raag khamaj bhajan

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. Shubha Mudgal adapts an old thumri tune to a modern orchestral arrangement in her rustic, full-throated babul jiya mora ghabaraye. Ginde presents a vilambit composition of his guru, S.N. 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” The Carnatic music equivalent of the Khamaj Thaat is Harikambhoji, the 28th Melakarta raga. Khamaj (IAST: Khamāj) is a Hindustani classical raga within the Khamaj thaat which is … Her thumri in Mishra Tilang is interesting for its liberal use of the dhaivat. The amount of material available in Khamaj is forbiddingly large but our gauge limits admission to purveyors of the highest quality. 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. 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. Yet a few compositions in Dhrupad and Khayal are found as well. Even a cursory analysis of the eigenvalues of Panditji’s personality matrix betrays not a sliver of bong influence or trait. Omkarnath Thakur, deft and delicate: nanadiya kaise neera bharo. Muthukumar, Ram Naidu and M.V. More typical are sadra, dhamar, hori, dadra, thumris, khayalnuma and tarana. It is scarcely practicable to list the myriad variations attending the Khamaj praxis. 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. Notice how the avarohi movement drops M and embraces P-G in the second instance. The andolan of n is a point of note. That is, a quick twirl of the type R”S”NS” or S”R”NS”. The tonal strips of the raganga outlined above direct the raga’s conduct. The parent-scale or Thaat of Khamaj, notated in sargam notation, has the following structure: Sa Re Ga Ma Pa Dha Ni Sa. [S”] denotes a khaTkA on the tAra shaDaj. To the casual ear this uncommon raga will sound no different than Khambavati. There is no shuddha nishad and the development devolves into hairsplitting with Khambavati. On the heels of Kesarbai, Mallikarjun Mansur holds his own with the same bandish. 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 following chalan captures Gavati’s essence: G M P (S”)n S” (P)D, P, D M P G M R n’ S However, the latter’s key G M->S marker is absent in Champak. S, G M P D n D, [S”] n D, M P D-M-G One instinctively senses a higher musical force at work here. A vivadi komal gandhar is casually dropped at 1:47 into the clip: aaye Shyam mose khelana holi. The madhyam is skipped in arohi sangatis thus provoking a chhaya of Kalavati. This Khamaj affiliate draws on both Khamaj and Jhinjhoti for its genetic blueprint. small). A Rajasthani wedding song of the Manganiars carries the germ. The attack on the komal nishad here is pronounced and suggestive of Shukla Bilawal (also a Khamaj-infected prakar of Bilawal). A sample uttaranga-bound foray. Lata brings a keen maternal instinct and love to flower in this flawless take. Another poorab-anga thumri, this time of a different design, in madhya-laya Teentala: jina chhuvo mori baiyyan. Even the most exacting, fastidious palate ought to be sated by our selection. The conception, execution and resolution of her tans as they take flight, soar and eventually swoop back into the orbit of the tala make for a awe-inspiring spectacle. Here we shall content ourselves by depositing a few key phrases. Omkarnath Thakur‘s version takes a different turn. Even in the avarohana, the Re is durbal (weak). Vazebuwa‘s take on the same composition. Ratanjankar: chaunka puravo. From AMAR PREM (1971): bada natkhat hai re. 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. First, the song from YEH GULISTAN HUMARA (1972). We ring down the curtain on Khamaj with a delectable thumri rendition by Siddheswari Devi: tumse lagi preeta, sanwariya. It is a shadav-sampurna rag due to the ommission of the Re in the arohana. Also notice the beautiful chhaya of Raga Nand introduced around 0:15 into the clip: deejyo mori navranga chunari. Watch out for the caress of the tar saptaka komal gandhar at 3:27 into the clip. 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. 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. This raga has been explored more in the lighter forms of Hindustani Classical Music such as Thumri, Tappa etc. We join in the climactic moments of the recital: aba na bajavo Shyam. 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. Kishore Kumar‘s voice, Rabby’s bongspeak: bidhir bandhon. The rishab is verboten in textbook Tilang but it is common practice to deploy it in the tara saptak. 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. In general, they do not figure in elaborate khayal or dhrupad settings and it is in this sense only that they are deemed “kshudra” (lit. We respect your privacy and take protecting it seriously. Many ghazals and thumris are based on Khamaj. Undoubtedly its method of using Nishad is one of its most defining characteristics; it is shuddha (i.e., natural 7th) in the arohana but it is komal (i.e., minor 7th) in the avarohana. On the harmonium is yours truly, tabla support is provided by Pranesh Khan. 