Arya Bhattacherjee

My mother used to hum tunes to make me fall asleep. I still remember some of those tunes. Haunting melodies. Later on I discovered, many of those were actually compositions by some of the pioneers of Indian Classical music. Our home in Calcutta has an atmosphere of music. I still remember the 74 rpm LP records, wistful renderings from the giants of Indian Classical music, which were kept well out of my reach. Nevertheless, we listened to them, and tried to emulate them with the help of a music teacher who used to come on Sundays. In Bengal, my home state, culture invariably seeps into our day-to-day life. It happens naturally, as, by convention, every Bengali child gets into learning some form or other of dominant cultural expressions. Music, theatre, dance, poetry, storytelling, painting, sculpture name it and you have it. I was no exception. My childhood spent in Calcutta has stayed with me. Always. It is still my guiding spirit. Today I am a software businessman, settled abroad. In the course of my travels across the world, I have come across a variety of cultural experiences. These experiences have re-affirmed my confidence in Indian Classical Music as the greatest possible rejuvenator of life. The compassionate faith healer of torn, bruised emotions acquired out of everyday trials and tribulations. Indian Classical music catches you unaware, forces you to look beyond everyday life, reminds you of your roots, your human self. Indian Classical Music teaches the art of living. At times, when lonely, the need to share my most intimate memories emerged . I felt that, maybe, my experiences were not isolated. There must be others who thought similarly. People who depend on the many moods

PREFA PREFACE

of Indian Classical music to guide them through the serpentine by-lanes of livelihood. My profession as a software businessman made me settle down in America. I have seen my children grow up without any inkling of what they do not have. They need to know their culture if they are to understand their roots. I felt that something definitely needs to be done for them, and countless others like them. No, I cant give them what I have had. Yes, I can share with them my passion, my emotions; I can at least try to give them what they deserve. The first attempt was to introduce them with Indian Classical music with available options. Before long I realized that this is somewhat impossible. They may have the inclination, but they do not have the time to enjoy hour-long renditions. Life has become much faster. I realized that Indian Classical Music could be represented in a way that could be easily accepted and enjoyed by the maturing face of globalisation. Khayal was the evident choice the most popular and flexible form of Classical music rendition in India. They had to be presented in a concise form without interfering with their mood and content. It was a difficult task, but, if achieved, would open up a new gateway for a generation that wants to be acquainted with it, but do not have the time. I am not a musician, but a music lover. Yet, I took the liberty of personally selecting the bandishes for this presentation from the rich repertoire of Indian classical music. I also gathered enough courage to approach the two most accomplished vocalists of our times, and explained the idea to them. It was fortunate that they agreed to be part of the experiment.

PREAMBLE

The most popular mode of rendition in Indian Classical Music

The Birth of Khayal

The most widely accepted variety of Hindusthani Classical Khay Khay Music today is called Khay al. Over the past fifty years, Khay al has steadily gained popularity in comparison with Dhrupad, a form with simple grandeur and lack of embellishments. Khay al, Khay with its flexibility and ability to incor porate musical ornamentations, has effectively regaled the new listeners of Indian Classical Music, the middle and upper middle class.

Khay from? Where did Khay al come from?

Popular myth attributes the birth of khayal to Amir Khusrau the Khusrau, statesman poet of the court of Alauddin Khilji in the 13th century. Alauddin This has been disproved by a number of musicologists headed by Thakur Jaidev Singh an outstanding scholar of Philosophy Jaidev Singh, and the theory of music. According to him, the birth of khayal took place many centuries ago. I maintain, he writes, that the so called khayal style of musical composition is nothing but only a natural development of Sadharan geeti, which used the exquisite features of all the styles... There is definite proof that such styles of musical compositions have been in existence in Indian music at least from the 7th or 8th century A.D.

Myths and Reality

The Sadharani style

Music for the uncommon common man

The sadharani style of composition with generous and plentiful use of gamaks became our khyal composition. Khyal expolited all the famous features (ornamentations) without bothering about their names - khatka, murki, meend, kamp, andolan - everything was beautifully woven into its structure

The results are with you.

Our belief is that Khayal was born out of a marriage between, Sadharani geeti (songs sung by ordinar y people) and Qawali(songs of devotion addressing the almighty, once again meant for the common man). Qawali is a form of religious song in chorus, prospered in the hands of the muslim sufis.

get enjoy music Lets not get into endless debates, just enjoy the music
But no one knows about the earlier forms of khayal. The present day musicologist is more interested in music as a performing art, rather than the dry pages of musical history, much of which is speculation. There was no system of notation till the middle of the 19th century. The modern musicologist is inclined to take this view that khayal , in its present form, owes its existence to the later day Moghuls as well as the Nawabs of Oudh. Roughly speaking khayal, as it is sung today, is no more than 300 yrs. old.

