indispensible in Bihag, is rendered alpa in Savani. A sample chalan is
suggested:
S, S P’, P’ N, S, S P G, (R)S, S R N’, P ‘ S
S G, GMD, P, P G MPMP G (R)S
GMPS”, S” P, MP G (R)S
The motivated reader is directed to a Savani by Mallikarjun Mansur (deva deva
satsanga. See Short Takes – Bihag).
The SR, RG, GM, MP stock of Nat is grafted on Savani. Additional artifacts are introduced
– such as the approach to and nyasa on the mandra saptaka nishad via R S N’, and a
special sanchari or two.
Jha-sahab warms up: aana paro maharaj.
A composition of S.N. Ratanjankar, set to the uncommon Sujan Shikhara tala of 17 beats, is
sketched by K.G. Ginde: suno ho gunidas niki sachi tana.
Vilayat Hussain Khan “Pranpiya” presents his own bandish.
Another eminent Agra figure, Khadim Hussain Khan.
The most engaging conception of Savani-Nat comes from Atrauli-Jaipur, a product
of Alladiya Khan‘s prodigious imagination. Catch the beautiful mukhda and the
special prayoga involving a leap from M to N in Mallikarjun Mansur: anahata nada.
Salve to the soul – Kishori Amonkar.
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In the earlier article on Hem Kalyan was featured Altaf Hussain Khan‘s clip in Hem. His
composition has an uncanny resemblance to features of Savani-Nat and one wonders if it is
indeed a case of mis-labelling.
Raga Kalyani-Nat
The main theme in this uncommon hybrid is the commingling of specific
Yaman sangatis within an overall Nat framework.
Raga Nat-Bihag
This perennial Agra favorite has developed a personality all its own. Bihag, typically
with teevra madhyam eliminated or greatly diminished, supplies the building blocks:
S G M P; G M P N; P N S” G; S” N (D) P; P M G, R S
But there are some no-no’s in Bihag that are permissible in Nat-Bihag. For instance, straight
runs of the P D N S” or P D N D P kind are not unusual. The cluster – M n D, P – is a
piquant feature; the canonical Agra compositions adopt it for their façade (mukhda). Finally,
Nat weighs in with its usual baggage: SR, RG, GM, MP and S, RGMP.
Faiyyaz Hussain Khan‘s nom-tom alap.
The movie BUZDIL (1951) carried an adaptation of a famous Nat-Bihag cheez assigned
to Lata Mangeshkar by composer S.D. Burman: jhan jhan jhan jhan payala baje.
The inspiration behind that tune, immortalized by “Aftab-e-Mausiqui” Faiyyaz Khan.
Mallikarjun Mansur delivers his spin on the composition.
And we hear it again, played on the sarod by Biswajit Roy Chowdhury.
Ramkrishnabuwa Vaze interrupts the Agra take-over.
The final Nat-Bihag item is standard Agra issue of Rangile’s vilambit khayal elaborated
by Asad Ali Khan: kaise kaise bolata.

Raga Nat-Malhar
The potential for a fruitful union of the Nat and Malhar ragangas was recognised long ago.
The earliest versions have the Malhar kernel M (M)R R P planted in Nat’s orchard.
Ramashreya Jha “Ramrang,” with his large kitty of traditional compositions in Nat Malhar
is in fine feather as he rains down with gagana garaja garaja. K.G. Ginde takes a similar view
of Nat Malhar via Ratanjankar’s composition: shubha saguna. Kishori Amonkar introduces
a second Malhar artifact – the two chromatic nishads found in Miyan Malhar. The Nat anga is
beautifully expressed: barkha rtu aaye. Sawai Gandharva: banara byahana. Bhimsen
Joshi drops subtle hints of komal gandhar into the flow.

Raga Nat-Kamod
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The Atrauli-Jaipur vocalists have a virtual lock on this jod-raga. Kamod contributes the M R
P and GMP G M R S molecules. And you know what to expect from Nat. Atrauli-Jaipur
founder Alladiya Khan‘s talent for designing attractive yet substantial mukhdas for his
compositions has left its impress on most of the gharana repertoire. Nat-Kamod is a case in
point and in Kesarbai Kerkar is found the instantiation of Khansahib’s acuity: nevara bajo
re. Ulhas Kashalkar dons the Atrauli-Jaipur hat in this private recording. Nat Kamod is a
busy melody affording no pause for think-time. In short, Mallikarjun Mansur‘s cup of tea.
Raga Bhoop-Nat
Yet another favourite of the Atrauli-Jaipur musicians whose propensity for Nat should be
evident by now. An examination of these ragas leaves one humbled by Alladiya Khan’s
Promethean genius. Take stock of the gamaka cluster G M, R SS R. That melodic gesture
(known in the trade as nikaas) is ‘le mot juste’ in this formulation.
Ashwini Bhide: maalaniyan laya.
Kaushalya Manjeshwar first presents the standard Atrauli-Jaipur composition and then tops
it off with a druta bandish composed by her guru Mogubai Kurdikar.
Raga Nat-Hamsa
A fetching blend of Hamsadhwani and Nat served by Vijay Raghav Rao.
Raga Nat-Chandra
Nat and Chandrakauns come together in this delicious cocktail. But there’s a gotcha! here
since the scale is identical to that of Nat-Bhairav. Govindprasad Jaipurwale skillfully tilts
the melody away from Bhairavanga and towards Chandrakauns from the get-go.

On the Variants of Kedar

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A discourse on Raga Kedar was presented last year (2000) in Raga Kedar – A Perspective.
We pick up the threads again and broaden that perspective, this time training our attention on
Kedar’s liaisons. Familiarity on the part of the reader with the central themes embodied in the
parent Raga Kedar will be assumed since such a background is essential for any intelligent
appreciation of the derivates.
Traditionally, four prakars of Kedar are recognized (vide Bhatkhande’s Hindustani Sangeet
Paddhati) and they are: Shuddha Kedar, Chandni Kedar, Maluha Kedar and Jaladhar Kedar.
Over the course of the past 150 years or so, several new prakars have entered the fold, most
of them jod-ragas, i.e. hybrids, formed by combining Kedar with other melodies. The first
two of the traditional prakars – Shuddha Kedar and Chandni Kedar – have been addressed in
the earlier Kedar feature. We shall presently address the unfinished business.
As usual, we declare M = shuddha madhyam and m = teevra madhyam.
Raga Maluha Kedar
Of all the variants of Kedar, Maluha Kedar is the most widely practiced. Its arresting tonal
behaviour finds full expression in the mandra saptak. The Maluha concoction uses raw
material provided by Kamod and Shyam Kalyan. It is a vakra raga and a set of tonal phrases
are now suggested as a heuristic guideline:
S, R S (N’)D’ P’ M’, M’ P’ N’, (D’)N’ R S
The declination from rishab down to mandra madhyam is the lifeblood of this raga.
The nyasa on M’ thus approached is exceedingly pleasing. Shades of Shyam Kalyan are
observed as the movement repairs up towards shadaj.
S, R S (N’)D’ P’ D’, D’ M’, P’ N’ (D’)N’ S
A variation on the foregoing foray. The brightening of dhaivat and
the meend from D’ to M’ are points of note, the latter, a recognizable Kedar germ. A
powerful madhyam is a natural consequence of having Kedar for a parent; pancham, too,
commands respect.
S M, M (G)P, P D M | G M P G M R S | M, M R S N’, (S)R S
This movement has been partitioned into three for purposes of discussion. The first third
clearly betrays Kedar’s façade, the second third is the contribution from Kamod, and the final
third packs both Kedar and Shyam Kalyan. It must be emphasized that in matters of
implementation things are never quite as clear-cut. The disparate elements are to be fused
together by appropriate punctuation and intonation (uccharana) to yield a seamless
composite.
PDPP S”, M P N S”, S” R” S”, S” DPM, M P M, S R S
A sampler of the uttaranga launch, it mostly carries Kedar’s genetic material. The teevra
madhyam is either absent or alpa (weak).
Despite its vakra build Maluha Kedar is highly rewarding to those who have mastered it.
With its lumbering meend-laden gait in the mandra saptak, the raga is best savoured
in vilambit laya.
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Ramashreya Jha “Ramrang” sets the tone with his khayal in vilambit Ektala: aba mori
ma’i.
A 1959 mehfil of Gangubai Hangal finds her with the traditional composition attributed to
“Sadarang”: mandara bajo re.
A Kirana votary from the years past, Ganpatrao Behre was known for his animated,
propulsive gayaki. Behrebuwa brings freshness to his conception of Maluha Kedar, the
presence of a Nand-like phrase adding to its charm.
C.R. Vyas presents a traditional composition favoured by the Gwalior musicians, set to the
16-beat Tilwada: achara mora.
D.V. Paluskar imparts a different spin to the same composition casting it in vilambit Ektala
and re-orienting the melodic approach to the sam.
In this prized recording of Sarangi-nawaz Bundu Khan, the lovely mukhda is a standout.
We wrap up this section with an unpublished Bade Ghulam Ali Khan.
There is a recent release of Bhimsen Joshi’s Maluha Kedar where he is completely out of his
depth, alas.
Raga Jaladhar Kedar
This raga is almost extinct. The singular feature of Jaladhar Kedar is its retention of parental
(Kedaric) characteristics even while sharing the scale – S R M P D – with two other
pentatonic ragas, namely, Shuddha Malhar and the Bilawal-that Durga. Ramashreya Jha
“Ramrang” shows how.
The alert reader may have noticed traces of the Malhar raganga (M R–P). Running over
passages of Durga and fleshing out points of divergence is a profitable exercise.
The second selection in Jaladhar Kedar features the late Agra master Vilayat Hussain Khan.
Raga Deepak Kedar
This is an interesting variation on the parent Kedar where the shuddha madhyam is
superseded by its teevra counterpart in arohi prayogas. That is to say, in lieu of the S M, M
P opening in Kedar, we have here S m, m P. This tweak gives rise to a peculiar swaroopa.
The remainder of the story essentially hews to the Kedar line. The name is somewhat
misleading since that there is neither hide nor hair of Raga Deepak in Deepak Kedar.
Let us inspect the theme as it unfolds in this old recording of Vilayat Hussain Khan.
Jagannathbuwa Purohit “Gunidas” has composed a beautiful bandish in this raga and his
pupils, Jitendra Abhisekhi et al, have rendered it in mehfils. Alas, we are here compelled to
present faute de mieux the meagre talents of Shivanand Patil: bhavana bhanwara goonjata
sanjha.
The rest of the discussion below is devoted to jod ragas, i.e. hybrids where two or more ragas
are explicitly joined.
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Raga Basanti Kedar

As the name suggests, this is a hybrid of Kedar and Basant and is especially dear to the
Atrauli-Jaipur vocalists. Their masterful design is a owed to Alladiya Khan who, it cannot
be underscored, had no equal in this business of fashioning jod ragas. For it is not simply a
matter of bundling together two ragas and praying for something worthwhile to come out of
their congress. A judicious coupling requires forethought, a clear identification of the entry
and exit points (known in the trade as nikaas), and the imagination to conjure
special sancharis to tie it all together. All the while retaining a coherent aesthetic narrative.
The Atrauli-Jaipur Basanti Kedar retains the framework of Kedar and draws relatively
sparingly on Basant. The latter is introduced typically at the tail end of the following
sequence:
P S”, NDN D P, D M, G m D m G m G r S
The komal dhaivat of Basant is abandoned. Both rishabs are employed, the komal as shown
above is the Basanti contribution, the shuddha, for the most part, in the tar saptak in Kedaric
fashion. A recording Mallikarjun Mansur‘s mehfil illustrates these ideas in spectacular
fashion: attara sugandha.
A musical spectacle of the iconic Atrauli-Jaipur ladies from Goa follows. Their cheek by jowl
placement offers an instructive experience as they erect Alladiya Khan’s citadel from the
ground up stamping it with the imprimatur of their own intensely individual personality.
Master Krishnarao is not a familiar name today to those living outside Maharashtra and
Goa. Krishna Phulambrikar’s exceptional talents cut a wide range of artistic activity – a
vocalist proficient in stage as well as classical music, a repository of ragas especially of
the aprachalita kind, a composer for stage and film music, an actor, teacher and author. His
primary guru in music was Bhaskarbuwa Bakhale. Master Krishnarao’s recipe for
Basanti Kedar shows the relative roles of Basant and Kedar reversed from the Atrauli-Jaipur
conception. Here the Basant presence is significant and Kedar is injected via P D M, SR, S.
The formulation of Ramashreya Jha “Ramrang” carries poise and more than a hint of his
formidable intellectual power. The druta bandish in Ektala is skillfully conceived: pavana
sungandhana.
For an muddleheaded, terrible Basanti Kedar, to make the point that not everyone is an adept
in this art of jod ragas, we bring in C.R. Vyas.
Incidentally, there is an illegitimate Kedar offspring called Kedar Bhankar mothered
by Vilayat Khan (of the “Mommy-mommy-I-didn’t-get-the-Bharat-Ratna” fame). It is a
measure of my humanity that I choose not to foist that atrocity on my dear readers.
Raga Nat Kedar
Elements of Nat – S R, R G, G M and RGMP M R M, (S)R S – are sewed onto the Kedar
framework in the poorvanga territory. Ram Marathe sings a traditional bandish: aaja
manavana.
The recently deceased Mogubai Kurdikar had withdrawn from the active performance
circuit several years ago, ceding that department to her daughter Kishori Amonkar.
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Commercially available recordings of Mogubai’s artistry are extremely few in number and
her private holdings are jealously guarded. We are fortunate to have on tap here one of her
prized mehfil performances in Raga Nat Kedar where she is accompanied by Kishori. Once
again, aaja manavana.
Raga Adambari Kedar
A key tonal molecule of Shankara – P (P)G P (R)G (R)S – intercepting an otherwise standard
Kedar is all there is to the fancy-sounding Adambari Kedar. A bravura performance
by Mallikarjun Mansur in this unpublished recording.
Raga Kedar-Bahar
It may come as a surprise to unusually retarded children that this melody is a combination of
Ragas Kedar and Bahar. The union, however, is not straightforward; there are
special prayogas tying the two strands. Conceived and delivered by the vidwan, S.N.
Ratanjankar: madamate aaye ata alasaye.
Raga Tilak Kedar
Here Kedar finds itself paired with Tilak Kamod. The latter is primarily seen in the P S” P D
M and an occasional uttaranga P N S” R” G” S” or its variant PP N S” R” G” S”. A peculiar
tonal phrase MGRSR embedded in the mukhda during the approach to the sam constitutes a
special sanchari.
Raga Shyam Kedar
Shyam Kalyan dominates the proceedings in both these instrumental sitar assays although its
characteristic G M P G M R, S phrase is absent. The contribution of Kedar is represented by
a bright, strong shuddha madhyam, allowing conclusion of a Shyam Kalyan pattern with the
Kedaric (P)m P M, M (S)R, S.
First, Nikhil Banerjee.
Next, Abdul Haleem Jaffer Khan.
In his book Aprakashita Ragas (1956) , J.D. Patki credits Shyam Kedar to Bhaskarrao
Ghodke of Nasik, a disciple of Krishnarao Shankar Pandit. From the compositions given
therein it is apparent that there is significant divergence in conception from the two
instrumental pieces adduced here. That the same idea – of combining Shyam Kalyan and
Kedar – resulted in two entirely different babies should hardly come as a surprise.

Uncommon Ragas: Hem Kalyan and Khem Kalyan

In this feature we shall discuss the aprachalita (uncommon) Ragas Hem Kalyan and Khem
Kalyan. These melodies have been part of the Hindustani landscape for well over 100 years
but are rarely heard in today’s mehfil. Most of the active performers are scarcely acquainted
with their essence and recordings of the older masters are few and far between thus thwarting
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efforts towards meaningful revival. The two ragas have much to recommend them by way of
aesthetic merit and deserve wider recognition.
Throughout this promenade, we set M = shuddha madhyam and m = teevra madhyam.
Raga Hem Kalyan
There is no explicit Kalyan-anga in this raga and hence some purists refer to it as just Hem.
The raga employs all shuddha swaras. The nishad is very weak (alpa),
the rishab and dhaivat are rendered alpa in arohi movements. Hem Kalyan’s signature is
embedded in a characteristic tonal sentence in the mandra saptak given by: S, P’ D’ P’ S.
Most of the tonal activity occurs in the mandra and in the poorvanga of the madhya saptak. A
supporting cluster – G M P G M R S – reminiscent of Kamod is encountered; so is the P–S–
P coupling. The declining S–P‘ or S”–P swoop is through a meend. The dhatu of Hem
Kalyan is encapsulated in the following three sentences:
S, P’ D’ P’ S, S R S G M R S P’ D’ P’ S
S M G P, P G M R S, G M D, P, P D P S”
S” P D P, P S” D P, G M D, P, P G M P G M R S, P’ D’ P’ S
It is observed from the foregoing swara constructions that the raga contours are not
only vakra but that there are frequent wide intervals to be negotiated. The space
for alapachari is thus modest and there is limited facility for straight up and and down tans.
These considerations render Hem out of reach of all but the most capable performers and
perhaps accounts for its relative obscurity.
In his Abhinava Geetanjali, Volume 4, Ramashreya Jha “Ramrang” makes a distinction
between Hem and Hem Kalyan. In his view, the former is what we have just discussed above
whereas Hem Kalyan obtains from the avarohi use of the teevra madhyam as well and the
Kalyanic treatment of rishab.
The line-up of clips reveals the masters at play. With its build of wide intervallic spaces, Hem
Kalyan is not naturally suited to Amir Khan‘s gayaki but the great man rises to the occasion
and turns in a brilliant rendition. He opens with the vilambit composition, daiyya ri main kase
jaaya pukarun – credited to “Sadarang” – the canonical Hem Kalyan bandish regarded as the
carrier of the raga’s kernel. Khansaheb unwinds in Jhoomra and then adds his
own tarana for the druta flourish.
The selfsame daiyya ri main this time set to vilambit Ektala and crisply delivered by K.G.
Ginde.
An encore of the vilambit khayal by the Agra elder, Vilayat Hussain Khan “Pranpiya.” He
also renders his famous druta bandish, lagan laagi sundara Shyam salone piya sanga. Both
these compositions have been notated and published by “Ramrang” in Volume 4 of the
aforementioned reference.
As always we have the exception that defies the standard. Here is a different kind of Hem, of
Bilawal extraction, by Altaf Hussain Khan of Khurja. Some of you will be reminded of
Savani Nat type of movements: saba mila gavo.
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Raga HemNat
Elements of Nat are blended in with Hem Kalyan to create this compelling hybrid. The
Atrauli-Jaipur musicians, in particular, treat this melody with great relish. Raga Nat by itself
is rarely heard nowadays. Instead, it has come to be elevated to a raganga, serving seed
melodic and gestural material for synthesizing hybrid or composite ragas. Nat is heavily M-
centric. The definitive Nat phrases most sought after are in the poorvanga:
S R S, S R, R G, G M…
S G (R)G M, M P, P G M R S
The uttaranga of Nat is sparse but carries the important P-S” and S” D P clusters.
Occasionally a komal nishad is admitted via S” D n P. Before stepping into HemNat territory
let us take in a briefing of the pure Nat by Mallikarjun Mansur.
A little reflection allows that Hem Kalyan and Nat are natural allies. In fact, some Nat
elements may be observed in Hem Kalyan to begin with. K.G. Ginde serves up two lovely
compositions of S.N. Ratanjankar in HemNat: paarana payo in vilambit Ektala and niratata
kanha in druta Teentala.
Ramashreya Jha “Ramrang” gives an inspired performance of HemNat. His own
composition is a beauty and apprehends the raga lakshanas in the very first line itself.
Harmonium support is provided by moi and on tabla is Tulsidas Navelkar of Kala Academy,
Goa, in this 1999 recording of a private mehfil.
rasa rachi Jamuna ke tata Hari basana suranga anga saje
raakaa raina sanga gopiyana harakhe-harakhe Hari nritta kare
The final tranche of the HemNat kitty features Mallikarjun Mansur plying the Atrauli-
Jaipur staple, tuma bina maiko kala na parata.
Raga Khem Kalyan
This is among the most charming melodies conceived and it is a shame that it is consigned to
the ranks of the obscure. Traditionally the Agra musicians have had a lock on this raga. The
central idea here is the judicious interleaving of Hamsadhwani and Kalyan. Outside Agra
territory the raga shows variance in implementation but without loss of its original kernel.
The definitive phrase in Khem Kalyan is: S, D’ N’ S G R… or N’ S G R… The nyasa on the
final rishab is exceedingly pleasing. There are some reminders of Hem Kalyan harking back
to the S-P’-S coupling and the use of the mandra pancham P’ as an amsa swara via S
P’ or SR P’.
The Agra design uses Yaman Kalyan as its base and may be summarized in the following
sentences:
S, SN’D’N’, S G R… S, R S (S)P’, D’ N’ S G R… G M (G)R, S P, G M (G)R
G P N S” N D m G R, G M (G)R, N’ D’ N’ S G R, S R (R)P’, S G R…
These ideas are fortified in this taleem session administered by Khadim Hussain
Khan to Lalith Rao and other students. He peppers the development with peremptory, albeit
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pertinent, remarks. The vilambit composition is standard Khem Kalyan issue: piharva
maikain deho bataye.
Anjanibai Lolienkar deals the old Khem Kalyan bandish composed by Ata Hussain
Khan (“Ratanpiya”): hata na kara mohe chhanda piharva.
The Rampur-Sahaswan version of Khem Kalyan is instantiated by Nissar Hussain Khan.
The teevra madhyam is sidelined here. The vilambit and druta bandishes are again,
respectively, piharva maikain and hata na kara. Compare the latter, now shorn of the teevra
madhyam, with Anjanibai‘s earlier clip.
The concluding item – Kishori Amonkar‘s ethereal artistry. She has no use for shuddha
madhyam and seamlessly wades in and out of Hamsadhwani and Yaman.

On Raga Lalita-Gouri
Raga Lalita-Gouri is a union of the eponymous Ragas Lalit and Gouri, named after the
manifestations of the Divine Mother or Shakti. In the first two sections, the constituent ragas
are first investigated in just enough detail to illuminate the essentials. We will then attain to
the denouement, Lalita-Gouri, in the third and final segment.
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Raga Lalit
This prachina raga is among the most influential members of the Hindustani community, for
in it is embedded the seminal idea of the two madhyams placed cheek by jowl in intimate
melodic communion. The quintessence of Lalit and its associated raganga – Lalitanga – is the
coupling of the two madhyams. Subject to the type of dhaivat employed, Lalit is placed in
either the Marwa that – shuddha dhaivat – or in the Poorvi that – komal dhaivat.
Marwa and Poorvi thats are, respectively, the Gamanashrama and
Kamavardhini melakartas of the Carnatic paddhati. The shuddha dhaivat Lalit held sway in
earlier times; in fact, Bhatkhande treats it as the canonical Lalit. The Lalit in currency today
employs komal dhaivat and this version will be the focus of our discussion here.
Throughout this commentary, M = shuddha madhyam, m = teevra madhyam.
The Poorvi that is constituted from the following swara-set: S r G m P d N. Lalit drops
the pancham altogether from the Poorvi set and then recruits shuddha madhyam for its
key swara. The essence of Lalitanga is embedded in the following passage:
N’ r G M, G MmM, G, m G r S
Notice the langhan (skipping) of the shadaj en route to the shuddha madhyam. The M thus
approached is a location for nyasa and it establishes the raga’s melodic ‘centre’. The
second madhyam-laden cluster above expresses the core of Lalitanga: the two madhyams are
intoned successively and ‘talk’ to each other. There will be occasion in almost all the clips to
eavesdrop on this ‘conversation.’
The shuddha madhyam assumes the nyasa bahutva role, and dominates the proceedings in
both the arohi and avarohi movements. In the interest of brevity, we shall focus on the main
ideas; the subsidiary details may be inferred from the adduced recordings. A sample chalan of
Lalit is formulated thus:
N’ r G M, mM G, m d, mdNS”, N r” N d m d mM, m G r S
It should be now obvious to even women and children that Lalit is a complex raga with
a vakra build. A graha bhedam (also known as murchhana) on shuddha madhyam leads to
an avirbhava of the Todi scale.
The M-m-M idea of Lalitanga is exploited in several other melodies – eg. Prabhat Bhairav,
Bhankar and so on – although it must be emphasized that the mere presense of
consecutive madhyams in itself does not establish Lalitanga: the key lies in the intonation and
punctuation – uccharana, as it is called. For instance, ragas such as Nand and Kedar deploy
consecutive madhyams on occasion but do not exhibit Lalitanga.
For this excursion we have marshalled a suite of outstanding samplers, several of them hard
to come by.
Two film-based numbers inaugurate the proceedings. In both these clips Lata
Mangeshkar is paired first with Mohammad Rafi and then with Manna Dey. Her felicity
with Lalitanga leaves the two men looking like hapless rookies at a high school musical
gathering.
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First the popular favourite from LEADER, tuned skillfully by Naushad: ek shahenshah ne
banwa ke haseen Taj Mahal.
From CHACHA ZINDABAD, music by Madan Mohan: preetama darasa dikhavo.
The touchstone of Lalit in the classical domain, the yardstick by which every other Lalit is
measured – and mostly discarded – is this recording of Amir Khan, set
in vilambit Jhoomra: kahan jage rata.
Another Lalit of great merit comes from Kesarbai Kerkar: ghutana lage raina.
A playful ‘Aftab-e-Mausiqui’ Faiyyaz Khan: tarapata hoon jaise jal bina meena.
Bade Ghulam Ali Khan erupts in a cannonade of tans in hum sanga tum sanga.
The shuddha dhaivat Lalit of yore is represented by Ulhas Kashalkar. There are occasional
flashes of Hindol and Marwa but the main story is once again the instantiation of Lalitanga.
Raga Gouri
Gouri, too, is a prachina raga. Or to be more precise, it is a group of ragas. It would be
appropriate to regard Gouri as a sub-melody, more in the line of a gesture than a full
blown raganga. And so it is that there are Gouris of the Bhairav, Poorvi and Marwa thats with
additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri
and so on. These are not considered ‘big’ ragas.
Most of the Gouris in vogue fall to either the Bhairav or the Poorvi that. The defining Gouri
signature obtains from the peculiar behaviour on and around shuddha nishad of the mandra
saptak. To wit:
S, N’ N’ S, r G, r S r N’, N’ d’ N’, N’ S
This lingering on the mandra nishad N’ and its angle of attack via r and d’ precipitate a
distinct sensation. An additional artifact is the elongation of gandhar as indicated above. A
soupçon of Shree-anga will also be noticed in many Gouris. That is all there is to this group
of ragas under the “Gouri” rubric. The rest of the swaraspace past the gandhar is populated
depending on your choice of that, anga and fancy. Every legal Indian citizen, therefore, is
entitled to his or her personal Gouri. The curious are referred to Bhatkhande‘s rather
detailed discourse on the subject in his classic work Hindustani Sangeet Paddhati.
Clipship ahoy! Watch out for the ritual enclosing the mandra nishad, or if you will, the
‘Gouritual.’
The first Gouri is of the Bhairav that. There is no Bhairavanga here but supporting structure
is supplied by the scale-congruent Kalingada. Presenting His Horniness, Mr. Jasraj.
Gouri of the Poorvi that is rendered by C.R. Vyas via a composition of Jagannathbuwa
Purohit “Gunidas”: khabariya le mori.
Bhimsen Joshi figures in this Marwa-that Gouri.
Another Marwa-that Gouri by Abdul Karim Khan.
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Indian tradition would be nothing if not for the exceptions and escape clauses. We have none
of the “my Book is the only true Book” and “my way is the only way” decrees prevalent in
places west of the Arabian Sea. The final Gouri exhibit is a beautiful sample of Haveli
Sangeet rendered by Amar Lal of the Kishangarh school. It is a different kind of Gouri,
outside the canon, and is grounded in the Bhairav that, with a mild Bhairavanga, with both
the komal nishad and shuddha rishab thrown in for good effect. The lyrics are attributed
to Parmanand Swami (1493-1583).
Recordings of other Gouri varieties such as Ram Gouri, Kapar Gouri and so on have been
bypassed for now.
Equipped with the fundamentals of Lalit and Gouri we now wish to inquire if the two can be
conjoined in lawful wedlock.
Raga Lalita-Gouri
To recapitulate: the Lalitanga signature is fashioned from the close coupling of the
two madhyams, the Gouri behaviour informed by appropriate clusters on and in the vicinity
of the mandra nishad. It stands to reason that the definitive characteristics of any purposeful
union of these two ragas must carry their respective genetic material. To what extent the
stipulations are actually met in practice will be left as an exercise to the reader, as also
recognition of supporting filler material (Poorvi, Pooriya Dhanashree, Kalingada, Shree etc).
The first item on the Lalita-Gouri platter has Ramashreya Jha “Ramrang” holding forth for
20 minutes in this recording made last month (February 2001) in Delhi specially for this
feature. The development proceeds from ‘first principles’ and leads to the formulation of
Lalita-Gouri, culminating in his own exquisite composition. The proceedings reveal why he
is a peerless teacher, and a vidwan and musician of the highest class. He is supported on the
harmonium by the veteran maestro from Goa, Tulshidas Borkar, and on the tabla
by Mithilesh Kumar Jha.
Jha-sahab’s remarks on the bandish, its sahityic and swara features, are enshrined in the
extended discussion above. From that mega-clip, we have isolated his composition in Lalita-
Gouri. Notice how the raga lakshanas are elucidated in the first line itself: basana lalita sohe
Gouri Amba ke.
Vinayakrao Patwardhan‘s version of Lalita-Gouri is the only one in this collection that
aligns with the Bhairav-that Gouri. All the rest are Poorvi-that votaries. The composition is
credited to Miyan Shouri, the originator of tappa: yara katara manu prema di.
Umrao Khan (son of sarangi-nawaz Bundu Khan of Delhi) sings a splendid bandish of
“Manrang.” Although it has been labelled “Gouri” it is seen to exhibit Lalitanga and hence is
included in this Lalita-Gouri section.
Lalita-Gouri is dear to the Agra clan. Vilayat Hussain Khan “Pranpiya” sings a composition
of “Daras Piya” (Mehboob Khan, Faiyyaz Khan’s father-in-law). The raga characteristics of
both Gouri and Lalit are captured in the first line itself: mora mana laga.
The next clip is offered for its vintage value despite its dubious audio quality: Altaf Hussain
Khan of Khurja.
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Vakra ragas such as these are primarily the playground for the vocalist. Occasionally an
instrumentalist surpasses himself and compels us to take notice. This recording of Ali Akbar
Khan is a masterly display with its meends, the shruti-pradhana nishad and so on. Although it
is tempting to discuss the recording in more detail, Kabir’s immortal line – mana masta huwa
taba kyon bole? – reins in my impulse.
Bhimsen Joshi generates a peculiar ‘swing’ around the mandra nishad in his khelana aaye
Radha.
Although the composition preetama saiyyan darasa dikhaja is a staple of the Atrauli-Jaipur
heavyweights, it is also treated with relish by the Agra folks as witness this clip of Pranpiya’s
son, Younus Hussain Khan.
Kesarbai Kerkar‘s Lalita-Gouri transports us into the stratospheric regions we have come to
associate with her name. There is a full-length live recording available. This clip is from a
shorter performance: preetama saiyyan.
Gajananrao Joshi wields the same bandish but scarcely does justice to Gouri’s mandra
nishad.
In the concluding item, Mallikarjun Mansur presents preetam saiyyan in vilambit Teental.
The clip sparkles despite his son Rajsekhar‘s contaminating presence. The Lalitanga is
presented upfront, the value accorded mandra nishad and gandhar hews to standard Gouritual.
The tans are formulated with an eye on anchoring the action around nishad and gandhar.
There can be no straight up and down sapat tans in Lalita-Gouri; they zigzag and keep
bouncing off nishad as in PNNdNNmdNN. Mansur cobbles up marvellous swara-
combinations, no doubt burnt into his memory through decades of relentless taleem.

On Raga Bhatiyar
Raga Bhatiyar
Raga Bhatiyar is heard at the crack of dawn, attendant with the quotidian, crepuscular rite
where Indian ladies armed with state-of-the-art spices take control of their sovereign space to
negotiate the day’s culinary projects. The name of this old raga is said to derive from King
Bhartrhari; this may well be a good example of inventive etymology.
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Throughout the following discussion M = shuddha madhyam and m = teevra madhyam.

Bhatiyar’s attractive façade belies its complexity. It exhibits bi-directional
(i.e. arohi and avarohi) assymetry in tonal construction and punctuation. The seed capital is
supplied by Ragas Mand and Marwa, the seemingly disparate strands harmoniously bridged
by special swara-sangatis. Bhatiyar is of ‘abstract’ type, where the whole is not the sum of the
parts. While the latter comment may be generally true of every raga, the gaps to be filled in
the ‘abstract’ melodies require internalization of the underlying aesthetic spirit and
raga dharma.
The marker in Raga Bhatiyar is the propulsive leap S–>D, an artifact of its Marwa heritage.
The dhaivat thus approached is rendered deergha (elongated) and followed up by a Mand-
inspired (N)D N P, D M, culminating with a repose on madhyam. The melodic development
is then concluded on the shadaj via P G, P G r, S – where the second (P G) subgroup ‘looks’
towards rishab. The key point here is the avarohi nyasa on madhyam, that swara being of
utmost value to Bhatiyar. A pause on pancham following S–>D would violate the raga spirit.
The S–>M launch is just as frequent. The madhyam is elongated but not accorded
full nyasa in the arohi direction.
A typical foray may assume the form: S M, M P, M D P M, P G, P G r, S
Or, when the avarohi nyasa on madhyam is effected:
S D, D N P D M, M (P)D P, P G r S
The uttaranga traffic originates from teevra madhyam in Marwa-like fashion (m D S”).
For instance: m D S”, N r” G” r” S”, r” N D P D N (D)P D (P)M
Caveat: careless handling may invite unwanted memories of Marwa.
To get the gestalt of Bhatiyar we must turn to the supporting audio clips. Only the ‘big
picture’ has been outlined above, the auxiliary details of interest to the advanced reader have
been skimped. The following chalan sketched by Ramashreya Jha “Ramrang” holds
Bhatiyar’s concentrate. Notice the special treatment of the swaras enclosed in square
brackets.
S M, M M P [P] G, G M P G r, S
S M M P P D D [N] P [D] M M M (P)D P, M P G P G r S
S D, D [N] [N] P, m D S”, N r”, N P D [N] P [D] M M M (P)D P, P G P G r, S
The key ingredients that make for Bhatiyar’s design are common to almost all renditions as
will be evident from the clipfest.
We kick off the proceedings with a bhajan by Lata Mangeshkar from the movie GHAR
GHAR KI KAHANI (1970). The composers are Kalyanji-Anandji: jaya Nandlala.
Ramrang‘s compositions are splendidly conceived. First, a sparkling bandish in
Jhaptala delivered with customary verve.
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mero bane nahia tero krupa bina

kaise karun main vighana hain ghanero
natha tu anathana ke deenana ke ho data
“Ramrang” ke sakala karaja sudharo
Another handsome Ramrang composition in vilambit Ektala by his pupil Shubha
Mudgal: sajana bina.
Bhatiyar’s robust design readily submits itself to dhrupad treatment. N. Aminuddin
Dagar‘s nomtom alap and the dhrupad, Shiva Shiva Shiva, are a class act.
Among the finest Bhatiyars around, this recording of Laxmanprasad Jaipurwale features
the traditional tero guna ga’oon as well as his own druta composition.
Amir Khan, a perpetual delight, sings a traditional khayal: barani na jaaya.
The same khayal, fluently developed by Basavraj Rajguru.
Pandit Vishnu Narayan Bhatkhande‘s creative yen is evident in his compositions. One
such, nisadinana bismarata, finds an ally in K.G. Ginde.
Ramkrishnabuwa Vaze and his bag of quirks.
A tarana by Nissar Hussain Khan of the Rampur-Sahaswan Gharana brings us to the final
item in our Bhatiyar catalogue.
For completeness I should mention that some Agra singers render a Lalit-anga Bhatiyar that
employs komal dhaivat (for instance, Babanrao Haldankar‘s recording). Also, versions of
Bhatiyar of the Bilawal and Khamaj extraction are now mostly out of circulation. For the
Khamaj-anga Bhatiyar, see In the Khamaj Orchard.
Bhatiyar forms a triad with two other ragas, namely, Bhankar and Pancham. My intent here is
to only introduce the reader to these uncommon melodies. In the interest of brevity this will
be a quick, drive-by excursion.
Raga Bhankar
There are at least three versions of this Bhatiyar affiliate. In the type purveyed by Jha-sahab,
the accent is transferred to pancham (recall the dominant madhyam in Bhatiyar). The teevra
madhyam appears in a peculiar avarohi passage. An altogether independent swaroopa accrues
with these alterations. Ratanjankar’s school shares this view in large measure.
Ramrang outlines the chalan.
Ramrang‘s bandish.
Aftab-e-Mausiqui Faiyyaz Khan‘s Bhankar is an odd one. He does not much appeal to
Bhatiyar’s dhatu. Instead, one finds chhayas of Poorvi – in the poorvanga molecule G r M
G – and of Bhairav. Of the two dhaivats pressed into service the komal is by far the
dominant. The huge meend from tara saptaka komal rishab back down to base shadaj is
striking. All this and more parlayed in the famous E karatara jaga nistarana.
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Now for the pièce de résistance of this article: the Atrauli-Jaipur design of Bhankar conceived
by Alladiya Khan. That he could fashion something so complex without compromising on
melodic and aesthetic content shows him for the extraordinary genius that he was. That in our
time we had a vehicle in Mallikarjun Mansur to instantiate Khansahib’s ideas marks us out
as a singularly fortunate generation.
Alladiya Khan has re-worked both the composition E karatara jaga nistarana and as well as
the raga itself. A Lalitanga (anga of Raga Lalit) is inducted via the downward chromatic use
of the two madhyams – d m M. The melodic ‘centre’ alternates between M and P.
The antara is launched with m D S” à la Bhatiyar, and is resolved via a huge
declining meend along the r”–N–d–m–M locus.
If this rendition doesn’t move you to tears you have no soul. These are only seven minutes
of Mansur’s tour de force from an old All India Radio recording.
Raga Pancham
This raga comes in multiple versions. The common Marwa-that type, in fact, eschews
the pancham swara. In the first clip Ramrang talks briefly of the raga’s antecedents beginning
with Bhookosh and its morphing over time. His lakshana-geet is featured in the second.
Ramrang, chalan of Pancham.
Ramrang, Pancham bandish.
K.G. Ginde‘s interpretation through Ratanjankar‘s composition has much in common with
Ramrang’s but there’s an additional bite of Lalitanga off the two madhyams: aaja gaa’o, gaa’o
rijhavo.
Vestiges of the earlier Bhookosh (resurrected now as Bhinna Shadaj) alluded to by Ramrang
are observed in the Rampur-Sahaswan script for Pancham. The subtle touches of komal
rishab and pancham in avarohi mode induce pleasing flavours. Allauddin Khan of Maihar
perhaps derived some inspiration for his Hemant (with R replacing r) from this melody.
A beautiful rendition on the sarangi by Sabri Khan.
For the concluding item we have Faiyyaz Khan. He extends the Rampur conception.
The arohi prayoga assumes the S G M D N contour. In descent, both pancham and shuddha
rishab are taken in vakra clusters, and a strong madhyam attends the development. The
recurring P G R S reins in and terminates a melodic foray. Also notice the occasional komal
rishab.

