Raag Khamaj


Ustad Bismillah KhanKhamaj Raag is not the Ashyrya Raag (premier) of Khamaj thaat as it is not a sampoorn-sampooran Raag. The first Raag of Khamaj Thaat is Jhinjhoti. However, it is a famous and a very sweet Raag. Lots of folk tunes are based on this raag.

Khamaj
Thaat: Khamaj
Jati: Chhadav-Sampooran (6/7)
Vadi: G
Samvadi: N
Vikrit: Both Nishads
Virjit: R in Aroh
Aroh: S G m P D N S*
Avroh: S* n D P m G R S
Time: Night Second Pehar

Raag Khamaj Aroh-Avroh

Although Khamaj Thaat and Raag are based on seventh flat (Komal nishad), there is a common practice in Indian music to use Tivar (Shudh) Nishad with Raags of Khamaj Thaat. Tivar Nishad can also be added to Khamaaj Raag without breaking any rules. Dhaivat is slightly weak in Aroh, the Raag’s main ascending phrase is G, M, P, N. Pancham or Pa is often Vakar (jumped over) in Avroh (D, M, P, M).

Lakshan Geet Raag Khamaj:

Raag Khamaj Lakshan Geet

Here is the same composition in Staff Notation:

Raag Khamaj Lakshan Geet- Staff

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

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Tanki

Tanki
Thaat: Pooravi
Jati: Sampooran-Sampooran (7/7)
Vadi: P
Samvadi: R
Vikrit: R, D komal & M tivar
Virjit: Minimal Use of M in Aroh
Aroh: S r G P, d P N S*
Avroh: S* N d P, M’G, P G r S
Time: Evening

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

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Lalit

 

Lalit
Thaat: Marva
Jati: Chhadav-Chhadav (6/6)
Vadi: M
Samvadi: S
Vikrit: R komal, both Madhyams
Virjit: P/P
Aroh: N.r G m, M’m g, M’D, S*
Avroh: r*N D, M’D, M’m G, r, S
Time: Night Last Pehar

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

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Raag: Ahir Lalit

Ahir Lalit
Thaat: Chakarvak or Ahirbhairav, Bhairav*
Jati: Chhadav-Chhadav (6/6)
Vadi: M
Samvadi: S
Vikrit: R,N komal, M both
Virjit: P/P
Aroh: S r G m D n S*
Avroh: S* n D M’m r S
Time: Morning

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

Sangtar’s music blog:: Raagkosh
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Making Thaats with Tetrachords Part III

0194-trinity.jpg

Making the next 16 Thaats with 8 Tetrachords:
In the last post, we put together our 8 Tetrachords and figured that there are 16 available combinations. That made our first 16 Thaats. Now to make the next 16, we will have to make only one change in each, that is the position of the fourth or Madhyam.
All Thaats in the last post, had a natural Madhyam, now we are going to use Tivar Madhyam or sharp fourth. Here in a simple table, I am going to write each Thaat’s Tivar Madhyam counterpart Thaat right in front of it. I will present all 32 Thaats in a flash movie in the next post:

 
Natural Madhyam Thaat
Vikrat
    Tivar Madhyam Thaat
Vikrat
1. Bilaval
none
to 17.. Kalian
M’
2. Sarsangi
‘d’
to 18. Latangi
M’,'d’
3. Khamaj
‘n’
to 19. Vachaspati
M’,'n’
4. Charukeshi
‘d’, ‘n’
to 20. Rishavpirya
M’,'d’, ‘n’
5. Suryakant
‘r’
to 21. Gamanpirya
M’,'r’
6. Bhairav
‘r’,'d’
to 22. Pooravi
M’,'r’,'d’
7. Chakarvak
‘r’,'n’
to 23. Rampirya
M’,'r’,'n’
8. Bakulabharan
‘r’, ‘d’, ‘n’
to 24. NamNarayani
M’,'r’, ‘d’, ‘n’
9. Gauri Manohari
‘g’
to 25. Dharamvati
M’,'g’
10. Kirvani
‘g’,'d’
to 26. SahinderMadhyam
M’,'g’,'d’
11. Kafi
‘g’,'n’
to 27. Hemvati
M’,'g’,'n’
12. Asavari
‘g’, ‘d’, ‘n’
to 28. ShanMukhPirya
M’,'g’, ‘d’, ‘n’
13. Kokilpirya
‘r’, ‘g’
to 29. Suwarnangi
M’,'r’, ‘g’
14. Dhenuka
‘r’, ‘g’,'d’
to 30. Todi
M’,'r’, ‘g’,'d’
15. Natakpirya
‘r’, ‘g’, ‘n’
to 31. ShadvidhMargani
M’,'r’, ‘g’, ‘n’
16. Bhairavi
‘r’, ‘g’, ‘d’, ‘n’
to 32. Bhavpirya
M’,'r’, ‘g’, ‘d’, ‘n’

Sangtar’s music blog:: Advance Theory
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Making Thaats with Tetrachords Part II

Making The First 16 Thaats with 8 Tetrachords:

In the last post we saw that there are 4 poorvang Tetrachords and 4 Utrang Tetrachords.