Yet, lots of questions remain

When Amir Khusrau in the 13th century heard the ornate style or rupak alapti full of so many embellishments, he could not think of obsignating this music of creative imagination better than the word khyal. ... It was neither imported from Arabia nor from Persia. ... Neither Amir Khusrau invented it nor did Sultan Sharqi, King of Jaunpur (15th century) though each of them lent a hand in its development. (Commemorative volume of Dr S.N. Ratanjhankar Ratanjhankar) Commemorative volume

by may have Amir Khushru, impressed by it, may have just named it
Among other musicologists who support this theory is Rajyeshwar Mitra, also a scholar of Sanskrit and Persian. He goes on to write in his Bengali book Moghul Bharater Sang eet Chinta (The Sangeet Chinta Moghul Musical Thoughts of Moghul India) Amir Khusrau was not a great admirer of Hindsthani music. He was the son of a Turkish father, and his mother belonged to Hindusthan and his desire to import Persian music was to demigrate the music of Hindusthan, in the court of Alauddin Khilji. ... The ragas, which he created, show an attempt to blend Persian tunes with Hindusthani ones. These could not have been of a high order, because they have not stood the test of the time. Qaul and Qawali prospered because of their poetic quality. However, there is no doubt, that he had tried to liberate the traditional Hindusthani music shackled by the shastrakars and grammarians and showed a new path which in the hands of the muslim sufis developed into a form of considerable aesthetic appeal.

The Debate continues

Marriag Qawali Marriag e between Sadharani Geeti and Qawali

Khayal includes the manifestation of many forms

A few things emerge from my own research, as well as that of several historians and musicologists.

fe chang hanges scale, J ust a few chang es in the scale, here and there

Karnatic Music, the base is the same

Birth of the ragas

foundations The foundations of Indian Classical Music

The Ragas in Hindusthani music, like the different genres i.e. (dhrupad, khayal and thumri) are born out of Indian Folk Music Music. To quote Prof. D.P. Mukherji The historical fact about our classical music is that, it was never above incorporating the folk, the regional, even non Indian types. Dhrupad, which is reported to have been sung before Akbar the Great (1556-1605) and which Great Akbar is so high browed, that nobody now-a-days listens to it. It was in a sense the Agra-Gwalior style, just as hori dhamar belonged to Mathura. Bengal gave bangal bhairav , Sindh sindhu, Surat surat, Gujrat gurjari todi, Bihar bihari, Multan multani, Jaunpur jaunpuri todi, the hills pahari, just as Turkey gave turask todi . Such features are nothing special to Indian music. They are mentioned because many people in India think that our ragas and raginis (female species) emanated from Gods and Rishis (sages of the past)

In Karnatic music of South India, they still have the old Kafi scale (starting from middle C minor third and minor seventh), while North and Western India have switched over at some period in the past, possibly with the advent of Christian Missionaries, to the tempered scale of major and minor notes as in Europe. In the South, most ragas owe their existence to either skipping one or two notes in their scale or by changing one major note to minor. Major ragas in Karnatic music , though under different names, are common to those in North and Western India.

Ragas The basis of our Ragas

Murchhana, the core

In my opinion, the basis of our ragas is murchhana or modulation, i.e. the change of key. The features of the ragas stopped changing since we adopted the tempered scale. Ragas described before Samrat Akbars reign and before the advent of muslim rule, do not remotely resemble the present ones, though they carry the same name. Musicians over the centuries have created new ragas and are still going on creating.

Culture, republished by (Modern Indian Culture , 2nd edition 1942, republished by Rupa and Co under the title Indian Culture - a sociological study study 2002)

folk Raga The folk base of the Raga System

Spontaneous musical expressions derived from nature

There is a folk tune prevalent in the Himalayan mountains, which deal with four major notes, only Ga, Re, Sa, Dha, out of which we have Bhupali, Pahari and Deshkar, all of them use the pentatonic scale of Sa-Re-Ga-Pa-Dha with different movements. Out of this, again we have got Shudh Kalyan and Jait Kalyan . By changing the key we get Malkauns, Durga, Dhani, Megh and even Marwa, though the last named raga consists of six notes. This Pentatonic scale, some musicologists believe is the oldest. This is found in China as well. Whether we got it from them, or exported it along with Buddhism - is a matter of speculation.

4
!

His son Ghulam Nabi was equally famous. He spent a number of years in Punjab among the camel riders, and imbibed their regional style of singing, listening to their wedding songs. The sophisticated version of this style, which abounds in complicated zigzag fast taans (voice meanderings) is now known as tappa. S h o r i M i y a n alias Ghulam Nabi became famous all over ya n S Hindusthan with Tappa.