Raga Shree: Close Encounters

In the realm of melodic music the tradition of India is without equal. Nothing else comes
close. The Europeans and Americans, the self-appointed adjudicators of every activity under
the blazing sun, who once thought their finest melodies to be works of high Art, have now
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discovered to their utter dismay that they have done no better than wrestle with kindergarten
level ditties when they have not been otherwise churning out noise. The vast terrain of
Indian ragadari music has nourished and nurtured a teeming web of melodic life of every
conceivable level of complexity and aesthetic measure. The very high end of this spectrum is
a nest for an aristocracy of ragas that represents the acme in human melodic thought. To this
exclusive commonwealth belongs our raga-du-jour, Shree, at once recognizable for its
forbiddingly haunting and deeply meditative mien. For the musician, it is among the most
difficult ragas to master. For the rasika, it is a fulfilling emotional purchase.
Throughout the following discussion m = teevra madhyam.
Shree is an ancient raga of the Poorvi that corresponding to the 51st melakarta of the
Carnatic paddhati, Kamavardhini, with the following swara set: S r G m P d N. Shree is also
a raganga-raga lending seed material to several other sub-melodies (eg., Triveni, Jaitashree,
Shree Tanki and so on). Raga Shree of the Carnatic paddhati is an altogether different bloke
although there exists a curious relationship: a simple flip-flop of the swaras of the Carnatic
Shree from or to their vikrita forms yields an approximate contour of the Hindustani Shree.
Notice that a similar correlation holds true for other name-congruent pairs, eg., the Carnatic
Hindolam and Hindustani Hindol or the Carnatic Bhoopal and Hindustani Bhoopali.
The nominal arohana-avarohana set of Raga Shree may be stated as:
S r, (G)r (G)r m P, N S”::S”, r” N d P, d m G r, (G)r S
The aroha-avaroha does not convey much and must be seen as a preliminary aid; it is really
an ex post facto construction. Knowing a raga involves investigation of its ‘biochemistry’, the
position and pramana of all the swaras employed, their interrelationships and the prayogas.
Shree is meend pradhana, of vakra build, and requiring of special swara
uccharaaa (enunciation). It places unusual demands on the musician’s reflective daemon and
calls for cultivation of proper habits of mind and voice. In the hands of a master Shree can
lead to an ennobling experience. Lesser hands given to playing ducks and drakes ought to be
persecuted to the highest extent allowed by the law of the land.
In the arohi movement Shree omits the gandhar and dhaivat. The central idea is the coupling
of the komal rishab and pancham, the vadi and samvadi swaras, respectively. The intonation
of the rishab tugged with the gandhar and the meend-laden rishab to pancham coupling define
Shree’s signature. Therein also lies the key to its gambheer, maestoso personality. The r-P-
r coupling cuts both ways. S, r and P and are extremely strong swaras (nyasa bahutva);
the m, d and N swaras assume subsidiary values. The avarohi retreat is tricky as the entire
locus cleaves through a minefield of meends. The definitive movement – r” N d P, d m G r,
S – is an important signpost of raganga Shree. Execution of fast tans in Shree is tough. It can
be easily verified that a rapid run of rmPN is non-trivial (since it tends to slide into rmdN).
Recognition of such speedbreakers dictates the construction of tans; the prescription leans
towards avarohi tans.
The essence of Shree is difficult to convey through the written word alone. Fortunately,
today’s technology permits a multimedia exposition. To get the raga’s gestalt it is
recommended that you allow some of its key tonal movements to ricochet in the walls of your
mind for at least a week or so.
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We have cobbled together two representative chalans, one each for

the poorvanga and uttaranga regions. The voice is Nachiketa Sharma. Observe the
treatment accorded the rishab, the r-P-r interaction and the meends in descent.
First, the poorvanga:
S, (S)r, (G)r m P, P (P)r, (G)r (r)P,
(P)m P d m G r, (G)r (r)P (P)r, G r S
The uttaranga chalan:
m P N, N S”, mPNS”r”, (G”)r” (G”)r” S”,
r” N d P, (P)m P d m G r, (r)P (P)r, G r S
Some of the finest recorded instances of Shree are loaded in the audio segment that follows.
‘Light’ renditions in this raga are uncommon, its complex structure perhaps serving to thwart
attempts to tame it. In the movie ANDOLAN (1951), the flute maestro Pannalal
Ghosh composed a song and had his wife Parul render it: Prabhu charanon mein.
We open the classical innings with three splendid compositions of Ramashreya Jha
“Ramrang.” The raga lakshanas emerge with crystal clarity in Jha-sahab’s own voice packed
as it is with anubhava (there is no good English equivalent of this beautiful word;
“experience” doesn’t quite cut it). First, the vilambit in dheema Teentala:
gyana na pave guru bina gyani
gurupada raja anjana ankhiyana mein
mana driga dosha mitave
Shiva Sanakadi rate Bhrahmadika
nisi vasara charanana chitta lave
“Ramrang” Hari guru mein bheda na veda na’ita nita gave
Ramrang’s druta bandish retains the textual bhava. Notice the fit of the words with the
melody and tala. The composition includes, what is known as, a vi-sam, where the accent is
moved off the the sam and onto the second beat of the tala cycle:
guru ke paga pariye dhariye dhyana mana
nisi vasara sumiriye nama
pave gyana mana guniyana mein
agama apara nada veda
guru bina pave kabahuna bheda
“Ramrang” bhava bhagati kari dhyave aave jo sharana mein
Ramrang’s brisk tarana mapped tp the 14-beats Ada Chautala:
Jha-sahab also tosses in a rendering of the well-known traditional bandish, eri hoon to,
punctuating the development with shoptalk.
Among the earliest khayal schools, Delhi Gharana now lies dormant. This rich and lyrical
style was once the home of the likes of Achapal, Tanras Khan, Bundu Khan and Mamman
Khan. The last distinguished representative of Delhi was Mamman’s son, Chand Khan. It is
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a pleasure to offer a glimpse of Chand Khan’s artistry in this prized recording. Notice his
mudra “Chand Piya” in the druta cheez.
Another vintage rendition of Laxmanprasad Jaipurwale of the “Kunwar Shyam” tradition
(see the archive for an exclusive feature on him). He sings the bada khayal traditionally dear
to the Gwalior musicians – gajarwa baje – in vilambit Ektala.
The most popular Shree melody of our times is the sublime composition of Pandit Vishnu
Narayan Bhatkhande (“Hararang”) – Hari ke charana kamala – famously rendered by D.V.
Paluskar in what turned out to be his swan song. The story of this recording is retailed in
the Appendix below.
Hari ke charana kamala nisadina sumira re
bhava dhara sudha bheetara bhava jaladhi tara re
jo’i jo’i dharata dhyana pavata samadhana
“Hararang” kahe gyana, abahu chita dhara re
The Gwalior staple, gajarwa baje, cast originally in Tilwada tala, is offered by Ulhas
Kashalkar. He later launches into the druta composition eri hoon to. Compare it with Jha’s
sahab’s excellent delivery of the same item.
The doyen and teacher to many of Maharashtra’s musicians, the late violinist and
vocalist Gajananrao Joshi.
Like other grand ragas, Shree is primarily the province of the vocalist. Nevertheless, the
occasional instrumental performance transcends the run-of-the-mill. One such is by the cheej
pijja-loving (naked) Emperor of San Rafael, Mr. Alubhai Khan.
A latter day Salamat Ali effortlessly summons an austere Shree ambience…
…but an earlier orgiastic excess with his brother Nazakat Ali must be credited to youthful
indiscretion.
The Atrauli-Jaipur conception of Shree is quite grand as witness the recordings
of Mallikarjun Mansur. Here he assays the A-J chestnut kahan mai guru dhoondana ja’oon:
Shruti Sadolikar‘s version reveals a variation on the bandish.
After Ramrang and Bhatkhande we come to the last of the great vaggeyakaras featured in this
selection: S.N. Ratanjankar. His guni guna nihare is conveyed by his pupil K.G. Ginde.
Shri Ginde’s work in documenting Ratanjankar’s 600+ compositions in magnificent
calligraphy, with astounding attention to notational detail, defies description and is a work of
Art in its own right (see sample on this page).
guni guna nihare guna ko sara
beguni ko’u na payo para
bina kiye sadhana guna nahin aave
“Sujan” suna sacha yahi bichara
An Evening with Raga MaruBihag
The much-loved Raga MaruBihag is of fairly recent vintage. In Raga Darshan, the
author Manikbuwa Thakurdas speaks of an older Raga Maru as its progenitor. Be that as it
 167

may, the MaruBihag in currency is widely acknowledged to be a product of Atrauli-Jaipur

founder Alladiya Khan‘s prodigious imagination. Over the years and in the course of its
journey across regions, the raga has acquired quaint touches and flavours reflecting the
idiosyncrasies of some of the more creative minds.
Throughout the discussion M = shuddha madhyam and m = teevra madhyam.
MaruBihag’s core being is beholden to Kalyan; supporting material is supplied by Bihag. The
two angas are mediated by special melodic gestures as we shall shortly see. The aroha-
avarohana set may be stated as follows:
N’ S M, G, m P, N, S” :: S” N D P, m G, m G (S)R, S
Since the aroha-avarohana provides no more than a silhouette of the raga, a few lines will be
devoted to fleshing out its central features. The rishab and dhaivat are varjit in the ascending
movement. The teevra madhyam is part of the raga’s Kalyan heritage and plays a key role.
The pancham is the most important nyasa sthana, the centre of melodic gravity, anchoring
most of the action. A large number of traditional compositions in MaruBihag have located
their sam on pancham. The shadaj, gandhar and nishad are also nyasa bahutva swaras.
The rishab merits special attention; it is characteristically intoned with a kan of the shadaj, to
wit (S)R, S. The R is thus elongated and approached via the shadaj – m, GRSR, S.
The dhaivat is occasionally rendered deergha as in PD PD (P)m or from the tar S” as in N S”
D, P.
The contribution from Bihag is evident in prayogas such as P’ N’ S G or R N’ S G. More
dramatic is the piquant introduction of the shuddha madhyam: S M, M G. This foray is often
concluded by the Kalyanic m G (S)R, S. The intersection of these movements represents the
confluence of the Kalyan and Bihag angas. There is an implicit nod to Bihag in the
construction of MaruBihag’s tonal ribbons such as N’ S G m P or Gm P N. Whereas
the teevra madhyam tilts the development assuredly towards Kalyan, the underlying locus
derives from Bihag. This subtle interplay of the two melodies is characteristic of MaruBihag.
Remember, however, that Bihag is a Bilawal-anga raga. Interestingly, S.N. Ratanjankar has
conceived a raga named Marga Bihag with an entirely Bihag-like motion but with the proviso
that only the teevra madhyam is deployed.
Much of the foregoing discussion is now compressed in the following two clips, elucidating
the key elements of the poorvanga and uttaranga. Note that the kan-swara (in parenthesis
below) is not explicitly intoned. The voice in these – and the earlier aroha-avarohana – clips
is Nachiketa Sharma.
S (m)G m P, m G, m G (S)R, S
P’N’SM, M G, S (m)G (P)m P
GmPN, N S”, PNS”G”, m” G” (S”)R”, S
N S” D, P, PD PD (P)m, mP mP (m)G
P’N’SM, G, G N D P m G (S)R, S
We inaugurate the audio parade with the song from the movie EK RAAZ, composed
by Chitragupta, and delivered in the magnificent voice of Kishore Kumar: payalawali
dekha na.
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MaruBihag is entrenched in popular Indian imagination via the Mohammad Rafi – Lata
Mangeshkar number from SEHRA, composed by Ramlal. It is hard to overstate Lata’s
extraordinary abilities with sahitya and swara. So much came so naturally to her: tum to
pyara ho.
The primary and most influential carrier and transmitter of Alladiya Khan’s memes
was Kesarbai Kerkar of Goa. The original MaruBihag composition, rasiya ho na ja, has
travelled far and wide, and is sung in various textual interpolations. A couple of points merit
comment in this Kesarbai rendition. At about 0:19 into the clip the shuddha madhyam arrives
in a Bihag-like S G M, not a typical deployment in this raga. The other item of note is the
explicit Kalyan-esque m D N beginning at around 0:21. This is eschewed by almost all but
the Atrauli-Jaipur musicians. The alert listener will also catch the special tan constructions
that embellish Kesarbai’s rendition.
The second-generation representative of Atrauli-Jaipur, Mallikarjun Mansur. This is
classicism at its highest and most sublime.
Bismillah Khan‘s mastery of his instrument is stamped all over this gem of a recording.
Bhimsen Joshi weighs in his version of rasiya ho na. Notice the maverick phrase
involving shuddha madhyam as he launches the antara with mana chinta. The druta cheez is
the well-known tarapata raina dina.
Roshanara Begum, rasiya ho na.
In July 1995 Kashinath Bodas gave a private concert in Berkeley, California. Two weeks
later he passed away in Canada. A clip of the Berkeley recording is offered. I am on the
harmonium and Pranesh Khan is on the tabla. The composer is Omkarnath Thakur’s
disciple, Balwantrai Bhatt “Bhavrang”: begi tuma aa’ao sundarva (notice the unusual
placement of the sam on the teevra madhyam).
Ramashreya Jha “Ramrang” has composed marvelously in MaruBihag. Here we have
his druta composition celebrating the wedding of the four princes of Ayodhya. The pointed
placement of the shuddha madhyam on his mudra in the antara is pure magic.
aaja re badhava baje Avadha nagara mein
kunwara chari byahi ghara aaye
ananda “Ramrang” dagara dagara mein
Another druta composition of Jha-sahab, this time by Shubha Mudgal:mana le gayo sanwara
Aftab-e-Mausiqui Faiyyaz Khan‘s recording brings down the curtain on our soirée. Take
stock of the komal nishad touched here as a vivadi swara at 6:30 into the clip.
Some readers may have noticed a correspondence between Ragas MaruBihag and Hemant via
a murchhana precipitating the avirbhava of one raga in the other.
Raga Amritavarshini
A recent import from the Carnatic stream, this raga bears some likeness to MaruBihag.
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It is of audav-jati with the swara set: S G m P N. In Jitendra Abhisheki’s fecund melodic

imagination was conceived this beautiful Marathi natyageeta rendered by Asha Khadilkar in
the drama DHADILA RAMA TINI KA VANI: le’oo kashi valkala.
Abhisheki himself, in a classical posture.
Addendum: Amir Khan‘s unpublished rendition of Raga Maru Kalyan is offered here
without comment. It is left as an exercise to the reader to flesh out its details.

The Kanada Constellation - Part 1

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The ragas under the “Kanada” rubric are among the most important building blocks of the
Hindustani entablature. Mastery of the Kanada gestalt must form part of the mental furniture
of any serious Hindustani practitioner operating in ragaspace. This melodies of Kanada
Constellation are the topic of our current investigation.
Let us examine the kernel of raganga Kanada. Throughout this voyage, M denotes
the shuddha madhyam. Shorn of bells and whistles, raganga Kanada may be reduced to two
tonal molecules, one each in the poorvanga and uttaranga regions. They are:
(M)g (M)g M (S)R, S
and
(P)n–>P
Now, if we furnish a bridge to the above with an avarohatmak n nPMPn(M)g or a plain n P
(M)g we have said essentially everything there is about the Kanada raganga. There is,
however, much to be said for proper swara-uccharana something that
involves kans, meend and punctuation, and without which the Kanada bhava cannot be
realized.
The word “Kanada” is an apabransha (corrupt form) of “karnat.” For a historical account and
occurrence of Kanada in the literature the reader is referred to Pandit Vishnu Narayan
Bhatkhande‘s epochal work Hindustani Sangeet Paddhati. Our focus here will be on raga
structure and its praxis at the current time.
Bhatkhande enumerates 18 traditional prakars of Kanada. Of these, only about 7-8 are
elemental, in the sense that they have an original, individual swaroopa. They are: Darbari,
Adana, Suha, Sughrai, Nayaki, Shahana and Devsakh. The rest are composites formed by
blending two ragangas or hybrids spun off by bringing together two or more ragas (eg.
Basanti Kanada, Gunji Kanada). Then there are ragas realized by imprinting
specialized swara clusters on the Kanada fabric (eg. Raisa Kanada, Mudriki Kanada).
Another sub-group appears at first glance to fall into the hybrid class, but its members mesh
so naturally with the Kanada anga that their aesthetic sensibility impels us to accord them the
respect given elemental Kanadas (eg. Bageshree Kanada, Kafi Kanada and Kaushi Kanada).
Incidentally, the plain ol’ Bageshree (without the explicit Kanada artifacts) was in the olden
times considered a form of Kanada (vide Bhatkhande).
The casual observer of the Kanada constellation is often assailed by what appears to be a
higgledy-piggledy state of affairs. A general description of the Kanada variants is a hopeless
task given their wide variability. With the exception of Darbari, on which near unanimity
prevails, the remainder of the Kanadas show variance in expression across regional
and gharana borders. It must be emphasized, however, that there is no ambiguity apropos of
the Kanada kernel itself which is at once recognizable and unambiguous. The divergence in
raga-swaroopa is in the area of supporting tonal constructs.

Be that as it may, the tack I propose to take is the one adopted by Pandit Ramashreya Jha
“Ramrang” in his classic volumes of Abhinava Geetanjali. One version is identified as
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canonical, the primary carrier of raga lakshanas, and deviations from that norm are suitably
accomodated in discussion. My brief here is to sketch the broad strokes of the raga. For
details and other minutiae the reader is referred to Ramrang’s treatise. Ramrang’s own audio
illustrations will be adduced below as we run through the Kanada catalogue.
Raga Darbari Kanada
Legend credits Tansen with giving the ancient Kanada a new interpretation which we today
associate with Darbari. It is a monumental raga, unmatched in Hindustani ragaspace for its
gravitas, difficult in its swara-lagav, and profound for its emotional impact on the innocent
and the illuminati alike.
Darbari is the premier Kanada, the flagship of the ranganga; indeed a mention of ‘Kanada’ is
by default taken to mean Darbari. Occasionally it also goes by the name Shuddha Kanada.
The swara set is supplied by the Asavari that: S R g M P d n. The attack on komal gandhar is
critical. Much is made of the ati-komal nature of this Darbari gandhar. However, in
Hindustani music, as in most Indian music, a swara is not characterized by a single frequency
point. What is of paramount important is the swara–uccharana – i.e. kans, proportion,
volume, angle & direction of attack, all of which go into the making of swara. It must be
underscored that the swara is not the same as ‘note.’
The komal gandhar in Darbari is ati-komal, to be sure, but the kans are far more decisive.
There are two directions of approach to komal gandhar. The arohi gandhar receives
a kan of rishab, the avarohi gandhar receives a kan of madhyam; in both instances
the gandhar is andolita. This sui generis komal gandhar is the lifeblood of Raga Darbari
Kanada. In notational form, we have:
The arohi gandhar: S R (R)g, (R)g
The avarohi gandhar: (M)g, (M)g M (S)R, S
The rishab is the vadi and an important nyasa sthana. The pancham is likewise another
important location for repose. The Darbari komal dhaivat is symmetrical to gandhar in that
the arohi kan is purchased from pancham, the avarohi from komal nishad. But there is an
important difference – dhaivat is langhan (skipped) in avarohi prayogas whereas gandhar is
indispensible:
M P (P)d, (P)d, (P)n–>P
and
S”, (n)d n–>P
Observe that dhaivat lends an austere effect in the mandra saptak; several
established khayal compositions locate the sam there.
The Kanadic (P)n–>P movement is characterized first by a forceful P–kan to n and then
a meend back to pancham. The aforementioned ‘bridge’ – nnPMPnMP(M)g – delivered
with a forceful gamaka puts the ball back into the poorvanga court and the melodic sequence
is resolved all the way back to the shadaj via (M)g M (S)R, S.
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Darbari is a poorvanga-pradhana raga, where the mandra and madhya saptakas harbour most
of the melodic activity. As a final remark, the tans in Darbari khayals never assume a linear
profile (eg. SRgMPdn etc), but are conceived in double and triple hammered combinations
(MMM PPP ddd etc) or in other vakra formulations. Forceful gamakas are liberally
employed once the initial development has warmed up.
A sample chalan for Darbari is now proposed:
S, n’SRS (n’)d’, (n`)d’ n’ P`, M’ P’ (P`)d’ (P`)d`, d’ n’ R, S
S R (R)g, (R)g, M P, nP (M)g, (M)g M (S)R, S
M M P, M P (P)d (P)d, (P)n–>P, n nPMPn (M)g, (M)g M R, S
These Darbari lakshanas are frozen in this compendium by Pandit Ramashreya Jha
“Ramrang”.
Our Darbarifest opens with a few clips drawn from the ‘light’ arena Pandit Kishore
Kumar volleys a traditional cheez with preliminary alap. The composer is Bappi Lahiri, a
bong of indeterminate sex.
The Kanadas have a long association with Marathi stage music and among most celebrated
Darbari there is this one by Vasantrao Deshpande from the play
SAUNSHAYKALLOL: mruganayana rasika mohini.
Mukesh‘s maiden effort was this Darbari-inspired number from PEHLI NAZAR under Anil
Biswas‘ baton. The influence of Saigal on Mukesh’s gayaki is obvious: dil jalta hai to jalne
do.
The next two are vintage Asha numbers: Film: LEADER, Music by Naushad: daiyya re
daiyya.
Film: KAJAL, Music by Ravi: tora mana darpan.
Although Darbari is more suited to the baritone, Lata’s gestures attract our attention. From
the movie MUGHAL-E-AZAM, the composer is Naushad.
Film: MERE HUZOOR, Music: Shankar-Jaikishan, Voice: Manna Dey. jhanaka
jhanaka.
The classical segment begins with Jha-sahab’s superbly delivered compositions.
Jha, Darbari -1.
Jha, Darbari -2.
‘Aftab-e-Mousiqui’ Faiyyaz Khan was considered among the greatest performers of the 20th
C. This 1942 mehfil recording suggests why.
Darbari is enshrined in several traditional dhrupads. The Dagars, N. Moinuddin and N.
Aminuddin, reprise one such: sajana bina khelata.
Bade Ghulam Ali Khan‘s servings of Darbari were universally loved. In this unpublished
1954 Calcutta recording, he sings the traditional vilambit, bandhanwa bandho re.
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The Kirana pioneer Abdul Waheed Khan was overshadowed by his cousin Abdul Karim
Khan, but had a profound influence on 20th C vilambit khayal gayaki.
Amir Khan was born to sing expansive ragas like Darbari. The just-mentioned Abdul
Waheed Khan was a key influence in the formation of his musical philosophy. This has got
to be among the greatest pieces of recorded music, certainly the mother of all Darbaris.
The magnificent early recordings of Nazakat and Salamat Ali have been present to my
imagination for as long as I can remember. I cut my teeth on this Darbari, thanks to my
father’s love of it.
The Gwalior stamp from the Darbar-gayak Krishnarao Shankar Pandit: suhagana cholara.
Azmat Hussain Khan of Atrauli was Alladiya Khan’s nephew and a close relation of
Agrawale Vilayat Hussain Khan. During his days in Bombay he trained a number of students
including Jitendra Abhisheki. This recording is from a 1970s mehfil at the Kala Academy in
Panjim, Goa.
Darbari is out and out the vocalist’s fief. To know and to feel it is to hear the great vocal
masters. The feeble noises made by the current day dingdongers cut little ice. Nonetheless,
two rare instrumental selections are adduced.
Ayet Ali Khan, younger brother of Allauddin Khan, and a master of the surbahar.
Abid Hussain, dhrupadiya and beena player, was a court musician at Baroda. He traced his
lineage to the fabled Jaipur gharana paterfamilias “Manrang”.
From the Atrauli-Jaipur catalogue, Mallikarjun Mansur. Mansur’s voice is not a natural fit
for this raga but he compensates for it with superb gamaka work.
The Darbari orgy concludes with a druta rendition by Bhimsen Joshi: jhan jhanakawa.
There is a large pool of recordings available in Darbari and the above reflects a rather
personal choice.
Raga Adana
Although Adana is allied to Darbari it jettisons much of the latter’s ponderous baggage.
There is no andolita gandhar and much of the meend work required in Darbari is eschewed.
In contrast to Darbari, Adana is an uttaranga-pradhana raga, lithe and full of gusto. To
conjure an image – think of that svelte leotard-wrapped babe at the aerobics class you’ve
been lusting after as Adana, and your wife as Darbari.
In the arohi passages gandhar is dropped, viz., S R M P (n)d, (n)d S”. The Kanada strands
are inserted via S”, (n)d n P and g M R S. In faster forays dhaivat is sometimes skipped thus
leading to an avirbhava of Sarang. Indeed, some versions of Adana
sideline dhaivat altogether.
The value of the Adanic nishad is of considerable interest. Many vidwans consider it to lie
between the nominal komal and shuddha nishad (called chadha nishad). This is the
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viewpoint embraced by Jha-sahab in a brilliant demonstration of the shades of nishad. The

shruti-charcha continues well past the bandish in this clip.
Adana and Darbari often commingle in ancillary genres. Shankar-Jaikishan‘s tune in BETI
BETE is tilted towards Adana. Voice: Mohammad Rafi: Radhike tune bansari churayi.
Prabhakar Karekar‘s natyageeta from EKACH PYALA: zhani de kara ya.
Composer Vasant Desai‘s tune finds a happy camper in Amir Khan. From JHANAK
JHANAK PAYAL BAJE .
A dhrupad in Sooltala by N. Zahiruddin and N. Faiyazuddin Dagar: Shiva Shiva Shiva
Shankara Adideva.
Anjanibai Lolienkar from Goa was trained by Agrawale Vilayat Hussain Khan. Another
Shiva-stuti, Damaru Dama Dama baje.
Superstars in their time, the first quarter of the 20th C, the Alia-Fattu duo (Ali Baksh and
Fateh Ali) from Patiala is honoured in this bandish composed by “Meherban.” It is rendered
here by Fateh Ali’s grandson, the current Fateh Ali: tan-kaptan.
Bade Ghulam Ali‘s extraordinary voice takes flight in Adana. The composition is his
own: jaisi kariye waisi bhariye.
A mehfil of Ghulam Hassan Shaggan.
In recent years a whole Spicmacay generation has been weaned on Mr. Jasraj‘s Mata Kalika,
composed by Maharana Jayawant Singh.

The Kanada Constellation - Part 2

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The various prakars of Kanada are surveyed in the next two parts. In essence, these are a play
around the Kanada kernel discussed in Part 1.
Raga Suha Kanada
The dhaivat is varjit in most Suha releases. An alpa rishab in arohatmak prayogas and a
strong shuddha madhyam characterize the raga. Its essense is contained in the following
tonal sentence:
n’ S (M)g (M)g M, (M)g M (P)n–>P, (P)n M P S”… (P)n–>P (M)g M, R S
The Kanada markers are discernable. Ramrang‘s composition quickly bares
the lakshanas. Notice the recurring (M)g M, M n P as well as the P S” interval: aba ghara
jane de.
Bhimsen Joshi belts out a traditional Suha cheez attributed to “Sadarang.” Note the (M)R M
P usage of rishab, occasionally found in some treatments: tu hai Mohamadshah.
Mushtaq Hussain Khan (1880-1964) of Rampur-Sahaswan sings the old composition, piya
banjara. Later, we shall find it cast in Sughrai. Mushtaq Hussain‘s Suha adopts the R M R
P cluster on the mukhda and this combined with movements in the uttaranga lead to
an avirbhava of Sarang, which is then quickly dissipated by the dominant Suha machinery.
The Agra snapshot offered by Latafat Hussain Khan deviates from the canonical Suha
outlined earlier first in the S R (M)g usage of rishab and then via a Sarang-
like avarohatmak n P M R S. The alert reader will hear a shuddha nishad en route to the tar
saptak shadaj in the antara. This arohi-only shuddha nishad-laden phrase – M P n P N S” –
occurs in several Kanada prakars. By now the nexus between the Sarang and
Kanada ragangas should be obvious: a soupçon of Sarang is residual in most Kanada
melodies. Its influence in Suha must be minimized so as not to tilt it towards Sughrai.
Mogubai‘s version is the odd one out, peppered with Sarang-inspired gestures that imperil
Suha by inclining it towards Sughrai. However, the Atrauli-Jaipur Sughrai claims other
features which we shall come to in a moment. In this short recording, a strong
Suhaic madhyam is suggested although never quite realized.
K.G. Ginde adheres to the canonical Suha outlined by Ramrang. The madhyam is
brightened by a direct approach from S, as in S M. The traditional bandish is set in Tilwada:
aaja re badhawa.
The final Suha item, courtesy Jitendra Abhisheki.
By now the reader should know what to look for. When we are done with Nayaki and
Sughrai it is hoped that we will attain to some clarity in the Kanada space. Remember: the
raga name in itself is not important; ability to flesh out its internal structure and pattern is.
And even that is ultimately not as important as the capacity to soak in and enjoy the melody.

Raga Sughrai Kanada

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This old raga comes in at least two distinct versions, one without and the other with
(shuddha) dhaivat. The former type is more common. The key idea in Sughrai is the
intertwining of the Kanada and Sarang angas.
The definitive phrase in most treatments is considered to be: nnPMRS R (M)g. Unlike
Suha, Sughrai looks to pancham for its nyasa sthana.
In the first clip, Jha-sahab sings a composition of Anwar Hussain Khan “Rasrang.”
Freewheeling linear sorties of form N’SRMPNS”R”SNPMRS R g are observed.
Since there is overlap in the lakshanas of Suha and Sughrai, oftentimes the two are bundled
together and sung as Suha-Sughrai. In this lovely composition of Krishnadas, the saint-
composer from the Vaishnavite Vallabh sampradaya, Jha-sahab holds forth on matters of
Suha & Sughrai: barasata rasa boondariya.
Omkarnath Thakur quickly scythes to the raga core in this traditional bandish: ma’i
kanthuwa.
The Agra statement retains the essence of the earlier versions. We have already scraped an
acquaintance with this composition, albeit in Suha. The heavyweight Vilayat Hussain
Khan: piya banjara.
Now watch the same composition morph again in the Atrauli-Jaipur hands. Take stock of
the mukhda. The Sarang-anga surfaces but there’s a noticeable change in flavour.
Mallikarjun Mansur.
Kesarbai Kerkar sings another traditional Sughrai bandish.
The second dhaivat-laden variety of Sughrai is advanced by K.G. Ginde. Here we
have dhaivat appearing via D n P, à la Shahana but the dominant Sarang strain in Sughrai
reins it in. This is Bhatkhande’s composition: piya bina.

Raga Nayaki Kanada

Nayaki plies gestures similar to Suha with one phrase all its own: R n’ S R P (M)g.
Its poorvanga is redolent of Darbari – the gandhar treatment, to be precise. There is also a
quick flourish of the form gMPMRS R, S.
A sample chalan:
S, R n’ S R P (nM)P (M)g, M, gMPMRSR, S, S R (R)g M, M n–>P
Sharad Zambekar is a veteran of Marathi stage music. From the play SHIKKA
KATYAR: tuzya vina bhavana.
Another natyageeta – chandra hava ghana – from MEERA MADHURA.
Composer: Jitendra Abhisheki, Singer: Ramdas Kamat.
Ramrang‘s composition, where the raga is dehisced in the first line itself: barani na ja’i
chhabi.
K.G. Ginde‘s assay in a traditional composition set in Tilwada: banara mora pyara.
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The Darbari influence as well as the shaken (but not stirred) phrase gMPMRSR S are visible
in this selection of the Rampur-Sahaswan vocalist Ghulam Mustafa Khan.
The vilambit composition E maga varana is attributed to Mehboob Khan “Daraspiya” and
the druta to Anwar Hussain Khan “Rasrang”.
The next three Nayakis are from the Atrauli-Jaipur camp. They share the bandish – mero
piya – with the Agra musicians. This Nayaki is a departure from the canonical, i.e. the R
P sangati is deemphasized. But the other lakshanas are retained, eg. S R (R)g
(R)g and gMPMRSR and (M)g M (P)n P.
Mogubai Kurdikar. Notice the komal dhaivat at 0:43 into the clip. Nayaki admits of
this d very occasionally in a S” (n)d (n)d n P cluster. Mogubai also clearly intones the R-
P sangati.
Raga Shahana Kanada
With Shahana we step into the less visited reaches of the Kanada ragaspace. Here the shuddha
dhaivat holds court and is the nyasa sthana. The gist of Shahana can be summarized thusly:
– n D n P, D M P S”
– (S”)D (D)n P, M P (M)g M D,
– n D n D (P)n P, n P (M)g M (S)R
The raga steers clear of both Bageshree and Bahar and has a swaroopa altogether its own. It
should be clear by now that in the Kanadas a linear run of the form S R g M P is seldom
executed. The prayogas are vakra by design, and mediated by kans & meends.
Jha-sahab: chanchala chapala si.
Patiala’s Fateh Ali sketches a textbook Shahana.
Shaila Datar with a traditional composition attributed to Sadarang: more aaye hai Kunwar
Kanha’i.
Basavraj Rajguru iterates the same composition but with some textual and melodic
interpolation. Shivkumar Shukla‘s composition sundara angana baithee is cited in Jha-
sahab’s Volume II of Abhinava Geetanjali. Amir Khan. The Shahana dealt by the Agra
musicians has a decidedly unique flavour. The shuddha gandhar is introduced via a tonal
phrase of the type R n’ S R G, M reminiscent of Gunji Kanada, but the remaining features
conclusively help reinstate Shahana.
Latafat Hussain Khan‘s gagari mori bharana.

Raga Raisa Kanada

Allied to Shahana, this raga is the preferred choice of the Atrauli-Jaipur musicians. No
consensus prevails as to its swaroopa, but there is broad agreement about a special tonal
construct around shuddha dhaivat. Jha-sahab delineates the chalan and keeps it distinct from
Shahana. His special D-cluster assumes the form – n DPD PMP.
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The Agra interpretation is not too far off from Ramrang’s. It recruits shuddha dhaivat in MP,
P D, D n and a quick MPDnS”. Vilayat Hussain Khan with the well-known ri tum samajh.
The Atrauli-Jaipur masters deal the same composition with their own spin, of course. Here
we find Mallikarjun Mansur in bed with Raisa (not to be confused with Gorbachov’s late
wife). A rare recording of Kesarbai Kerkar.
Raga Devsakh
Four traditional “Sakhs” are recognized by tradition: Devsakh, Ramsakh, Bhavsakh and
Lacchasakh. Of these the last named (Lacchasakh) is a Bilawal prakar, the rest are Kanadas.
And Bhavsakh comes in two angas, Kanada and Bilawal. All the Sakhs have become scarce,
and only Devsakh is occasionally heard in performance today. Jha-sahab has documented
traditional dhrupads in all the Sakhs as received from his guru. These are today the carriers
of the original genetic blueprint of these ancient ragas.
The sangati g-P (G-P in Lacchasakh) is the key lakshana of the Sakh clan. The dhaivat is
dropped in Devsakh and a bit of Sarang-anga alongside Kanada is observed, as Jha-sahab
explains before sketching his bandish: panaghata roke mero gail.
A composition of S.N. Ratanjankar presented by his pupil K.G. Ginde: nanadiya mori jage.
Although the Sarang-anga is heard in this Atrauli-Jaipur Devsakh by Mallikarjun
Mansur there is no g-P sangati. This composition is shared by the Agra musicians: hans
karana duva dalana.
The same composition by Khadim Hussain Khan of Agra.
Raga Bhavsakh
The version circulated by Ramrang contains both dhaivats, and treads thus:
S M, M P (M)g (M)g P M, (P)n P D n R” S”, (n)d n P. Another type of shuddha dhaivat-
only variety comes to us from the Agra musicians. The D is taken in an avarohatmak
prayoga – M P D, D P – as is evident from this clip of Khurjawale Aslam Hussain Khan. A
composition in dheema Ektala by the Agra veteran, Khadim Hussain Khan.
Raga Ramsakh
This raga today lies moribund. It employs both gandhars, both nishads and shuddha dhaivat.
There are strains of both Bilawal and Shahana.
Jha-sahab.

