26 September, 2011

RAAG KHAMAJ



RAAG: KHAMAJ / KHAMMAJ / KHAMAAJ
RAAG PARICHAY / DESCRIPTION:
Thaat 
Ashray raag of Khamaj thaat; it is not the Janak (premier) Raag of Khamaj thaat as it is not a sampoorn-sampooran raag (like Jhinjhoti which uses the same notes as the thaat & can be said to be the janak raag). So it is just a janya raag of khamaj thaat. 
Svaras
Both Nishad - Shuddh N in Aaroha and komal n in Avroha.
Vajra or Vivaadi Svaras (Enemy or Forbidden Notes): R in Aaroh. In Avroha too, R is weak or a karn svar.
Rest all are Shuddha Svaras.
Jaati
Shadhav-Sampurna
Aaroh
S - G m P D N S'
Avroh
S’ n D P m G R S
S' n D m P m G R G S - ,N S G m P 
Vaadi
G
Samvaadi
N
Pakad / Mukhya-Ang
G m P D - G m G - P S' N S' - n D p - m P m G - sR S
G m P D n D P D m G
Drone
S - P
Mishra Raag
Light music compositions usually in mishra khamaj, i.e you may see usage of other svaras / raagas in compositions for beauty.
Special Svar Usage / Khaas Prayog
·         D-M together important & commonly used.
·         In Taar saptak, P D S’ R’ G’ S’ commonly used.

Vishranti Sthan
S m P - S' P G
Ashtaang Pradhaanta
Poorvaang Pradhaan

Samay / Time
(6 PM - 9 PM) : 1st Prahar of the Night : Ratri ka Pratham Prahar for thumris, 2nd prahar otherwise.
Ras
·         Because svaras don’t have Deergh / sthaayi uchaaran, it is usually of Chanchal pravriti.
·         This Raag is an ideal melodic format for both types of Shringar viz Vibralambh (Separation) and Uttan (Union) Shringar.
Relationship with Carnatic Music
·         In south, it is known as "khamas" or "khamach" – moves in vakra gati.
·         It resembles Hindusthani "khamaj" very closely.
·         Harikambhoji [Tamil: ஹரிகாம்போஜி, Sanskrit: हरिकाम्भोजि, Telugu:  హరికాంభోజి) (ri gu ma dhi ni)] is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the Janyam of 28thMelakarta rāgam (parent scale) in the 72 melakarta rāgam system.
·         Aroha/Avaroha of Khamas are -- sa ma ga ma pa dha ni Sa --- Sa ni dha pa ma ga ri sa.
·         In Aroha, sometimes Kakali Ni is used.
·         The examples given are:
Sitapate (Tyagaraja), Broceva (Mysore vasudevachariart). 
·         In the Asmapurna school of Dikshitar, it is a sampurna sampurna raga with no
vakra sanvcharam. The example given is "enta ninne delpu". ? Subbarama Dikshitar.
Raag Vistaar
·         S G M P, G m P, G m P D m G – R S
·         S G m P, D m G, G m P D n D P, D m G R S
·         G m, G m P, m P D, P D n D P, G m P D N – S’ (N) S’ (S’) n D P, D m G, G m P m, G (R) S
·         N S G m P - P D - mP m G s - G m P D N S' - N S' s P - P D P S' S' n D - P - DP mP DP mG m - P m G R - G S 
·         S G m P - G m P D - P n D P - PD Pn DP m G - mP Gm G R G S - S' R'S'S's n D P - mP mm G R G - S - ,N ,D S 
Lakshan geet
Raag Khamaaj LakshanaGeet - राग खमाज - लक्षणगीत  - राग खमाज- लक्षणगीत
ताल - त्रिताल
खमाज रागिनी गावत सब जन 
शुद्ध सकल सूर द्वय निषाद गन
बहुत लेत रिषभ आरोहन || अंतरा || 
-नी नृप मंत्री जनको संमत 
रस शृंगार सुखद मन भावत
चाल चलत चंचल गंभीरन || ||