Intimately history Intimately related to our socio-political history

Khayal in its present form and the birth of the Gharanas

Several successors to the throne came and went during the dark days of the Moghul Empire between 1707, the death of the bigot emperor A u r a n g z e b and the accession to the throne of ze Muhammad Shah Rang eele in 1721, responsible for losing his Rangeele peacock throne to Nadir Shah.

composers today The composers of the most popular bandishes of today

Rangelee Rang elee was a great patron of music and had two famous musicians N i y amat Khan and F i r oz Khan who composed yamat roz bandishes, the main song, under the pen names of Sadarang and Adarang These are sung by all Gharanas to this day. They Adarang. learnt Sanskrit and Brijbhasha (a dialect, prevalent in Mathura and Vrindavan, where L o rd Krishna was born and spent his rd childhood and various incidents attributed to him form the themes Shah, of most khayals and dhamars ) from Azam Shah one of the princes, khayal from a noted qawal singer named Tattar dance attar, from professional natuas, in order to master the rhythmic patterns of the percussion instruments. A lot of Sadarangs dhrupads were converted into khayals by his followers. But no one knows the Gayaki (style of singing) of these brothers.

Sadarang and Adarang

Born out of the Gwalior Style of Rendition Gulam Rasools disciple, son-in-law Shakkar Khan together with his brother Makkhan Khan known as the qawal bachchas were Khan, responsible for exporting this gayaki (style of rendering khayal) to Gwalior. Makkhan Khans son Naththan Peerbaksh became Peerbaksh the guru (teacher) of the Maharaja of Gwalior. Daulat Rao Scindhia, while Shakkar Khans son Bade Muhammad Khan became the court musician of the comparatively smaller native state of Rewa, known to the world for its white tigers. Between them they made their Gwalior Gayaki popular enough to attract pupils from different parts of the country, and thus different Schools Khay Gharanas or Schools of Khay al were born out of Gwalior, e.g. Agra, Kirana, Jaipur, Patiala etc. From Shishy From the G u r u (master) to the Shishy a (disciple )
Each of these gharanas bears distinctive features and has produced great Ustads, whose styles have been imitated by their disciples. Thus the gharana system perpetuated until recently, till the abolition of native states, whose patronage was an invaluable asset for the propagation of classical music. This, along with the advent of the Radio, Television, Tape recorders, easier communication facilities and music festivals has endangered it. Agra gharana was known for its greatest ustad Faiyaz Khan aiyaz Khan, Kirana for Abdul Karim Khan Abdul Waheed and Amir Khan Khan, Khan, Patiala for Bade Gulam Ali Khan etc. The tendency today, is to evolve a synthetic gayaki, consisting of different styles, which may or may not have been properly digested. Also compositions known as bandishes, zealously being guarded hitherto by different gharanas, have become public property.

Khayal Gharanas of today

Living Traditions

Many musicians Luckno know music Many musicians migrated to Lucknow as music was banned in Delhi and Agra
A parallel stream of khayal gayaki was developed in the courts of Nawab Nawab Shuja-ud-daula (1756-75) and his son Asaf-ud-Daula of Lucknow, where quite a few musicians had migrated during Aurangzebs reign, when music was banned in his court and also in Delhi, his capital. The most famous Ustad to whom this style is attributed was Ghulam Rasool Rasool.

The Lucknow School of Khayal Gayaki

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4
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Nissar Hussain Khan died in Calcutta (Kolkata), a few years back, when he was approaching his nineties. He was an Ustad of considerable standing, who developed a style which had bits and pieces of all that was good in Gwalior and Agra, what he called a Guldast (a bunch of assorted flowers). Rashid khan owes his entire training to his Guru Ustd. Nissar Hussain Khan.

gro The origin and the gro wth

Sahaswan/Rampur Gharana and Ustd. Rashid Khan

groundskeeping Breaking fresh groundskeeping the Gharana alive

Rashid khan, who started his life as a child prodigy, has developed into a brilliant musician and is today, one of the top vocalists of the Indian Classical Music world. His voice production and application of notes have an intoxicating quality. His taans are his strongest points. The clarity, in spite of the breathtaking speed of the taans, which cascade like a fountain is remarkable. His innate musical sense makes one feel, that he is a natural musician, and sings with the ease of a swan taking to water. Not being content with what he has inherited from his Ustad, Rashid Khan has added a Kirana like vistar to his gayaki. There is nothing wrong with this. No Ustad, worth his mettle, follows his guru blindly throughout his life. His style is bound to change, if he is sensitive and is susceptible to the good points of other gharanas and with the growth of his own musical personality. What Rashid Khan Sings today, however, is vastly different from Sahaswan Gharana. the Gwalior Gayaki of the founder of the Sahaswan Gharana As such, purists may not agree to call it a gharana, but The Great Sahaswan Sahaswan / Rampur Dynasty.