The Kanada Constellation – PART 3

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Raga Kafi Kanada

The Kanada and Kafi angas are natural allies and in Kafi Kanada the two are united in
creative ways. By way of an illustrative example, let us isolate the strands that go into Jha-
sahab’s synthesis. Recall the special nature of rishab in Kafi (see Short Takes: Kafi).
R R S n S (M)g R…Kafi
(M)g (M)g M (S)R, S…Kanada
M P D N S” D n S” R S”…Kafi
(P)n P, nnPMP (M)g M…Kanada
M P D g R…Kafi
Jha-sahab‘s old All India Radio recording: hama hari hari piya tose.
Gajananrao Joshi was the son of Anant Manohar Joshi, who in turn was a disciple of
Balkrishnabuwa Ichalkaranjikar who brought khayal gayaki to Maharashtra. Gajananrao was
trained by his father and other leading lights of Agra, Atrauli-Jaipur and Gwalior – Vilayat
Hussain Khan, Manji and Burji Khan, Gunidas etc. He was proficient both as a singer and as
a violinist and has left behind a large number of pupils in Maharashtra.
Here Gajananrao exercises his vocal chords.The composition, la’i re mada piya, is a fixture
in both the Agra and Atrauli-Jaipur camps. Mallikarjun Mansur‘s is a magnificent
performance; here dhaivat is rendered alpa.
Mansur’s pupil, the sarod player Biswajit Roy Chowdhury.
In this Kafi Kanada clip Kesarbai Kerkar sings a composition she learnt from Alladiya
Khan: sukha kara aayi piyasanga. The Kafi anga dominates, the Kanada anga is subtle and
plays second fiddle. Notice the clear enunciation of shuddha dhaivat. The reader may wish
to compare this interpretation with the other Atrauli-Jaipur renditions of la’i re mada piya. Yet
another stab at la`i re mad piya, this time by the Khan brothers, Mohamad
Sayeed and Mohamad Rasheed.
Ramkrishnabuwa Vaze‘s degagé style works up magic
Raga Kaushi Kanada
Among the most popular Kanada prakars in recent times, it comes in two types, the
Malkauns-anga and the Bageshree-anga. Since the former overwhelmingly dominates the
performance circuit, it is the version discussed here. Furthermore, the Bageshree-
anga Kaushi Kanada has been largely subsumed by (to be treated soon) Bageshree Kanada.
The chief ploy in Kaushi Kanada is to joining of Malkauns to the Kanada kernel. The raga
thus crystallized assumes a vakra build and its execution requires considerable forethought
and skill.
One possible construction is outlined below:
S, (n’)d’ n’ S, (S)n g S …Malkauns
d’ n’ R, R S R (R)g R S…Darbari
d’ n’ S M, (M)g M, (S)R, S…Malkauns and Kanada
g M d n S”, (n)d, n (M)P M…Malkauns and Kanada
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It must be recognized that in sankeerna ragas there are almost always some phrases that
belong to no one constituent raga, and which are used to bridge two – often disparate – angas.
The following composition of Ramrang is beautifully designed: tuma data deena ke.
A composition of the late Chidanand Nagarkar is rendered by his friend and guru-bhai K.G.
Ginde: naina bhare. Agrawale Vilayat Hussain Khan retails his own bandish stamped with
his mudra “Pranpiya.” The selections here illustrate how different minds grapple with the
same problem of marrying two ragas. A traditional khayal by Basavraj Rajguru addressed
to Sri Rama discloses another formulation: Rajan ke.
A few instrumental selections follow.
The first is a collector’s item, a snatch of Bundu Khan‘s sarangi. Some may argue that this
treatment aligns more towards Sampoorna Malkauns (which itself is allied to Kaushi
Kanada). From the Maihar tradition, Ravi Shankar. Another Maihar alumnus, Nikhil
Banerjee.
A markedly different version is parlayed by Mallikarjun Mansur. Here the dhaivat is
rendered alpa, and the Malkauns elements are pruned (to within n S M only). A Megh-
inspired movement (S M R P M n P S” R” S”) defines the mukhda. It is an ‘Ahmedpiya’
composition: aali ri ja’i kaho una bina nahin chaina.
In Kesarbai‘s hands the raga is a feast fit for the gods notwithstanding the poor quality of the
audio. A prized excerpt of an unpublished mehfil is offered here. Contrast this with
Mansur’s rendering of the same composition.
Raga Gunji Kanada
This prakar is popular with Gwalior musicians and comes in two primary versions
distinguished by the type of dhaivat employed. The main theme here is the use of the
Malgunji phrase R n’ S R G, G M. The rest of the story is predictably Kanada.
Ramrang recruits the shuddha dhaivat in his formulation: aayi basant bahar.
From the Vishnupur Gharana of Bengal comes the komal dhaivat-laden Gunji Kanada.
Sukhendu Goswami, a disciple of Girija Shankar Chakravorty.
The final Gunji Kanada is by Mr. Jasraj of the Viagra gharana, and a renowned expert
in condom mechanics.
Obiter dicta: Vishnu Digambar Paluskar‘s conception of Gunji Kanada deploys
both dhaivats. His student Shankarrao Vyas has published a couple of compositions. Ravi
Shankar has claimed credit as the creator of Gunji Kanada. When I brought to his attention
the historical record of Vishnu Digambar, he pointed out (and he is right) that his conception
is different from Vishnu Digambar’s. Why then is he claiming credit for what amounts to
tweaking a pre-existing raga?

Raga Bageshree Kanada

No surprises here, the name says it all. The one caveat here is to stay clear of Shahana.
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Jha-sahab walks us through the terrain, peppering the development with pertinent remarks.
Another posture in Bageshree Kanada by Amir Khan.

Raga Bahar
Bahar is a Kanada prakar but has established its own private raganga. It is also highly
promiscuous and has been found in flagrante delicto with several other ragas.
The chief features of Bahar are apprehended in the following:
S M , M P (M)g M, (P)n P M P (M)g M n D N S” (P)n P, n P M P (M)g M, (S)R S
As can be seen, strands of Bageshree and Kanada are co-opted and spliced in novel fashion to
create an independent identity. The komal nishad dominates, the shuddha nishad is used only
in prayogas of the type: M n D N S”; D N S” R” N S”; N S” R” S” n D
Bahar is rich in compositions in all genres.
Lata Mangeshkar‘s number in CHHAYA, composed by Salil Chowdhary: chhama
chhama nachata aayi bahar.
Movie: SHABAB, Music: Naushad, Voice: Lata and Mohammad Rafi.
D.V. Paluskar with the well-known kaisi nikasi chandni. Sawai Gandharva cracks an old
chestnut: kaliyana sanga karata rangaraliyan.
Abhogi Kanada
This Carnatic import into the Hindustani stream has found wide acceptance. Abhogi Kanada
is the only major audav-jati Kanada, and has the following set of swaras: S R g M D.
It is at once obvious that the uttaranga Kanada signature (P)n–>P has no room here. The
prime mover for Kanada affiliation then is komal gandhar, in two prayogas, viz., (M)g M R
S and/or the Darbaric R (R)g. The sancharis S R D’ S and D’ S R g are recurrent. A few
make a distinction between Abhogi and Abhogi Kanada by de-emphasizing the Kanada
presence in the former.
Raga Hussaini Kanada
Hussaini straddles the fence dividing Shahana and Raisa. The peculiar shuddha dhaivat-
laden phrase in the mandra saptaka denotes the Hussaini tag.
Jha-sahab outlines the swaroopa and then secures a composition.
A similar interpretation is echoed by Sharafat Hussain Khan of Agra-Atrauli.
The version of Mohammad Hussain Sarahang of Afghanistan, pupil of Patiala’s Ashiq Ali
Khan, contains shuddha dhaivat clusters mentioned by Ramrang, but he comes close to
treading on Shahana territory.
The final item in the Hussaini folder: Omkarnath Thakur. The reader is encouraged to flesh
out points of departure from the earlier versions.
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Raga Mudriki Kanada

This is an uncommon Kanada variety on which there prevails no consensus. Let us observe
some examples.
Ramrang introduces a shuddha dhaivat into the Adana stream.
The Agra-Atrauli edition comes in a different flavour, involving shuddha dhaivat and a
recurring phrase R M R P. Sharafat Hussain Khan: mangala ga’o tuma aaja anand dina
mubarak.
The same composition is presented by Mallikarjun Mansur’s pupil, Panchakshari
Mattigatti.

Raga Nagadhwani Kanada

The name “Nagadhwani” is found in ancient musical texts, including (if I correctly recall)
the Sangeeta Ratnakara of Sarangdeva. The raga-swaroopa in currency is almost certainly
not as old but old enough for it to be regarded “traditional.” Nagadhwani Kanada is rarely
heard and there is no consensus on its precise nature.
Ramrang got the raga from his guru Bholanath Bhatt. The discussion following
the bandish dwells on the raga-lakshanas.
In the Nagadhwani peddled by Banditji, the plot centres around a
peculiar prayoga containing shuddha dhaivat. A charming composition this: hamko bisara
kahan chali.

Raga Basanti Kanada

This hybrid of ragas Basant and Kanada is an Atrauli-Jaipur specialty and the only
Kanada prakar here to deploy the teevra madhyam (m) – a contribution of Basant. This
influence of Basant is confined to the poorvanga via the movement G, mDmGmGrS.

Raga Rageshree Kanada

Not much to be said for this one. Rahimuddin Khan Dagar lingers mostly in Rageshree
space and advances komal gandhar for the Kanada effect.

Raga Lachari Kanada

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The candidate for the cachet of “Rara Raga,” granting bragging rights to those whose
acquaintance it deigns to make. There is the Gunji Kanada-like S R G, M but
the uttaranga shows no trace of dhaivat. With this, we rein in our Kanada blimp. Several other
Kanada prakars have slipped our dragnet: Gara Kanada, Sorathi Kanada, Bamsa Kanada, Jayant
Kanada, Khambavati Kanada and so on.

Raga Lankeshree Kanada

Another “Rare Raga” supplicant. Sometimes all it takes is an idle afternoon and a frisky
mood to whip up your own private Kanada

A Stroll in Ramrang’s Garden

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The early decades of the 20th century were a period of social and intellectual renaissance in
Hindustani music with the two Vishnus, Paluskar and Bhatkhande, at the helm of the
movement.
Bhatkhande had initiated and brought to fruition his investigations of the shastraic basis of
our music, uniting it with the practice of the day. He had also successfully assembled and
documented hundreds of traditional compositions from diverse sources. In him were joined a
powerful intellect, formidable musical talent, and tenacity, all of which he brought to bear on
his epochal work. The formalism he developed has become the touchstone in our times
informing all musical discourse in Hindustani music. Bhatkhande’s oeuvre – the volume and
quality of its content – is a miracle. That it was accomplished single-handedly in a single
lifetime is an inspiration and a revelation what a man armed with resolve and fixity of
purpose can achieve. At the conclusion of his opus Bhatkhande made clear the scope of his
work. He declared that he had only laid the foundation and that it was the responsibility of
the generations following to extend and improve upon him.
Bhatkhande’s mantle was inherited by his primary disciple, Acharya S.N. Ratanjankar. In
his time, Ratanjankar was acknowledged as the most accomplished student of ragadari. He
was also, like his mentor, an outstanding vaggeyakara and will long be remembered for his
superb 600+ compositions, notated and documented diligently by his disciple K.G. Ginde.
Cut from the same cloth as Bhatkhande and Ratanjankar is Pandit Ramashreya Jha
“Ramrang” – Vidwan, Shastrakara, Vaggeyekara, Teacher and Performer. Ramrang joins
Ratanjankar as the two most significant Hindustani vaggeyakaras of the past 50 years. To be
sure, there have been well-known performers who have composed and composed well. But
none that matches the combination of breadth, volume, gravitas, and musicianship manifested
in these two.
Sangeetacharya Ramashreya Jha “Ramrang” was born on August 11, 1928,
in Darbhanga in the Mithila region of Bihar, once a thriving centre of dhrupad music. His
father Sukhdev Jha and his uncle Madhusudan Jha were his early mentors. But his final
calling was nurtured and honed during the 25 years he spent in Allahabad at the ashram of his
distinguished guru Bholanath Bhatt. Allahabad was to remain his karmabhoomi. Ramrang
also had the benefit of instruction from other vidwans such as B.N. Thakar of Allahabad
and Habib Khan of Kirana. Around 15 years of his youth were spent with a drama company
in Varanasi. This experience helped widen his musical vistas and attune him to the pulse of
the rustic antecedents of our Art music. In 1968 he was appointed to the faculty
of Allahabad University and later, in 1980, elevated to the position of Head of the Music
Department. This singular move by the University was in recognition of genuine merit for
Ramrang holds no formal degrees. He retired from active professorial duty in 1989.
Ramrang’s composite musical personality unravels into four interrelated strands that are
briefly touched upon:
(a) He is a shastrakara of the highest class and the fruits of his lifelong meditations into the
nature of raga constitute the five published volumes of Abhinava Geetanjali. These classics
represent a signal contribution to Indian music, dazzling us with the keenness of their
author’s intellect, revealing his extensive knowledge, agile mind, and quality of scholarship.
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The volumes disclose an unusual talent in formulating and communicating ideas elegantly
and simply. The insights and critical analyses of ragas together with hundreds of Ramrang’s
own high-quality musical compositions purveyed impel us towards the inescapable
verdict: Ramashreya Jha “Ramrang” is the Bhatkhande of our time.
(b) As a preeminent vageyakara, Ramrang’s fertile imagination, retentiveness and quickness
of mind are the key strengths attending his creative impulse. He carries all the essential
music in his head and it is always at hand for instant recall. A high quality bandish must
represent the précis of a raga’s melodic content (lakshanas). A typical Ramrang composition
goes farther: each word, swara and matra are tied together in a symbiotic melodic ecosystem
of an aesthetic unity not usually found in your run-of-the-mill ‘traditional’ bandish. Among
the earliest musicians to appreciate Jha-sahab’s erudition and come under the spell of his
compositions was our own Jitendra Abhisheki, who sang, popularized, and taught many of
Ramrang’s bandishes. Over the years, these compositions have found their way into the
repertoire of several leading vocalists.
(c) As a performer, Ramrang’s gayaki is best appreciated by those with a grasp of the nuances
of swara and raga. One listens to Ramrang not for his vocal gymnastics and high
velocity tans – to be sure, he indulges in neither – but to drink from the wellspring
of raganubhava. His is a lakshana-oriented approach. Even the familiar, well-worn ragas
when refracted through Ramrang’s mental prism acquire a distinct conceptual body and
flavour. Unlike most Hindustani renditions of the day, Ramrang does not believe in making
short shrift of the text of the bandish. Instead, with his acute sense of the dramatic and the
poetic, he reminds us of the values intrinsic to the older genre of dhrupad, marrying verse
and swara with such felicity as to make the two seem inseparable. Ramrang’s creative
acumen lies not only in his superbly conceived compositions but also in his manner
of uccharana accompanying the build-up of the raga edifice (known in the trade as asthaai
bharnaa) from the skeletal bandish.
(d) Ramrang’s final facet appertains to his role as an educator. He has trained and counseled
several students over the years. His senior disciple, Dr. Geeta Banerjee, is an eminent
author, scholar and musician who later succeeded him as Head of the Music Department at
Allahabad University. Another pupil, Shubha Mudgal, has attained international
recognition. On this website we have adduced numerous examples of Ramrang’s talents at
exposition and the inspirited delivery he brings to it. His discourses have come to be highly
valued as both pedagogic masterpieces and as vignettes of aesthetic delight. (Update: In
2005 the President of India conferred on him the Sangeet Natak Akademi Award for his
contributions to music.)
Today, as he has done for the past 6 decades, Ramrang spends his waking moments immersed
in the contemplation and creation of music. True to his calling, Ramrang’s intellectual
wanderlust shows no sign of abating; every day turns in a new insight or a new asthai. In this
context we are reminded of Einstein who famously observed: “Only in Science and Art are
we permitted to remain children all our lives.”
Ramrang has spent most of his musical life in relative isolation, away from the glare of public
adulation, and on the fringes of the community of active performing musicians. This is
entirely in keeping with his character and inner conviction that music is a
lifelong sadhana requiring of self-discipline. In summing up the musical life of Ramashreya
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Jha “Ramrang,” the understated flourish of Professor G.H. Hardy comes to mind:
“Whatever we do may be small, but it has a certain character of permanence; and to have
produced anything of the slightest permanent interest…is to have done something utterly
beyond the powers of the vast majority of men.” (A Mathematician’s Apology).
In the present essay, we return to Ramrang’s garden (see the earlier Ramrang – A Bouquet
of Compositions). This package has been put together from postings made earlier in the
Usenet newsgroup rec.music.indian.classical (RMIC).
The opening sequence comprises four compositions in Raga Bhimpalasi. Jha-sahab opens
with his lovely vilambit Roopak bandish and then quickly sketches three druta compositions,
interjecting the proceedings with pertinent comments.
Raga Chhaya Bihag is a hybrid of two ragas, namely, Chhaya and Bihag. The primary
marker of the Chhaya component is the P->R swoop. Ramrang’s compositions here speak of
the episode of the baby Krishna wanting the moon for himself and Jashoda’s reaction to his
intransigence.
He first explains the sahitya.
…and then sketches his vilambit composition. (Recorded in September 2000 in Goa. Tabla:
Shri Vaman Naik, formerly of AIR Panjim.)
Raga Savani of the Kalyan anga is rarely heard today. Jha-sahab sings a
traditional bandish that has come down to him from his guru, Bholanath Bhatt: banata
bana’oon bana nahi aave.
Ramrang’s tarana in Raga Jaijaivanti set to Jhaptala shows arresting cross-play with
the laya.
Some 30-35 years ago, a pupil of Omkarnath Thakur called on Ramrang and sang his guru’s
beautiful Shyam Kalyan composition. A couple of days later he dropped by again and was
astonished to find that Jha-sahab had not only remembered Omkarnath’s bandish but had
produced a near-identical match by stitching new words onto the melody. We hear in Jha-
sahab’s own voice Omkarnath’s original composition and then his matching riposte.
Bhatkhande‘s monumental exegesis Hindustani Sangeet Paddhati has a reference to the
Carnatic import, Raga Pratapvarali (he may well have been the one to introduce it in
Hindustani music although, in keeping with his self-effacing nature, he doesn’t claim credit).
The sangatis in Pratapvarali are vakra, especially the ones around the avarohi gandhar. Durga
(of the Bilawal that) is kept at bay through special phrases (the alert reader will figure them
out). Other ragas of similar persuasion are the Carnatic Arabhi, Sama/Shyama and
Devagandhari (incorrectly labeled on Abdul Karim Khan‘s HMV tape as Devagandhar, a
very different puppy).
There is an older composition in Pratapvarali courtesy Aman Ali Khan of Bhendibazar.
Ramrang’s two compositions presented here were huge favourites of Jitendra Abhisheki.
In the vilambit bandish, Jha-sahab makes the raga look deceptively easy. Notice how the
key lakshana is captured in the mukhda.
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The druta Ektala composition.

Moving along, we bring an magnificent monologue in which Jha-sahab ranges over
Ragas Devgiri Bilawal, Yamani Bilawal and Sarparda Bilawal. The act concludes with his
reciting a traditional vilambit composition in Sarparda.
Next on the menu, a course of five delightful compositions, two in Raga Bhoopali and three
in Shuddha Kalyan.
Ramrang sings of Lord Shiva in Har Har Mahadeva in Raga Bhoopali.
Another cheez in Bhoopali, set to Ektala: mana leeje sundarwa.
Shuddha Kalyan co-opts elements of Bhoopali, padding them with vital additional tonal
artifacts. Jha-sahab first sings a traditional composition, mandara bajo re.
The next two are his own compositions. Satyasheel Deshpande provides both ‘daad’ and
vocal support.
Shuddha Kalyan: bairana bha’i ri.
Shuddha Kalyan: neendariya tu kahe na.
The Yaman flowers are in full bloom in the next patch. A full suite of four delectable
compositions is ours to ‘pluck and play.’
Ramrang expands on his vilambit bandish, devana deva. This has to be among the most
sublime Yaman ever conceived. Although an abbreviated excerpt, the clip furnishes a master
class in the procedure known as “astha’i bharna” (lit. filling up of the astha’i). Jha-sahab’s
impromptu remarks dot the proceedings.
In the final lap of this clip, Ramrang talks about some features of the composition and ends
with a dramatic flourish: ranga de ranga de rangarejawa.
Another cheez in Yaman, a different design and flavour. Ramrang has composed close to 50
bandishes in Yaman/Yaman Kalyan spread over roughly 5 decades, mining every conceivable
inch of the raganga territory: tumhari aasa lagi aaja.
This khayalnuma in Yaman is set to Teentala.
The nonchalent touch of shuddha madhyam in this Yaman Kalyan composition register
pleasingly on both the heart and mind: sangata keenhe guniyana ki guna.
We make a nodding acquaintance with a prakar of Nat known as Nat Nagari. This is a
creation of Ramrang, and with moorings in Chhayanat. A deft chalan bheda imparts to it an
independent swaroopa. Notice the Kukubh-like prayoga of the rishab. The text addresses
a prasanga in the life of Bhartrhari. At the conclusion of his sanyasa he returns to his
unfaithful wife and asks for alms, as enjoined by his guru. The penitent wife now
responds: kahe alakha jagayo jogi tum mere prana adhara.
Ramrang’s activities in ancillary forms such as thumri, hori and dadra must find mention in
any survey of his work. While primarily wedded to classicism, his facility in these auxillary
genres is a result of his long association with his guru, Bholanath Bhatt who was an expert of
the thumri (vide B.R. Deodhar – Pillars of Hindustani Music). Of Lucknowi extraction,
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these thumris fall to the older lot known as ‘bandish-ki-thumri‘ characterized by a

faster laya and a taut wrap around the tala.
Jha-sahab’s first clip is a full rendition of a traditional thumri he received from Bholanath
Bhatt. This objet d’art based in Raga Tilak Bihari uses Tilak Kamod for its base, renders
its rishab deergha, and borrows elements from Khamaj: ho maharaja kevadiya khole, rasa
ki boonda pare.
A traditional dadra. Ramrang himself has composed several exquisite thumris and tappas.
Two samplers follow. A bandish-ki-thumri in Khamaj, set to Ektala. A tappa in Kafi.
The next offering is a composition in Raga Bhankhari (not to be confused with Raga
Bhankar). This composite raga is formed from strands of Bibhas (of the Marwa that), Jait,
Deshkar and Marwa. The deergha bahutva role accorded to dhaivat is noticeable. Vocal
accompaniment is provided by Satyasheel Deshpande: sanga na keejiye manuva.
Three aprachalita prakars of Malhar follow. First, a traditional composition in Raga Nat
Malhar.
Raga Jhanj Malhar: the raga is obtained by administering a small dose of the
Kanada anga to the uttaranga of Miyan Malhar.
Raga Chanchalsas Malhar: elements of Megh, Desh and Shahana are woven into the
Malhar fabric.
Our promenade of Ramrang’s garden concludes with a type of Raga Patmanjari. I leave it
to the reader to figure out the 5 constituent ragas of this hybrid.

The Sarang Family

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The Sarangs are ragas of the early afternoon and have their provenance in folk music. Their
effective expression in the classical idiom requires familiarity with their rustic antecedents.
This widely loved enclave of Sarang melodies is the subject of our current discourse.
First, some preliminaries:
– Gaud Sarang is not included in this selection since it is a misnomer. There is no
Sarang anga in Gaud Sarang. If the publication Raga Guide (Nimbus) asserts otherwise then
its authors “may be excused only on the grounds that before deluding others they have taken
pains to delude themselves” (to paraphrase Sir Peter Medawar). See Raga Gaud Sarang – An
Exegesis for more on that raga.
– The intent here, as in the earlier commentaries, is to flesh out the raganga and illuminate the
major highways in the raga. It is not my intention to take you down every little bylane and
clutter the page with stultifying detail. Several Sarang prakars disclose superficial variance
across gharana and regional borders as the clips will testify. I do not propose to remark on
every idiosyncrasy contained in a rendition. The assumption is that the curious reader will be
motivated to further this inquiry on his own.
Raga Sarang
Raga Sarang is today considered the flagship raga of raganga Sarang. It is also known as
Brindavani Sarang, a pointer to its popularity in the Mathura region.
Throughout this causerie M = shuddha madhyam and m = teevra madhyam.
The kernel of raganga Sarang is embedded in the following tonal cluster:
R M P (M)R, n P M R, S
Specializing it to Brindavani Sarang, we have:
N’ S R, R M R, (S)N’ S
In Madhmad Sarang, N is replaced by n.
The key idea above – and every Sarang wears it on its sleeve – is the treatment accorded
to rishab. The R here is always sthira – i.e. unoscillated, not andolita – and independent. It is
the vadi, and assumes the role of nyasa swara in both the ascending (arohi) and descending
(avarohi) movements. This is later demonstrated tellingly by Pandit Ramashreya Jha
“Ramrang.”
The nominal aroha-avarohana set for Brindavani Sarang is:
S R M P N S”::S” n P M R S
A sample chalan may be stated:
S, N’, N’ S R, P (M)R, n P M R, N’, S
The prayoga of shuddha nishad in ascent and the komal nishad in descent separates
Brindavani Sarang from Madhmad Sarang although they share the rest of the raga-lakshanas.
In some old dhrupad compositions, shuddha dhaivat is occasionally and modestly (alpa-
pramana) sought in a few in avarohatmak phrases, either as a kan (grace) to komal nishad or
as a vivadi.
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All the traditional prakars of Sarang are derivatives of the central theme outlined above. A
measure of Sarang-anga is observed in other important raga families, namely the Malhars and
the Kanadas. As always, in ragadari music, territorial integrity and identity are established
and defended through appropriate swara-uccharana and raganga bheda.
Pandit Vishnu Narayan Bhatkhande‘s exegetic work Hindustani Sangeet Paddhati gives a
detailed account of the Sarangs. He remarks on the confusion prevailing in the early 20th C
apropos of Brindavani and Madhmad Sarang, the bone of contention being the two nishads.
The prevailing consensus awards to Brindavani Sarang both nishads and to Madhmad
only komal nishad. This completes our preamble of the Sarang basics.
Earlier, the connection of the Sarangs with folk music was asserted. Now we present
evidence in the form of audio clips. The gestalt of the raganga comes through very well even
in these ‘light’ melodies. The encounters later segue into the demesne of classical proper.
The choice for our opener is automatic. A late 1920s collector’s item of the Indian national
song Vande Mataram rendered by Vishnupant Pagnis.
Lata Mangeshkar’s felicity with the Sarangs is consummate, as witness the following
sequence of gems. This RANI ROOPMATI (1959) bandish reveals her extraordinary talents.
Music: S.N. Tripathi, Lyrics: Bharat Vyas: aaja aaja bhanwara.
Film: SANSAR (1951); Music: Emani Shankar Sastry, M.D. Parthasarathy, B.S. Kalla;
Lyrics: Pandit Indra: pyara munna humara.
The dulcet tones of Kishore Kumar and Lata Mangeshkar in QAFILA (1952).
Music: Husnalal-Bhagatram: lehron se pooch lo.
Film: BHABHI (1957); Music: Chitragupta; Lyrics: Rajinder Kishen: kare kare badara.
Film: NAGIN (1954), Music: Hemant Kumar; Lyrics: Rajinder Kishen: jadugar saiyyan.
Who better than O.P. Nayyar to represent the folk music of Punjab which draws liberally on
the Sarangs? An Asha-Rafi romp from KASHMIR KI KALI (1964); Lyrics, S.H. Bihari: hai
re hai.
Another Punjabi contribution by the Punjabi diva Noorjehan: ha’ye dilbar dildara.
From an earlier era springs this beautiful number by Khursheed in TANSEN (1943). D.N.
Madhok‘s lyrics are worked on by master tunesmith Khemchand Prakash: ghata ghanghor.
Uma Devi (better known as Tun Tun) in CHANDRALEKHA (1948). Music: S. Rajeshwar
Rao, Lyrics: Pandit Indra: mana bhavana.

RANI ROOPMATI was a Sarang orgy of sorts. Rafi and Lata: jhananana jhan.
Another vintage number by the Punju songstress Surinder Kaur. The film, SUNAHERE DIN
(1949), Lyrics, D.N. Madhok, Music: Gyan Dutt: tum sang akhiyan lagake.
We conclude the Sarang folkfest with the popular Rafi-Asha number from DIL DIYA DARD
LIYA (1966), tuned by Naushad to Shakeel Badayuni‘s words: sawan aaye ya na aaye.
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Each of the preceding clips reveals a rustic facet or two about Sarang.
The classical league kicks off with Bhimsen Joshi‘s rendition of the traditional dhrupad-
anga composition: tum raba tum saheb tum ho kartara.
R. Fahimuddin Dagar‘s authoritative presence is felt in this dhrupad despite the poor audio
quality.
A composition of Aftab-e-Mausiqui Faiyyaz Khan (“Prempiya”) flawlessly executed
by Basavraj Rajguru: sagari umariyan mori.
Among the great Gwalior masters of the early 20th C was Ramkrishnabuwa Vaze. Very little
of his life is documented, as is the case with many Indian greats. In the West, utter
mediocrities are often enshrined in biographical tomes. Indians, on the other hand, are
content with doodling a silly sketch or two in a pamphlet. This state of affairs can be easily
remedied by inculcating in Indian children the Western habit of never letting lack of
knowledge and study get in the way of writing books.
Vazebuwa brought to his gayaki certainty and attitude. Both are on display in this
scintillating tarana.
Sarang has migrated southwards and is quite popular with the Carnatic musicians.
Flautist K.S. Gopalakrishnan.
Raga Madhmad Sarang
Madhmad Sarang has much the same rights as Brindavani Sarang for the cachet of “Raganga
Raga.” Almost all its lakshanas are identical to Brindavani, the difference being in the nishad:
Madhmad takes only the komal nishad. In Carnatic music, Raga Madhyamavati shares the
same scale.
The Madhmad spirit pervades this immortal S.N. Tripathi composition from RANI
ROOPMATI. Those were the days when composers intimately knew the ropes of their
metier. Mukesh: aa laut ke aaja mere meet.
We come to the most important clip of this article from the point of view of understanding the
subtleties of raganga Sarang. This exposition by Pandit Ramashreya Jha “Ramrang” also
touches upon the provinces of Kanada and Malhar. What separates Madhmad Sarang from
the scale-congruent Megh is clearly demonstrated as are the points of difference between
Megh and Megh Malhar. Jha-sahab holds forth for over 12 uninterrupted minutes and
accomplishes what no reams of the written word can. Those handicapped by language will do
well to seek translation of the proceedings.
Raga Shuddha Sarang
This is probably the most popular Sarang prakar on the concert circuit today. It employs
both shuddha and teevra madhyam. The shuddha nishad is allocated a vital nyasa sthana in
the mandra saptaka. A large number of compositions place their sam on this lower nishad.
The komal nishad is either eliminated or accorded a diminished role, usually in
an avarohi sanchari either tied to shuddha dhaivat or in a declining n P M R movement.
The teevra madhyam figures primarily in arohi passages. The avarohi slide m–>M is
pleasing.
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Encapsulating the above thoughts and recalling the Saranga-anga lakshanas lead to the
following tonal summary:
– S, N’ S R, R M R, S N’, P’ N’ D’ S, N’ R, S
– R M R, m P, P R M R, S N’, N’ S R, S
– N’ S R M R m P, R m P N, (D)P, P N S” R” S”, R” S” N (D)P, R M R, M R (S)N’, N’ S
PRIVATE SECRETARY (1962) features a lovely Lata Mangeshkar solo executed to near
perfection. Music: Dilip Dholakia, Lyrics: Prem Dhawan: sanware aaja pyara liye.
A take-off on the popular Shuddha Sarang mukhda found in traditional bandishes such as ja re
bhanwara door or Faiyyaz Khan’s ab mori bata is seen in this CHANDI KI DEEWAR (1964) song. The
music is by N. Datta (a vast Bong conspiracy to shamelessly claim this gifted fellow from Goa as their
own was fearlessly exposed some years ago) and lyrics are by Sahir. Talat, the patron saint of losers
in love, teams up with Asha: lage tose naina.

Mohammad Rafi, Chitragupta, Majrooh come together in NACHE NAGIN BAJE BIN
(1960), in this the final item in our ‘light’ round: leke sahara tere pyar ka.
Jha-sahab‘s composition is set to Roopak tala and locates the sam on the uttaranga shuddha
nishad: dharani dharo.

Padmavati Shaligram sings the lovely Atrauli-Jaipur issue, E tapana lagi gaili so balma mora.
Basavraj Rajguru works with a traditional bandish: ja re kagawa.
Shuddha Sarang is synonymous with the cheez, ja re bhanwara door, rendered here
by Hirabai Barodekar.
This Bismillah cracker delights both mind and soul.
Vijay Raghav Rao‘s flute brings a change in tone colour.
The final item by Bade Ghulam Ali Khan will linger on in the mind.
Raga Miyan ka Sarang
Legend attributes this variant to Tansen, whence the name Miyan ka Sarang. One viewpoint
has it that the raga obtains by eliminating komal gandhar from Miyan Malhar and by
advancing the Sarang raganga. Miyan Malhar contributes the following tonal molecules:
n D, n D n M P
n D N, S or the slide N n (D)P.
The rest of the lakshanas hew to the Sarang line.
These ideas are implemented in Jha-sahab‘s vilambit composition: sira raje mora mukuta.
Jha-sahab delivers a traditional composition addressed to ‘Rangile’: palaka na lagi rahi.
The final item in this triple header is Ramrang‘s own composition, jab Hari hath liyo, with
the text describing an incident from the Lanka kand of the Ramayana.
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Basavraj Rajguru tweaks the old dhrupad composition, dayanidhi, for a khayal assay.
Jaya jaya Rama japa nama, sings S.N. Ratanjankar, his own composition in Jhaptala.
The final selection in Miyan ka Sarang by Ali Akbar Khan is unorthodox and diverges
significantly from the earlier clips. This version uses Shuddha Sarang, rather than
Brindavani, for its base. It is curious that the version taught to Bhatkhande by Wazir Khan is
nothing like this. The implication is that Allauddin Khan must have gotten Miyan ka Sarang
elsewhere, not from Wazir Khan. Bhatkhande mentions that another
Rampur ustad independently taught him Miyan ka Sarang which was identical to Wazir
Khan’s, so the latter peddling an ersatz version to Bhatkhande can be ruled out in this
instance. Furthermore, Bhatkhande’s alert and extraordinarily sharp mind was not easy to
dupe. In most instances when the ustads played foul with the words of a bandish, or with
ragas, he knew he had been lead down the garden path. He would have chased Wazir Khan
like he would a rat through the Tundra and indeed he did so on more than one occasion,
forcing the ustad to out with the truth or to plead ignorance. The case of Bahaduri Todi
makes interesting reading in this context but that is a story for another day. I should mention
that whenever someone appears in less than favourable light in these encounters, especially
his gurus such as Wazir Khan, Bhatkhande does not directly mention them by name but
makes oblique references. How one wishes there were independently documented accounts
of these encounters. Bhatkhande, always self-effacing in his writing, must have left
unrecorded many a fascinating story.
Alubhai Khan, the (naked) Emperor of San Rafael.
Raga Samant Sarang
The approach to shuddha dhaivat and its assimilation in vakra prayogas is the definitive
theme in Samant Sarang. Typically such sangatis include tonal sentences of the type:
R M P, M n D P
RMPnDP
RMPDnDPM R
R M R, M D P
Some folks employ both nishads, others have use for only komal nishad. There is an
occasional avirbhava of Desh. Although Soor Malhar is an allied raga swarawise it casts its
lot with raganga Malhar.
Jha-sahab‘s vilambit composition in dheema Teentala comes with an arresting mukhda that
swiftly scythes to the raga’s core: hamari sudh kahe bisari Udho.
Ramrang‘s breezy cheez: mandara more aayo sanwariya.
Ravi Shankar presents the Maihar viewpoint.
Raga Badhans (Badhamsa) Sarang
This Sarang prakar comes in at least 3 disparate flavours. We present a version
where shuddha gandhar is introduced rather piquantly into the avarohi flow. To wit, n P G M
R, N’ S R M P N.
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Ramrang sings a traditional “Sadarang” composition.

Shaunak Abhisheki renders Jha-sahab’s composition: bharmayo mana mero ina sanwaro ne.
An old recording of Birendra Kishore Roychaudhri on surshringar discloses a slightly
different interpretation, in particular the attack on shuddha gandhar.
Raga Lankadahan Sarang
This rather ‘small’ raga carries a pompous name. The idea here is the insertion of komal
gandhar into the Sarang framework. Typically this is accomplished in the avarohatmak
sancharis. The precise attack on komal gandhar varies and principally takes one of two
modes: A Darbari-like g M R S or a Desi-like P R g R S. Still others posit a Jaijaivanti-
inspired R g R cluster. Other gharana-specific details involve inclusion/exclusion of dhaivat,
use of one/both nishad(s).
Raga Salang
This audav jati Sarang prakar is in a sense the obverse of Madhmad. That is, the komal
nishad in the Madhmad contour is replaced by its shuddha counterpart here, viz., S R M P N.
This makes it somewhat tan-unfriendly (recall that the komal nishad makes life easier
in avarohi runs).
C.R. Vyas with his own composition: aba to mori mana moorakha manva.
Raga Dhulia Sarang
This is an aprachalita prakar mostly found in the Agra armoury. Even among the various
stems of Agra there is a difference of opinion as regards the raga-swaroopa. Like its Malhar
counterpart, Dhulia Malhar, the version included here combines elements of Desh and
Sarang.
In this Latafat Hussain Khan recording, there is a fleeting, albeit discernable, touch
of shuddha gandhar. It enters the picture via a M-G-R meend or via RG S R M P or through
a quick RGM type of flourish.
Raga Saraswati Sarang
As the name suggests, Raga Saraswati is accommodated in the Sarang framework in
this vichitra veena solo by Gopal Krishnan.
Raga Ambika Sarang
This raga was designed by Chidanand Nagarkar. The gandhar is rendered varjya, and
elements of Shuddha Sarang and Kafi are blended together in a delicious cocktail. There are
occasional reminders of Raga Saraswati but the presence of shuddha nishad and shuddha
madhyam make for a clear separation.
Nagarkar’s composition is presented by C.R. Vyas: E ho bhanwara.
This completes our survey of the Sarang Family. We have touched upon all the traditional
members of this group. More prakars exist but are either localized or have gone out of
circulation. For example, Roshanara Begum sings Maru Sarang, which, if I correctly recall,
uses the scale of Madhmad. I am not excited about that rendition although I may listen to it
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again one of these days just to refresh my memory. Then there is Noor Sarang which
employs only the teevra madhyam. Parveen Sultana has recorded the hybrid Sarang Kauns.
Bade Ghulam Ali Khan has left behind Hindoli Sarang. No matter what the fancy, a
legitimate Sarang prakar must carry the germ of raganga Saranga.
Sir Vish Krishnan‘s assistance in compiling the ‘light’ segment is gratefully acknowledged.
 Raga Madhyamavati in the Carnatic paddhati shares its scale with the Hindustani
Madhmad Sarang. Some selections of the Carnatic masters in Madhyamavati are
offered here.
 G.N. Balasubramaniam‘s alapana is followed by a Tyagaraja composition: Rama
katha sudha.
 M.D. Ramanathan‘s take on the same Tyagaraja composition.
 Another rendition by M.D. Ramanathan, this time a composition of Shyama
Sastry: Palinsu Kamakshi.
 Finally, T.V. Sankaranarayana presents Papanasam Sivan‘s Karpagame.