Taal - Tritaal
Khamaaj Raagini Gaavat Saba Jana
Shuddha Sakal Sur Dvaya Nishaad Gana
Bahut Na Let Rishabh Aarohan || Antaraa ||
Ga-Ni Nrupa Mantri Janako Sammat
Rasa Shrungaar Sukhad Mana Bhaavat
Chaala Chalat Chanchal Gambhiran || 1 ||
Lessons
·         Raag Khamaj  EXCELLENT LESSON
·         'Basic Level' exercises
Common Usage
·         One of the most commonly used raagas in Indian music. 
·         Although used in classical styles, its romantic character makes it much more appropriate to the semi-classical and lighter styles. Vilambit & Bada Khayaals not common.
·         Can play Maseetkhaani Gats in it.
·         Thumris, Tappas, Daadraas are commonly composed in this Raag.
·         The mood is light and enthralling but not sedate, & is well brought out, decorated with diverse Thumri styles of Punjab, Lucknow & Banaras. 
NOTATIONS
·         Sargam Geet   
Similar Raagas
·         If m excluded, raag khamaj becomes raag Janasamohini
·         If m changed to M, raag khamaj becomes raag Vacaspati
·         If r used instead of R, raag khamaj becomes Carnatic Ramapriya

Related Raagas
·         KHAMAJ BILAVAL
·         YAMANI KHAMAJ
·         AHIR KHAMAJ
·         MANJ KHAMAAJ:
Pakad of Manj Khamaj raag is: SGMPNS SnDPmPMGRS (m = tivra Ma) i.e. omitting the Re. HOWEVER, According to the 74 Raga Guide Manj Khamaj is:
SRGPM, GMPDnD, PDNS, SnDPM, GRGPM, GRS
This raises the question whether there are two variations/schools of thought on this.
The Raga Guide suggests Ma "functions as a secondary tonic", but in fact there is not much evidence for Ma being a pivotal note. Maybe it is one of those things where Manj Khamaj is already a deviation from Khamaj so there is license to roam a bit from the constraints of Khamaj.


Mostly, it is agreed that both Khamaj & Manjh Khamaj are very similar, their CHALAN is also the same, even some of the Bandishes of both Raagas are same – the only difference is that in Manjh Khamaj, we halt more on M e.g. Like G m P D n D P m G m R G m.... d n S G m P G m R G m....
Manj Khamaj recordings:
·         ALI Ahmad Hussain shehnai 13 minutes IAM1061 
·         Bhatt VM/Ronu Majumdar/Tarun Bhattacharya 10 D4HI0548
·         Daya Shankar shehnai 16 SWM053
·         Gurtu Shobha vocal 12 SVCCD051
·         Hariprasad Chaurasia flute, Five cds; 11 D4HI0585 - 13 PSLP5085 - 15 A92082 - 16
·         Jasraj vocal 15 SVCDC069
·         Nikhil Banerjee sitar Ali Akbar Khan sarod 22 minutes AMMP9405
·         Ravi Shankar sitar 24 minutes PSLP5676 - 29 ED103122 and 22 bgo117
·         Ravi Shankar with Andre Previn, sitar concerto, 16 CD769121 2 
·         Reena Shrivastava sitar and Rajeeb Chakrabarty sarod 12 NICI087 
·         Shamim Ahmad sitar 11 NR093
·         Shubhendra Rao sitar and Partha Sarothy sarod 33 SWM020
·         Shujaat Khan sitar 13 IAM1029
·         Shyamal Nath sarod 28 SCD715
·         Subroto Roy Chowdhury sitar 27 IAM1059
Relationship with Western Classical Scale
G mode Myxolydian
COMPOSITIONS:
Hindi Film Songs