Rashid, the young genius

Gharana names normally comes from the names of places: generally the places where the founders lived or came from. The Rampur-Sahaswan Khayal Gharana, as it is quite apparent, gets its name from two places.
First, Rampur (in Uttar Pradesh) which was a major centre of North-Indian classical music from the region of its fifth nawab, Nawab Yusuf Ali (1940-1868). This line of nawabs was of Afghan origin. The second, Sahaswan is a village in the Badaun district of the same state in which most of the Gharanas famous musicians, including Rashid Khan, were born. It is near Rampur.

Gay Bringing in a note of freshness into the Gwalior Gay aki

This gharana is traced to Enay et Hussain Khan, a noted vocalist Enay of the late 19th and early 20th century, who learnt khayal from Bahadur Hussain Khan of Rampur, and got married to the daughter of the legendary Haddu Khan of Gwalior. He was a Haddu brilliant composer and a famous exponent of the Gwalior Gayaki. Ustd. Nissar Hussain Khan was Enayet Hussians son in law, but also learnt from his grandfather Haider Khan and father Fida Khan. Hussain Khan While spending his formative years in Baroda (now Vadodara), Nissar Hussain Khan allowed his gayaki to be influenced by the Agra Gharana style, largely because of the dominating presence of Ustd. Faiyaz Khan, the court musician of Maharaja of Baroda.

Masters of the Gharana

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11

USTAD RASHID KHAN

Biography of

USTAD RASHID KHAN

he great grandson of the legendary Ustd. Inay at Inay Saheb, Hussain Khan Saheb the founder of the Rampur Sahaswan Sahas wan Gharana, Rashid Khan was born at Badaun, a small town in the state of Uttar Pradesh in India.

Biography of

. Molded by Discipline, nurtured with No looking back, since the age of 11

care

The Formative Years

Learning from Nature
Rashid has faint memories of the town of Badaun and its surroundings where he spent his early days. The river which flows by the town was a witness to the number of hours Rashid spent by its side singing the mazhars of Bade Sarkar and Chote Sarkar. Whenever Sarkar. Rashid visits his home town, he still pays his respects to this cemetery where his parents and young brother have also been laid to rest. Rashid had little or no interest in music initially. His talents were first noticed by his uncle Ustd. Ghulam Mustafa Khan, another great exponent of Hindusthani Classical music, on hearing his occasional humming. Rashid studied in Mumbai for about a year after which he came back to his hometown. His tutelage started under his illustrious granduncle and guru, the late Ustd. Nissar Hussain Khan. He nurtured the latent potential of Rashid all along his training in the traditional oneto-one manner, first at his own residence at Badaun, Sangeet Researc Academy and subsequently at the Sangeet Researc h Academ in Kolkata

Ustd. Nissar Hussain Khan was a strict disciplinarian, and the long and arduous training under this guru made Rashid Khan a perfect exponent of the RampurSahaswan Gharana, which owes its allegiance to the Senia traditions and has an impressive lineage of classical vocalists like the great Ustads Bahadur Hussain Khan, Enayat Hussain Khan, Fida Hussain Khan, Mushtaq Hussain Khan and Nissar Hussain Khan. Rashid gave his first performance at the age of eleven, in 1977. In 1979, he performed at the ITC Sangeet Sammelan at New Delhi. He has not looked back since, and his growing popularity is reflected in his increasing participation in all well-known music conferences in India and extensive tours across the world.

Amalgamation of styles
Respect for tradition, esteem for modern tastes
Rashid Khan has included the slow elaboration in his vilambit khayals in the manner of his maternal uncle and also developed exceptional expertise in the use of sargams and sargam taankari. He has also included

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USTAD RASHID KHAN

Nawabs and Maharajas and their courtiers who were their pr ime audience found these aspects more interesting and did not bother about emotional appeal. Khayal to them was classical art song and emotional appeal was not an important requisite for this type of music.

Biography of

USTAD RASHID KHAN

the slower tempo vilambit in his style. He is also extremely adept in producing all the other techniques and characteristic features of the Rampur Sahaswan style. His taankari is as powerful and variegated as any of his predecessors and, in fact, among the best in the nation at the moment. The brilliant Enayat Hussain drut and medium pace khayals ring as true in his voice as they have done down the ages. He is also a master of the tarana like his guru but sings them in his own manner, preferring the khayal style rather than the instrumental stroke-based style for which Nissar Hussain was famous. There is no imitiation of instrumental tone in them either. His vocal prowess is in the best tradition of the Rampur Sahaswan Gharana. His mastery of all aspects - tonal variations, dynamics and timbre adjustment leave very little to be desired in the realm of voice culture.

Biography of

But after independence and especially in the second half of the 20th century, classical music, including the most popular vocal forms of khayal, and thumri, was patronised by audiences coming from the middle and upper-middle class segments of the society. The modern listener thus tended to find Mushtaq Hussain or even Nissar Hussain rather dry for their taste. As a result these singers were not as popular as certain contemporaries who infused emotions into the khayal.