A Tale of Two Malhars

sadhus and sanyasins (ascetics) whom he and Ramaabai would serve food. It was only after
these people had been fed that Panditji would have his own lunch after 1 p.m. In the evening,
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he would take a rickshaw-ride in the town, then return home and read portions of the
Ramayana…
Deodhar’s book deserves to be read in its entirety for his are accounts of personal encounters
with some of the greatest Indian musicians of the early part of the 20th century. It is available
for purchase at many of the online bookstores.
Once Prof. B.R. Deodhar spilled the beans several well-known performing musicians from
Maharashtra made the pilgrimage to Allahabad in the hope of sampling and learning from
Bholanath-ji’s rich store of compositions and ragas. Among the seekers was Bhimsen Joshi,
who made the yatra around 1956. To him Bholanath-ji dispensed an exquisite composition in
the melodious Raga Chhaya Malhar. Bhimsen was so enamoured that he promptly confined it
to vinyl.

Raga Chhaya Malhar

Throughout this discussion, M = shuddha madhyam, m = teevra madhyam.

Chhaya Malhar is a compound melody formed by joining elements of Raga Chhaya to the
raganga Malhar signature M R (M)R P. See On Gaud Malhar and Miyan Malhar for a
discussion on the foundations of raganga Malhar.
Chhaya contributes its characteristic swoop from pancham to rishab, P–>R, and the overall
melodic flow is sketched below.
received from his guru. Notice the meend in the antara from P to R; it underscores the
Chhaya component.
sakhee Shyam nahin aaye mandarva
barasana lage umadi ghumadi ghana
chamaka chamaka bijariya chamake
morava [koyala] kare pukara “Kunwar Shyam” nahin aaye

The composer of the bandish is “Kunwar Shyam” (Goswami Lalji Maharaj, died c.1910), the
reclusive saint-musician who only performed within the confines of Delhi’s Radha-Govind
temple. The last distinguished representative of the ‘Kunwar Shyam’ tradition was the late
Laxmanprasad Jaipurwale. Kunwar Shyam’s compositions are seen to be felicitous, vested
with unusual melodic and lyrical beauty.

And now, Bhimsen’s tour de force with the same composition. In his words, the received
bandish has been “processed in the Kirana factory.” Although the “Bhimsen processor” is, in
general, guilty causing injury to the sahitya, in this case at least we are spared of the trauma.
Perhaps the sheer lyricism of the mukhda moved him. Bhimsen has also inserted significant
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musical amendments. By assigning the sam to the rishab, the Nat component is advanced,
thus rendering the composition more a composite of Chhayanat and Malhar. He has also
supplied an additional Malhar artifact, to wit, the n D N S” cluster.

Raga Arun Malhar

This is one of the older varieties of Malhar but although it finds a mention in Pandit V.N.
Bhatkhande‘s monumental work Hindustani Sangeet Paddhati no details are forthcoming.
There are a couple of other works where the raga is treated but again only in the sketchiest of
terms. No authentic renditions are available in the public domain.

On the Bilawal Trail

The old melodies assembled under the Bilawal rubric come on the heels of the Todis and the
Bhairavs in the matutinal parade of ragas. The Bilawals bring to mind those marvellous, hot
breakfasts in India, whipped up by the ladies: soft idlis idling in an ocean of sambar and
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spreads of crisp sub-micron thick dosai laced with gourmet chutneys. Did I also mention
filter coffee? (bonus points awarded to the gals if the beans are slow-roasted and freshly
ground for that deep, full-bodied flavour).
Raganga Bilawal
The influence of the Bilawal raganga extends far beyond its immediate environs, its kernel
pressed into service in diverse melodic settings. Raganga Bilawal, therefore, merits a careful
study. Our trek begins with an introduction to the fundamentals of the raganga. Later in the
discussion, we call on several important members of the enchanting Bilawal family.
Let M = shuddha madhyam and m = teevra madhyam.
In my ruminations on ragas, I use the term “swara” instead of “note.” They are not
equivalent, and there is no good English equivalent of “swara.” Those who fail to make this
distinction apropos of the chemistry of raga devalue the very idea of raga.
The Bilawal that is composed of the seven shuddha swaras and corresponds to the
Carnatic melakarta Shankarabharanam. The features of raganga Bilawal are best embodied
in its flagship raga: Bilawal, often referred to as Alhaiyya Bilawal. The lakshanas are
heuristically fleshed out below.
G M R G P, [P] M G R S
This tonal phrase suggests the alpatva nature of madhyam in arohi prayogas. The latter half
embeds a vital gesture. The P in square brackets signifies a ‘shake’ imparted to it.
Parenthetically we may note that this is also a seminal phrase in Bihag, a raga of Bilawal
extraction. The intonation – uccharana – so critical to Bilawal is difficult to convey with the
written word but will be clarified in the audio clips.
G M (G)R G P, G P DG M G, G R G P D-M G
The kan (grace) of R imparted to rishab and the coupling of D and G merit attention. The
arc D-M is a Bilawal signpost, the precise intonation of which is later addressed by
Pandit Ramashreya Jha “Ramrang.” It bears emphasizing that although dhaivat is the vadi,
it is not a nyasa swara. A careless elongation of D will most certainly ruin Bilawal.
P, P P (N)D N S”
This tonal strip is the preferred launch for uttaranga forays and a recurring theme in all
Bilawals.
S” (N)D P M G
S”, D n D P M G
The first of these tonal sentences invokes a key avarohi locus, terminating
with nyasa on gandhar. The second phrase has the komal nishad tucked in, in classic
Bilawal fashion.
Obiter dicta: Some people regard Bilawal and Alhaiyya Bilawal as two different ragas,
positing that the latter contains an additional komal nishad. I see no reason to make that
distinction and consider them to be one and the same raga. The lakshanas of Bilawal have an
existence independent of komal nishad whose inclusion (or exclusion) does not alter the
Bilawal DNA in any essential way. We shall continue to use “Bilawal” and “Alhaiyya
Bilawal” interchangeably.
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The core of raganga Bilawal is masterfully abstracted and summarized by

the vidwan and vaggeyakara, Pandit Ramashreya Jha “Ramrang.”
Primed with the foregoing preliminaries we now confront a dazzling array of Bilawal
performances. The kernel of the raganga is extended in a variety of ways in
the prakars surveyed here. It takes a certain experience sifting the central ideas from the
sidelights. The specialized constructions render mastery of the Bilawal group a challenge,
exacting considerable training and thought. These ragas have to do time in one’s mind. Not
surprisingly the Bilawal prakars are to be found only in the repertoire of the seasoned
campaigners.
Raga Bilawal or Alhaiyya Bilawal
Full-length compositions in the ‘light’ genres with complete fidelity to Bilawal are
uncommon. We inaugurate the proceedings with Madan Mohan‘s composition from
BAWARCHI (1972), rendered by Manna Dey, Lakshmi Shankar and Nirmala Devi: bhor
aayi gaya andhiyara.
A natyageeta from the Marathi musical KATYAR KALJAT GHUSALI composed
by Jitendra Abhisheki and delivered by Bhargavram Achrekar. There is a strong presence
of Shukla Bilawal here, but the composition is an exemplar of Bilawal lakshanas: dina gele
bhajanavina.
Our classical tableau features an impressive array. Let’s dig in right away.
The utterances of Ramashreya Jha “Ramrang” and K.G. Ginde must be singled out for
special attention from the shastraic point of view.
We begin with Salamat Ali Khan who introduces us to the canonical vilambit khayal: daiyya
kahan gaye loga Braja ke basaiyya.
Ramashreya Jha “Ramrang” deals the popular chestnut: kavana batariya.
Nivruttibuwa Sarnaik was a musician of considerable power and depth, his gayaki cast in
the Atrauli-Jaipur mould and fortified with taleem under Rajab Ali Khan of Dewas.
My own introduction to the delights of Alhaiyya came through the Rampur-Sahaswan vocal
master Nissar Hussain Khan. This cheez has been a member of our household for as long as
I can remember: sumirana kara mana Rama-nama ko.
Basavraj Rajguru, the eclectic master with a penchant for the vacanas of
Basavanna: neerige naidile shringara.

Rajguru‘s second offering is classical proper: bina dekhe mohe chaina nahin aave.
The same cheez from his distinguished Dharwad neighbour Mallikarjun Mansur. This is a
Mansur wet behind his ears, from his pre-Jaipur, Nilkanthbuwa days.
Ratnakant Ramnathkar of Goa, a pupil of the Agra luminary Vilayat Hussain
Khan “Pranpiya,” was an ace harmonium player in his teens. He later sought vocal training
from Pranpiya and amassed a not inconsiderable amount of material. He was a skilled
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composer and adopted “Premrang” as his colophon. Jitendra Abhisheki sings a lovely
Ramnathkar composition (the tabalchis’s tihai crashes elsewhere before Jitendra-bab
nonchalently supplies the adjustment): roke thado gail mori woh to Nandalala.
A robust and full-throated Gangubai Hangal.
By now the uttaranga-pradhana nature of Alhaiyya Bilawal ought to be evident.

Moving along, Kumar Gandharva‘s delectable composition: laita ja jyo.

The Gwalior people relish Alhaiyya Bilawal. Krishnarao Shankar Pandit belts out
a tarana in this unpublished performance given in his final years. Incidently, this
same tarana recently released in Ulhas Kashalkar’s voice lacks the thrust and verve so
characteristic of KRSP’s style.
A masterly Atrauli-Jaipur statement by Mogubai Kurdikar.
The foremost exponent of Atrauli-Jaipur today, Kishori Amonkar: aali ri kituve gaye. (Note:
this composition is the standard Atrauli-Jaipur issue in Raga Yamani Bilawal.)
An old Marathi bandish by Malini Rajurkar: Shiva hara he bhava hara.
Vilayat Hussain Khan “Pranpiya” chips in on behalf of the Agra clan.
On the instrumental front, we have Ravi Shankar. A solid, if not memorable, assay.
Now that we have cultivated an acquaintance of the basic Bilawal, we visit its many prakars,
some of which are specialty items of specific gharanas. Those widely acknowledged as
‘traditional’ and embraced broadly are: Devgiri, Yamani, Kukubh, Shukla and Sarparda.
Each of these traditional prakars are deserving of a fuller exegesis but here we shall only
touch upon the central themes. The motivated reader will have enough material in the clips
for further exploration. A sound understanding of the Bilawal kernel is necessary to
appreciate the variations imposed on it.
Raga Devgiri Bilawal
The Kalyan and Bilawal ragangas are natural allies, and supply genetic material to both
Devgiri and Yamani Bilawal. In the eponymous Devgiri (after the town close to Daulatabad
and home to the celebrated 13th C. shastrakara Sarangdeva) elements of Kalyan – Shuddha
Kalyan in particular – are grafted on the Bilawal chassis. The raga’s active span ranges
from mandra pancham to madhya saptak pancham where most of the melodic activity is
undertaken. While ‘local variations’ prevail across schools, the common Devgiri germ is
apprehended in the following tonal ribbons:
S, (S)D’ N’ D’ S, R G
G R S, D’ P’ G
Notice the D’-S chalan in the first phrase and the influence of Shuddha Kalyan in the second,
through the P’-G prayoga.
N’SRGMGRG, N’ R G M G, G R G [P] M G
The advent of madhyam attenuates the influence of Shuddha Kalyan and re-installs Bilawal.
There are special gamakas brought to bear on the uccharana (refer to Ginde’s clip) in
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the poorvanga of both Devgiri and Yamani, without which they would be rendered dull and
flat. Occasionally, elements of Bihag are introduced, to wit: S M G P or G M P N.
K.G. Ginde presents a canonical Devgiri via the traditional Gwalior khayal, E bana byahana,
and follows it up with S.N. Ratanjankar’s druta bandish, mano zara aba manani.
Basavraj Rajguru‘s treatment reveals a different spin, for instance, his recourse to the N’ R
G M G cluster.
ha-sahab has composed several exceedingly charming compositions in Devgiri.
This rachana depicts a coy Sita fending questions about her brother-in-law Laxmana from
curious forest dwellers.
The Maihar statement from its most brilliant mind, Ravi Shankar.
Raga Bangal Bilawal
This old Bilawal prakar has dropped off the Hindustani radar. No uniformity of opinion
prevails concerning its swaroopa.
Jha-sahab outlines the astha’i of a traditional cheez: devana deva Mahadeva.
Raga Yamani Bilawal
This raga builds upon the natural affinity between the Bilawal and Kalyan angas. The teevra
madhyam mediates the Bilawal-Kalyan interface. The key tonal sentences are outlined
below. The kans (graces) in conjunction with appropriate intonational behaviour (uccharana)
are crucial to ragas of this kind.
S N’ D’ N’ S R G
This uthav represents a key lakshana.
S, G R G P, P m P, GMRG, G R S N’ S R G
Both the Bilawal and Kalyan ragangas are united here.
G R G P, G M D, P, m P G M (G)R G, [P] M G R S
A sample chalan.
An explicit Kalyanic m D N cluster is observed in some versions. On the whole, the Bilawal
heritage dominates the proceedings with strands of Kalyan judiciously spliced in.
It will be evident that both Ramashreya Jha’s and K.G. Ginde’s interpretations hew to the
outline given above.
Jha-sahab‘s luscious compositions in Yamani Bilawal delight both the heart and mind. He
presents a full suite, beginning with the vilambit bandish set to Roopak tala in praise of
Saibaba of Shirdi: Sai tihare nama ki aasa lagi mohe.
A couple of druta compositions back-to-back: humari sudha leeje Sa’i.
Dinkar Kaikini serves a traditional khayal in Tilwada tala: aana paro.
K.G. Ginde serves an upaj (lit. improvisation) where the words are not as tightly bound to
the rhythmic cycle as in a normal bandish: piya bina kaise ke.
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Nivruttibuwa gives somewhat different account. Notice the pleasing touch of the teevra
madhyam around 14 secs into the clip.
The Atrauli-Jaipur conception of Yamani Bilawal deviates significantly from convention.
Alladiya Khan was a great innovator given to rethinking, refurbishing and repackaging well-
worn ragas in surprising, ingenious formulations. In his Yamani Bilawal, the Yaman
component is subtle, expressed primarily through N’ R N’ G cluster.
Mallikarjun Mansur expounds.
For the Maihar view, we turn to the brilliant Nikhil Banerjee.
Raga Shuddha Bilawal
“Shuddha Bilawal” means different things to different people.
Abdul Karim Khan‘s rendition draws on standard Bilawal in this magnificent old recording.
A strong presence of Yaman and Bihag elements prevails. This formulation may be viewed
as a subset of Yamani Bilawal: pyara najara nahin aaye.
Bhimsen Joshi reprises the composition but under the “Yamani Bilawal” brand. The Yaman
component is discernible, absence of teevra madhyam notwithstanding. It is a splendid
performance and I couldn’t disagree more with the opinion issued by some dilettante awhile
back on rec.music.indian.classical (RMIC) that Bhimsen’s hasn’t gotten it right. It is a
kinetic act, the raga emerges refulgent, and this is not an opinion.
Mushtaq Hussain Khan of Rampur-Sahaswan was a powerful presence. His version co-
opts the bandish traditionally identified with Yamani Bilawal: aana paro.
Kishori Amonkar has her own take on Shuddha Bilawal.
Raga Kukubh Bilawal
The nub of Kukubh Bilawal lies in the presence of the Jaijaivanti and Jhinjhoti chhayas in
its poorvanga. Kukubh’s signpost is its sui generis rishab tugged with the gandhar. Consider
the following tonal sequence:
S, N’ S (G)R, G R G P M G, M G R G S (G)R
The initial portion is redolent of Jaijaivanti, the latter of Jhinjhoti. The rest of the Kukubh
trajectory falls back on Bilawal. Keep an ear out for Kukubh’s special uccharana of rishab.
In LAJAWAB (1950), Anil Biswas scored a beautiful duet that flirts with Kukubh but doesn’t
quite seal the deal. Lata Mangeshkar and Mukesh: zamane ka dastur hai yeh purana.
Jha-sahab‘s servings include the vilambit composition, singhasana baithe, and the druta
bandish, sumirana kar le mana, both outstanding examples of his creative acumen.
Kukubh Bilawal is a strong presence in the Atrauli-Jaipur imagination as witness the next few
cuts.
Mallikarjun Mansur: he devata.
Laxmibai Jadhav, disciple of Alladiya Khansahib’s brother Haider Khan.
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Kishori Amonkar.
Next on the Kukubh roster, Vasantrao Deshpande.
Conformance is not a virtue one can associate with the Hindustani raga tradition. The
musicians of Agra gharana are the outliers in Kukubh space as witness the following two
renditions.
Raga Shukla Bilawal
Strands of Khamaj are woven into the Bilawal fabric in this ancient raga. Its key identifier is
the poorvanga prayoga S G G M, G P M with the trailing deergha madhyam. The Khamaj
antecedents and other special sancharis in Shukla Bilawal are heard in the chalan cobbled
together by Jha-sahab.
Lata‘s chanting of this verse from the Bhagawad Geeta, composed by Hridaynath, carries a
hint of Shukla Bilawal.
A traditional sadra by Jha-sahab: darasa bina mana vikala.
Krishna Gundopant Ginde.
Nivruttibuwa‘s opening bars cut straight to the chase.
As an essential item in their toolkit, the Atrauli-Jaipur musicians take Shukla Bilawal very
seriously.
Raga Sarparda Bilawal
This traditional derivate draws its genetic material from Gaud, Khamaj and Bihag, fitting it
within an overall Bilawal framework. The disparate constituents are held together with
special sancharis. The Gaud strand is at once evident through the S, RGM gesture in
the poorvanga. A sample chalan is formulated below:
S, RGM, M D D P, DPMG, R G M
Notice the strong madhyam and the deergha dhaivat. There’s also a piquant M n D P cluster,
part of its Khamaj heritage. The Sarparda selections ought to clarify its swaroopa as well as
the variations observed in practice.
Jha-sahab dwells on his own creations.
Another occasion has Jha-sahab expanding on a traditional composition.
K.G. Ginde chips in with the well-known Sarparda composition: E to manva na rahe.
The view from the B.R. Deodhar gallery.
Umrao Khan (Son of Sarangi maestro Bundu Khan) paints a different canvass. The powerful
madhyam creates a ‘virtual Sa,’ releasing chhayas of Yaman (the Bilawalic G P D N is
transformed to N’ R G m through the murchhana).
Mushtaq Hussain Khan sketches the Rampur-Sahawan picture.
The Gwalior account by Narayanrao Vyas.
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The final Sarparda item is the Atrauli-Jaipur version by Mallikarjun Mansur.

At this juncture, we pause and take in this spirited lecture on the Bilawal group of ragas
by Jha-sahab.
Raga Hameer Bilawal
As the name suggests, this raga is a happy union of Hameer and Bilawal. Jha-sahab received
this raga and the composition from his guru Bholanath Bhatt, who in turn picked them up
from the sarangi master Bundu Khan. The movements switch felicitously between the two
parent ragas. The text speaks of the gopis and their anguish, expressed to Uddhava, over
Lord Krishna’s absence.
Ramashreya Jha “Ramrang”.
Raga Nat Bilawal
The Nat contribution of this hybrid is manifested in the poorvanga through S R, R G, G M,
G M R S.
Jha-sahab‘s composition lays bare the raga lakshanas: peeharva na aaye mora.
The Maihar sarodiya, Bahadur Khan.
The placement of the sam on rishab in the preceding renditions at once points to the
Nat raganga.
Our second selection of Nat Bilawal is an unpublished recording of Kesarbai Kerkar in
Shantiniketan in 1950.
Raga Lacchasakh
There is no consensus on the swaroopa of this uncommon Bilawal prakar. Lacchasakh is
considered part of the traditional ‘Sakh’ quartet, the others being Devsakh, Ramsakh and
Bhavsakh. Three selections of are offered and the reader is invited to bring his own measure.
Jha-sahab outlines the chalan before dealing his bandish.
Omkarnath Thakur sells the Gwalior line: prathama tala sur sadhe.
The Atrauli-Jaipur interpretation draws on Khamaj gestures. Anandrao Limaye
(Limayebuwa) ‘explains’.
Raga Sukhiya Bilawal
This Atrauli-Jaipur specialty is infused with prayogas from Savani (GMPMPG) and Bihag.
Raga Jaij Bilawal (Jayant Bilawal)
This Bilawal prakar is fitted with strands of Jaijaivanti in its poorvanga.
Catch the subtle komal gandhar in Mallikarjun Mansur‘s performance.
Jitendra Abhisheki.
B.R. Deodhar‘s view.
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The third and final version features Altaf Hussain Khan of Khurja.
Raga Gaud Bilawal
The Gaud strand S, RGM riding on Bilawal is the main theme here.
Raga Champak Bilawal
An idle afternoon and a nimble mind are all it takes to add to the Bilawal kitty. This are not
considered ‘big’ ragas. Jha-sahab often uses the chutney analogue – it enlivens the meal but
should not be mistaken for the main course.
Khadim Hussain Khan. The text of the composition, ananda mukha chanda, in found in
bandishes of other old ragas. See, for instance, Jha-sahab singing Raga Chandni Bihag
in Short Takes – Bihag, or the Asha Bhonsle-Ali Akbar recording of Raga Shankara Karan
on the Legacy album.
Raga Narayani Bilawal
Prof. B.R. Deodhar whips up a cocktail with a blend of Narayani and Bilawal.
This brings us to the end of the Bilawal Trail. A refreshing, hot breakfast is just what a man
needs after a good musical workout. I must now answer to the call of idlis and dosai. Ta-ta!

The Empire of Todi

With the heights of the Bhairav terrain scaled our onward peregrinations now bring into view
the most profound, finespun idea in melodic music: raganga Todi. The encomia splurged
earlier on the Bhairav dynasty carry over pari passu to the Todi clan. As in the case of
Bhairav, Todi may denote either a that, raga or raganga. All the three converge in Raga Todi.
From ecstasy to frolic to pathos to bathos to melancholy – every conceivable human emotion
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has refracted through the Todi prism. To bounce Todi in the portals of the mind is to know
and experience the delights of intellectual sport. This raganga is so fundamental that it would
not be absurd to speak of a “Todi gene” in the musico-cultural biology of India.
Let M = shuddha madhyam and m = teevra madhyam.
Raganga Todi and Raga Todi
We begin with an inquiry into raganga Todi. The scale of the Todi that corresponds to the
45th Carnatic melakarta Shubhapantuvarali: S r g m P d N. The kernel of raganga Todi is
contained in the following tonal strip:
S, r, r<–>g, g, r, S
The uccharana (intonation and punctuation) of the intimate interaction between r and g is
critical else Todi would be dead on arrival. These two swaras are manifested ‘en suite,’
establishing a symbiotic relationship within the local melodic ecosystem. The movement r–
>g with a nyasa on gandhar is vital and the reverse g–>r lingers on the rishab before its
eventual dissipation on S. The r<–>g interchange accrues as a gradual transition with one
swara melding into the other and precipitates the ‘Todi effect’, a palpable uneasy sensation.
With the heights of the Bhairav terrain scaled our onward peregrinations now bring into view
the most profound, finespun idea in melodic music: raganga Todi. The encomia splurged
earlier on the Bhairav dynasty carry over pari passu to the Todi clan. As in the case of
Bhairav, Todi may denote either a that, raga or raganga. All the three converge in Raga Todi.
From ecstasy to frolic to pathos to bathos to melancholy – every conceivable human emotion
has refracted through the Todi prism. To bounce Todi in the portals of the mind is to know
and experience the delights of intellectual sport. This raganga is so fundamental that it would
not be absurd to speak of a “Todi gene” in the musico-cultural biology of India.
Let M = shuddha madhyam and m = teevra madhyam.
Raganga Todi and Raga Todi
We begin with an inquiry into raganga Todi. The scale of the Todi that corresponds to the
45th Carnatic melakarta Shubhapantuvarali: S r g m P d N. The kernel of raganga Todi is
contained in the following tonal strip:
S, r, r<–>g, g, r, S
The uccharana (intonation and punctuation) of the intimate interaction between r and g is
critical else Todi would be dead on arrival. These two swaras are manifested ‘en suite,’
establishing a symbiotic relationship within the local melodic ecosystem. The movement r–
>g with a nyasa on gandhar is vital and the reverse g–>r lingers on the rishab before its
eventual dissipation on S. The r<–>g interchange accrues as a gradual transition with one
swara melding into the other and precipitates the ‘Todi effect’, a palpable uneasy sensation.
The Todi anga and its uccharana are beautifully illustrated by Pandit Ramashreya Jha
“Ramrang.”
Raga Todi is a raganga raga. That is, it is the primary carrier of the raganga genetic material.
It also goes by Miyan ki Todi, Shuddha Todi and Darbari Todi.
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The lakshanas of Raga Todi are now summarized.

S, r<–>g, g r, S
This is the raganga signature outlined earlier.
g m d, N d, d m g r, g, r S
This movement highlights the nyasa bahutva dhaivat and the langhan alpatva (skipped) role
of the pancham.
S r g m P, P m d, d N d, P, dmgr, g
Here the pancham is shown as a nyasa swara. The specific treatment accorded P is a function
of the performer’s background and taste. Some prefer a liberal use, others use it as a repose
location in avarohi prayogas only to release tension following an uttaranga foray.
The madhyam and nishad are at hand but subordinate to the other swaras. The nishad is
sometimes brightened (deergha), especially in the mandra saptaka, and occasionally skipped
(langhan alpatva) en route to the tar saptaka shadaj: d, d S”.
In Gurjari Todi, the pancham is eliminated but the overall conduct hews to the Todi line.
Some musicians suggest additional artifacts to distinguish it from Todi such as a stronger role
for the komal rishab.
This completes our overture. We have illuminated the central features and dispensed with the
supporting details for there is only so much that can be effectively conveyed with the written
word. The rasika will find much in the audio banquet with which to probe further.
We kick off with this memorable clip where an animated Pandit Ramashreya Jha
“Ramrang” recounts his takedown of M.R. Gautam of BHU, the bone of contention being
the lakshanas of Raga Gurjari Todi.
Our user-friendly suite of ‘light’ pieces follows. They are called ‘light’ but there is nothing
light about them. M.S. Subbulakshmi‘s chanting of Adi Shankara’s stotras tuned
by Kadayanallur Venkataraman sets the ball rolling.
The shabads in the Gurbani show an affinity for Todi. This one in the voices of Ajit
Kaur and Co is tuned by K.S. Narula: mango dana thakura nama.
Basavraj Rajguru‘s self-tuned rendition of Basavanna’s vacana: madi madi.
Lata Mangeshkar was born with extraordinary musical gifts. Meerabai’s bhajan is tuned
by Hridaynath Mangeshkar: nanda nandana.
Tukaram’s abhanga is set to music by Shrinivas Khale. Lata Mangeshkar: aga
karunakara.
We unveil the filmi tableau.
BAIJU BAWRA (1953, Naushad, Shakeel Badayuni) carried a Mohammad
Rafi number: insan bano.
Sardul Kwatra, a resident of the Bay Area of San Francisco these days, is the tunesmith for
this Lata muffin from PILPILI SAHAB (1954): jaba tum hi hame.
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This Roshan and Sahir Ludhianvi masterpiece was rolled out for TAJMAHAL (1963),
again with the ubiquitous Lata: khuda-e-bartar.
Manna Dey, Laxmikant-Pyarelal and Bharat Vyas pool in for this SANT GYANESHWAR
(1964) number: jago re prabhat aaya.
Another baton awash in classical music was Vasant Desai. From AASHIRWAD
(1968), Gulzar‘s lyrics are delivered by Lata: ek tha bachpan.
The 1971 musical bonanza AMAR PREM had some classics, among them this quasi-Todi
creation of R.D. Burman. The effortless forays in and out of Todi are ingeniously
conceived. Lata Mangeshkar: raina beeti jaye.
When Lata refused to sing for MEERA (1979) several composers backed off
and Gulzar found himself knocking on Ravi Shankar‘s door. The maestro pulled G’s
chestnuts out of the fire in a trice. The haunting orchestral prelude is followed by Vani
Jairam: eri main to prem diwani.
We now present a snatch of a rare taleem session by Pandit Kishore Kumar of
Khandwa gharana in R.D. Burman‘s studio.
Lata and Hridaynath Mangeshkar divert the well-known Todi bandish of “Sadarang”
towards Gurjari in LEKIN (1991): ja re ja pathikava.
A jaunt down Noorjahan‘s nostalgic alley. The composer is Khurshid Anwar: jis din se
piya.
Jigar Moradabadi‘s ghazal is tuned by Taj Ahmad Khan and rendered by Mohammad
Rafi: saqi ki har nigah pe.
We conclude the ‘light’ round with this hideous bout of hideous giggling. Indian women,
please don’t giggle like this.
Sir Vish Krishnan‘s counsel and assistance in the above compilation are gratefully
appreciated.
For the classical session, we have lined up a dazzling array of Todi samplers.
The deep sonorous tones of Zia Mohiuddin Dagar‘s rudra beena summon a magisterial
ambience. “Shuddha Todi” is his brand name for the well-worn Hindustani Todi (Shuddha
Todi is an entirely different construct in the Carnatic paddhati). This clip resoundingly (pun
intended) reveals Todi for the extraordinary aubade that it is.
Asad Ali Khan, another distinguished exponent of the rudra beena.
The dhrupadiyas revel in Todi. Tansen Pande (1908-1963), son of Alla Bande
Khan (patriarch of the Dagar family), started out as Hussainuddin Dagar but in the 1940s
returned to the dharma of his forebears (the Dagars were Pandes to begin with).
The Darbhanga region of Bihar was once a hive of dhrupad culture. Among its surviving
representatives, Ram Chatur Mallick.
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Another Bihari, also from Darbhanga, is Ramashreya Jha “Ramrang,” the preeminent
Hindustani vaggeyakara and vidwan. Jha-sahab sketches the famous vilambit khayal of
“Sadarang” which locates its sam located on the pancham: daiyya bata doobara bhayi.
Jha-sahab’s lament about the violence done to the lyrics gains in credibility as Bhimsen
Joshi is found in flagrante delicto, amusingly enough with the same bandish. Bhimsen, of
course, has mastered Todi like few others have.
Gangubai Hangal: bajo re.
I read a posting on rec.music.indian.classical (RMIC) that referred to a visiting Indian
musician as a Gwalior “stalwart.” I am in agreement only 50% (the part about “wart”). For
100% agreement we must look elsewhere, to Krishnarao Shankar Pandit. The bandish is a
Gwalior staple: lala manavana.
Speaking of Gwalior stalwarts, D.V. Paluskar sings the vilambit bandish of “Manrang”:
– aba more Rama – and tops it off with a sparkling cheez.
Another great exponent from the Atrauli-Jaipur camp presents an old khayal of “Sadarang.”
Mallikarjun Mansur: bajo re.
Jha-sahab has composed a most beautiful bandish to Goddess Saraswati. We hear it
from Nachiketa Sharma.
Jha-sahab himself quickly runs through his busy cheez in Gurjari Todi.
Ramkrishnabuwa Vaze was trained by Nissar Hussain Khan of Gwalior (not to be confused
with the contemporary Rampur vocalist) and Shankarrao Pandit (KRSP’s father). He was a
perpetual seeker and travelled all over India in search of music and compositions. Of
mercurial temperament, stories of Vazebuwa’s eccentricities are legion. The recording
presented is a recent release and although he was wary of putting pen to paper
the bandish does find a spot in his published work: masalata puccha diya tusa.
The Atrauli-Jaipur statement by its most distinguished representative, Kesarbai Kerkar of
Goa.
Bade Ghulam Ali Khan‘s recent issue of Allah jane maula jane does scant justice to him.
This blitzkrieg in Gurjari Todi taped in healthier times is more representative of his
peremptory gayaki: bhor bhayi.
A concert recording of Jitendra Abhisheki amplifies on a Gurjari cheez of “Manrang”: chalo
sakhi sautana ke ghara.
We now reach for the instrumental bin. This is an old recording of Habib Ali Khan on
vichitra veena.
In the realm of swara Bismillah Khan has no equal among instrumentalists. He slips into the
Todi groove in three shakes of a lamb’s tail.
Incidently, Bismillah’s tap-tap technique in the final druta moments is, by his own admission,
an adaptation from the harmonium whiz of an earlier era, Bhaiyya Ganpatrao of Gwalior.
Ali Akbar Khan serves up a dhamar supported by Mahapurush Mishra on tabla.
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Back into the vocal pool, Omkarnath Thakur‘s histrionics come to flower in this well-
known cheez: garava maisana lagi.
Abdul Karim Khan negotiates a composition of “Saraspiya”: beguna guna ga’iye.
The pupil Sawai Gandharva stays true to his guru’s swara-lagav: samajha mana Gorakha-
dhandha.
We conclude the Kirana carnival with Hirabai Barodekar: kakariya jina maro.
Azmat Hussain Khan‘s background spanned both the Atrauli and Agra styles. He was an
influential teacher and composer (colophon “Dilrang”). This is from an old recording at the
Goa Kala Academy.
Agra’s Latafat Hussain Khan has the final word.
That brings us to the end of the Todi montage. A few well-known bandishes have escaped
our dragnet, for instance, Tanras Khan‘s aba mori naiyya para karo re.
Next, we address several important derivates of Todi.
Raga Bhoopala or Bhoopal Todi
The chief pentatonic Todi derivate, (Chhaya Todi – S r g m d – is rarely performed),
Bhoopala is scalewise identical to its Carnatic counterpart: S r g P d. It must be underscored
that mere scale does not a raga make. Far too may people these days fail to appreciate this
elementary point.
M.S. Subbalakshmi‘s chant of Adi Shankara’s stotras.
Pandit Ramashreya Jha “Ramrang”: lage nahin re manuva.
Basavraj Rajguru wields a composition of “Gunidas”: naiyya utari par.
Final item in the Bhoopala suite: Ali Akbar Khan‘s gat set to Upatala of 8.5 matras.
Raga Saheli Todi
This raga conceived by Kumar Gandharva extends Bhoopal Todi by stringing komal
nishad in vakra prayogas. An avirbhava of Bilaskhani Todi occasionally obtains.
Raga Bilaskhani Todi
Bilaskhani Todi is among the very great ragas and to scrape its acquaintance is to come
touchably close to the sublime in music. It is profoundly original in conception, a musical
minefield difficult to tread. Its complexity is masked by the ready emotional purchase
offered to the rasika. It is a meend-pradhana raga with a fund of nuance scarcely amenable to
the written word. We shall nevertheless try to convey the vitals.
The basic aroha-avarohana set may be stated as:
S r g P d S”::S”, r” n d, P, d n d M g, r g r S
This does very little to illuminate the raga lakshanas. Although the swaras of Bilaskhani are
drawn from the Bhairavi that its structure is wholly defined and fortified by raganga Todi.
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Care must be observed to stay clear of Bhairavi’s demesne for any misstep will spell instant
ruin for Bilaskhani.
The madhyam is acknowledged gingerly in ascent, and the tonal thought typically prefaced or
concluded by emphasizing the Todi raganga in the poorvanga regime. This manouvre dispels
any incipient Bhairavi aspirations. An M-laden prayoga is illustrated:
S, r n’ S r g, (g)r g M, M, (g)r g, r, S
Note the avarohi langhan of the shadaj.
The pancham is an important nyasa-sthana for the swara traffic in both directions.
The madhyam is necessarily cold-shouldered in ascent en route to pancham and beyond,
viz., S r g P or S r g P d, but is deployed in avarohi prayogas, where it is the pancham‘s turn
to be spurned: d n d M g r, g.
This skipping (langhan) of arohi madhyam and avarohi pancham is the Achilles heel of
Bilaskhani, violation of which injures the raga. The komal nishad is used as either a cushion
by the dhaivat (d n d M) or as an anuvadi swara (r n’ S r g; r” n d M g r S).
The uccharana of the meends are critical, the lifeblood of Bilaskhani.
This clip from LEKIN begins with Satyasheel Deshpande‘s recitation of the
definitive khayal, neeke ghungariya, attributed to “Sadarang.” Asha Bhonsle then assumes
charge and sings jhoothe naina, a composition inspired by S.N. Ratanjankar (see the next
item).
Malini Rajurkar renders Ratanjankar‘s beautiful bandish. Alas, she is in such a tearing
hurry that the delicate flavours of verse and melody are smothered.
Jha-sahab‘s double header includes his delightful druta, Jagadambika Ambika.
Ramrang, vilambit.
Ramrang, druta.
One of Jitendra Abhisheki‘s earliest recordings featured a memorable innings in Bilaskhani
with a bandish composed by C.R. Vyas: taja re abhimana.
An ennobling 1960s Delhi mehfil of Amir Khan marks our Bilaskhani finale.
Raga Asavari Todi
This raga is also known as Komal Rishab Asavari and rightly belongs to a discussion of
Asavari anga ragas (see Asavari & Associates). Although the Asavari anga serves as its
base, there is a soupçon of Todi. Its set of notes is identical to Bilaskhani Todi but the raga-
charitra follows the Asavari dicta. A few schools use both the rishabs (eg. Allauddin Khan of
Maihar). Then there’s the allied Raga Gandhari to watch out for. This unpublished Amir
Khan excerpt is food for the soul.
Raga Bahaduri Todi
This highly vakra raga employs both rishabs, komal gandhar, komal dhaivat, and shuddha
madhyam. The disparate constituents are tied together by special sancharis and the intonation
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is mediated by meends. The first theme is contributed by raganga Todi (r g r S), the other
supplied by Raga Desi.
This is an exceedingly beautiful raga, known for its aesthetic unity inspite of its convoluted
structure. There are two principal versions of Bahaduri Todi of which one is discussed here.
This raga bears no kinship to the Carnatic Bahudari.
The preferred strategy draws on Desi for the arohi development in the poorvanga. The
eventual termination of the melodic sorties draws on the Todi anga.
Let us consider the lakshanas.
S R g (S)R g
The arohi shuddha rishab is equipped in special fashion; notice the grace of shadaj in the
second instance.
The gandhar is informed by both Desi and Todi. The madhyam is approached
from gandhar and dwelt upon; it is skipped (langhan) en route to pancham. The komal
dhaivat is caressed with a touch of komal nishad. These ploys are summarized as follows:
S, R n’ S R G (S)R g – (Desi)
g R g M – (nyasa on madhyam, special prayoga)
(M)g (M)g P – (approach to pancham)
P, (n)d (n)d – (komal dhaivat caressed with n)
(n)d (n)d S” – (approach to the tar shaaaj, nishad skipped)
r” n d M – (special meend)
P (g)R g – (Desi)
RgM, M g r g, r, S – (conclusion with raganga Todi).
We experience the raga through the eyes of two great musicians, each a master of his chosen
metier. One is a peerless vidwan and vaggeyakara, the other a performer the likes of whom
don’t come by often.
Pandit Ramashreya Jha “Ramrang” quickly lays out the lakshanas.
Ramrang, vilambit.
Ramrang, druta.
Mallikarjun Mansur‘s tour de force in this 1968 recording when he was at the peak of his
powers is a spectacle fit for the Gods. Observe the special nature of tans deployed and the
breathtaking dexterity with which he negotiates the tightropes snaking through. The tans are
distinguished for their double, triple, and quadruple note clusters, gamakas, and safa’i in
execution. This is directed, controlled virtuosity at its most sublime. At the end of it all the
raga emerges effulgent.
Raga Ahiri Todi
This raga draws on raganga Todi in its poorvanga and Ahiri in its uttaranga.
The swaric material is drawn from the 10th Carnatic melakarta Natakapriya: S r g M P D n.
A little consideration shows that this scale is generated by an appropriate murchhana/graha
bhedam on Charukeshi (see On Raga Charukeshi).
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Two outstanding compositions of Jha-sahab are offered.