By combining the upper and the lower Tetrachords, we can get 16 (4×4) unique scales.

The scale structure will be as shown below:

    Tetrachord Number  
   
Poorvang
Utrang  
Thaat Names
 
 
Vikrat
1. Bilaval  
1
+
1
none
2. Sarsangi  
1
+
2
‘d’
3. Khamaj  
1
+
3
‘n’
4. Charukeshi  
1
+
4
‘d’, ‘n’
5. Suryakant  
2
+
1
‘r’
6. Bhairav  
2
+
2
‘r’,'d’
7. Chakarvak  
2
+
3
‘r’,'n’
8. Bakulabharan  
2
+
4
‘r’, ‘d’, ‘n’
9. Gauri Manohari  
3
+
1
‘g’
10. Kirvani  
3
+
2
‘g’,'d’
11. Kafi  
3
+
3
‘g’,'n’
12. Asavari  
3
+
4
‘g’, ‘d’, ‘n’
13. Kokilpirya  
4
+
1
‘r’, ‘g’
14. Dhenuka  
4
+
2
‘r’, ‘g’,'d’
15. Natakpirya  
4
+
3
‘r’, ‘g’, ‘n’
16. Bhairavi  
4
+
4
‘r’, ‘g’, ‘d’, ‘n’

The scales will look as shown below:

1. Bilaval:

Bilaval is the combination of Bilaval Tetrachords from the both sides (1+1).

1. Bilaval
Bilaval
Bilaval
 
1. S R G m
+1. P D N S*

2. Sarsangi:

Sarsangi is the combination of Bilaval & Sarsangi Tetrachords (1+2).

2. Sarsangi
bilaval
sarsangi
 
1. S R G m
+2. P d N S*

3. Khamaj:

Khamaj is the combination of Bilaval & Khamaj Tetrachords (1+3).

3.. Khamaj
bilaval
khamaj
 
1. S R G m
+3. P D n S*

4. Charukeshi:

Charukeshi is the combination of Bilaval & Charukeshi Tetrachords (1+4).

4. Charukeshi
bilaval
charukeshi
 
1. S R G m
+4. P d n S*

5. Suryakant:

Sutyakant is the combination of Surykant & Bilaval Tetrachords (2+1). Suryakant is also known as Anand Bhairav.

5. Sutyakant
suryakant
Bilaval
 
2. S r G m
+1. P D N S*

6. Bhairav:

Bhairav is the combination of Surykant & Sarsangi Tetrachords (2+2).

6. Bhairav
suryakant
sarsangi
 
2. S r G m
+2. P d N S*

7. Chakarvak:

Chakarvak is the combination of Surykant & Khamaj Tetrachords (2+3). Chakarvak is also known as Ahir Bhairav.

7. Chakarvak
suryakant
khamaj
 
2. S r G m
+3. P D n S*

8. Bakulabharan:

Bakulabharan is the combination of Surykant & Charukeshi Tetrachords (2+4).

8. Bakulabharan
suryakant
charukeshi
 
2. S r G m
+4. P d n S*

9. Gauri Manohari:

Gauri Manohari is the combination of Gauri Manohari & Bilaval Tetrachords (3+1).

9. Gauri Manohari
Gauri Manohari
Bilaval
 
3. S R g m
+1. P D N S*

10. Kirvani:

Kirvani is the combination of Gauri Manohari & Sarsangi Tetrachords (3+2).

10. Kirvani
Gauri Manohari
sarsangi
 
3. S R g m
+2. P d N S*

11. Kafi:

Kafi is the combination of Gauri Manohari & Khamaj Tetrachords (3+3).

11. Kafi
Gauri Manohari
khamaj
 
3. S R g m
+3. P D n S*

12. Asavari:

Asavari is the combination of Gauri Manohari & Charukeshi Tetrachords (3+4).

12. Asavari
Gauri Manohari
 
3. S R g m
+4. P d n S*

13. Kokilpirya:

Kokilpirya is the combination of Kokilpirya & Bilaval Tetrachords (4+1).

13. Kokilpirya
kokilpirya
Bilaval
 
4. S r g m
+1. P D N S*

14. Dhenuka:

Dhenuka is the combination of Kokilpirya & Sarsangi Tetrachords (4+2). Dhenuka is also known as Pilu.

14. Dhenuka
kokilpirya
sarsangi
 
4. S r g m
+2. P d N S*

15. Natakpirya:

Natakpirya is the combination of Kokilpirya & Khamaj Tetrachords (4+3).

15. Natakpirya
kokilpirya
khamaj
 
4. S r g m
+3. P D n S*

16. Bhairavi:

Bhairavi is the combination of Kokilpirya & Charukeshi Tetrachords (4+4).

16. Bhairavi
kokilpirya
charukeshi
 
4. S r g m
+4. P d n S*

Please note that all these Thaats have ‘Komal Madhyam’. Which is also know as Natural Fourth or Shudh Madhyam.
Making the rest of the 16 Thaats is easy now. Just change the Madhyam to Tivar in all the above. We will talk about those in the next post.

Sangtar’s music blog:: Advance Theory
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