Rejuvenation of the Gharana

Single handedly, he included new modes to maintain the tradition of excellence
With the entry of Rashid Khan the tables have been turned and the spontaneous emotional appeal of his manner of singing, be it is the melodic elaboration or in the upper octave pukars, have won him enthusiastic listeners and followers throughout the globe.

The emotional content

By then, the audience of music has changed

A notable achievement of Rashid Khan is the infusion of an emotional content into his melodic elaboration. This was generally considered to be lacking in the styles of the older exponents. The older ustads, being essentially court singers, put the emphasis on polished technique, skillful execution of difficult passages and the ability to astound with their musicianship. The

now person There is now at least one person in sight who is for vocal music, an assurance for the future of Indian vocal music, said Pdt. Bhimsen Joshi, a few years ago, reflecting on the concern of connoisseurs of Hindustani vocal music about whether its tradition of excellence would continue.
Indian Classical Music has indeed maintained its tradition of excellence- with Ustad Rashid Khan, the young maestro, one of the leading torch-bearers.

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NOTATION INDEX
1. North Indian Classical Music (Hindustani Classical Music) have seven (7) Natural Notes (Shuddha Swar). Like Saraj=Sa, Rishav=Re, Gandhar=Ga, Madhyam=Ma, Pancham=Pa, Dhaivat=Dha & Nishad=Ni. We have Five(5) Flat Notes or Komal Swar. Like Re, Ga, Dha, Ni & Tivra Madhyam/Sharp Note (Ma). Komal Swars like Re, Ga, Dha, Ni are the immediate half a note lower than the Natural Notes, and only the Tivra Madhyam is just half a note higher than the Natural Note i.e. Shuddha Madhyam. Signs of our Komal Swars are : Re Ga Dha Ni and only for Tivra Madhyam, it is M. We can identify our lower octave (Mandra Saptak) notes with the Dot, Sign () Under the Swar. eg. Ni, Dha, Pa, Ma...... Higher Octave (Taan Saptak) is denoted by the Dot sign above the Swar. i.e. Sa, Re, Ga, Ma .................... In Notations, the notes are denoted in short forms as : Sa = S, Re = R, = D, Ni = N 7. Ga = G, Ma = M, Pa = P, Dha

8.

If there is more than one segment in a note (Matra), it is bounded by the sign below the cluster. A singles segment has no such sign. eg. GG GMP GMP GM GM D D P To show the recurrence of a word of Composition (Bandish) the Sign oo is used only for the English Notation. eg. Wordings. Tu ma Ka he ko. GM PN OO MP OO NS , ma , SN Ka S OO NN he PP ko

9.

2.

Tu

10. Taal (Tala) - is a number of beats coming in a rotation, which is repeated throughout the song. It may be of 8, 12, 16 etc. beats. We have three(3) Signs in any Tala. A. The Som or the first beat or the starting point of any tala is shown by the Sign X. The return of a passage with the uniformity of taal, back to the beginning phrase (mukhda) is denoted by . B. The Off-Beat of the Tala is shown by the O Sign. C.The other beats of the Tala are shown by the sign of 2, 3, 4, 5, numbers. eg. Teentaal - Taal of (16 beats) 1 Dha X Som 9 Na 10 Teen 11 Teen 2 Dhin 3 Dhin 4 Dha 2 2nd Beat 12 Ta 3 3rd Beat 13 Ta 14 Dhin 15 Dhin 5 Dha 6 Dhin 7 Dhin 8 Dha O Off-Beat or Phank 16 Dha

3.

4.

5.

6.

The Sign of (Meend) or the glide is shown by - eg. G M, M G, G M, MM P P, R, G S. D,

D P.

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11.

For Ragas the following terms to be noted : a) b) c) d) e) f) g) h) Arohi : The recital of raga. ascending notes during the

USTD. RASHID KHAN USTD. Renditions

Raga & Duration
1. Bilas Khani Todi 2. To d i
(15.53) (15.41)

Bandish
a) Kahey Karata Mosey b) Jaa Jaa Re Jaa Kankariya a) Langara Kankariya Naiya b) Aba Mori Naiya Piya a) Piya Sanga Khelun Gyan a) Guru Bina Gyan aliya a) Pay aliya Jhankaar Rahey b) Khush Rahey Sanam a) Aliri Albeli a) Karma Kara Dije Jiyara b) Nadaan Jiyara a) Jhanana Jhanana Garajey a) Garaje y Ghata Ghana Gagana Garajey b) Ga gana Garajey a) Laagi Lagana

Abarohi : The descending notes. Vadi - The most important note of a particular raga. Samavadi - The second important note. Main Phrase - The essential combination notes of a raga whic brings out its anatomical picture. Taan - The behaviouristic movements of a raga in vowels at a fast tempo. Thhat - The eight categories to which all the Hindusthani ragas belong. Laya - The speed or the tempo of song in four divisible categories as below the

3. Basant 4. Marwa Puriya 5. Puriya Dhaneshree Bihag 6. Biha g 7. Desh

(10.17) (15.19)

(14.13) (10.30) (15.42)

i) Alaap - The slow exposition of a raga in a composition without any taal or rhythmic beat - elaboratively. ii) Vilambit or Dhima - Very slow speed or tempo. iii) Madhyalaya - Medium slow speed. Medium to very high speed -

Chhay 8. Chhay anat 9. Megh

(10.13) (15.21)

iv) Drut progresively.