Jha, vilambit.
Jha, druta.
Nikhil Banerjee adopts the name “Aahiri” for his presentation.
Obiter dicta: A different version of Ahiri Todi found in the literature has now gone out of
fashion. Also, Ravi Shankar has eliminated the pancham from the parent scale to extract a
fetching melody he calls Parmeshwari.
Raga Salagavarali
S.N. Ratanjankar conceived of this raga. It draws its swaric material from the 46th Carnatic
melakarta Shadvidhmargini: S r g m P D n.
The madhyam is eliminated to yield the following contour:
S r g P D n D S”::S” n D P g (P)r g, r, S
The raga has been brilliantly exploited by Jeetendra Abisheki in a celebrated natyageeta.
Watch out for the injection of a vivadi dosha via teevra madhyam: gheyi chhanda makarand.
Ratanjankar‘s original composition is popular and widely performed. K.G. Ginde: sumara
saheb sultana.
Raga Mangal Gujari
A relatively new entrant into the Hindustani system, its swaras emerge from the 44th Carnatic
melakarta Bhavapriya: S r g m P d n. The Hindustani raga employing this sampoorna scale
set goes by the name Adarangi Todi. In Mangal Gujari the pancham is varjit, rendering its
scale identical to the Carnatic Bhavani (the Hindustani Raga Bhavani is a very different
horse, a chatuswara raga of the Bilawal that).
Mangal Gujari resembles Gurjari Todi in its mannerisms with the proviso that
its nishad is komal. Ragas employing the komal nishad-teevra madhyam combine are scarce
in the Hindustani system. Madhukauns is the homespun example that comes to mind. The
rest of the m-n-laden ragas currently in the Hindustani employ – Saraswati, Vachaspati,
Shanmukhapriya, Hemavati – are borrowed from the Carnatic domain.
Mangal Gujari’s profile assumes the following form:
S r g m d n S”::S n d m g, r g, r, S
It is seen at once that scalewise the following equation holds true:
Gurjari Todi : Miyan ki Todi :: Mangal Gujari : Adarangi Todi

The swara track in Mangal Gujari is known to present some discomfort to the unaccustomed
Hindustani mind, particularly around the komal nishad area.
Ramashreya Jha “Ramrang” burst into Mangal Gujari one afternoon after lunch quite
unexpectedly. Fortunately I had the recorder at the ready.
Raga Khat Todi
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This uncommon prakar containing both madhyams is mostly sung by Atrauli-Jaipur and Agra
musicians. In the main body of Todi a small phrase of Khat is introduced. Two Atrauli-
Jaipur flavours, differing in the type of the leading Khat phrase employed, are offered.
Anandrao Limaye uses the gMPdn P cluster.
Whereas Mallikarjun Mansur co-opts R M R P.
Raga Jaunpuri Todi
An admixture of both Jaunpuri and Todi, effortlessly assayed by Mallikarjun Mansur.
Raga Laxmi Todi
This traditional Todi prakar reveals chhayas of Gaud, Asavari, Kafi within the Todi
framework.
K.G. Ginde is ill at ease with this dhamar composition of Ratanjankar.
Jha-sahab‘s enchanting bandish scythes to the raga core: aaja hamari.
Raga Mangal Todi
The insertion of a special tonal phrase containing shuddha madhyam into the Todi stream is
the main idea in this aprachalita prakar.
Ram Marathe elaborates.
Raga Hussaini Todi
Elements of Hussaini Kanada and Asavari are woven into the Todi fabric in this aprachalita
prakar. These arcane varieties are ‘small’ ragas (“asthai-antare ke raga“). Jha-sahab likens
them to chutney in the course of a main meal: tero samana Sa’i.
The Agra-Atrauli musicians purvey a completely different version of Hussaini Todi, one that
has no Todi anga whatsoever in it. Kishori Amonkar: niranjana ki jai.
Raga Abheri Todi
Another obscure variant in which strands of Asavari and Khamaj are tied to the Todi anga.
Ramashreya Jha “Ramrang”: gunijana ga’iye baja’iye.
Raga Viyogavarali
This baby of S.N. Ratanjankar belongs to the 9th Carnatic melakarta Dhenuka: S r g M P d
N. The raga is attained to by eliminating pancham and introducing Todi anga via the r-
g coupling. The following tonal profile results:
S r M d N S”::S” N d M, r g, r, S
The raga is attractive and deserves wider popularity. Ratanjankar’s composition
appropriately refers to viyoga. K.G. Ginde: binati yahi na jaiyyo Mathura.
Raga Suha Todi
This jod-raga with Suha peppered with Todi anga is peddled by Ali Akbar.
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Raga Bairagi Todi

The audav-jati raga was introduced by Ravi Shankar. To get its scale, replace
the madhyam in Bairagi with komal gandhar: S r g P n.
Ravi Shankar‘s gat is set to Sade Gyarah tala (11.5 beats).
Jha-sahab has developed another version of Bairagi Todi where a dash of Todi anga is
injected into the Bairagi body.
Raga Niranjani Todi
In this creation of l’enfant terrible Kishori Amonkar, elements of Ahir Bhairav, Bairagi and
a Bhinna Shadaj-esque nishad are observed. I don’t have the gal’s recording yet so we will
have to do make do with her pupil Raghunandan Panshikar
Raga Lachari Todi
Although this is acknowledged as a traditional Todi prakar, there is no hide nor hair of Todi in
the version rendered by V.R. Athavale. The development is grounded in Asavari.
On the other hand, while Mallikarjun Mansur‘s tonal brief takes Asavari for its base, a
soupçon of Todi-anga is injected via komal rishab.
Raga Jaiwanti Todi
Jaiwanti Todi is a conception of Maharana Jaiwant Singh of Sanand who is best known for
his composition Mata Kalika popularized by Banditji.
The general outline is:
S r g, r g r S, S r M P D n, D, P, M P n D P
P D, (P)M M P (M)g, r g r S
The gandhar is typically dropped in arohi movements extending beyond the madhyam. This
raga may be considered a janya of Ahiri Todi.
Banditji sings the Maharana’s composition.
Several other Todis exist, some only in name without even a scent of Todi anga to
recommend them (eg. Desi Todi, Gowardhani Todi, Anjani Todi etc). Bhatkhande cites a
few that are no longer in fashion: Marga Todi, Mudriki Todi, Zeelaf Todi, Kafi Todi etc.
The universe of raga offers the seeker lifelong opportunities for intellectual and emotional
nourishment. If this modest introduction to one corner of it – the splendorous locales of
the Empire of Todi – nudges you towards a deeper attachment & exploration
of ragaspace, May the Force be with you!
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Two Variants of Bihag and Thirakhwa’s Tabla Solo

In this feature two variants (prakars) of Raga Bihag, namely, Bihagda and Pat Bihag, are
addressed. I expect to keep the commentary terse and precise. At the end of this article, an
unpublished 1964 Pune mehfil of the great tabla maestro Ahmad Jan ‘Thirakhwa’ is offered.
Throughout the discussion, M = shuddha madhyam and m = teevra madhyam.
Raga Bihagda
The key idea in this raga is the introduction of the komal nishad into the Bihag dynamic. This
is accomplished chiefly through two tonal sentences of the type:
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G M n D P, G M G
G M P D n D P, G M G
Raga Bihagda may thus be seen as an offshoot of Bihag with strands of Khamaj spliced in.
Although the influence of Bihag preponderates, a few special prayogas carve out an
independent identity for Bihagda. To wit:
S G, GMPMP G (R)S
S G M D, D P, GMPMP G, D M P N, N S”
As in Bihag, the gandhar is very strong (nyasa swara) and so is the nishad. The
measured avarohi glide from G to S grazing R en route is inspired by Bihag. So is the
movement from N to P. The teevra madhyam is eliminated or rendered weak (alpatva) in
almost all treatments. With this brief and essential background we now march into the audio
theatre where we have opportunities aplenty to isolate and examine the raga lakshanas..
In the mid-1960s Jitendra Abhisheki composed an enchanting Marathi natyageeta based in
Bihagda for YAYATI-DEVAYANI and then callously handed it over to amcho Ramdas
Kamat to molest. Ramdas-bab’s tans remind us of the first bawling of a freshly-baked baby
struggling to cope with life outside the amnion. I have masterfully edited the clip to spare you
the trauma: mee maanapamaanaa.
The same Abhisheki-Kamat combine once again, this time from the musical HE BANDHA
RESHAMACHE (1968). This natyageeta draws on lakshanas of Bihagda, Savani, and
PatBihag: sangeeta rasa surasa mama jeevanadhara.
Bade Ghulam Ali Khan‘s selection from an unpublished mehfil retains a strong Bihag
presence, including graces of the teevra madhyam.
A variety of tonal formulations and uccharana is observed in the clusters laden with komal
nishad. For instance, Shaila Datar sings a composition of the late Master Krishnarao that is
sparing in its use of the komal nishad.
The gifted musician and composer of the Khurja Gharana, Zahoor Khan, is not a familiar
name to the current generation of rasikas. He was a polyglot comfortable in Sanskrit, Braja,
Farsi and Urdu. Trained by Tanras Khan, he adopted the mudra ‘Ramdas’ for his Braja poetry
and ‘Mumkin’ for his Urdu takhallus.
Prabhudev Sardar presents a beautiful khayal composed by ‘Ramdas’: maa’i ri.
The popular bandish composed by Jagannathbuwa Purohit ‘Gunidas’ in honour of the his
guru Vilayat Hussain Khan is presented here by Gunidas’s pupil Prabhudev Sardar: sakhi
mandarwa, aaye nahin preetam pyare.
The Atrauli-Jaipur musicians have reified Bihagda into their gharana’s emblem almost,
elevating it to heights unscaled before their time. We have lined up a battery of the leading
lights of that school.
Who better to begin with than Alladiya Khan‘s prized pupil Kesarbai Kerkar? The first half
of the clip finds her in a leisurely gait, before unleashing a cannonade of impressive tans.
Take stock of the interplay of the two nishads. The composition is Alladiya Khansahib’s
favourite: pyari paga hole.
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The next two items figure Alladiya Khan’s other star pupil, Mogubai Kurdikar, in an
unforgettable display. Your attention is drawn to the explicitly intoned teevra madhyam in this
rendition. This is not an across-the-board feature of the Atrauli-Jaipur conception of
Bihagda. The phraseology supporting teevra madhyam advanced by Mogubai creates
an avirbhava of Raga Nand. The first clip below elaborates on pyare paga hole, the second is
the well-known cheez, mohe jane de.
Sardarbai Karadgekar, a disciple of Nathhan Khan (Alladiya Khansaheb’s nephew), has her
say.
Mallikarjun Mansur reprises the standard Atrauli-Jaipur bandish but with a tweak attributed
to his guru Manji Khan (son of Alladiya Khansaheb): the placement of the sam on
the pancham.
Tha Jaipur-Atrauli musicians also sing a variation of Bihagda, called the “Ek Ni Bihagda,”
where, as the name suggests, only one nishad – shuddha – is employed. The elongated
(i.e. deergha) dhaivat and its interplay with the shuddha nishad make for an engaging
interplay. Mallikarjun Mansur‘s masterful display in this raga is all too well-known. Notice
the beautiful bandish structure and its manner of resolution within the vilambit Jhaptala
setting: bairana re.
Unlike her mother Mogubai, Kishori Amonkar takes just one nishad (shuddha) in her Ek Ni
Bihagda in a splendid performance. There is nobody drawing breath today who can sing like
this. Verify for yourself.
One seldom hears instrumental renditions in Bihagda. Vilayat Khan tries to generate traction,
with very limited success.
We conclude the Bihagda tableau with an elegant khayal composition of Pandit Ramashreya
Jha “Ramrang”: rasiya mero.
Raga Pat Bihag
Pat Bihag is developed by appropriately pruning Bihag, through what is known as chalan-
bheda. Pat Bihag uses all the shuddha swaras. The teevra madhyam may occasionally serve
as a kan-swara. Most of its mannerisms are Bihag-like, the notable departure being its
glowing shuddha madhyam – deergha and mukta. A Pat Bihag chalan is formulated below
(variations in detail prevail across gharana boundaries):
S G (R)G M, M, P G, S P G (R)G M
G M P S” P, GMPN (D)N S”, S” P, P D M P G (R)G M, P G M G (R)S
This time Jitendra Abhisheki does right, entrusting his beautiful composition for KATYAR
KALJAT GHUSLI to Vasantrao Deshpande.
K.G. Ginde improvises on a superb composition of the great vidwan, shastrakara,
and vaggeyakara, Pandit Vishnu Narayan Bhatkhande. His mudra ‘chatura’ is embedded in
the antara: sajana naye ri.
The Atrauli-Jaipur musicians purvey a maverick version of Pat Bihag that recruits both
the komal gandhar and the komal nishad. Kishori Amonkar makes this clear in an old
recording: dhana dhana mangala gaa’o.
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Another Atrauli-Jaipur stalwart, Mallikarjun Mansur.

Ulhas Kashalkar also has a komal gandhar tucked into his busy rendition.
We end this brisk tour with a delectable composition of the
exceptional vaggeyakara and vidwan, Pandit Ramashreya Jha “Ramrang.” His Pat Bihag is
conceived differently from the ones preceding (can you see how?): E bana byahana aayo.

Bhairav – The Primordial Sound

Our exploration of Hindustani ragaspace continues with a coup d’oeil of the hoary Raga
Bhairav and members of its extended family.
Raga Bhairav
Bhairav connotes three entities: raga, raganga, and that. All the three converge only in the
flagship Raga Bhairav. Concerning its etymology, “Bhairav” is an epithet of Lord Shiva,
associated with his fierce, bhayanak swaroopa. In old treatises Bhairav is referred to as
the adi-raga and comes attached with a wealth of lore. In his monumental
exegesis Hindustani Sangeet Paddhati, Pandit Vishnu Narayan Bhatkhande has sifted
through Bhairav’s tortuous history and its passage through time in great, and sometimes
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painful, detail. We shall here confine ourselves to its contemporary musical structure and
practice.
Bhairav is so fundamental to Indian tradition that its impaction on the nation’s musical soul
can never be overstated. Even the unlettered in the land is familiar with its germ in some
form or the other. The overlay of Bhairav strains on an quiet, bucolic Indian morning can be
a purifying experience. Verily, it falls to the lot of the noblest of ragas, deserving of renewal
and reflection every single day.
Throughout this promenade M = shuddha madhyam, m = teevra madhyam.
The swara set constituting the Bhairav that is: S r G M P d N. It is congruent with the 15th
Carnatic melakarta Mayamalavagoula. The Bhairav raganga – referred to as Bhairavanga –
is composed of two chief threads, one each in the poorvanga and uttaranga regions.
G M P G M (G)r, S
The point of note here is the special andolita komal rishab in the avarohatmaka movement.
This uccharana is vital, represents Bhairav’s signature, and at once defines the raganga.
G M (N)d, d, P
This is the uttaranga marker of the raganga. The swara lagav of both r and d is andolita, a
sine qua non for effective expression of the Bhairavanga.
The lakshanas of Raga Bhairav are now fleshed out:
G M (n)d, (n)d, P, P G M (G)r, S
The komal nishad, while nominally varjya, is nevertheless cultivated through
an andolita dhaivat. That is to say, it is “gupt” (hidden), rarely set out explicitly in notation
although in some of the old dhrupad compositions there is a somewhat less inhibited recourse
to the komal nishad. Notice the pancham – ‘langhan alpatva‘ (skipped) in
the arohi movement and ‘nyasa bahutva‘ (point of repose) in the avarohi movement. This is
characteristic of ragadari music where a swara may be called upon to wear multiple hats in
service of the raga. The swara, it must be emphasized, is not synonymous with note.
G M (N)d, (N)d N S”, N S” (N)d N d P
The dhaivat is caressed with a touch of shuddha nishad, the retreat from S”->d is mediated
by a meend. The intonational nuance is difficult to convey through the written word but we
now have at our disposal the fruits of modern technology – streaming audio at our fingertips.
The subtleties of uccharana will be illuminated in the audio offerings to follow.
S G M P G M, G M (G)r, S r G M P
The rishab is often rendered alpa and skipped in arohi movements. An occasional deergha
madhyam makes for a pleasing effect. The treatment of gandhar calls for careful handling
since an inopportune nyasa may inadvertently invite Raga Kalingada (to be discussed later).
Ragas Kalingda and Gouri of the Bhairav that use the same set of notes but embody
different ragangas. See On Raga Lalita-Gouri.
Building on the foregoing discussion leads to the following sketch:
S, (G)r (G)r S, (N’)d’ N’ S, N’ S G M, G M (G)r, S
S r G M P, P G M (N)d, d, P, P GMPGM (G)r, r S
G M (N)d, d, P, G M P d N S”, r” S” N S” (N)d, d, P
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The gayaki of the raga is complemented by linear arohi-avarohi runs

(SrGMPdNS”:S”NdPMGrS) and other supporting gestures. With this propaedeutic we are
now ready for a dip in the Bhairav ocean. The prefatory pieces are Bhairav-based samples
drawn from the ‘light’ arena. The operative word here is “based. These ancillary genres often
co-opt the scale of Bhairav but take liberty with its lakshanas.
We open with M.S. Subbulakshmi‘s bhajan from Jayadeva‘s Geeta Govinda: jaya
jagadeesha.
The Gemini composer duo of M.D. Parthasarthy and Emani Shankar Sastry brought forth
this Lata number in SANSAR (1952): amma roti de.
Salil Chowdhary, by a long shot the most beautiful and complex musical mind to have come
out of Bengal, files two beautiful Lata solos, one in MUSAFIR (1957): mana re Hari ke
guna.
And the much loved melody from JAGTE RAHO (1956): jago Mohan pyare.
A haunting melody from composer Roshan in SANSKAR (1952), again in Lata‘s
voice: hanse tim tim.
BAIJU BAWRA (1953) carried what is probably the most famous Bhairav-based composition
in the popular imagination. Composer Naushad teams with Lata.
O.P. Nayyar throws caution to the winds in a cavalier romp through Bhairav territory. Asha
Bhonsle figures in this PHIR WOHI DIL LAYA HOON (1962) sparkler: dekho bijlee dole.
On the Marathi stage the Bhairav scale is most strongly sensed in narrative musical passages
known as ‘saki‘ (one may argue that Kalingada, not Bhairav, is the basis for these folk-
inspired tunes). Vasantrao Deshpande flashes an instance of this sub-genre in the folksy
(Lavani-esque) Hindi saki from SHAKUNTALA.
We switch off the ‘light’ round with a bhajan of the 14th C saint Namdev, rendered
by Kumar Gandharva.
It is a pleasure to acknowledge the assistance of Sir Vish Krishnan in the above compilation.
We turn now to the Classical department where we have gathered representative samples of
Bhairav and associated melodies. The choice for inclusion of a clip was governed by the
following criterion: Does it say something important about the raga, and say it well?
For all its pervasive influence and gravitas, performances in pure Bhairav are few and far
between. The dhrupadiyas get the first shot. Nasir Aminuddin Dagar, in a composition set
to the 10 beat Sooltala: Shiva Adi.
A comprehensive suite in Bhairav by one of India’s finest musical minds and the greatest
living Hindustani composer, Pandit Ramashreya Jha “Ramrang” follows. The first two
selections are culled from a public performance in Goa in 1999. Yours truly provides
harmonium support and Tulshidas Navelkar plays the tabla.
Jha-sahab, vilambit khayal in Ektala: samajha mana baware.
Jha-sahab, druta khayal in Teentala: bana nahin aave.
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The sahitya in Jha-sahab‘s dhrupad-anga composition known as sadra is inspired by Kabir.

There’s a deft play on words, and he explains the import.
A sampler of Bundu Khan‘s sarangi where he plays a dhrupad in Chautala. Notice the
caress of the komal nishad.
Barkatullah Khan, the grand Senia master of the sitar, is not a familiar name to
today’s rasikas. Among his students were Ashiq Ali Khan and Ashiq Ali’s son, Mushtaq Ali
Khan. Ah, what ragadari!
Kumar Gandharva‘s own composition contains delicate glides and shading of swara. In
particular, keep an ear out for graces imparted to the dhaivat: ravi ke karama.
The Bhairav montage concludes with Mallikarjun Mansur‘s sterling display.
We now take up the variations on the Bhairav motif. The commentary from this point on will
be terse. A few Bhairav prakars are ‘big’ enough to merit more spacetime than is allotted
here. As we make our way through the Bhairav matrix, fix your attention
on Bhairavanga, the creative interpolation and extrapolation of its kernel.
Raga Gunakali/Gunakri
In this nominally audav-jati (pentatonic) raga with S r M P d as its swara set, it is not
unusual to lace rishab with gandhar along the M->r contour to precipitate Bhairavanga.
Jha-sahab has written a beautiful bandish describing Lord Shiva’s visit to Brindavan to see
the baby Krishna. The text verbalizes the Great Yogi’s response to an apprehensive Jashoda.
Mushtaq Hussain Khan of Rampur-Sahaswan.
Kumar Gandharva‘s maverick treatment assigns explicit values to
both gandhar and nishad. His own composition: ava mhara mana basiya.
Raga Bairagi
This audav-jati raga employs the following swara set: S r M P n. It was first introduced
by Ravi Shankar in the 1940s and was readily embraced by the music samaj. As years went
by, through accretion of appropriate melodic gestures it came to be considered a member of
the Bhairav stream.
Incidently, another pentatonic Bhairavanga raga employing the S r M d N set has been
advanced in recent times. It goes by the name “Kshanika.”
Raga Anand Bhairav
In this traditional prakar, the komal dhaivat in Bhairav is replaced by
its shuddha counterpart. The komal nishad is parachuted into the scheme in
an avarohi prayoga S” D n P inspired by Bilawal. In Bhairavanga ragas where
either rishab or dhaivat is rendered shuddha, the madhyam tends to assume a powerful role
and is often elevated to a vadi swara. Care must be exercised to not let Anand Bhairav stray
into Bhatiyar’s neighborhood.
Jha-sahab presents a traditional composition of ‘Sadarang’ and tops it with his own druta
cheez.
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Jha, vilambit.
Jha, druta.
K.G. Ginde dispenses a smart, taut composition of his guru S.N. Ratanjankar: bina darasa
mana tarasata nisadina.
Ravi Shankar‘s handling is exemplary. Notice the hint of komal nishad, not to mention the
arresting layakari.
Raga Saurashtra Bhairav
In this uncommon derivate, both dhaivats are pressed into service. The basic idea involves
sewing strands of Bhinna Shadaj (G M D N ) onto the Bhairav fabric. In such situations it is
not unusual to find divergence in implementation across gharana borders as witness the
following two cuts.
Jha-sahab sketches his composition: barani na jaya chhabi.
Ghulam Hasan Shaggan of Kirana.
Raga Mangal Bhairav
In this shuddha dhaivat-laden Bhairav prakar, the nishad is attenuated. Tthere prevails
an avirbhava of Durga in the uttaranga via the M P D S” cluster.
Raga Bhatiyari Bhairav
The constituents of this hybrid raga are, as the name suggests, Bhairav and Bhatiyar. Jha-
sahab’s design employs shuddha dhaivat only, retaining for the most part the Bhatiyar
framework. The Bhatiyaric P G r S is displaced by the Bhairavanga molecule G M (G)r, S.
Pandit Ramashreya Jha “Ramrang” in vilambit Roopak: palaka na lage.
Ramrang’s druta composition: dhurana murana tanana son.
A different perspective is purveyed by Jagannathbuwa Purohit ‘Gunidas’ in his
composition rendered here by C.R. Vyas: E aali ri.
Raga Bhairav Bahar
The attributes of a well-designed, wholesome hybrid raga are a judicious choice of the
constituents and a smooth transition at the junction of the disparate constituents (Electrical
Engineers like to talk of impedance matching in similar situations). Let us see how the
various conceptions of Bhairav Bahar stack up.
Basavraj Rajguru elaborates on a composition of Achapal (Tanras Khan’s guru): jobana re
lalana ko.
Omkarnath Thakur spins a different yarn.
Raga Ahir Bhairav
Among the most popular Bhairav prakars today, Ahir Bhairav admits the shuddha
dhaivat and komal nishad. The poorvanga patently hews to the Bhairav protocol,
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the uttaranga carries elements of Kafi. This is a solid composite and has carved out
a swaroopa all its own. The powerful madhyam registers well. A sample chalan is:
D’ n’ r, S, S r G M, M, G M (G)r, D’ n’ r, S
G M P D n D P, D n S”, S” n D P, G M (G)r, r S
Raga Virat Bhairav
A rather busy uttaranga characterises this uncommon raga. The nishad is komal, and
both dhaivats are in attendance. The shuddha dhaivat is used sparingly, in
special sancharis such as GMPDnDn and PDnS”.
Nivruttibuwa Sarnaik: nayo nayo bairagi.
Raga Kabiri Bhairav
This Jaipur-Atrauli specialty also has a busy uttaranga and accomodates
both nishads and dhaivats. Notice the lagav of D and n in the avarohi S->D prayoga and the
special handling of komal rishab in the tar saptaka. We have two exceptional renditions on
tap.
Kishori Amonkar‘s attack on the shuddha dhaivat takes one’s breath away.
Raga Shivmat Bhairav
The twist here lies in the prayogas involving the komal gandhar and komal nishad in an
otherwise Bhairav framework. Although the specific nature of their swara-lagav varies
across different regions and styles, the general prescription may be summarized in these two
tonal strips:
G M (G)r, r g r S
PdndP
In Jha-sahab’s druta cheez, Lord Shiva finds himself in trouble (again), this time on the eve
of his wedding to Parvati. Parvati’s mom strongly disapproves of Him given his appearance.
She says to the Great Yogi, “No way Jose! You are not getting anywhere close to my girl.”
The G.Y. is taken aback and demands an explanation. But Parvati’s mom will have none of
him. Parvati, after all, comes from a high-status family, is convent-educated, enjoys fine
dining, loves traveling, movies and rollerblading – a perfect blend of the East and West. The
G.Y. isn’t exactly her idea of a studly son-in-law and she says as much:
baurahe ko na doongi apno dulari Girija-kumari
rakhoongi ghara apno
ek na manoongi sikha kahu ki
“Ramrang” byahu na Girija-kumari
rakhoongi ghara apno
Jha-shab, Shivmat Bhairav.
Kumar Gandharva is a bundle of energy.
A different angle from the prism of Vilayat Hussain Khan ‘Pranpiya’.
The pupil follows his guru. Jagannathbuwa Purohit ‘Gunidas’.
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And finally, the man who has reified this raga: Mallikarjun Mansur. This AIR recording is
a modern classic. The huge meend from P back to S spanning the P->M->G->r->S locus
betrays an unusually developed musical intelligence. Alladiya Khan‘s composition is the
standard issue to all his Atrauli-Jaipur progeny: prathama Allah.
Raga Devata Bhairav
This raga was brought forth by the influential Agra figure, Azmat Hussain Khan ‘Dilrang.’
Its notable feature is a Bhairavi-like avarohi prayoga via the komal gandhar – M g r S.
Raga Beehad Bhairav
A baby of Kumar Gandharva’s, it bears some resemblence to Shivmat Bhairav with its use of
both g and n. The distinction lies in chalan bheda and swara-lagav. Kumar sings his own
composition: bana bani aayo.
Raga Prabhat Bhairav
The introduction of a Lalitanga through the two madhyams placed cheek by jowl paves the
way for an avirbhava of this old raga. The motivated reader will discern the varied flavours
emenating from individual temperaments below.
Jha-sahab hauls a traditional ‘Adarang’ composition.
K.G. Ginde volleys Ratanjankar’s bandish in Tilwada: ab to jago manava.
Gangubai Hangal also sings to Ratanjankar’s tune but in vilambit Ektala.
Raga Bhavmat Bhairav
This Lalitanga-laden variant was incubated in the imagination of Kumar Gandharva.
The dhaivat is shuddha, and the nishad komal. Kumar himself lays out the preliminaries.
Raga Ramkali
The main plot here involves the insertion of a peculiar tonal phrase m P d n D P into the
Bhairav flow. While Ramkali retains the primary Bhairav lakshanas it has its own
eccentricities. For instance, there is a predilection for skipping the rishab in arohi
prayogas as in: N’ S G M P.
K.G. Ginde presents a traditional khayal ascribed to ‘Sadarang’: machariya mendi suno.
Shruti Sadolikar‘s clip highlights the distinguishing Ramkali phrase. The composition is
credited to Alladiya Khan of Atrauli-Jaipur: yeh bana sari raina.
D.V. Paluskar is a class act.
Pandit Vishnu Narayan Bhatkhande has discussed an arcane version of Ramkali that uses
both gandhars.
Another idiosyncrasy is observed in the Maihar tradition which eschews the komal nishad.
Ravi Shankar‘s resounding alap in this brief segment has a curious feature: the komal
nishad manifests itself very subtly (and presumably inadvertantly given the Maihar
proscription) as an abhasa (“swara ka abhasa hona” – i.e. when a swara is not consciously
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intoned but an impression of it is nevertheless created). Zoom in on the region between 0:26
and 0:27.
Raga Roopkali
The raga takes inspiration from Ramkali for its teevra madhyam but there is no komal nishad.
An additional feature is the casual hire of shuddha rishab.
Aslam Hussain Khan‘s khayal is launched from that very swara.
Another cut by the Agra elder Khadim Hussain Khan.
Ragas Hussaini Bhairav, Bakula Bhairav, Basant Mukhari, Kaushi Bhairav
These different ragas are grouped together under one header for convenience. They have one
common feature in that they share the same scale, corresponding to the 14th
Carnatic melakarta, Vakulabharanam: S r G M P d n. But it cannot be emphasized enough
that a mere scale does not a raga make. The reader is invited to figure out their
respective lakshanas and implementation of the details.
Hussaini Bhairav by Younus Hussain Khan (Pranpiya’s son) discloses a peculiar swoop on
the mandra pancham from the shadaj. The Bhairavanga surfaces in the poorvanga.
Bakula Bhairav derives its name from the parent Carnatic melakarta and was conceived
by Sumati Mutatkar. In this, her own dhrupad composition, the treatment is Bhairav-like
albeit with the komal nishad.
Basant Mukhari emits alternating scents of Bhairav (in the poorvanga) and Bhairavi (in
the uttaranga). There are no universally accepted precepts for this raga in its Hindustani
adaptation. In some treatments the Bhairavanga is not articulated, whereas in others it is.
S.N. Ratanjankar renders his own composition: uthata jiya hooka.
Kaushi Bhairav comes in two varieties. The one considered here is credited to
Baba Allauddin Khan of Maihar. This melody stands farther apart from the above three.
The theme here is the insertion of Malkauns-anga. The tonal activity is centred on
the madhyam. It is instructive to compare Allauddin Khan’s own interpretation with that of
his pupil Ravi Shankar.
There is much to be said for Ravi Shankar‘s brilliant, searching mind. He has added to his
guru’s theme, expanding the germ of an idea.
Raga Zeelaf
This haunting pentatonic melody is composed of the following swaras: S G M P d.
Jitendra Abhisheki gives a superb account with his own composition. Notice the
strong madhyam. Zeelaf also employs the subtle GM->S meend: taba te juga samana.
Raga Devaranjani
This import from Carnatic tradition reveals a vichitra swaroopa. The rishab and gandhar
swaras are varjit thus leaving open the wide interval S-M-S. I posted a note on this raga
some years ago in the 1990s on the Usenet newsgroup rec.music.indian.classical (RMIC).
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K.G. Ginde instantiates S.N. Ratanjankar’s composition.