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. Many ghazals and thumris are based on Khamaj. The druta bandish in this BGAK recording (para na payo) is cited in Ramrang’s essay. These were Jha-sahab’s own compositions. S, G M P D N [S”] n D, G M P DG M G, R S Yet a few compositions in Dhrupad and Khayal are found as well. True to form, the lifelong maverick Ramkrishnabuwa Vaze deals Khamaj in a brisk Ektala composition: piya nahin aaye. Burman while developing this tune. Most of the remaining Khamaj derivatives addressed below have a somewhat localized compass, their performance limited to specific gharanas or performers. Kesarbai Kerkar‘s hori reveals her consummate command of voice, its modulations and phirat. Shravanam. 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 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. It also explains why non-Indians (Westerners in particular) find themselves at sea upon first encountering Indian music. Devotion, beauty and the opulence of love are the basis of Raga Khamaj. The gandhar in the poorvanga and dhaivat in the uttaranga are the dominant swaras. The richly gifted Sureshbabu Mane (1902-1953) inherited his yen for thumri from his great father Abdul Karim Khan. G P D, P D, D P M G, R M G The vadi is Ga and the samvadi is Ni. 1. Tilang’s highlights are summarized below: G M P n P M G, S The ennobling sentiments expressed and the tune dovetail beautifully: Vaishnava jana to. The rishab is varjit in arohi sangatis. The gandhar assumed a nyasa bahutva role but only in the avarohi direction. Keep your ears tuned for the G M->S signature. 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. In recent times this raga has come under the exclusive dominion of the Dagar clan. The raganga kernel is encapsulated in the following tonal clusters: In the Indian musical traditions, the swaras cannot be viewed as isolated tonal units. Throughout the discussion, M = shuddha madhyam and m = teevra madhyam. Rabby was an extraordinary individual, a man possessed of transcendent intellect. Jhinjhoti’s warm, incandescent personality has earned for itself a permanent slot in the hearts of Indians. Subscribe to our mailing list and get interesting stuff and updates to your email inbox. Khamaj is meant to be a complete surrender to the ultimate through the beauty of its melody. They seduce us through the many subsidiary forms such as thumri, tappa, dadra, bhajan, geet and so on. Each of these tonal groups is a candidate for an uttaranga launch. Many ghazals and thumris are based on Khamaj. R.D. While his appreciation of music was deep his musical talents were rather pedestrian if Robindra Shongeet is anything to go by. Note that this Bheem is not the same as that of the Kafi that. The project was her brainchild to begin with, and she continues to sustain it. Rag Khammaj has a clear musical structure. From SHARMILEE (1971), Kishore‘s sardonic kaise kahen hum. This brings us to the end of our excursion. In Western terms, assuming the tonic (Sa) to be at C, the scale would be: C D E F G A B-flat C. Khamaj thaat is thus equivalent to the mixolydian mode in Western classical music. 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. The Maihar statement from its distinguished representative, Ravi Shankar. S” D n P D M P G M->S 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). Vilambit khayal compositions in Khamaj are uncommon. Khamaj (Devanagari ख़मज Arabic: کھماج‎) is one of the ten Thaats (parent scales) of Hindustani music. The andolita n and Jhinjhoti prayogas cut a familiar story. Note that Daraspiya’s composition is now co-opted to this version. Ramana. Narayanrao Vyas presents a composition of his brother Shankarrao: chalo ri aaja. In Dhrupad, Sadra, Khayal, Thumri & Tappa styles : The Narsinh Bhajan "Vaishnav jan to" is also based on Khamaj. Kishore Kumar, and behind him Satyajit Ray. Raga Gara may be explicitly invoked through a graha bhedam (murchhana) by translating the original tonic to the pancham. It utilises the shuddha (pure) form of Ni on the ascent, and the komala (flat) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance. The key phrases are: S, R n’, D’ P’, P’D’ P’D’ M’, P’ N’, N’ S. K.G. This raga figures prominently in the mythos surrounding Tansen. 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. For perspectives on Khamaj-related ragas from the Carnatic tradition, see From the Carnatic Gallery. 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. The distillate of the raga is represented in the following tonal sentence: Jhinjhoti is best expressed in the mandra and madhya saptak.

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