10.Hansadhwani (10.33)

In Order of Performance

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Bilas Khani Raga Todi

Raga Bilas Khani Todi

Taal : Teentaal (Vilambit)
Kaahey karata mosey jhagraa pritama pyarey Kara Enayat mopey sajani Morey piya ko samjhawey Why do you quarrel with me - my beloved? says the damsel. Oh! Lord, have mercy on me and make my lover understand says Enayat (the poet).

Melanch ly (The Hymn of Melanc h o l y )

Bilas Khani Todi - is attributed to Bilas Khan, the favourite son of Miyan Tansen, who passed away at a young age. Tansen was heart broken and while he was chanting the hymn in Miyan-kiTodi at the obsequies of his son, he used Shuddha Ma instead of Tivra Ma by mistake in the composition, which improvised to a new form of Raga Todi. Tansen offered it to his disciples as a new raga and named it after his son as Bilas Khani Todi. Like all Todi, it is sung in the sandhi-kshan, i.e. at the time of the arrival of dawn from night. Although, it is a category of raga todi, yet because of the use of Shuddha Ma, this raga converts from the thhat Todi to the thhat Bhairavee.

0
S S oo S o G

3
R DD DS

SR

kaa hey ka o ra o ta o
S R GP P P

G oo P

G oo P oo

G oo P oo

G R RG

GR

mo oo
P

se o ojha ga
D oo

raa oo
R

pri
G

oo ta o oo

ma

PM G R R G oo oo

pya oo

oo rey

G oo

P oo R

ka
D oo

ra

E
R oo

S
na

S
oo

DS R G

G GR ND

D GR

ya
D oo

ta
MG

mo

oo pey oo R

oo saja nio R S RG

oo mo rey

RN

R R GM G

pi

ya

koo oo sa oo ma jha

oo wey oo

Raga

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Raga Bilas Khani Todi

Taal : Teentaal (drut)
Jaa jaarey ja, wo khagwa i t n o s a n d e s h m o re y k a h i o j a a re y. Jo aaye pritama dwaar naina bichhaoon magawa Oh! dear bird, please convey this message to my beloved when he comes. My eyes would be dwelling on the path, awaiting his arrival, cries the loving maiden.

0
RS ga M oo S wa G rey S Jaa D

3
R oo D

GP jaa S no

P oo S oo

P rey R san

ND jaa G de

D oo P sh

D oo D mo

D oo S rey

PM oo R ka

M oo G hi

GR wo R o

R oo N oo

MG ka D jaa

S ye D S oo D S oo M oo R pri G oo R ta R o N oo G ma N N D D ar S oo G nai G oo

G Jo R na

M aa R oo

D oo N bi

ma dwa oo M GR R

GR RG no oo

chha oo

ga wao oo

Raga

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Bilas RagaKhani Todi

1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : D 4 a.m. Samavadi : to 7 a.m. G (arrival of dawn) D. 4. 5. Main Phrase : S, R G P D N D, M G R G R S. RG RG GR S R G M G, S N D P,

Thhat : Bhairavi
C. DS

RG PD

ND

DS RN DM RG

RG NN MM GR

MR DD MG

GR RG DM MM

GR GG RR

ND DN ND GR RR GR RN ND

P D N S. M G R S.

D M G,

N D DS SR R R GR NN ND DD R G PD N D MG

GG GR

DS

R G RS

PD N D R R G G RG RG GR ND N D N D MG RG RG

PP ND PP PM

DD DN PD

ND ND DN

DS MG ND

SR RG ND

R G GM PD N D

G R GP SR

Exmamples of a Few Taans : A. SR RG GP PD DN ND N D MG ND RG MG GR RG RS. PD ND DN N D N D MG G R

MG R G G R G N

N D MG R G N D

G R R G RS

B.

SR SR

R R G G GP GR ND DN

PD ND DM

NN ND GR

N D DM MG

MG

GR PD

SN

DS

R G PD

R G PP

ND RG ND ND

MG R G G R R N

R G RS.

24

25

Raga

Todi Raga
(The Morning Glory )

Raga Todi
(Madhy alay Taal : Teentaal (Madhy alay a & Drut)
Langara kankariya ji na maaro morey angawa lagjaaye Suno pawe mori saas nanadiya daur daur ghar aawey You wicked urchin, dont you dare throw gravel at me says the young bride. I will get hurt. If my mother & sister-in-laws find out, they will come running to take me back home.