Raga Nat Bhairav
A relatively recent entrant into the Hindustani catalogue, this melody was popularized
by Ravi Shankar. He seized upon the idea after hearing a demonstration of an allied theme
by Prof. B.R. Deodhar.
The sampoorna scale employed corresponds to the 27th Carnatic melakarta Sarasangi.
The vakra sancharis, however, give it a distinct swaroopa. The Nat phraseology in
the poorvanga – S R, R G, G M – is complemented by the Bhairav’s contribution in
the uttaranga – G M d, d N S”, N S” (N)d.
Among the finest Nat Bhairavs on record, Vasantrao Deshpande.
Shubha Mudgal sketches an exquisite composition of Ramashreya Jha “Ramrang”: tana
mana varun re tope.
Obiter dictum: Basant Mukhari’s scale is also used by a raga known as Hijaj Bhairav but
there is a difference of opinion on this issue. Some insist that Hijaj Bhairav is the ancient
form of what is today’s Nat Bhairav.
Raga Asa Bhairav
In this hybrid formed by constituents Asa and Bhairav, the Bhairavanga is expressed in
the poorvanga, through G M (G)r S. The rest of the contour looks to Asa: S S(M)R M P,
DNPD S” and so on.
Ravi Shankar furnishes a delightful play on the theme.
Vilayat Khan plays an allied melody called Mand Bhairav where he uses the G M P D N
S” pattern of Mand. It is a pile of rubbish, a schoolboy tantrum. He plays the big,
fundamental ragas beautifully but is singularly inept at the more ‘complex’ constructions. I
do not mean to say this diminishes his stature or musicianship in any way anymore than it
does Bhimsen Joshi’s for precisely the same reason. Vilayat’s desire to mount the “me-too-
member-of-fancy-ragas-club” bandwagon is understandble. But alas, he has not even a
hundredth of the bandmaster’s bandwidth (“bandmaster” is how Vilayat is said to have
referred to Allauddin Khan). As regards his much-touted six generations of pedigree, I say,
are we talking about music or about Villie-the-Pooh?
Raga Jaun Bhairav
This blend of Ragas Jaunpuri and Bhairav was whipped up by Jagannathbuwa Purohit
“Gunidas”. It has a crowded swaraspace – there are two rishabs, two gandhars and
two nishads.
Gunidas displays great skill in navigation and manages to successfully bring an aesthetic
unity to his design: aba meri suno tuma.
Raga Kalingada
Kalingada and Bhairav share the same scale but there is no Bhairavanga in the former.
Kalingada has a flippant mien, its personality far less austere than Bhairav.
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The gandhar and pancham are advanced to positions of influence, the swara-lagav is mostly
linear, without the andolita treatment prevalent in Bhairav. Elements of Kalingada are widely
found in many folk forms and in bhajans.
A sample chalan is suggested:
S r G M P, d P M P M G, M G r G
P d P d N, S” N d N, N d P, d P M G M P
Raga Jogiya
The last item in our menagerie embraces all the swaras of the Bhairav that plus komal
nishad. There is little presence of Bhairavanga here. The madhyam is a powerful presence
(nyasa bahutva) and anchors the development. The gandhar and dhaivat are skipped
in arohi passages.
The following outline clarifies Jogiya’s features:
S r M, M P, P M r S, r S d’ S
M P d S”, S” (N)d P, M P d n d M, M r S
Abdul Karim Khan‘s stirring thumri: piya ko milan ki aasa.
Epilogue
This monograph has brought within its ambit most of the important members of the Bhairav
dynasty. A few other traditional prakars such as Bangal Bhairav, Komal Bhairav and so on
elude us at this time.
Thinking about Bhairav is a profoundly moving experience. During the course of this
compilation, I was often lead to wonder about the great rishis who saw in this primal scale
the elemental patterns that finally coagulated into this wondrous melodic organism we now
call Bhairav.
These ruminations also brought to mind the great German-English composer Handel. When
his oratorio “Messiah” premiered in London to a thunderous ovation, a friend came up and
said to him, “All the people seem to be greatly entertained.” Handel, who had spoken of
visions of the Lord’s Creation during the making of his magnum opus, was not pleased. He
replied, “My dear Sir, I should be disappointed if they were only entertained. My goal was to
make them better.” It is hoped that this mighty Raganga Raga Bhairav will inspire similar
sentiments in those whose good fortune it is to make its acquaintance.
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Raga Kedar – A Perspective

Named after Lord Shiva, the hoary Raga Kedar occupies a pride of place in the Hindustani
pantheon and is much loved in the ranks of both the laity and the connoisseur. Its structure
reveals a kaleidoscope of complex melodic gestures, conduct and richness of character.
Seldom are the core values of Indian ragadari music united under one roof as they are in
Kedar. To know this raga is to experience firsthand the genius and workings of a superior
musical intelligence. In the hands of a master it dispenses food for the soul; in lesser climes it
can be intolerable.
Raga Kedar is of ancient vintage and finds representation in every conceivable
genre: dhrupad, dhamar, khayal, thumri and so on. Its abstract nature makes it notoriously
resistant to capture on paper. By “abstract” we mean that it is not a scalar raga, amenable to
reconstruction with linear aroha-avarohi phrases. There is much more to it than merely
piecing together and summing up a group of tonal clusters.
Throughout the discussion, M = shuddha madhyam and m = teevra madhyam.
The raga employs all shuddha swaras plus the teevra madhyam. The heart of Kedar lies in the
following turn of tonal phrase:
S M, M (G)P, D–>M, S R, S
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The meend from D–>M is vital. The raga’s tonal ‘centre’ is anchored by the
powerful shuddha madhyam. The pancham is strong and a location for nyasa.
Let us briefly examine the lakshanas and some of the supporting melodic constructs. The
sound clips adduced later will clarify and reinforce these ideas.
S R S M, M, M (G)P
The gandhar is used lightly (alpatva) in the vault from madhyam to pancham. A variation on
the uthava (launch) – S M (G)m, P – illustrates the subtle interplay of the two madhyams, a
feature of the raga. The consecutive madhyams may likewise manifest themselves in
an avarohatmaka glide: P m M. It must be emphasized that although the madhyams appear
cheek by jowl in written form the intonation is not so simple: the slide is always mediated by
a meend or a kana-swara (grace note). In some
traditional dhrupad and dhamar compositions, phrases such as G M R S or M G R S are
observed but they have fallen out of favour in our khayal-dominated times. It bears
mentioning that the proportion of the teevra madhyam is far less than that of the shuddha
madhyam. In some older accounts and compositions, the teevra madhyam barely receives
acknowledgement.
M, M (G)P, P (m)D–>P–>m–>M
Upon arrival at the pancham a couple of options suggest themselves. One may simply repair
to the shuddha madhyam via a meend grazing m en route. Or one could execute
a meend originating on the dhaivat back down along the D->P->m->M locus.
PDPP S”, S” (N)R” S”
mPDNS”R”S”
P N (N)D S”
These are some of the prescribed prayogas for an uttaranga launch.
S” R” S”, (S”)D P M
S”, S”NDPM
These are typical avarohatmaka prayogas originating from the tara shadaj. Appearances are
deceptive since every step of the way is laden with a meend or a delicate curve. Swara
uccharana means everything to this raga. The delicious swoop from the tara shadaj back to
the shuddha madhyam makes whistle-stops along the way on the dhaivat and pancham.
Accurate description of such prayogas is beyond the scope of the written word.
Obiter dicta: The dhaivat is piquant but it is not a location for nyasa. The role of the shuddha
nishad is ambivalent. It is not used for nyasa but the proportion and manner are functions of
the performer’s background. Typically the musician’s asthai-antaras (i.e. the canonical
composition he chooses to amplify on) ought to lay bare the raga-lakshanas. We will not
point to all the auxillary strands and embellishments that make for the Kedar tapestry. Each
stylistic school or region has its own manner of putting flesh to the raga kernel. In this sense,
Kedar furnishes an apt metaphor for Indian tradition in the wider context.
The komal nishad is optional and when introduced, is rendered weak in a vivadi-like role: m
P D n D P. As regards tanbazi: straight tans do not sit well with this raga. Typically, swara
doublets SS MM PP and triplets SSS MMM PPP are executed, not a trivial undertaking.
This completes our preamble.
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We inaugurate our audio parade with chants from the Bhagavad Geeta by Jitendra
Abhisheki.
This popular prayer from GUDDI (1972) by Vani Jairam was composed by Vasant
Desai to Gulzar‘s lyrics: humko mana ki shakti dena.
The exceptionally gifted (albeit untutored) composer O.P. Nayyar had the uncanny habit of
plucking a raga-based tune out of thin air, a trait that drew admiration from his distinguished
admirer Amir Khan. This sparkler from EK MUSAFIR EK HASEENA (1961) is dealt
by Mohammad Rafi and Asha Bhonsle.
Another O.P. Nayyar nugget from CID 909 (1967) rendered by Asha
Bhonsle and Mahendra Kapoor: jaane tamanna.
Lata Mangeshkar provides an object lesson in what it means to handle the swara gently in
this MUNIMJI (1955) number. The tune by S.D. Burman is an adaptation of an
older bandish as we shall later see: sajan bina neenda na aave.
Manna Dey “sweats blood and produces rubbish” whereas Lata swings by effortlessly
in this number from TEL MALISH BOOT POLISH (1961) composed by Chitragupta.
The purist might wince at the contamination Kedar is subjected to in the next clip. Kedar
shares some of its genetic material with ragas such as Kamod and Hameer, and film
composers, driven by exigencies of the lyric, are often wont to stray. There are nevertheless
clear Kedar vistas to be had in this Madan Mohan beauty, superbly delivered
by Mohammad Rafi in JAHANARA (1964). The final antara is quite unKedar-like but is
the piece de resistance from the point of view of the lyrics. Rajinder Kishen‘s words convey
appositely what is often termed the “divine nonsense of romantic love.”
Another quasi-Kedar song from SHAGUN (1964) with music by Khaiyyam. The singers
are Talat Mehmood and Mubarak Begum.
A vintage 1942 melody from BHAKT SOORDAS in Khursheed‘s voice. Gyan Dutt is the
tunesmith: panchee bawara.
We conclude the ‘light’ round with a Marathi natyageeta by Vasantrao Deshpande from the
play SHAKUNTALA.
Fruitful consultation with Sir Vish Krishnan and Dr. Ajay Nerurkar in compiling the ‘light’
selection above is gratefully acknowledged.
Onward now to the classical arena where we set the ball rolling with a dhrupad by
the Dagar brothers, N. Zahiruddin and N. Faiyazuddin, set to Chautala: bhaja re mana
Vishwanatha.
A couple of pickings from Gwalior gharana serve to introduce the khayal treatment. D.V.
Paluskar sings the traditional vilambit bandish, jogi rawala. Note the play on the
two madhyams about 15 seconds into the clip. The druta composition features the
chestnut kanha re Nanda nandana.
Sample another popular traditional cheez in Malini Rajurkar: kanganwa mora atahi amola.
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Very few musicians in our time (or before us) have attained the heights Bade Ghulam Ali
Khan “Sabrang” did in the mastery of Kedar. We are pleased to offer an
unpublished mehfil recording of his own vilambit composition.
To cap that, BGAK’s 3-minute commercial recording of his own cheez, E naveli nara.
In Fateh Ali Khan we have another fine Patiala statement.
The distinguished Mogubai Kurdikar brings home the standard issue Jaipur-
Atrauli bandish: payo payo Rama nama.
Her daughter Kishori Amonkar, the greatest vocalist of the day.
From the Agra quarters, the perpetually constipated voice of Dinkar Kaikini.
Now for a few words on the Kedar-Chandni Kedar imbroglio. There is no consensus on just
what Chandni Kedar is. It is an unnecessary distraction with which many a musician has
commandeered the bragging rights that accompany the so-called “rare Raga.” Some suggest
that strengthening of the komal nishad and shuddha gandhar in standard Kedar gives rise to
Chandni Kedar. Others hold that Kedar with an added komal nishad is the de facto Chandni
Kedar. In practice, most musicians run some minor variation on their canonical Kedar and
call it “Chandni Kedar.” But these changes are academic in nature and of little significance.
What we essentially have here are two names, not two ragas. So I shall leave it at that and
when necessary interject with my remarks.
The following observations may be made on the Jaipur-Atrauli brand of Chandni Kedar.
The gandhar is expressed more strongly in aroha, and the meend from D->P->M is de-
emphasized. I recently raised the issue with a Jaipur-Atrauli Maharashtrian lady who has
recorded the raga but she was unable to shed any light except to say “I got this bandish as
Chandni Kedar from my guru who got it from his guru and we elaborate based on that.” At
any rate the following mehfil recording of Kesarbai Kerkar‘s Chandni Kedar is a collector’s
item. She seems to be in an unusually playful mood and even pauses to outline the text of the
Alladiya Khan composition Eri ina naina in vilambit Ada Chautala.
It was not often that Kesarbai sang a druta composition.
Among the younger set Ashwini Bhide has been showing promise. What is most likely a
“Saraspiya” composition – the well-known chatura sughara balma – in druta Ektala is
elegantly rendered.
“Saraspiya” was the nom de plume of Kale Khan of Mathura (1860- 1926). He was fluent in
Persian, Sanskrit and Braja and one of the great composers of his time, besides being a top-
notch vocalist and sitariya. His end is shrouded in mystery. It is said that around 1926 he
suddenly lost interest in all wordly things and vanished one day, never to be sighted again.
His lovely compositions survive and thrive (eg. the one in Raga Paraj – Manmohan braja ko
rasiya – immortalized by Faiyyaz Khan).
There has been no greater spectacle in Hindustani music than ‘Aftab-e-Mausiqui’ Faiyyaz
Khan in full flow. The first clip features a nom-tom style alap. Notice the subtlety, felicity,
and power in intonation – it seldom gets any better than this. The second segment contains
the famous Dhamar mana taja de (documented by Bhatkhande) and is followed by the
Saraspiya cheez dispensed earlier by Ashwini Bhide.
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The next stop – Basavraj Rajguru‘s Chandni. He sings the traditional Kedar composition
(see D.V. Palukar above) with a different spin: jogi rawala.
Finally, some real dirt on Chandni from Agrawale Asad Ali Khan. Notice the peculiar
manner of the komal nishad.
Kedar is primarily a vocalist’s pastureland. The tantuvadya folks, however brilliant, fall short
of capturing the raga’s soul. The blowhards fare better. Bismillah Khan pulls some
delectable meends in this one. Notice also his peculiar manner of lacing the madhyam with
the gandhar.
Bansuri rendition of Chandni Kedar by Vijay Raghav Rao.
The great sarangi exponent Bundu Khan‘s All India Radio recording of Chandni Kedar.
This Sitar-Surbahar duet in Chandni Kedar by Vilayat Khan and Imrat Khan is tossed in
to pander to the the Vilayat acolytes.
A personal favourite, this delicious nugget of Ali Akbar Khan is part of my earliest musical
memories.
The traditionally acknowledged Kedar prakars are: Shuddha Kedar, Maluha Kedar and
Jaladhar Kedar. Additionally there several hybrids and variations such as Basanti Kedar (a
Jaipur-Atrauli staple), Kedar Bahar, Deepak Kedar, Tilak Kedar, Shyam Kedar, Anandi
Kedar, Adambari Kedar, Nat Kedar and so on.
Raga Shuddha Kedar de-emphasizes the meends and the teevra madhyam, and instead
sharpens the arohatmaka shuddha nishad, as witness the following Bhimsen recording.
The counterpart of Kedar in the Carnatic paddhati is known as Hameer Kalyani. A couple of
Carnatic vocal renditions are included here. The first is by the veteran vocalist, K.V.
Narayanaswamy, who sings a composition of Subbariah Sastry in Aditala.
The second Carnatic offering is a Mutthuswami Dikshitar composition in the voice of Y.
Sitaraman.
It is observed that the Narayanaswamy treatment has a better likeness to the Hindustani
Kedar.
Our Kedar expo draws to a close with a couple of renditions by the
great vaggeyekara and vidwan, Pandit Ramashreya Jha “Ramrang.” His own composition
recreates the scene of a baby Krishna gambolling about the courtyard under the admiring
gaze of Jashoda and the rest of the household. It has been my good fortune to have witnessed
many a dramatic and impromptu performance by Jha-sahab, expressing as only he can in his
lyrical manner the bhava and subtleties attending his compositions.
painjani baje jhanana jhanana
kati bajata madhura mrudu kinkina
nirakhata chhabi janani balihari
kilakata bolata hasata mana harata
“Ramrang” Nanda ajira viharata mohata nara-nari
 234

The final item has Jha-sahab sketching an old composition, peppering the proceedings with
pertinent remarks. This bandish is the original inspiration behind the Lata –
S.D.Burman combine in MUNIMJI cited earlier: sajana bina neenda na aave.

“Ramrang” – A Bouquet of Compositions

This montage is in response to the rather strong demand for an encore of the files of
Pandit Ramashreya Jha “Ramrang” posted awhile back on the Usenet
group rec.music.indian.classical (RMIC). Many of the earlier clips are reprised and there are
several new entries. The complete text of the composition is provided in some instances.
Before we partake of the audio banquet, a small digression is in order. A couple of earnest
and well-meaning correspondents have referred to Jha-sahab as a “musicologist.” This is a
big error. He is first and foremost a vaggeyakara (pronounced vaa-ggeya-kaa-raa), a term that
circumscribes musicianship and musical ability. Jha-sahab’s signal contributions and life’s
work lie in music proper – both in its performance and analytics – and have very little to do
with “musicology” as commonly understood in the West.
The idea of a vaggeyakara is ancient and is dwelt upon by Pandit Sarangdeva in his
treatise Sangeeta Ratnakara. The word itself is a sandhi of vaka+geya+kara, where “vaka is
lit. speech and therefore by context implies the verbal text or the verbal structure of a musical
composition; geyam is lit. that which is the object of singing, i.e. dhatu, the tonal rhythmic
structure of melody.” Hence “vaggeyakara, one who composes the verbal as well as the
tonal-rhythmic structure of the song.”
Sarangdeva enumerates the attributes that a good vaggeyakara ought to possess and, in
keeping with the Indian penchant for classification, also lists the “qualities” of an
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“average” vaggeyakara, a “bad” vaggeyekara and an “unworthy” vaggeyakara. Incidentally, I

myself had once devised a classification scheme for a good ethnopimp, a bad ethnopimp, an
unworthy ethnopimp and a plain pimp. The lines distinguishing them were found to be
invisible to the naked eye. For the benefit of the uninformed, “ethnopimps” refers to that
despicable breed of men and women who call themselves “ethnomusicologists.” They are
usually found loitering in the music departments of American, Canadian and Western
European universities, collecting salaries without putting in even a day’s worth of honest
work (not unlike many other humanities ‘professors’ at Western universities).
Sarangdeva assigns the following attributes to the “best” vaggeyakara:
– a thorough knowledge of grammar (indicative of the ability of the appropriate use of words)
proficiency in lexicography
– knowledge of prosody (differentiating among the various meters)
– proficieny in the use of figures of speech
– comprehension of aesthetic delight (rasa) as related to different emotive states of being
(bhava)
– intelligent familiarity with local custom (necessary to grasp the intonation (kaku) peculiar
to particular regions
– knowledge of many languages
– proficiency in the scientific theories of fine arts
– expert knowledge of the three musical arts (vocal music, instrumental music and dancing)
– a lovely tone quality
– good knowledge of laya (tempo), tala (musical time) and kala.
– discrimination of different intonations
– acquaintance with regional (desi) ragas
– a sense of propriety in expression and new melodic forms
– knowledge of another’s mind
– maturity in the understanding of different prabandhas
– ability to compose songs at short notice
– expert knowledge of composing different verbal structures for different melodic forms
– maturity in producing gamakas pervading the three registers
– proficiency in presentation of different alapa
The foregoing material is taken from the translation of Sangeet Ratnakara by R.K.
Shringy and Prem Lata Sharma. Their work contains copious footnotes and cross-
references amplifying on almost every feature cited.
We inaugurate our musical revelry with two compositions in Raga Ahiri Todi, both of them
addressing Shri Krishna. The theme of the compositions has the gopis remonstrating to the
Lord’s childhood friend and messenger, Uddhava.
Tala: vilambit Ektala –
chhora ahira ko jane kahan eri beera hama birahana ke hiya ki
preeta laga’i kubari doobari sanga
“Ramrang” kauna bulave banwari be-peera ko
Tala: druta Teentala –
 236

tero gyana dhyana sikha bhave na

mere mana to ramey Hari charanana me
gyana dhyana dharana na jane “Ramrang” mana mero
Hari ke nama ki lagi raaana
Raga Bilaskhani Todi summons a sombre ambience. Both
the vilambit and druta compositions of Ramrang’s are popular and widely sung.
Tala: vilambit Ektala –
dhana dhana bhaga tero ri ma’i suta taine payo jagata ke natha
Tala: druta Teentala –
Jagadambika Ambika
mardani amba Shumbha Nishumbha gale munaa malika
Durge Bhavani dani dayani
sura nara keenhe abhaya “Ramrang”
tero hi nama kalika
Ramrang has created a diverse suite of compositions in Raga Charukeshi from which
this cheez is culled. The mukhda is at once distinguished by its syncopated design. The text
speaks to the famous incident from the Ramayana – Shri Rama crosses the river and offers
the boatman his due compensation. The boatman turns it down, saying: “My Lord, do not
disgrace our common profession.” On being asked to explain, he continues, “Dear Lord, we
are both boatmen. I ferry people across this river whereas you ferry them across the Ocean of
Life.”
Tala: druta Ektala –
hamari tumari, Rajan, jata-pata kevata ki
vinati maniye
hama tuma natha ek biradari ke
utarayi deya jata na bigadiye
Jha-sahab is not one to suffer pompous fools gladly. This extended prelude from a September
1999 concert in Panjim, Goa, in reaction to a silly interjection by a self-styled “music expert”
from Pune, shows Ramrang at his caustic best.
A course of 3 compositions in Raga Yamani Bilawal is now offered. The first two are
offerings to Shirdi ke Saibaba. It is characteristic of Jha-sahab to preserve the continuity of
textual sentiment in many of his vilambit and druta khayal composition pairs.
Tala: vilambit Roopak –
Sa’i tihare nama ki aasa lagi mohe
kara deejo beda para
sancha saheb tu mero Sa’i
“Ramrang” ki sab lehu sudhara
Tala: druta Teentala –
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hamari sudha leeje Sa’i

deenanatha dukhahari
dani data dariya daya ke
“Ramrang” aayo sharana tihari
Shirdi ke Sa’i jana ke dukhahari
The third bandish has Miss Shabari (of Ramayana fame) for its protagonist.
Tala: druta Ektala –
aayi main tihari sharana
rakhiye krupa nidhana, nari hoon gaawari
japa tapa main kachu na janu
“Ramrang” bharose tero awadha bihari
Two beautiful gems in Raga Kukubh Bilawal follow.
Tala: dheema Teentala –
simhasana baithe aaja, biraje Siya-Raghuveera
Tala: druta Teentala –
sumirana kara le re mana baware
chara dina ko yaha mela khela jagata ko
tera mera saba jhootho nata
socha samajha nadana
“Ramrang” mein ranga le apno tana mana ko
Jha-Sahab is apprehended in a taleem session with Shubha Mudgal. This delightful
composition in Raga Dhani is set to dheema Teentala.
la de la de chunara piya dhani ranga ki
manabhavani hulasavani
navarasasani saba gunakhani
la de chunara more meeta piyarava
pahira lagun tore garava
“Ramrang” angiya suhavani
Ramrang’s compositions in Raga Shree cut to the core of that profound, expansive melody.
Tala: dheema Teentala –
gyana na pave guru bina gyani
The druta cheez features what is called a ‘vi-sam’ where the accent is spirited away from
the sam.
Tala: druta Teentala –
guru ke paga pariye dhariye dhyana mana nisi vasara
sumiriye nama pave gyana mana gunijana mein
agama apara nada veda, guru bina pave kabahuna bheda
“Ramrang” bhava bhagati kari dhyave aave jo sharana mein
 238

The Shree tarana in Ada Chautala combines deft syncopation.

The text of the following cheez in Raga Yaman takes after symbolism found in Kabeer‘s
poetry.
Tala: druta Teentala –
ranga de ranga de rangarejava
mori chunariya ranga sanwariya
guna manu tore more mitava
payana parun tore rangareja
“Ramrang” ranga de hamari angiya ko more mitava
Raga Yaman Kalyan is distinguished from Yaman by the judicious avarohi touch of
the shuddha madhyam. Jha-sahab’s conception has an uncommon flavour thanks to his quaint
treatment of that very swara; its weighted placement in the first line is particularly charming.
Take stock of the overall blend of the melody and the sahitya.
Tala: dheema Teentala –
nirakha nirakha sakhi gagana mandala mein
anuja sahita Siya-Rama aavata awadha bimana chadhe
pavana-puta lai aayo sandeso
Bharata magana uthi aatura chale
“Ramrang” parijana payodha janu raka shashi son milana badhe
Raga Shuddha Kalyan: Jha-sahab likens the intonation of the S” N D and P m G meends to
a sleepy yawn. The text appropriately assumes the form of a mother’s lullaby.
neendariya tu kahe na aave lalana ankhiyana mein
jo tu aave lala sulave guna manu tora
“Ramrang” guna ga’oon rakhoon naina mein
Raga Kesari Kalyan has been dealt with in a post some months ago. Savour the
pleasing uccharana of the shuddha dhaivat, the flavours of Hamsadhwani and Shuddha
Kalyan. The text (and the raga) celebrates Shri Hanuman (Kesari-nandana).
Tala: dheema teentAla –
pavana puta Hanumanta dayavanta
sankata harana dukha mochana jana ke
anjani lala doota bhalo Rama ke
Siya sudhi laye veera vara banke
“Ramrang” kapina unare balavanta
Raga Hamsadhwani: The vilambit Roopak bandish is well-known, available in commercial
renderings by popular vocalists such as Ms Veena Sahasrabuddhe.
sakala dukha harana Hari ke charana sharana le mana
katata fanda-dvanda jagata ke
“Ramrang” harata chhina mein tapana
Tala: druta Teentala –
 239

jaya jaya Ganapati deva

Gajanana gajakarna jaya trishula dhara
sumukha siddha ke data
jaya Gauri suta bighana harana
jaya jaya Vinayaka vardani
“Ramrang” jaya mangala karana bidhata
Among Ramrang’s personal favourites are the following two compositions in Tilak
Kamod attending that singular episode in the Mahabharata: Draupadi’s vastraharana. Jha-
sahab’s verbal recreation of the scene of Draupadi’s anguish and its resolution through Shri
Krishna’s kindness was so riveting that I forgot to record the masterly histrionics on tape.
Tala: vilambit Roopak –
mero pata rakho Murari
Bheesham-Drona baithe panwara vhai
soora sabha saba kroora vhai baiThe
“Ramrang” baithe pati Paratha pathara vhai
Tala: druta Ektala –
begi-begi aaye Hari
aarata suni bani dhaye paga ughare
deenanatha anatha ki pata rakhi
“Ramrang” jana hita basana-roopa dhare
A quick sketch of a Chhayanat cheez follows. The text depicts a bashful, veiled Sita at her
wedding, stealing furtive glances of Shri Rama’s visage reflected from her ornaments
(bangles).
kara kanganawa nirakha Rama ko moorata Siya magana
daare ghoongata pata chitavata moorata
“Ramrang” rangi Siya tana-mana
A cheez in Raga Gaud Malhar: jhingura jhanana.
Raga Kirwani, two compositions. The druta bandish has an arresting spiralling tan leading
to the sam.
Tala: vilambit Roopak –
sudha leejiye data mori
aana paryo tere dvara
saba taja aayo charana-sharana tero
“Ramrang” banha gahi leejiyo
Tala: druta Ektala –
mukuta varo sanvaro son lago humaro manva re sajanva
bhave na tora bhavanva jabse lage unse nainva
“Ramrang” cheri bhayi vake damanva
 240

A couple of commercial recordings of Ramrang’s compositions in Raga Hemant follow. We

pick up Jitendra Abhisheki‘s rendition in the final aavartana of
the vilambit Jhoomra, kahan mana lago, followed by the Ektala-bound cheez, bairana bhayo.
A relentless tinkerer of musical objects, Jha-sahab has the habit of turning a raga upside
down. Seen from the prism of his mind the bandishes disperse different facets of the same
raga. Consider the Hemant composition in Veena Sahasrabuddhe‘s voice – beeta gaye.
Notice the varied placement of the sam in all the three and the design of the
respective mukhdas.
We conclude with a Ragamala woven with strands of 21 ragas. The text is a paean to
Goddess Saraswati, skillfully clothed in words and concomitant phrasings of the constituent
ragas.
E mana kalyana hove tero
sumirana kiye Saraswati nama
[Yaman Kalyan]
[Saraswati]
daya ke sindhu, nama aneka
devagandharva leta nita nama
[Sindhura]
[Devagandhar]
darbara thhade kara jorata hai
jai-jai karata pavata mana kama
[Darbari]
[Jaijaivanti]
ko’u gaya chhaya nata ko’u hameer
aananda pave rijhaye
[Chhaya, Nat, Hameer]
[Nand]
pada pujata basanta sunaya
poori bhayi more mana ki aasa
[Basant]
[Pooriya, Asa]
kamalasani sohata
lalit basana anga lasata
[Sohini]
[Lalit]
kara leenhe veena des bajaya
moda upajaya sabahi sukha deta
[Des]
[Tilak Kamod]
Durge Bhavani kara jorata hai
Shankara shesha jai dhwani karata hai
 241

[Durga, Bhavani]
[Shankara, Hamsadhwani]
“Ramrang” charana sharana paryo hai

Reflections on Raga Hameer

Last year (1999) I had posted a commentary on Raga Hameer on the Usenet
newsgroup rec.music.indian.classical (RMIC) dotted with representative sound clips that, at
the time, were prohibitively large for most readers to download. That logjam has now been
overcome with the advent of streaming audio. Much of the material has been re-arranged and
augmented.
Throughout this causerie, M = shuddha madhyam and m = teevra madhyam.
Raga Hameer belongs to the class of ‘big’ ragas and is known to project a vigorous, dramatic
mien. It is occasionally referred to as Hameer Kalyan (not to be confused with Hameer
Kalyani of the Carnatic paddhati, which is the equivalent of the Hindustani Kedar). As a
traditional Hindustani denizen of considerable heft, one finds in Hameer a variety of
old dhrupad, dhamar and khayal compositions. Just as Raga Nand is a staple of the
Agra/Atrauli diet, so it is with Hameer and the musicians of the Gwalior gharana.
Raga Hameer is nominally assigned to the Kalyan that and employs all the shuddha
swaras plus the teevra madhyam. However, closer examination of the raga’s internal
structure reveals a significant presence of the Bilawal anga. Reliance on the taxonomical
scheme of thats alone can be misleading.
Hameer is of vakra build; the arohana-avarohana set serves to provide no more than a
silhouette. It must be underscored that the aroha and avarohana follow from the raga-
lakshanas and not the other way around. The aroha-avarohana set merely indicates
the swaras deployed and their approximate sequence. It is not a statement or even a précis of
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the constitution of a raga. The most that can be said for aroha-avarohana is that a careful
recitation can provide a quick & dirty handle on raga highlights.
Nominally we may define the aroha-avarohana set of Hameer as follows:
S, R G M (N)D, N D N S”::S” N D P, m P G M R, S
The essence of Hameer lies in the curvature of its arohi prayogas and the crucial role
accorded the dhaivat. It falls to the class of abstract ragas such as Kedar, Gaud Sarang, Nand
and so on. By “abstract” we mean that it is not a scalar raga, amenable to reconstitution with
up-and-down aroha-avarohi phrases, that there is more to it than a chaining together and
summing up a group of linear tonal clusters. The happy marriage of swara punctuation and
enunciation – known as ucchAraNa – necessary for effective expression of abstract ragas is
attained to by taleem and self-reflection (chintan-manana). We shall now examine
the lakshanas of Hameer and these pointers in concert with the attached sound files should
help clarify the overall picture.
The key idea in here lies in the periodic build-up of melodic stress and its release.
The arohatmaka attack on the dhaivat tugged with the nishad inscribes the Hameer signature.
To wit,
G M (N)D, (N)D m P
The dhaivat is powerful, a nyasa swara and central to the raga’s veera rasa. The pancham is
also a nyasa sthan but it serves as a point of repose, a station for dissipation of the ‘tension’
built up on the dhaivat.
G M (N)D, D N D P m P, P G M R, P G M R S S
Notice the approach to the dhaivat via the nishad. Sometimes an unornamented linear G M
D generates a pleasing contrast. The D-R ‘consonance’ is often exploited by alternating tonal
activity around these two endpoints. The rishab is
rendered deergha in avarohatmaka prayogas and is sought frequently for bringing to
conclusion a melodic thought in the poorvanga region.
G M (N)D N S”
PDPP S”, S” (N)R” S”
mPDNS”, S” R” S”
These are some of the prescribed modes for an uttaranga launch and it is here that the
Kalyan anga is sensed.
S”, S” (N)D, (N)D N m P, S” (N)D P m P G M R
This is an example of an avarohi prayoga.
The above ideas are now tied together to yield the chalan of Raga Hameer:
G M (N)D, P, G M D N S”, S” N D P m P G M R, P G M R, S
Obiter dicta: The teevra madhyam remains confined in the shadow of the pancham and
seldom has an independent existence. Some treatments explicity seek the Kalyanic cluster m
D N D P thus strengthening the case for “Hameer Kalyan.” The reader is encouraged to
reflect on the Bilawal and Kalyan angas and their interaction in the context of Hameer. In
some renditions, we also sense an abhasa of the komal nishad as a vivadi swara in a Bilawal-
like prayoga.
 243

This completes our prelude. In a short essay of this type, ancillary details that round off the
raga swaroop have to be left out. Furthermore, the subtleties of uccharana can scarcely be
conveyed through the written word.
Raga Hameer is represented in the popular Indian consciousness by the alltime classic from
KOHINOOR (1960) where the formidable talents of master tunesmith Naushad,
lyricist Shakeel Badayuni, and the voice of Mohammad Rafi come together in a celebration
of Shri Krishna’s Leela: Madhuban mein Radhika nache re.
The movie BHARAT MILAP (1942) carried Tulsidas’s famous bhajan, Shri Ramchandra
kripalu bhaja mana. Although Shankarrao Vyas scored the music for the film, the tune for
this bhajan was composed by his guru Vishnu Digambar Paluskar. It is set to Tevra-tala of 7
beats.
The sincerity in Mukesh‘s voice immediately lends credibility to the bhava of the lyric, set to
music by Naresh Bhattacharya: sur ki gati main kya janu ek bhajan karna janu.
To complete the ‘light’ segment we have the Marathi natyageeta from
VIDYAHARAN, vimala adhara nikati moha, made popular in an earlier era by Suresh
Haldankar (1926-2000) of Goa. This brilliant musician, consigned to a life of obscurity for
much of his adult life, shone but briefly in the late 1940s and early 1950s. He and my father
were great childhood friends.
The version of Suresh-bab’s student, Prabhakar Karekar, (whose nasal twang gives his
Marathi a Konkani flavour) is very popular.
We now repair to the classical lounge.
A stalwart among the Gwalior musicians, Krishnarao Shankar Pandit‘s name cannot be
omitted in any discussion of Hameer. This recording was made in the final years of his long
life and, lapses aside, it is hard to miss the assurance of his swara-lagav. He presents the
well-known khayal of ‘Sadarang’: mora albela re.
Another Gwalior alumnus Narayanrao Vyas wields a composition of his guru Vishnu
Digambar Paluskar: karana chahoon Raghupati.
Kumar Gandharva‘s 1982 Hameerfest opens with the traditional khayal composition
in vilambit Jhoomra, chameli phooli champa. Although this bandish has an awkward
placement of the sam on the “cham” syllable, Kumar manages to make it sound less obscene
than it really is. But even he cannot make up his mind initially just where to locate the sam.
The very first attempt crashes in no man’s land, another one on “pa” and so on.
Note that Kumar offers an idiosyncratic surprise in the poorvanga treatment with his repeated
utterance of GMRG, R instead of the customary approach to R.
Kumars’ is a splendid exhibition of the ‘tension and release’ character of Hameer. Observe
his delightful lark when he treats the teevra madhyam in an explicit Kalyan-like cluster of the
type: G M D m D NS” NDNDP. This is seen in his own cheez: ajaba duniya.
Shubha Mudgal‘s forceful voice is especially well suited to Hameer. She sings the
same chameli phooli composition emended appropriately to relocate the sam to “pa“.
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Shubha also serves up a sprightly cheez composed by Vinaychandra Maudgalya: patiya

piya ki.
Ulhas Kashalkar fails to generate the required propulsion in this old Gwalior tarana.
Another Gwalior snapshot in D.V. Paluskar‘s classic rendition: surajhaya rahi.
The ho-hum Mishra brothers are summoned here faute de mieux since I could not locate a
worthy representative of this Hameer chestnut: langarwa kaise ghar ja’oon.
Changing into the instrumental lane, we hear Ravi Shankar extract the distillate of the raga
with a striking economy of swara, a characteristic of that brilliant musical mind.
Hameer is primed for dhrupad gayaki and the Dagar dudes sing it very well. They insert
their own spin – an explicit use of the Kalyan-inspired sentence S R G m P. This gambit is
heard at 5:25 into the clip in the dhamar by the Gundecha brothers: abira gulala lala kesara
ranga chhirakata.
Salamat Ali Khan‘s marvellous Dhamar rendition is laced with a gentle caress of the komal
nishad in a vivadi role – around 1:57 into the clip – alluded to earlier: suno mori bata
Khwaja.
Enter Bade Ghulam Ali Khan. This unpublished mehfil of the great man begins with
shoptalk where he outlines the chalans of Kedar and Hameer. Then follows the well-worn
traditional Punjabi bandish: mendera yar avi.
A rare glimpse of Faiyyaz Khan in this raga.
We conclude these reflections with a suite of compositions of Pandit Ramashreya Jha
“Ramrang,” the greatest living Hindustani vaggeyakara. Take measure of the design of
the vilambit bandish set to Roopak, of the melodic build-up and its effortless resolution: tu
kaun kahan.
In the matching druta Ektala composition, the scramble back to the sam injects a fair bit of
action: albeli naveli re.
Finally, Ramrang’s delectable bandish peppered with impromptu remarks on
its sahitya: chunariya la de re more saiyyan.
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On Raga Nand
Raga Nand, known variously as Anandi, Anandi Kalyan, Nand Kalyan, has attained
considerable popularity in recent times. Although the provenance of the raga is not easy to
pin down, it is thought to have been conceived in the early 1900s. For a long time time
the vilambit khayal – E bare saiyyan tohe sakala bana dhoondun – composed by Mehboob
Khan “Daraspiya” (d. 1921) held sway. The distinguished Daraspiya was a student
of Tanras Khan and the father-in-law of ‘Aftab-e-Mausiqui’ Faiyyaz Khan.
In those days there was considerable give-and-take of musical ideas between the Atrauli-
Jaipur founder Alladiya Khan and the Agra gharana elders. And so this Daraspiya
composition came to be firmly affixed in the repertoire of these two schools. Over time the
composition dispersed beyond its immediate environs establishing itself as the apotheosis of
the raga. Today it has a presence in virtually all vocal gharanas. Another
early bandish – ajahun na aaye Shyam, bahuta dina beete – composed by Agrawale Vilayat
Hussain Khan ‘Pranpiya’ also made quite a splash.
This beautiful raga is product of the highest musical imagination, a masterful synthesis of
melodic calculation and aesthetic imperatives. The contours of Raga Nand do not obtain from
simple, linear arohi or avarohani tonal ribbons. There are tantalising chhayas of 3 or 4 ragas
but its has an independent personality all its own. Mastery of this melody requires
assimilation of its kernel and its lakshanas. Let us examine some of the highlights.
Throughout the following discussion, M = shuddha madhyam and m = teevra madhyam.
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Raga Nand employs all the shuddha swaras plus the teevra madhyam. Its signature may be
encapsulated in the following tonal phrase:
G, M D P R, S
It is not simply a matter of hitting these notes; the swara uccharana is crucial. There is no
better example of this execution than Lata Mangeshkar‘s prelude to a Ghalib ghazal tuned
by her brother Hridaynath.
The key raga-lakshanas are now summarized:
S G, G M, M (M)G P
The gandhar is a nyasa swara, and the elongation of shuddha madhyam releases a pleasing
effect.
G M P D N, (D)P, P D (P)m m P, G M D P R, S
G M P N, N (D)P, G M P N S”
The uttaranga launch is Bihag-like.
P D R” N D P and P D S” R” G” (R”)S” R” N D P are occasionally employed for
embellishment. Be on the lookout for the latter prayoga in Kesarbai’s rendition later.
P N R” N DP, P D m P G M (D)P R, S
Chromatic use of the two madhyams (albeit mediated by a meend) is found in some
treatments, viz., S G, G M (G)m, m P
The discerning will feel an abhasa of Ragas Hameer, Kalyan and Bihag at various times.
A superb selection of recordings on tap.
We set the ball rolling with the familiar exemplar from MERA SAAYAA (1966). Madan
Mohan‘s composition, tu jahan jahan chalega, is rendered flawlessly by Lata Mangeshkar.
Purandaradasa‘s pada, enna palisu, by Bhimsen Joshi flirts with Nand’s signature in
the mukhda but then veers into alien territory.
Composers of Marathi natyageete have fruitfully exploited the luscious Nand landscape as
the following three examples attest. Master Krishnarao‘s composition in
AMRUTASIDDHI, inspired by Daraspiya’s bandish, by Gangadhar Londhe: dhanya tuchi
kanta.
The great violin maestro from Goa, Shridhar Parsekar, was a composer of considerable
renown. His creation in VAHINI is handled by P.L. Deshpande, another gifted individual
known throughout the Marathi world as “Pu. La.”: pakhara ja.
In the late 1960s and early 1970s, Jitendra Abhisheki re-ignited interest in Marathi musicals
in a burst of creative energy. He was unusually talented in the art of marrying verse to raga-
based melody as witness this gem from MEERA MADHURA. Why he let Ramdas
Kamat (a fellow Goan) molest this gem will forever remain a mystery. Take note of Ramdas-
bab’s tans towards the end of the clip, indistinguishable from the bawling of a newborn
baby: ananda sudha barse.
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We inaugurate the classical segment with Kesarbai Kerkar‘s iconic rendition. Her tans are
beautifully calculated and executed to perfection, always in service of the raga. Vazebuwa’s
description of them as a shower of costly ‘ittar’ seems apposite.
Mallikarjun Mansur, another Jaipur-Atrauli master, especially enjoyed his Nand. The
Daraspiya bandish in vilambit Teentala –
If the Atrauli-Jaipur grip on Nand has not registered by now, this assay by Kishori
Amonkar should drive home the point. We have two of her cuts.
Kishori 1.
Kishori 2.
The final act in the Atrauli-Jaipur lineup, Nivruttibuwa Sarnaik.
Amir Khan‘s meditations are a mixed bag, in tune with that great man’s musical personality,
but not fully in sync with the gestalt of the raga (which is perhaps not suited to his style). The
ubiquitous Daraspiya bandish, this time set to Jhoomra.
The representative of the Rampur-Sahaswan Gharana Nissar Hussein Khan lends a lyrical
touch to Daraspiya’s baby…
… and then goes on to sing Vilayat Hussein Khan’s ajahun na aaye Shyam.
Enter the Agra punter, Dinkar Kaikini. He sings an exquisite bandish composed by his guru
Acharya S.N. Ratanjankar that, for a change, locates the sam on rishab: payal mora baje.
The Kirana songstress Roshanara Begum takes off with Daraspiya.
Kumar Gandharva‘s rendition of his own composition ranks among the finest pieces of
recorded music: Rajan, ab to aaja re.
This beautiful All India Radio rendition of D.V. Paluskar finds him expanding the
Jhaptala bandish – ajahun nahin aaye.
The kingdom of Darbhanga in Bihar once boasted a strong dhrupad tradition. The primary
exponents of that style today are the Mallicks. Vidur Mallick presents a dhamar.
A dingdong and a blowjob at this juncture wouldn’t hurt. Vilayat Khan and Bismillah
Khan lock horns in this classic.
Ravi Shankar distills the essence as only he can.
To round off the Nandfest, three ‘new’ compositions of Ramashreya Jha “Ramrang” are
adduced.
The first, in dheema Teentala: E rangila aaya.
Next, a cheez, ajaba anokhe naina.
Finally, Nanda ghara ananda, heralding the arrival of baby Krishna.
Nand’s proclivity to readily mate with other melodies was put to good effect by Narayanrao
Patwardhan in what he branded as Anandi Kedar, a cocktail of Nand and Kedar. The idea
was embraced by Kumar Gandharva: la de beera mhane chunari.
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We end this excursion with a bhajan in Raga Anandi Kedar, composed and sung by Lakshmi
Shankar in a 1995 private concert in Fremont, California. The accompanists are Rajan P.
Parrikar on the harmonium and Pranesh Khan on the tabla: darshana dena pranpiya.