1.       Aa dil se dil mila le – Navrang
2.       Aayo kahan se ghanashyam - Buddha Mil Gaya
3.       Ab Ke Saawan Ghar Aaja
4.       Ab kya misal dun
5.       Akhiyo ko – Bobby
6.       Ang ang dole mera
7.       Ayo kahanse ghanashyam - Buddha Mil Gaya
8.       Bada natkhat hai...ka kare yashoda maiya - Amar Prem
9.       Bahut Suna Hai Naath
10.   Bata do sakhi kaun gali gayo shyam
11.   Chaand Akela Jaaye
12.   Chain se humko kabhi
13.   Chha Gaye Baadal
14.   Chhavi Dikhla Jaa
15.   Chori Chori Chupke Chupke
16.   Chunariya katati jae
17.   Deewana Mastana Hua Dil
18.   Dhal chuki shame Gam - Kohinoor 
19.   Dheere Dheere Machal
20.   Din dhal jaye
21.   Ek Chatur Naar – Padosan 
22.   Gauri Gauri Chaand ke
23.   Hamari Kahi Maano
24.   Hum Apna Unhen Bana
25.            Jaane kaise sapano me kho gayi akhiyan – Anuradha (Manj khamaj)
26.   Jaao Re Jogi
27.   Jeevan Daata
28.   Jogan Ban Aayi Hoon
29.  Kaanha kanha aan padi re tere dwar – Aman (Manj khamaj)
30.   Kaahe Manwa Naache
31.   Kaanaha Raadha Hui
32.   Kaanha Kaanha
33.            Kaisey dina beetey kaise biti ratiyan piya jane na -  ANURADHA (Manj Khamaj) - Very Very Melodious Composition, Created By Acarya Ustaad Baba Allauddin Khan Saheb.
34.   Kanha Main To
35.   Khanak Gayo Haay
36.   Khat likha de savariyake nam babu
37.   Kuchh to log kahenge - Amar Prem
38.   Kya se kya ho gaya – guide
39.   Laage Unki Suratiya
40.   Mai Ri Mai To Madhuvan Me
41.   Mai Zindagi Ka Saath
42.   Mere to giridhara gopala - Meera
43.   Mora Gora Ang – Bandini
45.   Nain lad jayee hain – ganga jamuna
46.   Naina Dhoondhe Tohe Shyam
47.   Najar laagi raja tore bungle par - Kaala Pani
48.   O Milan – Tohfa
49.   O sajna, barkha bahara ayi - Parakh
50.   Raat Naujawan Jhoomta
51.   Saajh Savere
52.   Sham dhale jamuna kinare - Pushpanjali
53.   Soch Ke Ye Gagan
54.   Sudh Bisar Gai
55.   Suman Samaan
56.   Tere bina sajna lage na jiya hamar - Aarti
57.   Tere Mere Milan Ki Yeh Raina - Abhimaan. S P P D P m G, S P P D P G m, P S' S' R' S' n D, m D D n D P m,  S P P D P m G, S P P D P m G. S'....... DPmG P S' D... n.....DPm- D P.
58.   Tere naina talash kare jise – Talaash (?chhayanat Mishra Khamaj ?)
59.   Tora Man Badav
60.   Tore Naina Laagev
61.   Tumhi Mere Sab Kuchh
62.   Vaishnav jan to - Narsinh Mehta Bhajan - Lata Mangeshkar singing Vaishnava Jan To, and here are the lyrics and translation.
63.   Vo na aenge palatkar - Devdaas
64.  Ye Tanhaai Haye Re
Non-Film Ghazals
Non-Film Bhajans

Classical compositions: Vocal

Classical compositions:
Instrumental

Miscellaneous
(other languages)
RESOURCES / WEBSITES:

 NOTE: please refer to document “Notations / Swar Mapping” for abbreviations used for svaras / notations.

1 comment:

violin lessons said...

so ragas is one of the best thing therefore it used to most one of the best commonly in a classical music but used in romantic style