Todi - is a well known morning raga. It is a comparatively recent raga in the sense there is no mention of it in ancient scriptures. Some musicologists think, that it is derived from Bhairavi, an even more well known morning raga. In Karanatic Music the northern Bhairavi is their Todi. There are several kinds of Todi e,g, Deshi Todi, Bahaduri Todi, Gurjari Todi, Chhaya Todi, Barati Todi, Hussaini Todi, Jaunpuri Todi, Ashavari Todi etc. What Rashid Khan sings here is Miyan-kiTodi or Shuddha Todi, which, by some people has been credited to Miyan Tansen, the premier musician in the court of the Moghul emperor Akbar the Great.

3
R Lan G oo M lan G ga R M ra S

D ka

D oo SR

D oo GM

D ka D oo

D ri D oo

P ye D oo

P oo D la

P oo D ga

P ji

P na

MP maa MD oo

PM oo NR oo

GR roo ND yeo

mo rey G ga M ra

ND D D jao oo

anga wao

M Su S sa DS

D na G u SN oo

M pa G ra DN oo

G oo G da DM oo

M we R u D we

DM

oo moo ri G ra M lan

S ao RG oo

S sa RG oo

S na RS oo

N na NN oo

R di DN oo

S ya DN oo

S oo SR oo

D da SR oo

R gha G ga

S ra M ra

Raga

ao

26

27

Todi Raga
Taal : Teentaal (Drut)
A b a m o r i n a i y a p a a r, k a ro re y Hazarat, Nizamuddin Aulia Dukha daridra saba door karana hara Ta a n r a s K h a n k i l i o k h a b a r i a g a t a sautana ke lara laraiya Oh! Lord Nizamuddin take my rocking boat to the bank of the river. Save your devotee Tanras Khan (the composer) from sorrow, poverty and miseries o f life.

0
S A S ba R za R mo G ra R ri M ta G oo M Ni

3
R nai D za R oo S oo

S ya N mud

D r M na

N ka R Au

D ro G oo

M oo R li

G rey R oo

R oo S a

S Ha

paa oo M di D oo

M da N sa S sau

D rid S kha N ta

D ra S oo S na

M sa S n N ke

D ba S ki D oo

Du kha D na G ga

S S doo oo R li

S ra R o

S ka S kha

S ra N ba

R na S ri DP yao

S ha N a MG oo

S ra D oo RS oo

N taa

N ra R ta

G oo

DN R G RS lao oo dao

NR SN lao raio

Raga

28 29

Todi Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. 4. Time of Recital : Main Phrase : Also 5. D 6 a.m. S N R G, RGMG, Samavadi : to 10 a.m. M D, N S,

Thhat : Todi
C. R G R G R S DN DN DP R G R G RS

DN DS

DR DG GR PM PM

S S

R N

G D

M P,

D M

P, D

D M

N G,

S. R G R S.

SN DS ND SN MD ND SN SD

SR

R G G R SN

NN

ND D D ND DP

ND SN

SR

R G G R SN

DS

ND ND

PR G R R G MG R G RS. G D. R G MG RS DN

SN

DP

MD SR

ND

S N D, P M D M G M R G, M R G R S.

R S.

MG MD MD MD ND SN

R R GG

SN

SR

GR RG

GM MG ND

RR SN

MDP,

SN ND ND DM DM MG MG SR GM DP MD DP RG PR MR

G R G R RS

Examples of a Few Taans : A. DN SR G R G G R G R S R G R G R G R G MG

G R R G MR G R SS.

MD ND PM DM DP MR G R SS.

B. MG R G MG R G RS ND

SN

ND PM

MD DN

NS

SR

R G MD ND ND ND DN

ND

PM DM DS

DP

MG

R G MD GR RG

ND SN RS R G R G G R SN MR G R SS.

ND

PM DM

30

31

Raga

Basant Raga
Festival) (The Spring & colour Festiv al)
Basant, is the name of the season spring. As such it is meant to be sung only in spring, though there is no taboo for this raga to be sung in midnight in any other season except monsoon. Basant, which is the season when flowers bloom and also coincides with the festival of colours known as Holi in Northern & Western India. By adding one extra note, the shuddha ma to raga Puriya Dhaneshree, which has also been rendered in this series by Ustd. Rashid Khan. Raga Basant, which has a different movement, assumes a totally different complexion. The exposition of this raga favours the uttaranga or the upper portion of the octave.

Raga Basant
Taal : Teentaal (Drut)
Piya sanga khelun hori eri mai barana basant, ke basata pihara phulabana ke harawa gunda gunda darugi gara harawa It is Holi, the festival of colours. I am playing with coloured powders with my beloved.It is Spring, I am plucking flowers from the garden to make garland for him says the pretty woman.