Raga Gaud Sarang – An Exegesis

A discussion on Raga Gaud Sarang is presented in this essay and the development fortified by
a smorgasbord of representative sound clips.
Let M = shuddha madhyam and m = teevra madhyam.
Gaud Sarang employs all the seven shuddha swaras plus the teevra madhyam. “Gaud
Sarang” is a misnomer for there is no trace whatsoever of the raganga Sarang anywhere
within driving distance of its zipcode (this is obvious to all except the boneheaded few who
insist on seeing the ‘Sarang’ mirage). To dispel the Sarang affiliation suggested by the poor
choice of nomenclature, some musicians refer to it as “Din ki Bihag” (the daytime
counterpart of Bihag), and a careful examination of its innards reveals that there is good
justification for this viewpoint.
Raga Gaud Sarang has a vakra build and falls to the class of ‘abstract’ ragas. By “abstract”
we mean that it is not a scalar raga, amenable to reconstruction with elemental linear aroha-
avarohi tonal ribbons. I use the term “scalar raga” with considerable hesitation for it is an
oxymoron. After all, a scale does not a raga make. A better term would be “linear raga.”
There is much more to an “abstract” raga than merely piecing together and sequencing a
string of tonal clusters. We cannot formulate a quick-and-dirty cookbook recipe for the
interlocking gestures that give the raga its body and character. These kind of ragas have to do
time in the corridors of the mind to get at their gestalt. Nevertheless, like other proximate
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melodies such as Kedar, Hameer, and Nand, identification of Gaud Sarang presents no
difficulty to the layman since it advertizes a distinct signature to latch on to.
In his well-known work, Raganidhi, Subbarao observes that there is no Carnatic equivalent
of Gaud Sarang but that certain sancharas of Shankarabhanaram resemble the raga. As an
example he cites the Tamil kriti Muddu kumarayyane.
The definitive swara cluster of Gaud Sarang is:
S,GRMG
The rest of the raga is built around this kernel. Elements of other ragas such as Bihag and
Bilawal are invoked. Let us briefly examine the raga lakshanas.
S, G R M G, G M G P, [P] M G, S [P] M G
This Gaud-inspired tonal byte in the poorvanga carries the soul, or if you will, the G-spot of
Gaud Sarang. The intonation of the signature – S, G R M G –
from rishab to madhyam to gandhar, mediated by a graceful arc, is followed by a
characteristic intonation of pancham (shaken, but not stirred), encapsulated in square brackets
above to indicate its special handling. The avarohi slide P M G concludes with
a nyasa on gandhar. The uccharana of madhyam is crucial: the swara is
rendered deergha (elongated) but falls well short of nyasa. These nuanced melodic
behaviours are very difficult to convey through the written word but the audio sampers will
serve to illuminate them. The pancham is strong, a nyasa swara.
P, P S”, S” D P M G, R G R M G, P, R S
This tonal sentence outlines in broad strokes the uttaranga conduct and
the avarohi biochemistry.
A sample chalan is now formulated:
S, G R M G, M G P, [P] M G
G M G P, PNDN m [P] M G, S [P] M G
G M P N S” R” N S” D P M G, PDPP S” R” S”, D N m [P] M G
Obiter dicta: As in the case of other abstract ragas, a wide variety of supporting phraseology
is observed. Some musicians approach the tar shadaj via a Bihag-like G M P N, S” whereas
others adopt a P S” type of launch. The downward contour S D P M G follows a grazing
locus reminiscent of Bilawal. The tonal molecule P, R S often brings to conclusion many a
melodic gesture. Note that the uccharana of P, R S should not be confused with the P (G)R
S of raganga Kalyan. This last construction P, R S is actively relegated or shunned by some
musicians (the Maihar turkeys, for instance).
The values assigned to N and m are variable. This ambiguity often appears unsettling to the
outside observer but existence of this “benign anarchy” without injury to the core idea is
characteristic – a feature, not a bug – of Indian tradition, musical and otherwise.
The teevra madhyam is not central to Gaud Sarang but its presence is necessary to round off
the picture. The kernel of Gaud Sarang is universally recognized: how one goes about
developing it is a matter of gharanic affiliation, individual taste and capacity. In
heavily vakra ragas, the structure is sometimes relaxed in faster movements, more so
in khayal renditions. This allowance for slackening (the term employed is shithil) is almost
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always in the avarohi direction – a quick S”NDPMGRS or S”DPMGMRS is not unheard of

in Gaud Sarang or Kedar. Finally, the komal nishad may occasionally make a cameo
appearance as a vivadi swara in phrases such as S”, D n D P.
In the foregoing ruminations, I have touched upon the highlights, leaving out the
idiosyncrasies and ancillary details. The audio pastiche that follows will help fill in the gaps.
The first few clips establish the raga’s close links to the popular music of the land. In most of
these instances, the thing to look for is not fidelity to raga structure but the inspiration it
provides and the innovative directions that can lead to.
We kick off with Pt. Kishore Kumar of the Khandwa gharana. This rare cheez from
FUNTOOSH (1956) was written by Sahir Ludhianviand tuned by S.D. Burman. Although
the explicit G R M G signature is not heard here, an overall sentiment of Gaud Sarang
prevails. Asha Bhonsle joins Panditji in this soft, enduring number: woh dekhen to unki
inayat.
The Gaud Sarang number most likely to be charged in the ‘light’ brigade is this Lata gem
from PARDESI (1957) composed by the maestro Anil Biswas (Bong, alas): na dir deem.
The raga must have been a persistent presence in Anil Biswas’ mental wardrobe for he had
earlier created another beautiful composition, a duet by Manna Dey and Lata Mangeshkar,
for HAMDARD (1953): rtu aaye rtu jaye.
A charming Lata solo comes from the movie EKADASHI (1955) with music by Avinash
Vyas: jhulo jhulo re.
The musical culture of Bengal shows a predilection for this raga (perhaps the ‘Gaud’ in the
name provides a hint of its provenance). S.D. Burman summons the uncommon talents
of Asha Bhonsle in SOCIETY (1955): leheron mein jhoolun.
Anil Biswas resurfaces in CHHOTI CHHOTI BATEIN (1965), teaming with his vocalist
wife Meena Kapoor: kuch aur zamana.
The year 1952 saw the advent of highly gifted composer, O.P. Nayyar, untutored in classical
music but with his heart and soul drenched in the melody of his native land. He filed
this Geeta Dutt number in his first film AASMAN: dekho jadu bhare more naina.
This completes the ‘light’ round. Although we call it ‘light’ music there is nothing light about
it. To do it at the level of Kishore, Lata and Asha takes unusual gifts and extraordinary ability.
In compiling the foregoing material I have benefited from the counsel of my friend Sir Vish
Krishnan.
We warm up to the classical entrées with D.V. Paluskar‘s famous rendition of the highly
popular cheez: piyu pala na lage.
Gaud Sarang is much valued by the Gwalior musicians. We join C.R. Vyas in the final
moments of the traditional kajara re set in vilambit Tilwada before he sinks his teeth into a
attractive Punjabi bandish mandi khabari na liti jani yar ve.
A dazzling tarana by the Gwalior doyen Krishnarao Shankar Pandit.
The Kirana contribution in the person of Bhimsen Joshi: saiyyon mai to ratadi.
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We have come to expect innovations from Kumar Gandharva. His Gaud Sarang has a
flavour all its own. Notice the explicit use of the phrase S” D N P: piya basera.
Switching lanes, we turn briefly to the dingdongers. This passage from Ravi Shankar has
been especially selected for its massive kharaj meends, executed magnificently.
Ali Akbar Khan‘s prefatory alap to one of the tracks on the album Legacy.
Umrao Khan, son of the sarangi maestro Bundu Khan of Delhi, was an adept at both voice
and sarangi. Here he sings a luscious composition set in Roopak: sundara nara karata
singara.
‘Aftab-e-Mausiqui’ Faiyyaz Khan issues a masterly statement on behalf of Agra through
a khayal composed by his father-in-law, Mehboob Khan (“Daraspiya”) of Atrauli: bina dekhe
tore.
In my emphatic opinion, Mallikarjun Mansur‘s is the finest Gaud Sarang there is. In the
two selections here he wields the Jaipur-Atrauli standard issue: saiyyon mai to ratadi.
Mallikarjun Mansur Cut 1
Mallikarjun Mansur Cut 2
We conclude this soirée with a couple of compositions by the great vidwan and vaggeyakara,
Pandit Ramashreya Jha “Ramrang.” The first is Ramrang’s own composition
in dheema Teentala: najara na lage.
Jha-sahab presents a vignette of an old “Adarang” composition in praise of Lord Shiva in
Raga Chhaya-Gaud Sarang. This is a variation where a soupçon of Chhaya is introduced in
the Gaud Sarang flow: Bhavani pati Shambho.
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Carnatic
Perspectives
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Natakurinji
Natakurinji is a relatively recent raga. There is no reference to this raga in pre-18th century
literature [1]. The name of the raga suggests that the origins of this raga are in the music of
the early Tamils. But, there is not much evidence in support of this hypothesis. Some scholars
assign kurinjippan to the contemporary scale Harikambodi [2]. Indeed, Natakurinji does fit in
as a janya raga of the Harikambodi mela. However, there appears to be no pan equivalent of
Natakurinji in vogue. Musicological works like the Sangita Makarandam (ca. 7th century
CE) and the Caturdandi Prakasika (ca. 17th century CE) contain no references to
Natakurinji. According to Prof. Janakiraman, Tulaja’s Sangita Saramrta (ca. 1735 CE) refers
to this raga. Natakurinji is also described in Govinda’s Sangraha Coodamani (ca. 19th
century CE). The descriptions of Natakurinji in these two treatises coincide approximately
with the raga’s current form.
It is interesting to note that quite a few Tamil lyrics associate the name Natakurinji
with natyam (dance), the most popular being kavalaiyai teerpatu natiya kalaiye. Composed
by Papanasam Sivan, this song appeared in the movie Sivakavi (music director: G.
Ramanathan). The singer was the rage of the day, M. K. Tyagaraja Bhagavatar [3].
Natakurinji is a rakti raga. It can be sung at all times; the raga can be elaborated in both slow
and medium tempos. It is a popular choice for ragam, tanam and pallavi, and is especially
well suited for elaboration by tanam. Natakurinji is an example of a raga whose scope has
been defined by kalpana rather than kalpita, viz., kritis.
The raga uses the following notes – r2 (ri) g3 (gu) m1 p d2 (di) n2 (ni).
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Since there is no ambiguity, we shall use lower case letters for all swaras in this article. An
underscore indicates lower octave and double quotes indicate higher octave.
Natakurinji illustrates the inadequacies of “defining” a raga by an arohanam-
avarohanam and/or its parent melakartha or scale. For instance, Govinda’s Sangraha
Coodamani lists Natakurinji as a janya of the 28th mela Harikambodi and offers the
following arohana/avarohana:
s r g m d n s” s” n d m g s.
However, in practice, one seldom hears this straight arohana. The lakshana of this raga can
be seen in the famous varnam calamela composed by Moolavattam Rangasami Nattuvanar.
In the following clip, we hear the veteran flautist K. S. Gopalakrishnan play this varnam. T.
N. Krishnan plays the violin and T. K. Murthy, the mridangam. The recording is from a live
concert at Shanmukhananda Hall (Bombay, 1974).
As can be inferred from the above recording, a description based on arohana-avarohana does
no justice to this raga. It is for this reason that Muthu Venkatamakhi while describing
Natakurinji says, “. geeyate lakshya vedibhi“. Subbarama Dikshitar translates this line as
“.the arohana avarohana murchana of this raga is given by s r g m p d n s” s” n d m g s… But
as mentioned in the above sloka, the form of this raga is to be understood from
the prayogas that occur in geeta and kriti and sung accordingly…” [4]
Illustrating our comment that Natakurinji is often associated with dance, we offer a varnam in
Natakurinji, sami nan untan adimai. It is a popular number in dance recitals and was
composed by Papanasam Sivan [5]. The lyric describes the devotee pining for her Lord (Siva,
the Lord of Dance). The singer is Rukmini Ramani, the composer’s daughter.
The same varnam sung by M. L. Vasantakumari, for a dance recital. Charumati
Ramachandran provides vocal support.
All the swaras in this raga except r are jeeva swaras and can be used suitably as nyasa
swaras. Though r is not used as a nyasa swara, it occurs frequently and almost invariably in
conjunction with s. Some examples are d_ n_ s (r) s, d_ n_ s r n_ s and g m p g r s.
In prayogas such as s r s and n_ s r s, the rishaba is often articulated at the gandhara.
The swara m divides the poorva and uttara angas of the raga. This swara occurs in both
forms, unshaken and as m (g) m. Some typical poorvanga prayogas are given below:
mgs
rgmgs
s m (g) m
s (r) g m
d_ n_ s (r) s g (g) m
g m (p) g r s g g m
The dhaivata is a strong note in the uttaranga as can be seen in prayogas such as g m n d, m
g m n d. Consequently, the nishada is often oscillated in the arohana krama as (d) n and (d) n
d n s”. A glide from a strong d to m is very appealing.
The panchama has a special place in this raga. As Prof. Janakiraman points out, “.. it is not
within raga dharma to avoid the panchama in the elaboration of Natakurinji” [6].
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This note usually appears in the arohana and avorahana kramas as n d n p d n s” and g m p g
r s respectively. The phrase m g r s is heard sometimes, but we opine that it is avoidable. The
recordings adduced in this feature will show that even the phrase g m g r s only appears as g
m (p) g r s. The phrase s” d p m g m p g r s is seen in lakshya.
Some common uttaranga prayogas are
m g m n (d) n
mgmndnpdn
d n s” d n p d n
The tara stayi shadjamam is usually approached by prayogas such as
d n s”
n d n p d n s”
An unambiguous summary of Natakurinji can be heard in the beginning movements
of Musiri Subramania Iyer‘s alapana.
In this section, we present a few recordings of Natakurinji extracted from the kriti suite
(the kriti prefaced by an alapana, and embellished by neraval and/or swaram). The first of
these features Musiri Subramania Iyer singing Srinivasaiyah‘s kriti ninnu
minchinavarevaramma. Palani Subramania Pillai plays the mridangam.
Pallavi Gopala Iyer‘s kriti in Natakurinji nidu murthini is often cited as one of the earliest
compositions in Natakurinji. M. D. Ramanathan sings this kriti (note the prayoga s” d p m g
m p g r s in the chitta swaram).
Jon Higgins Bhagavatar was an instant hit in Tamil land with his soulful rendition
of Gopalakrishna Bharati‘s en neramum (Devagandhari) [7]. Here, he sings a song
from Nandan Caritam. Though Gopalakrishna Bharati seems to have composed
this kriti (vazhi maraittirukute) in desiya Todi, the modern version is in Natakurinji. First, we
hear Higgins Bhagavatar‘s alapana.
Gopalakrishna Bharati’s vazhi maraittirukute.
Ramaswamy Sivan‘s ekkalattilum is a favorite of the DKP-DKJ school. The following clip is
an excerpt from a live concert (Shanmukhananda Hall, Bombay, May 1989). D. K.
Jayaraman, accompanied by Mysore Manjunath, Karaikudi Mani and T. V. Vasan, sings
Ramaswamy Sivan’s ekkalattilum. Balaji Shankar provides vocal support.
The Tamil poet Subramania Bharati was also a keen rasika of music and composed a number
of pieces in various Carnatic and Hindustani ragas [8]. Unfortunately, many of these
compositions have been mauled by musicians acting as tunesmiths and retuning them to other
ragas.
Dr. S. Ramanathan offers us a refreshing change and sings Bharati’s muruga in the original
tune (Natakurinji). The song was first published in 1922 as part of Bharati’s Sudesa
Geetangal. Note Ramanathan’s clever usage of s” n d n p in his kalpana swaras. This phrase
ties up with d n s” (muruga) in the first line of the composition.
Of Tyagaraja’s two kritis in the raga, the one that is often heard is manasu vishaya. M. D.
Ramanathan presents it in his characteristic style. M. Chandrasekharan plays the violin
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and Vellore Ramabhadran, the mridangam in this recording. MDR takes up the phrase sri
tyagaraja for elaboration by neraval.
D. K. Pattammal sings Muthuswamy Dikshitar‘s sivakami patim.
Muthuswamy Dikshitar‘s (navagraha kriti) budhamashrayami is arguably the most
popular kriti in Natakurinji. Semmangudi Srinivasa Iyer presents this kriti in the following set
of clips. Lalgudi Jayaraman and Tiruchi Sankaran accompany him in this recording,
excerpted from a live concert. First, we hear Semmangudi’s alapana.
Illustrating our observation that Natakurinji is especially well suited for elaboration by
tanam, Semmangudi and Lalgudi preface the navagraha kriti with a tanam.
The kriti budhamashrayami follows.
K. V. Narayanaswamy was another singer who used to revel in Natakurinji. His renditions
of Swati Tirunal‘s (navaratri) kriti pahi janani were particularly memorable. The following
recording is from a concert featured in the arangisai program in AIR (Madras). V. V.
Subramanian plays the violin. First, an excerpt from KVN’s alapana.
KVN’s rendition of pahi janani follows. Note how KVN makes the transition from vilamba
kala neraval to madhyama kala to kalpana swaras devoid of theatrics. Palghat
Raghu provides brilliant accompaniment on the mridangam.
In this final section, we present excerpts from a few recordings of Natakurinji in ragam,
tanam and pallavi (RTP). The first set of clips in this section features S. Ramanathan, in a
concert at the Music Academy, Madras (1980). The accompanists are Radha
Narayanan and Madurai Srinivasan. S. Ramanathan’s initial sketch of the raga.
An excerpt of the tanam.
The pallavi kuvalaya dala nayana set to adi tala (2 kalai) is adapted from Tyagaraja’s kriti in
Natakurinji.
M. L.Vasantakumari sings at the Music Academy (1960). The accompanists are Tiruvallur
Subramaniam (violin) and Tanjavur Krishnamurthy Rao (mridangam). First, an excerpt from
MLV’s alapana (note the application of d about 2:09 into the clip).
The tanam.
Followed by the pallavi tenparangiri valar muruga (khanda triputa – 4 kalai).
The next set of excerpts is from an RTP presented by R. N. Thyagarajan and R. N.
Tharanathan (Rudrapatnam Brothers). The recording is from a live concert at Rutgers
University (1991). Mysore Nagaraj plays the violin and V. Praveen accompanies on the
mridangam.
Excerpts from the tanam.
The traditional pallavi ciranta engalatu nattai kurinji enbar in adi (2 kalai) was featured in
one of our earlier articles [9]. The Brothers sing this pallavi.
The final set of clips features G. N. Balasubramaniam, accompanied by M. S.
Gopalakrishnan and Ramanathapuram C. S. Murugabhoopati. This is an excerpt from a live
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concert at Shanmukhananda Sabha, Bombay and is one of the few concerts of the master
where his accompanists include a morsing player. Unfortunately the name of the accompanist
is not recorded. The complete recording runs well over an hour and is one of the best pieces
of recorded Indian music. We are constrained to present a drastically edited version and pick
up proceedings in the middle of the alapana. Note GNB’s experimentation with p (about 2:30
into the clip).
Rasikas of a by-gone era are fond of describing GNB’s closing movements of
an alapana as poopandal kattarathu (providing the finish touches to a
magnificent pandal with a garland of flowers).
An excerpt from the tanam.
The pallavi koniyada tarama nee mahima is set to Adi tala (tisra nadai). Though set in tisra
nadai, the syllables of the pallavi are structured as 4+2+4 (before the aruti) and 2+4 (after).
This preponderance of chatusra (fours) in the tisra (three) nadai creates a subtle
tension. Murugabhoopati‘s accompaniment is unobtrusive, yet enriching.

Unusual Pallavi Themes

Until the late 19th century, the primary location for performances of Art music was at the
abodes of kings and other rich patrons. These concerts are described as being centered
on ragam-tanam-pallavis, elaborate exercises in musical creativity, usually in major ragas
like Sankarabharanam, Todi and Bhairavi. The modern concert format (kaccheri paddhati),
on the other hand, is largely dominated by kritis, which were either composed by “the trinity”
– Syama Sastry, Tyagaraja, and Muthuswami Dikshitar – or vaggeyakaras following their
styles.
The relationship between these two musical forms – ragam, tanam, pallavi (RTP) and kriti –
is complex. One hypothesis that is often advanced is that many kritis were constructed using
a famous pallavi as the pallavi or the first line of the kriti. The proponents of this theory
claim that the above hypothesis explains why the word “pallavi” refers to both. Some of the
examples quoted in this context are gana lola karunala vala in Todi (where the kriti was
composed by Chinnaswami Dikshitar) and mahimai teliya tarama in Sankarabharanam
(where the kriti was composed by Anai Ayya brothers). This is also supported by the tradition
of singing certain pallavis in fixed ragas.
In course of time, the converse also became prevalent, viz., musicians started using
the pallavi line of a kriti (usually a famous one) as the refrain of an RTP. Examples of this are
the (Begada) pallavi, lokavana chatura and the (Kharaharapriya) pallavi, rama nee
samanamevaru. T. Lakshmanan Pillai describes a great musical contest between Coimbatore
Raghava Iyer and Tanjavur Maha Vaidyanatha Iyer that took place in the court of Ayilyam
Tirunal. On the second day of the contest, Maha Vaidyanatha Iyer sang a pallavi in
Kharaharapriya which employed the first line of the kriti, cakkani raja. [1]
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There are also pallavis constructed from other lines of a kriti, e.g., oru taram
sivachidambaram endru (from sabhapatikku in Abhogi) and tamarasa dala netri tyagarajuni
mitri (from amma ravamma in Kalyani) – as the refrain of the RTP.
There is at least one unambiguous case where a pallavi led to a kriti. Tamizh Thatha U. Ve.
Saminatha Iyer recounts the following incident in one of his books. [2] Ghanam Krishna
Iyer, a contemporary of Tyagaraja (and Saminatha Iyer’s great grand uncle) once went to
Tiruvaiyaru to meet Tyagaraja. Saminatha Iyer says:
“…Tyagaraja and Ghanam Krishna Iyer knew each other well. Tyagaraja’s disciples,
Kamarasavalli Nanu Iyer and Tillaistanam Rama Iyengar sang Tyagaraja’s E papamu in the
raga Atana. Tyagaraja then requested Krishna Iyer to sing. Inspired by the singing he heard,
Krishna Iyer composed a pallavi in Atana, cumma cumma varumo sukham (lit. does pleasure
come for free?) and began singing it with great relish. Being in the presence of a great
vidwan (Tyagaraja) and his disciples, Krishna Iyer sang with enthusiasm and as his singing
progressed, the listeners came to appreciate the ghana marga that Krishna Iyer was
proficient in. After he finished singing, Tyagaraja honored him by presenting him a shawl.
Later, when Krishna Iyer returned home, at the insistence of his disciples and others, he
composed a kriti in the raga Atana using this pallavi as the refrain of the kriti.”

Our first recording features this kriti. Aruna Sayeeram sings Ghanam Krishna Iyer’s cumma
cumma.
For a variety of reasons, the bulk of lyrics in Carnatic music, in both kriti and pallavi formats,
are mostly concerned with devotional themes. Kritis exemplify this tendency to a much
greater extent. Practically all are along the lines of “O Lord(ess)! Save me” or “Blessed am
I”. The only prominent counter-example to this practice is Tyagaraja, whose kritis span a
variety of themes. [3] For example, some are addressed to “the Guru” and some others deal
with music. It is not clear why latter vaggeyakaras have not chosen to follow this path and
explore it further.
Pallavis, on the other hand, explore a larger variety of themes. In fact, some of them may not
have any obvious theme. (For example, the pallavi we mentioned earlier uses the line cumma
cumma varumo sukham, which by itself is devoid of context; the sentence does not even have
a subject.) One reason for this may be that lyrics play a relatively minor role in RTPs.
A story may help clarify this point. [4]
“There was a Zamorin at Calicut who was fond of music and had also a good knowledge of
the art. He used to patronise deserving musicians and give them rich presents. Once a great
pallavi vidwan happened to go to Calicut; the Private Secretary to the Zamorin, himself a
rasika, arranged for a concert by the vidwan at the palace. The Zamorin had one weakness –
he would ask the artist to give beforehand, the wording of the song he proposed to sing.
When the vidwan had elaborated a raga and was about to begin the pallavi, the Zamorin
made his usual demand. The vidwan got wild and shouted ‘Which fool would care about the
sahitya of a pallavi?’ and went away from the palace. The Zamorin also got angry. The
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Private Secretary was a tactful man; he pacified the two and arranged for a recital the next
day: he had managed to get the Zamorin to waive his stipulation regarding the wording of
the pallavi. The vidwan started the pallavi and elaborated it with such mastery and skill and
charm that the Zamorin was highly pleased and made extra presents to the vidwan. When,
the artist was about to leave the palace, the Zamorin asked him to give the wording of the
pallavi at least then. The vidwan faced the Zamorin and said, ‘I am prepared to give you the
sahitya on the condition that you will not get angry.’ The Zamorin agreed to the condition,
and the vidwan gave him the sahitya, and immediately ran away. The Zamorin was taken
aback, and got into a rage, but he could not do anything as the vidwan had in the meantime
run away. The sahitya was samoodiri thavidu thinnu meaning that the Zamorin ate the chaff,
the implication being that instead of enjoying the pure art of music, the Zamorin was after
the words which especially in a pallavi was as insignificant as the chaff as compared to the
grain.”
The emphasis on pallavis having some religious content may be more a phenomenon of the
20th century. This is borne out by looking at the refrains of some
traditional pallavis compiled by P. Sambhamoorthi [5]:
aattangarai oratthile oru vandu girrena girrena katthute (On the banks of a river, a bee hums
“girr girr”) – Raga Bhairavi, Jhampa Tala.
kutthalatthu kurange maratthai vittu irange (Get off the tree, O monkey in Kutralam) – Raga
Bhairavi, chatusra jati triputa.
Along similar lines, U. Ve. Saminatha Iyer refers to the pallavis sung by Peria Vaithi and says
they were hardly noted for their lyrical content. [6]
Lest the reader think that such pallavis are mere oddities, we refer to the great musician Tiger
Varadachariar. In the words of S. Y. Krishnaswamy, Tiger felt that “pure music, which is
important in a pallavi, for instance, depended very little on words. He then proceeded to
demonstrate this view by singing a pallavi which translated to ‘the breeze blows through the
window’.” [7] T.K. Sethuraman narrates an incident when Tiger performed in Sirkazhi village
and was asked to sing a new pallavi after he had sung an elaborate alapana and tanam in
Kambodhi.
Apparently, a street-vendor came around at that time, selling brinjals (eggplants) shouting
“katharikkai, katharikkai” and Tiger sang katharikkai vanga vayendi tozhi. (Come with me to
buy brinjals, O friend.) Another pallavi he was fond of elaborating was uppuma kindadi
penne, nanraka. (Hey lass, stir the uppuma well.) Unfortunately we have not come across any
recordings of Tiger singing such pallavis.
The pallavis we mentioned so far are not in vogue. There are, however, a few
traditional pallavis that deal with unusual themes. Perhaps the best example of a
popular pallavi without a devotional theme is the one in Natakurinji, ciranta engalatu nattai
kurinji enbar (This great land of ours is called kurinji [8]).
This pallavi was one of K. V. Narayanaswamy’s favorite pieces in Natakurinji.
There are also several pallavis composed in praise of an individual. Our first example is
a pallavi sung by D. K. Pattammal, at the Tyagaraja Aradhana in Tiruvaiyaru. The lyrics of
the pallavi are the first line of Tyagaraja’s famous pancharatna kriti in Sriraga, entaro
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mahanubhavulu, anthariki vandanamu (There are several great people and I bow to them all).
It is worth noting that Pattammal, who is often described as a musician with great fidelity to
tradition (whatever that should mean), sings it in the raga Kambodhi and not in Sriraga. [9] V.
Sethuramiah and Palakkad Mani Iyer accompany Pattammal in this recording.
The next example is Madurai Mani Iyer’s rendition of mahatma mani mozhi vazhi nadappom,
maperum talaivar gandhi (Let us follow the footsteps of the great leader Mahatma Gandhi) in
Shanmukhapriya at an AIR concert on Gandhi Jayanti. Mani Iyer was a staunch Gandhian
and has also sung pallavis about the rattinam (spinning wheel).
Balamuralikrishna is a musician who has innovated extensively. Not surprisingly, he has sung
several interesting pallavis, which are often marked by intelligent and catchy movements.
Here we present a short pallavi in Natabhairavi, the theme being musical notes.
Another singer who exhibits a flair for wordplay in coming up with unusual pallavi lyrics
is T. N. Seshagopalan. He also had an interesting variation on the pallavi mentioned
earlier, ciranta engalathu, by singing it in Nattai, Kurinji and Natakurinji.
Among present day singers, Sanjay Subrahmanyan seems to sing several pallavis based on
unusual themes. Some examples are vandadum solaiyile, malayamarutam visum in
Malayamarutam, parukkulle nalla nadu, engal bharata nadu in Shanmukhapriya
and apakara nindai pattuzhalathe, ariyatha vanjarai kuriyate in Chakravakam. We present
the first of these in the following clip. The recording is from a concert organized by the
Carnatic Music Association of North America (CMANA) in New Jersey this year. Sanjay is
accompanied by R. K. Shriram Kumar on the violin and K. Arun Prakash on the mridangam.
Note that the pallavi includes the raga name and refers, obliquely, to a popular song in
Harikamboji. [10] Sanjay’s rendition is a good illustration of how even a small pallavi can be
elaborated through intelligent vyavahara.
In the above, we saw that pallavis deal with a variety of themes. A few post-
trinity vaggeyakaras have composed kritis along the lines of the pallavis discussed here.
Some examples are Tanjavur Sankara Iyer, Balamuralikrishna, and T. S. Lakshmanan Pillai.
Pillai’s kriti in Punnagavarali, vayillata made, is arguably the only kriti that talks about
animal rights. We wonder why more such kritis cannot be composed and why it is that
most kritis stick to familiar themes.
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A Tribute to Tyagaraja
This feature is occasioned by the birthday of the vaggeyakara [1] or composer who has had
the greatest influence on Carnatic music – Tyagaraja.
Though the annual Tyagaraja aradhana at Tiruvayyaru takes place typically in late January,
scholars generally agree that he was born on 4 May 1767 [2]. The eighteenth century was an
interesting period in Carnatic music. Starting in the 16th century, composers like Muthu
Tandavar and Margadarsi Sesha Ayyangar had experimented with the kriti format and the
characteristic pallavi-anupallavi-charanam structure, one that was followed
in Kshetragna‘s padas. These set the stage for Tyagaraja, as well as Muthuswami
Dikshitar and Syama Sastry, to perfect this format with the result that it dominates Carnatic
music today.
Tyagaraja’s outstanding contribution to the advancement of the kriti format was the
introduction of the sangati (lit. coming together) – a set of variations on a theme, gradually
unfolding the melodic potential of the musical phrase. Largely set in
the madhyamakala (middle tempo), Tyagaraja’s kritis were more appropriate for the modern
concert paddhati. As vidwan G. N. Balasubramaniam observed during his presidential
address at the 32nd conference of the Music Academy in 1958, nearly 60% of
Tyagaraja’s kritis are composed in this kala and this speed “seems to be the best for both the
lay and the learned listeners.”
The 18th century was also witness to the virtual explosion of new ragas in the aftermath
of Venkatamakhi‘s celebrated Chaturdandi Prakasika (ca. 1660) and his
72 melakarta scheme of classification [3]. Following and furthering the work of
Venkatamakhi, Govinda (Govindacharya), in his Sangraha Chudamani (late 17th – early
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18th century) introduced the sampoorna melakarta scheme as well as lakshanas for
294 janya ragas, many of which were unknown [4]. Thus, unlike Purandaradasa and
musicians of his generation, who had perhaps a couple of dozen ragas to work with,
Tyagaraja could experiment with hundreds.
Indeed Tyagaraja seems to have adopted composing in new ragas as one of the aims of his
musical career. The 700 odd known kritis of Tyagaraja feature 212 ragas; 121 of these ragas
have only one composition in them [5]. He was the first to compose kritis in “about 66 ragas”
[6]. His enthusiasm for such ragas can be seen from the fact that even among the last
few kritis that he is believed to have composed, three are in new ragas: Vagadeeswari
(paramatmudu…), Ganavaridhi (daya juchutakidi velara…) and Manohari (paritapamu
ganiyadina…). Dr. S. Ramanathan in one of his popular and insightful lecture
demonstrations on “A Day With Tyagaraja” describes briefly how Tyagaraja followed the
path laid out by Venkatamakhi. He then proceeds to illustrate this by singing the
aforementioned kriti in Ganavaridhi (daya juchutakidi velara…).
By composing excellent kritis, Tyagaraja gave life to these ragas. From being mere
descriptions in a book (with at best a lakshana gita), these scales became full-fledged ragas
capable of being sung elaborately in concerts. Tyagaraja, it must be remembered, was not
only a composer but also a musician par excellence. Prof. P. Sambamoorthy narrates a story
that sheds some light about Tyagaraja’s prowess as a performer. When Tyagaraja visited
Madras on his way to Tirupati, he stayed at the house of Kovur Sundara Mudaliar, a musical
patron. Madras, at that time, was on its way to becoming a musical center. For six evenings in
succession, Tyagaraja sang the raga Devagandhari elaborately following it up with one of his
compositions in the raga [7]. This incident testifies to the creative ability or manodharma of
Tyagaraja, the musician [8].
A composer’s manodharma is evident in his or her compositions. The
performer’s manodharma, on the other hand, is displayed during expositions of raga alapana,
neraval or swara kalpana. One important musical resource that performers dip into for these
expositions is the huge repertoire of kritis that have been built up since the 18th century and
the period of the trinity. It is in this context that we wish to highlight Tyagaraja’s contribution
in furthering the creative aspects of Carnatic music. We attempt to do this by exploring how
relatively “minor” ragas that were pioneered by Tyagaraja have developed over the years,
offering scope for elaborate and substantial renditions.
In some of these minor ragas, Tyagaraja’s composition(s) remain(s) the only one(s) that are
heard publicly with any reasonable frequency. This is not to say that there are no other
compositions in these ragas, but that these have not become popular. An example of this is the
recording presented at the beginning of this feature, janaki ramana… in the raga Shuddha
Seemantini performed by Nagaswara Chakravarthy T. N. Rajaratnam Pillai. Examples of
such ragas are Jayantasena (vinata sutavahana…), Kapinarayani (sarasa samadana…), and
Vijayasri (varanarada…). Though this particular rendition of janaki ramana… includes only
a short alapana, several artistes have sung this composition elaborately, usually
with neraval and swarams. In this feature, however, we focus on ragas that were pioneered
by Tyagaraja, but handled by subsequent composers.
We begin with the raga Nalinakanti. The nominal arohana/avarohana is
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s G3 R2 M1 P N3 s” s” N3 P M1 G3 R2 s.
The contours of this raga, as we know them today are undoubtedly shaped by
Tyagaraja’s manaviyala… where he defines the raga in the very first phrase,
M1 G3 R2 s G3 – R2 M1 – M1 P – (P N3 P) M1 G3 R2 s G3
Phrases such as s G3 – R2 M1 – R2 P – M1 P N3 P M1 G3, and in the uttaranga, N3 R2″
N3 P M1, N3 G3″ R2″ N3 R2″ N3 P M1 etc., add color to the raga. Such phrases occur
frequently in swaraprastara (for which this raga is ideally suited). In recent decades,
Nalinakanti has been a favorite of two vocalists, Nedunuri
Krishnamurthy and Vairamangalam Lakshminarayanan.
In the following clip, we hear Nedunuri Krishnamurthy‘s rendition
of manaviyala… Lalgudi Jayaraman accompanies him on the violin, and Palghat
Raghu on the mridangam.
Following Tyagaraja, several composers such as Mysore Vasudevacharya, G. N.
Balasubramaniam, Lalgudi Jayaraman, Calcutta Krishnamurthy, Tanjavur Sankara
Iyer, and Spencer Venugopal have composed in Nalinakanti. We offer two of these below.
The first is the kriti nee padame … composed by G. N. Balasubramaniam (GNB). GNB
follows Tyagaraja’s footsteps in defining the raga in the very first phrase of the song.
However, he does it slightly differently, reversing the order: N3 P M1 G3 R2 s s G3 R2 M1
P N3 s” with an intelligent use of swarakshara (N3 P in nee pa..) and the introduction of the
raga mudra.
Vairamangalam Lakshminarayanan presents this song in the following clip. Lalgudi
Jayaraman accompanies him on the violin and Trichy Sankaran on the mridangam.
Tanjavur Sankara Iyer‘s kriti, natajana palini … is set to a slower tempo. In the following
clip, we present a concise alapana by V. V. Ravi on the violin as a prelude to this kriti.
This recording is from a live concert where Neyveli Santanagopalan sings Sankara
Iyer’s natajana palini … T. K. Murthy Iyer plays the mridangam. Santanagopalan uses
the uttaranga phrases in the caranam of the kriti to launch into neraval and swaraprastara.
An example of a brief alapana in this raga is offered in the following clip of M. L.
Vasantakumari (MLV). M. S. Anantharaman accompanies her on the violin.
As an example of how this raga can be used to tune lyrics, we present a clip of Tiruppugazh
Raghavan teaching his students, the Tiruppugazh [9] udaiyavargaL eva …
The attractiveness of this minor raga has even persuaded modern [10] music composers to
adopt it for film music. Inspired by Tyagaraja’s manaviyala …, Deva offers us this song sung
by P. Unnikrishnan.
This popular song – made even more popular by the graceful dancing of one of the leading
actresses in Tamil movies, Simran [11] – is in the movie nerukku ner. Harini sings the same
song.
Ilayaraja‘s endan nenjil … is a more faithful representation of Nalinakanti as this clip
demonstrates [12]. The singers are K. J. Yesudas and S. Janaki.
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Our next choice is the raga Andolika. Once again, our perception of this raga is shaped by
Tyagaraja’s raga sudharasa … A nominal arohana/avarohana can be deciphered from
the kriti to be s R2 M1 P N2 s” s” N2 D2 M1 R2 s. Panchama and Shadja varjya
prayogas are often used. It is said that the raga was a favorite of the
great Vidwan, Kanchipuram Naina Pillai, who is said to have sung it elaborately on many
occasions. Unfortunately, we do not have any recordings of his. Instead we present an excerpt
of Tyagaraja’s kriti, raga sudharasa … sung by Madurai Somasundaram [13], a student
of Chittoor Subramania Pillai, who in turn was trained by Naina Pillai. Again, we note
how Tyagaraja establishes the structure of the raga in the opening phrase, N2 D2 M1 R2 s R2
M1 P.
Amongst others who have composed in Andolika are Harikesanallur Muthiah Bhagavatar,
G. N. Balasubramaniam, Lalgudi Jayaraman, and Calcutta K.S. Krishnamurthy. The
modern treatment of Andolika is undoubtedly influenced by GNB’s conception of the raga –
clearly one of his favourites. This won admiration from Bade Ghulam Ali Khan, the great
Hindustani vocalist and a GNB rasika, who, according to K. S. Muthuraman, was enamored
of GNB’s rendering of Andolika and learnt it from GNB [14]. This recording, from a live
concert in Pudukottai, explains why. First we present GNB’s alapana…
…followed by Lalgudi Jayaraman‘s reply on the violin.
The kriti, raga sudharasa …. Ramanathapuram C. S. Murugabhupathy plays the
mridangam.
A more structured version of GNB’s imagination is displayed in his tana varnam in
Andolika, nee daya rada … It is an attestation to the respect with which GNB was held in the
musical world, that this was often sung by people like D. K. Jayaraman, who belonged to a
different school or bani of music. (Another case of the same phenomenon was the earlier
example of Vairamangalam Lakshminarayanan‘s rendition of nee padame …)
The above recordings show how an intelligent musician can benefit from Tyagaraja’s musical
vision. This point is made again by MLV‘s exposition of Andolika. The alapana we present
below is excerpted from a Ragam/Tanam/Pallavi in Andolika. M. S.
Anantharaman accompanies her on the violin.
The next clip in Andolika features Muthu Tandavar‘s [15] composition, sevikka vendum
… sung by Madurai Mani Iyer. (Though Muthu Tandavar predates Tyagaraja, this
composition was tuned much later to Andolika, quite likely in the early part of this century
after the raga had become very popular.)
Yet another Tiruppugazh offering from Raghavan.
We now turn our attention to Tyagaraja’s compositions in the melakarta ragas. Tyagaraja
pioneered the use of several janaka ragas like Ramapriya (52), Dhenuka (9), Kiravani (21)
and Chakravakam (16) [16]. In addition, Tyagaraja also composed in many vivadi melas such
as Naganandini (30), Jhankaradhvani (19), Gangeyabhushani (33), Manavati (5) and
Vagadeeswari (34). As an example we present the raga Kantamani, the 61st melakarta raga.
Kantamani belongs to the same chakra as the popular raga Kalyani [17]. Like Kalyani, the
raga employs R2 G3 M2 and P. However, in the upper tetrachord, Kantamani uses
the swaras D1 and N1. In other words, its nishadam is at the same sthana as the dhaivata of
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Kalyani. Another kriti of Tyagaraja, edari … is often sung in Kantamani or its janya,
Srutiranjani.
In the following recording, Tanjavur S. Kalyanaraman sings Tyagaraja’s palintuvo … in the
raga Kantamani. M. S. Gopalakrishnan plays the violin, and Vellore Ramabhadran, the
mridangam.
We now move on to a different facet of Tyagaraja’s explorations. Prior to Tyagaraja, as a rule
all ragas had at least 5 swaras in the arohana and avarohana. Tyagaraja was the first to
introduce ragas that use just 4 notes. However, his experimentation was limited to two ragas,
both of which have 4 notes in the arohana but to “make up”, have 6 in the avarohana [18].
The two ragas with this characteristic that Tyagaraja handled were Vivardhani and Navarasa
Kanada. The latter raga has become very popular and has an arohana/avarohana
s G3 M1 P s” s” N2 D2 M1 G3 R2 s.
The jump to the tara stayi shadjama from the panchama, and the skipping of
the panchama in the avarohana impart tonal color to this raga. Here again, Tyagaraja exploits
the medium of the kriti to shape the raga. The very first line of the kriti, paluku kanda
… defines the arohana/avarohana as can be heard in this recording. The veteran
vocalist Alathur Srinivasa Iyer sings Tyagaraja’s paluku kanda …
Another kriti of Tyagaraja, ninnu vina … is very popular with instrumentalists, especially
flautists. However, we present another veteran vocalist, Trichy Swaminatha Iyer singing
this kriti. But first, we present a brief alapana by Swaminatha Iyer and T. N. Krishnan.
The kriti, ninnu vina …
Subsequent to Tyagaraja, several composers have handled Navarasa Kanada. Some of them
are Veenai Sesha Iyer, Nilakanta Sivan, Swati Tirunal, Harikesanallur Muthiah
Bhagavathar, Papanasam Sivan, Mysore Vasudevacharya, Calcutta K. S.
Krishnamurthy, and D. Pattammal [19]. We present a few examples below.
The first is Swati Tirunal‘s vande sada padmanabham … sung by T. K. Rangachari.
Harikesanallur Muthiah Bhagavathar‘s parasu hastaya … sung by Madurai
Balasubramaniam.
Among more recent creations, Papanasam Sivan‘s [20] kriti, naan oru … enjoys great
popularity [21]. D. K. Pattammal and D. K. Jayaraman sing Papanasam Sivan’s naan oru
… Tirupparkadal Veeraraghavan plays the violin and Palghat Mani Iyer accompanies on
the mridangam.
We now consider another raga whose treatment was pioneered by Tyagaraja. There is but a
single kriti of Tyagaraja in the raga Ranjani. Today, there are as many as a hundred that have
been compiled. Ranjani is a pratimadhyama raga with a nominal arohana/avarohana,
s R2 G2 M2 D2 s” s” N3 D2 M2 G2 s – s R2 G2 s.
Sometimes the vakra prayoga in the avarohana also appears as D2 M2 G2 s – s R2 s.
The vakra prayoga, the jump from G2 to M2, and the absence of the panchama makes it a
difficult raga to handle. However, Ranjani lives up to its name and is a very beautiful
 266

raga. Rangaramanuja Ayyangar, the author of the Kritimanimalai [22] series of books that
presented hundreds of compositions with notation, many of them rare, mentions this incident
about Simizhi Sundaram Ayyar, one of the great vidwans who lived in the first few decades
of the 20th century [23]: ” … I once traveled with him in a train. We were on our way to his
recital later in the evening. I sang a Kriti which caught his fancy. A man of few words, he was
quite brief in his expression of appreciation. But I could see that he was rolling the song in
his mind. What was my surprise when he did the song in his recital later in the evening, with
ample justice to Ragam, Neraval and Swaraprastara! It was Durmargachara in Ranjani. It
came into vogue ten years later.”
Though not mentioned, we suspect that the time frame was sometime around 1910-1920.
In the decades that followed, durmargachara was often heard in concerts. For a whole
generation of listeners, the musician who epitomised the song, and the raga in general,
was Madurai Mani Iyer. Not only did Mani Iyer’s LP recording of “durmargachara” find a
place in many a record collection, but rasikas also eagerly awaited his frequent inclusion of
Ranjani during the ragamalika swara section of his Ragam-Tanam-Pallavi renditions. Here,
however, we present Tyagaraja’s kriti sung by a contemporary vocalist, N. Vijay Siva. The
recording is from a live concert at Boston University, 1993. He is accompanied by R. K.
Shriram Kumar on the violin and J. Vaidhyanathan on the mridangam.
Once again we turn to the pioneer of “new” ragas – GNB. This quick sketch is from
a viruttam and Lalgudi Jayaraman accompanies him on the violin.
In the following clip, GNB’s disciples, Tanjavur S. Kalyanaraman and Trichur V.
Ramachandran sing a varnam in Ranjani, amboruha padame …, composed by their Guru.
Voleti Venkateswarlu offers a different look at Ranjani by emphasizing G2 and M2 in
this alapana. Lalgudi Jayaraman accompanies him on the violin.
A kriti by Misu Krishna Iyer [24], parama pavana.
The next clip in Ranjani features a kriti, conceived beautifully by M. D. Ramanathan. We
draw the listener’s attention to his intelligent use of M2, especially in the swaraprastara.
MDR sings his own composition, mayamma … in Ranjani. M. S.
Gopalakrishnan accompanies him on the violin, and Vellore Ramabhadran on the
mridangam.
A Tiruppugazh tuned in Ranjani by Raghavan.
Ranjani is also frequently heard in ragamalikas and we offer a very popular one composed
by Tanjavur Sankara Iyer sung by D. K. Jayaraman.
The final raga taken up in this section is Janaranjani. The conception and creation of this raga
is yet another demonstration of Tyagaraja’s musical acumen. As Prof. S. R.
Janakiraman [25] explains, Tyagaraja derived Janaranjani and Purnachandrika from the
older version of Purnachandrika.
Prof. S. R. Janakiraman explains and sings the older scale of Purnachandrika, handled by
Muthuswamy Dikshitar in his kriti, shankha chakra … in this clip.
Prof. Janakiraman emphasizes the lakshana of Janaranjani once again.
 267

The attractiveness of Janaranjani is underscored by the fact that Syama Sastry also
composed one kriti, nannu brova… in this invention of Tyagaraja. We have it on reliable
authority that the two composers did frequent each other’s company and listened to each
other’s music. Syama Sastry even sent his son Subbaraya Sastry to study music from
Tyagaraja [26]. So it is quite conceivable that Syama Sastry heard this raga from Tyagaraja
and was inspired to compose his piece.
Semmangudi Srinivasa Iyer sings one of Tyagaraja’s most popular kritis in this
raga, smarane sukhamu ... Lalgudi Jayaraman plays the violin and Umayalpuram
Sivaraman, the mridangam.
Sanjay Subhramanyam takes up Janaranjani for elaboration in this live concert at Ayodhya
Mandapam, Chennai (1996). Tirupparkadal Veeraraghavan plays the violin, and T. K.
Murthy Iyer plays the mridangam. Sanjay’s alapana is evidently inspired by the musical
possibilities offered by the kriti, nadadina … by Tyagaraja.
Tyagaraja’s kriti nadadina … follows the alapana. Note the kalapramana of the kriti. One of
the differences between Janaranjani and Tyagaraja’s Purnachandrika is that the former is sung
at a slower tempo than the latter is. Murthy Iyer offers perfect accompaniment on the
mridangam without accelerating the pace. We also draw the attention to the neraval where
Murthy Iyer plays different patterns for the “aruti” (the conclusion of the phrase taken up
for neraval).
Our final offering in Janaranjani is the composition pada yugamunu …. The composer is M.
D. Ramanathan and he sings his kriti in a concert at the Madras Music Academy. Lalgudi
Jayaraman plays the violin and Coimbatore Ramaswamy, the mridangam.
The influence of Tyagaraja on contemporary Carnatic music that we have discussed above is
due to many reasons. Among them is the role of his many disciples [27] in popularizing his
music, and thus in popularizing the new ragas that Tyagaraja pioneered. Some of them have
offered their tribute to Tyagaraja in the form of kritis expressing his greatness.
In this final section, we present a few of these.
The first is a kriti in the raga Devagandhari (a favorite of Tyagaraja as mentioned above)
composed by his cousin and disciple Manambucavadi Venkatasubba Iyer [28].
T. N. Seshagopalan sings satguru swamikki … in the raga Reetigaula. The kriti is a tribute to
Tyagaraja and composed by Ramnad (Poochi) Srinivasa Ayyangar, a disciple of
Venkatasubbayyar’s student Patnam Subramania Iyer, and thus a great grand disciple of
Tyagaraja.
Other composers, not necessarily belonging to the direct sishya parampara of Tyagaraja have
also offered their tribute. The author of Kanda Ganamudam, Kotiswara Iyer composed the
following kriti after being blessed (by Tyagaraja) in his dreams [29]. In his kriti ini namakku
… in the raga Bilahari, Kotiswara Iyer recounts this incident. T. N. Seshagopalan presents
this kriti.
Musicians, of course, owe a huge debt to Tyagaraja. S. Pasupathy [30] makes this point
through this amusing limerick,
 268

There was a bard of great fame

‘Sacrifice-King’ was his name
Artists make a living
use his kriti-s for singing
But he gets no fee, true to his name!
(No royalty to a raja? Is it not a shame?)
We present a couple of examples where the musician presents a tribute to Tyagaraja in the
form of a (Ragam, Tanam) Pallavi. The first of these is in the raga, Simhendramadhyamam
and Tanjavur S. Kalyanaraman pays homage to Tyagaraja in a pallavi whose lyrics
are satguru sri tyagarajam bhajare … Nagai Muralidharan and Mannargudi
Easwaran accompany him in this recording.
We present yet another recording from T. N. Seshagopalan. The pallavi in the raga
Begada rama bhakta tyagaraja … is a tribute to Tyagaraja.
An unusual form of homage, as well as an attestation of how Tyagaraja’s music captivated
even musicians not trained in the Carnatic music, is Ustad Abdul Karim Khan‘s
presentation of Tyagaraja’s Kharaharapriya kriti, rama nee samanamevaru …
Inspired by Tyagaraja’s kriti in Poornashadjam, lavanya rama, Rabindranath
Tagore composed a song e ki labanya which we offer next. The singer is Swagatalakshmi
Dasgupta.
Concluding this feature, we leave the reader with a sloka composed by one of Tyagaraja’s
disciples, Wallajahpet Krishnaswamy Bhagavatar, in honor of his Guru. Prof. S. R.
Janakiraman explains the sloka in this clip.
 269

Kalyani
Kalyani is the 65th Melakarta raga, equivalent to the Hindustani raganga raga Kalyan [1]. In
the older Venkatamakhi scheme, it was called Santha Kalyani. In the more modern scheme
of Govinda, it is called Mecha Kalyani. It is a sampoorna raga and has a
symmetrical arohana and avarohana using the chatusruti rishabham (r2), antara
gandharam (g3), prati madhyamam (m2), chatusruti dhaivatam (d2) and kakali
nishadam (n3) [2]. As Prof. Sambamoorthy notes, the raga “can be sung at all times, but
the effect is decidedly better when sung in the evening…On account of the presence of tivra
svaras in this raga, it is very useful for being sung at the commencement of concerts. The
requisite musical atmosphere is soon created.” [3] (In Tamil, one would say kaLai kattum.)
All the swaras in the raga are raga chhaya swaras (important notes), and each of them can be
adorned with gamakas. Alapanas typically start with the panchama or gandhara and
commence with phrases like p m g r s r or g m p m g r s r. One also hears alapanas that
commence with the upper shadja. According to Subbarama Dikshitar, the rishabha and
the gandhara are jiva swaras [4]. However, judging by most compositions
(including varnams) and other improvisational renditions, the nishada is a very prominent
note too, and is often used as a nyasa swara. Thus, in practice, uttaranga
sancharas dominate alapana/neraval.
Singing the raga, by omitting the shadja and/or panchama, gives Kalyani a special flavor.
This can be heard in almost every recording featured. Janta (pair) swara combinations like r
r g g m m d d n n and datu swara prayogas (phrases wherein intermediate notes are skipped
deliberately) like n g” r” n d n r” n d m and g n d m g r are prominent. For example,
the charanam of the varnam vanajakshi in ata talam (recording below) features janta
swara patterns. The third chittai swara features datu swara patterns. Phrases like n d m g
r and g” r” n d m g r which involve orikkai, a variety of gamaka wherein there is a
momentary flick to a higher or lower tone at the end of the principal note (e.g., the former
 270

phrase is really (s”)n (n)d (p)m (m)g (g)r ), also add a special flavor to the raga. Some
characteristic phrases of Kalyani are: r g r n_, d_ n_ d_ g r s n_ d_
n_ r g r s, g m p (m)g- r s
r n_ g r, p m g r s r

Typically, the rishaba is used as a nyasa swara in avarohi sancharas, as seen above. This
should be contrasted with the treatement of the gandhara as a nyasa swara.
r g, s r g, n r g, g m pm g, g m p (m)g
p m g m p, p m n(d) p, p n d p, g n d p,
g n d m g r g m p, s” n d n p
At times the dhaivata is stressed as in p s” (n) d – p m g, g n d – p.
p (n)d n, p (n)d (s”)n, p (n)d (r”)n, n g” r” n.
The approach to the tara stayi shadja is usually through phrases such as:
p d n s”, m p d n s”, (s”)n d s”, g m d n s”, n s” g” r” s”, s” n r” s, s” n g” r” s”.
The gandhara is often oscillated to g(r) or (m)g. The common phrase (pm)g – (m)
(g)r illustrates the different tonal variations of the gandhara. The same is true of
the nishada which assumes different shades depending on its proximity to the dhaivat (e.g., p
(d) n, p (n)d n) or to the tara stayi shadja (e.g., (s”)n, (r”)n). These can be discerned in the
recordings featured below.
The remainder of this article can be divided roughly into four sections. In the first section,
we present the lakshana aspects of the raga as illustrated by padams and varnams. In the
following two sections, lakshya aspects as seen in neraval/swara and alapana/tanam are
presented. In the final section, we provide a brief description of the raga Yamuna Kalyani.
Kalyani is a major raga and is capable of being used in practically any kind of composition
[5]. From the common gitam taught to beginners of Carnatic music – kamalajatala, to
complicated kritis, ragam-tanam-pallavis, padams and javalis, Kalyani occupies a special
place in modern Carnatic music. In a recent exhaustive compilation, Lakshman Ragde [6]
estimates at least 700 compositions (including various musical forms) set to the raga Kalyani.
This status of Kalyani is proof of the tremendous evolution of Carnatic music during the 18th
and 19th centuries.
Venkatamakhi in his Caturdandi Prakasika (ca. 1620 CE) dismissed it as “Turuska”
(Turkish) and considered it unsuitable for three of four musical forms that he described in his
treatise – gita, thaya and prabandha. He did not specify if it was suitable for alapa [7].
Another scale similarly described as turuska corresponds to the raga Todi. In his doctoral
dissertation, Prof. Viswanathan notes that “neither raga seems to have particularly well
known in South India before the seventeenth century, which fact seems to support the
likelihood of Middle-Eastern origins.” [8]
From the above, it appears that the Kalyani scale has its origins in the North. The contours of
the raga Kalyani were shaped by composers like Kshetragna (1600-1680) [9], who
composed over 20 padas in this raga. Remarkably, these were composed within half a
century of Venkatamakhi’s description, and these compositions show how borrowed scales
 271

can be adapted into an evolving musical system. In the first clip, we present Charumati
Ramachandran singing one of the most popular of these padas, iddari sanduna [10].
In her demonstration, Charumathi makes several important observations. The (musical)
format of the padam is suited for sangatis laden with karvais (pauses) and gamakas, rather
than faster paced ornamentation such as the brika. The padam, being a forerunner of
the kriti, influenced the evolution of the kriti. Thus, many of the prayogas heard in this
Kalyani padam can be heard in the clips featuring neraval/swara/alapana/kriti.
Accompanied by M. S. Anantharaman on the violin and Neyveli Narayanan on the
mridangam, Charumathi Ramachandran sings the Kalyani padam iddari sanduna.
Sangeetha Sivakumar provides vocal support.
We move on to the varnam, which is yet another musical form that lays the foundation
for manodharma sangeetha. The first clip features the classic Kalyani varnam in ata tala,
vanajakshi. Pallavi Gopala Iyer, one of the early composers of varnams and a senior
contemporary of the trinity, authored this varnam the late 18th century [11]. As mentioned
earlier, Kalyani can be used with great effect as the first piece in a concert.
Ariyakudi Ramanuja Iyengar [12], who was largely responsible for the present concert
format, used this to his advantage, and often began his performances with this varnam. The
following is an excerpt from a concert commemorating that veteran vocalist’s 75th birthday.
Lalgudi Jayaraman accompanies him on the violin and Umayalpuram Sivaraman plays
the mridangam. A few rounds of brisk swaraprastara follow the varnam.

Another classic varnam in Kalyani, often taught to beginners, is vanajakshiro, in adi tala. It
is said that Pandit Ratanjankar [13] was so impressed with the varnam as a musical form
that he composed a few. One such composition is ganesam vande in Yaman, which was
inspired by the Kalyani varnam vanajakshiro. This varnam was composed by Ariyakudi’s
guru, Ramanathapuram (Poochi) Srinivasa Iyengar.
Keeping within the same musical family, we present K. V. Narayanaswamy singing the adi
tala varna, vanajakshiro. T. N. Krishnan accompanies him on the violin and Palghat
Raghu plays the mridangam in this concert, an excerpt from AIR’s national program of
music.
A more recent varnam is Tiger Varadachariar‘s karunai kadalE. The pallavi and muktayi
swaras are largely centered on gandhara and shadja varja prayogas, as evidenced by this
recording of Vidya Shankar. Mannargudi Easwaran accompanies her on the mridangam.
Before we proceed to the next section on lakshya aspects, we offer two clips from old 78 rpm
recordings as an interlude. The first features a Tamil song, vELai arinthE solluvAi, sung
by Turaiyur Rajagopala Sarma [14].
Listen to the golden voice of Tamil drama, senkOttai singam S. G. Kittappa [15]
singing Thyagaraja‘s amma ravamma.
In this section, we present Kalyani as handled in kritis. All too often, one forgets that the
primary aim of a kriti is to serve as a blueprint for the raga and as a vehicle for raga
 272

delineation. We present two clips where the artistes (M. D. Ramanathan, Madurai Mani
Iyer) turn small kritis of Thyagaraja into a major presentation of the raga Kalyani.
In the first of these two, M. D. Ramanathan (MDR) sings a relatively uncommon kriti,
bhajana seyave. The listener will note that the kriti rendition is a minor part of the complete
presentation. The manodharma of the artiste turns the neraval and swara portions into a
substantial treatment of the raga. Also note how MDR uses the nishada in the beginning of
the charanam (nada pranava) to launch his neraval (around 1:45 into the clip).
A popular kriti of Thyagaraja is vasudevayani from the opera Prahlada Bhakti Vijayam.
Mani Iyer prefaces the kriti with an alapana. The kriti starts at the tara stayi shadja and
proceeds downwards. Accordingly, Mani Iyer structures his alapana the same way. It is
instructive to note how the alapana moves from the uttaranga to the poorvanga portions
(about 5 minutes into the clip).
The kriti vasudevayani followed by neraval and swaram [16].
It is not for nothing that K. V. Narayanaswamy [17] is called
“neraval” Narayanaswamy by the cognoscenti, as this clip shows. Here, he
sings Dikshitar‘s bhajare re chitta and the anupallavi is taken up for neraval. Aspiring
musicians would do well to note the poise and balance in this exposition. The recording is an
excerpt from a live concert.
Sandhyavandanam Srinivasa Rao presents another version of the same kriti in the
following clip. His version is closer to that given in the Sangeeta Sampradaya Pradarshini.
A. Kanyakumari accompanies him on the violin and Mannargudi Easwaran plays the
mridangam in this recording from an AIR concert. Since one of our names features
prominently in this kriti, we had no option but to present it in its entirety.
While Kalyani is capable of leisurely elaborate treatments, as Dikshitar‘s composition
illustrates, it also shines in fast paced songs with rhythmic flourishes – kritis in tisra
nadai, talas with unusual eduppus, etc. This is exemplified in Syama Sastry‘s
masterpieces talli ninnunera and birana vara (whose tune also has an alternate set of
Sanskrit lyrics – himadri suthe).
Tarangambadi Panchanada Iyer followed the same trend in the popular biranabrova ite.
We present D. K. Pattammal and D. K. Jayaraman singing Syama Sastry‘s birana vara,
followed by a rather elaborate swara prastara. The song is set to adi tala in tisra nadai,
which gait is eminently suitable for neraval and swara prastara. This recording is an
excerpt from a live concert in Europe. Anantakrishnan plays the violin and I.
Sivakumar plays the mridangam in this concert.
Thyagaraja has also exploited this potential of Kalyani through songs like rama
nivadu and amma ravamma. We present excerpts of the latter kriti (set to khanda chapu
tala) sung by Ramnad Krishnan. We draw the listener’s attention to his swaraprastara,
particularly the patterns lasting for one avartanam (about 4 minutes into the clip).
We now move on to the next section, which features recordings from expositions of Kalyani
in ragam, tanam and pallavi (RTP). Traditionally, the alapana of a raga in the RTP section
proceeds in three phases. In the first, the artiste presents a quick sketch of the raga. In the
second section, the poorvanga is explored and the final section is devoted to
 273

the uttaranga and the descent to the madhyama stayi. Kalyani, by virtue of its expanse is a
favorite choice for RTP and there are several excellent RTP recordings. We present a few
samples in this section.
In the first clip, T. M. Thyagarajan (TMT) establishes the opening movements of Kalyani.
The second clip features excerpts from an expansive alapana by M. L. Vasanthakumari.
Note some scintillating movements around the nishada (about 8 minutes into the clip).
Tiruvallur Subramaniam accompanies her on the violin.
The alert listener would have recognized some of the phrases in TMT’s alapana appearing in
the tara stayi of MLV’s exposition (10 minutes into the clip). Both artistes had a mutual
respect for the other’s music and were influenced by the music of G. N. Balasubramaniam
(GNB). Kalyani was a favorite of the latter and there are several recordings of his Kalyani
RTP. An elaborate tanam is presented here. First, however, we present the closing
movements of his raga exposition. On the violin, is Nellai Mani. The recording is an excerpt
from a live concert in Kallidaikurichi, and GNB says at the end of the alapana, “…a modest
attempt in the presence of so many periyavAL (guNis) in the audience…” Note the r d
r” prayoga (3:20) as also the movements skipping shadja and the panchama (between 6:45
and 7:10).
GNB uses the gandhara as the nyasa swara extensively in the tanam that follows.
Finally, we present a pallavi sung by Voleti Venkateswarlu in Kalyani.
The pallavi is parama dayakara varasugunalaya sri ramachandra – sita manohara charanu
charanu and a cursory count of the syllables establishes the tala as misra jati
tripuda (11 aksharas or 44 matras). The pallavi is elegantly constructed in decreasing counts
(paramadaya = 6, karavara = 5, suguna = 4, laya = 3, sri = 2) before the aruti (the first half
of the tala cycle) and increasing counts (sita = 4, manohara = 5, charanucharanu = 6) after
the aruti.
Yamuna Kalyani
We conclude this feature with a brief note on Yamuna Kalyani.
The modern version of this raga is akin to Yaman Kalyan of the Hindustani idiom.
Subbarama Dikshitar classifies the raga as bhashanga and desiya. It is a sampoorna raga
and the shuddha madhyama (M) appears in vakra prayogas in the avarohana such as g M
r and g M g r s. A nominal arohana/avarohana, according to Sundaram Iyer [18] is given
by:
 274

Kalyani is the 65th Melakarta raga, equivalent to the Hindustani raganga raga Kalyan [1]. In
the older Venkatamakhi scheme, it was called Santha Kalyani. In the more modern scheme
of Govinda, it is called Mecha Kalyani. It is a sampoorna raga and has a
symmetrical arohana and avarohana using the chatusruti rishabham (r2), antara
gandharam (g3), prati madhyamam (m2), chatusruti dhaivatam (d2) and kakali
nishadam (n3) [2]. As Prof. Sambamoorthy notes, the raga “can be sung at all times, but
the effect is decidedly better when sung in the evening…On account of the presence of tivra
svaras in this raga, it is very useful for being sung at the commencement of concerts. The
requisite musical atmosphere is soon created.” [3] (In Tamil, one would say kaLai kattum.)
All the swaras in the raga are raga chhaya swaras (important notes), and each of them can be
adorned with gamakas. Alapanas typically start with the panchama or gandhara and
commence with phrases like p m g r s r or g m p m g r s r. One also hears alapanas that
commence with the upper shadja. According to Subbarama Dikshitar, the rishabha and
the gandhara are jiva swaras [4]. However, judging by most compositions
(including varnams) and other improvisational renditions, the nishada is a very prominent
 275

note too, and is often used as a nyasa swara. Thus, in practice, uttaranga
sancharas dominate alapana/neraval.
Singing the raga, by omitting the shadja and/or panchama, gives Kalyani a special flavor.
This can be heard in almost every recording featured. Janta (pair) swara combinations like r
r g g m m d d n n and datu swara prayogas (phrases wherein intermediate notes are skipped
deliberately) like n g” r” n d n r” n d m and g n d m g r are prominent. For example,
the charanam of the varnam vanajakshi in ata talam (recording below) features janta
swara patterns. The third chittai swara features datu swara patterns. Phrases like n d m g
r and g” r” n d m g r which involve orikkai, a variety of gamaka wherein there is a
momentary flick to a higher or lower tone at the end of the principal note (e.g., the former
phrase is really (s”)n (n)d (p)m (m)g (g)r ), also add a special flavor to the raga. Some
characteristic phrases of Kalyani are:
r g r n_, d_ n_ d_ g r s n_ d_
n_ r g r s, g m p (m)g- r s
r n_ g r, p m g r s r
Typically, the rishaba is used as a nyasa swara in avarohi sancharas, as seen above. This
should be contrasted with the treatement of the gandhara as a nyasa swara.
r g, s r g, n r g, g m pm g, g m p (m)g
p m g m p, p m n(d) p, p n d p, g n d p,
g n d m g r g m p, s” n d n p
At times the dhaivata is stressed as in p s” (n) d – p m g, g n d – p.
p (n)d n, p (n)d (s”)n, p (n)d (r”)n, n g” r” n.
The approach to the tara stayi shadja is usually through phrases such as:
p d n s”, m p d n s”, (s”)n d s”, g m d n s”, n s” g” r” s”, s” n r” s, s” n g” r” s”.
The gandhara is often oscillated to g(r) or (m)g. The common phrase (pm)g – (m)
(g)r illustrates the different tonal variations of the gandhara. The same is true of
the nishada which assumes different shades depending on its proximity to the dhaivat (e.g., p
(d) n, p (n)d n) or to the tara stayi shadja (e.g., (s”)n, (r”)n). These can be discerned in the
recordings featured below.
The remainder of this article can be divided roughly into four sections. In the first section,
we present the lakshana aspects of the raga as illustrated by padams and varnams. In the
following two sections, lakshya aspects as seen in neraval/swara and alapana/tanam are
presented. In the final section, we provide a brief description of the raga Yamuna Kalyani.
Kalyani is a major raga and is capable of being used in practically any kind of composition
[5]. From the common gitam taught to beginners of Carnatic music – kamalajatala, to
complicated kritis, ragam-tanam-pallavis, padams and javalis, Kalyani occupies a special
place in modern Carnatic music. In a recent exhaustive compilation, Lakshman Ragde [6]
estimates at least 700 compositions (including various musical forms) set to the raga Kalyani.
This status of Kalyani is proof of the tremendous evolution of Carnatic music during the 18th
and 19th centuries.
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Venkatamakhi in his Caturdandi Prakasika (ca. 1620 CE) dismissed it as “Turuska”

(Turkish) and considered it unsuitable for three of four musical forms that he described in his
treatise – gita, thaya and prabandha. He did not specify if it was suitable for alapa [7].
Another scale similarly described as turuska corresponds to the raga Todi. In his doctoral
dissertation, Prof. Viswanathan notes that “neither raga seems to have particularly well
known in South India before the seventeenth century, which fact seems to support the
likelihood of Middle-Eastern origins.” [8]
From the above, it appears that the Kalyani scale has its origins in the North. The contours of
the raga Kalyani were shaped by composers like Kshetragna (1600-1680) [9], who
composed over 20 padas in this raga. Remarkably, these were composed within half a
century of Venkatamakhi’s description, and these compositions show how borrowed scales
can be adapted into an evolving musical system. In the first clip, we present Charumati
Ramachandran singing one of the most popular of these padas, iddari sanduna [10].
In her demonstration, Charumathi makes several important observations. The (musical)
format of the padam is suited for sangatis laden with karvais (pauses) and gamakas, rather
than faster paced ornamentation such as the brika. The padam, being a forerunner of
the kriti, influenced the evolution of the kriti. Thus, many of the prayogas heard in this
Kalyani padam can be heard in the clips featuring neraval/swara/alapana/kriti.
Accompanied by M. S. Anantharaman on the violin and Neyveli Narayanan on the
mridangam, Charumathi Ramachandran sings the Kalyani padam iddari sanduna.
Sangeetha Sivakumar provides vocal support.
We move on to the varnam, which is yet another musical form that lays the foundation
for manodharma sangeetha. The first clip features the classic Kalyani varnam in ata tala,
vanajakshi. Pallavi Gopala Iyer, one of the early composers of varnams and a senior
contemporary of the trinity, authored this varnam the late 18th century [11]. As mentioned
earlier, Kalyani can be used with great effect as the first piece in a concert.
Ariyakudi Ramanuja Iyengar [12], who was largely responsible for the present concert
format, used this to his advantage, and often began his performances with this varnam. The
following is an excerpt from a concert commemorating that veteran vocalist’s 75th birthday.
Lalgudi Jayaraman accompanies him on the violin and Umayalpuram Sivaraman plays
the mridangam. A few rounds of brisk swaraprastara follow the varnam.
Another classic varnam in Kalyani, often taught to beginners, is vanajakshiro, in adi tala. It is said
that Pandit Ratanjankar [13] was so impressed with the varnam as a musical form that he composed
a few. One such composition is ganesam vande in Yaman, which was inspired by the Kalyani varnam
vanajakshiro. This varnam was composed by Ariyakudi’s guru, Ramanathapuram (Poochi) Srinivasa
Iyengar.

Keeping within the same musical family, we present K. V. Narayanaswamy singing the adi
tala varna, vanajakshiro. T. N. Krishnan accompanies him on the violin and Palghat
Raghu plays the mridangam in this concert, an excerpt from AIR’s national program of
music.
A more recent varnam is Tiger Varadachariar‘s karunai kadalE. The pallavi and muktayi
swaras are largely centered on gandhara and shadja varja prayogas, as evidenced by this
recording of Vidya Shankar. Mannargudi Easwaran accompanies her on the mridangam.
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Before we proceed to the next section on lakshya aspects, we offer two clips from old 78 rpm
recordings as an interlude. The first features a Tamil song, vELai arinthE solluvAi, sung
by Turaiyur Rajagopala Sarma [14].
Listen to the golden voice of Tamil drama, senkOttai singam S. G. Kittappa [15]
singing Thyagaraja‘s amma ravamma.
In this section, we present Kalyani as handled in kritis. All too often, one forgets that the
primary aim of a kriti is to serve as a blueprint for the raga and as a vehicle for raga
delineation. We present two clips where the artistes (M. D. Ramanathan, Madurai Mani
Iyer) turn small kritis of Thyagaraja into a major presentation of the raga Kalyani.
In the first of these two, M. D. Ramanathan (MDR) sings a relatively uncommon kriti,
bhajana seyave. The listener will note that the kriti rendition is a minor part of the complete
presentation. The manodharma of the artiste turns the neraval and swara portions into a
substantial treatment of the raga. Also note how MDR uses the nishada in the beginning of
the charanam (nada pranava) to launch his neraval (around 1:45 into the clip).
A popular kriti of Thyagaraja is vasudevayani from the opera Prahlada Bhakti Vijayam.
Mani Iyer prefaces the kriti with an alapana. The kriti starts at the tara stayi shadja and
proceeds downwards. Accordingly, Mani Iyer structures his alapana the same way. It is
instructive to note how the alapana moves from the uttaranga to the poorvanga portions
(about 5 minutes into the clip).
The kriti vasudevayani followed by neraval and swaram [16].
It is not for nothing that K. V. Narayanaswamy [17] is called
“neraval” Narayanaswamy by the cognoscenti, as this clip shows. Here, he
sings Dikshitar‘s bhajare re chitta and the anupallavi is taken up for neraval. Aspiring
musicians would do well to note the poise and balance in this exposition. The recording is an
excerpt from a live concert.
Sandhyavandanam Srinivasa Rao presents another version of the same kriti in the
following clip. His version is closer to that given in the Sangeeta Sampradaya Pradarshini.
A. Kanyakumari accompanies him on the violin and Mannargudi Easwaran plays the
mridangam in this recording from an AIR concert. Since one of our names features
prominently in this kriti, we had no option but to present it in its entirety.
While Kalyani is capable of leisurely elaborate treatments, as Dikshitar‘s composition
illustrates, it also shines in fast paced songs with rhythmic flourishes – kritis in tisra
nadai, talas with unusual eduppus, etc. This is exemplified in Syama Sastry‘s
masterpieces talli ninnunera and birana vara (whose tune also has an alternate set of
Sanskrit lyrics – himadri suthe).
Tarangambadi Panchanada Iyer followed the same trend in the popular biranabrova ite.
We present D. K. Pattammal and D. K. Jayaraman singing Syama Sastry‘s birana vara,
followed by a rather elaborate swara prastara. The song is set to adi tala in tisra nadai,
which gait is eminently suitable for neraval and swara prastara. This recording is an
excerpt from a live concert in Europe. Anantakrishnan plays the violin and I.
Sivakumar plays the mridangam in this concert.
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Thyagaraja has also exploited this potential of Kalyani through songs like rama
nivadu and amma ravamma. We present excerpts of the latter kriti (set to khanda chapu
tala) sung by Ramnad Krishnan. We draw the listener’s attention to his swaraprastara,
particularly the patterns lasting for one avartanam (about 4 minutes into the clip).