0
S Pi

3
N ya D san P oo P ga

P khe

P oo

P oo

P oo

MG

MD NS

S oo

S oo

S oo

D e

R ri

N ma

S i

oo luno hoo oo

ri

D ba

N ra

S na

R ba

S san

N ta

DP keo

M oo

M ba

D sa

N ta

MG pio

R ha

N ra

R phu

N la

DM

M oo

GMD GM keoo oo

G ha

R ra

S wa

M da

M oo

M da

bao na

oo gun

da gun oo

M ru

S gi

N ga

D ra

N ha

D ra

MN

S oo

Raga

oo

oo

wao oo

32

33

Basant Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. M Samavadi : N S R

Thhat : Poorvi
D. GM MD G R S MD MG RS PM

GM ND PM

MG ND GM

RS PM SM

GG DP GN

GN DM NN

NN PG DD

GG MG PP

GN NR MM

NN MG GG

DR RN GM

SN SN MG

G N

M D

D P,

R MG,

S M

DP RS

Time of Recital : End of spring season, midnight.

4. 5.

Main Phrase :

M D N S N D P,

G, M

G R S, S

M G N D P.

Examples of a Few Taans : A. SG SM MG MG MD RN

SN

DP

MG

GM

MG

RS

B.

MG ND

MD ND

NS

DR

SN

SG

GM MG

MG

RS RS

NR

SN

DS

PM

DP

DM

PG

MG

C.

SN

DR

SN

SM GN MG

MM ND RS

MG PM

ND DP

SN PM

RS PG

GM MG

NM MM

GR GR

SN SN

RN ND

SN MG

34

35

Raga

Marwa Raga
(Tune of the Dusk) (Tune
Marwa, is a popular raga to be sung at dusk, it suggests the feeling of apathy towards worldly interests, what is known in our language as Vairagya. It should be noted that the shruti of Komal re or minor second is slightly higher than the Komal re used in Raga Todi. It is a remarkable feature of Indian music that two ragas Puriya & Marwa use the same notes but sounds different because of different emphasis and different combination of notes. The use of D with N is emphasised more in Marwa, whereas N with R is stressed in Puriya. Both are sung at the same time in the early evening.

Raga Marwa
Taal : Teentaal (Drut)
Guru bina gyaan nahi pawey mana murakha soch soch aba kaahey pachhtawey. Sat guru ki sangat karey gunijana mey guni kahawey No knowledge can be gained without the Guru (Teacher). Why should the stupid mind waste its time in fruitless thinking. If one accompanies and follows a great guru (satguru), he will gain the true wisdom and will be recognised as a wise person in the company of a learned.

0
R S S Gu S oo N

3
S ru S oo D

S bi D

N oo M

R na M

NR

GM oo M

DN hio D

DM oo S so

R pa S oo

gya oo D

oo S kha M oo

n S oo M oo

nao M pa

oo wey S ch GR

ma NR kao

na GM oo

mu DM oo

S oo D

ra D

so M

ch

ba

DMM GR

GM DM oo

hey oo

chh taoo oo

oo wey

Raga

contd..........

36

37

Marwa Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : D Samavadi : to 6 p.m. R N S

Thhat : Poorvi
D, N G D R S. S. DM MG MG RN

E.

DN DS

RN

DD

MD

ND RN ND DS

MM SD MD DM

DN ND NM MG

RN MD NM GR

DD DM DD RS

R, N

G D,

M M

NR

RG MG GR GR DN

D, M

MN

3 p.m.

4. 5.

Main Phrase :

D D M G R, N D S.

Examples of a Few Taans : A. B. C.

DN MD RR RN

RG ND GM

MD DM MD DM DM MD MD DN ND SN

GR GR DM ND

ND NM GR DM DN MG RN

SN ND ND MG RG GR ND

RS SS SN RS RN ND

ND

D.

MD DN ND

NM MD DM

RN DM

NM ND DM MG

GR

SS

38

39

Raga

Puria Dhaneshree Raga

(Evening Concert)
Puria Dhaneshree, yet another popular soft raga which captures the mood of the solitariness of missing ones beloved, being broken hearted. The speciality in the origin of this raga is that Puria and Dhaneshree are two independent ragas, but strangely Puria Dhaneshree is not the unison of these two ragas. It resembles simile with raga puria but not with dhaneshree at all. It is a sandhi-prakash raga, where dusk deepens into evening.

Raga Puria Dhaneshree

(Madhy alay Taal : Teentaal (Madhy alay a)
Payaliya jhankaar mori Jhanana jhanana baajey jhankari P i y a s a m j h a o o n s a m a j h t a n a h i saas nanada mori degi gaari She says shingalingaling - my anklet bells ring. I am afraid, if my in-laws finds out they shall be angry and cross with me. My beloved doesnt understand my plight.

0
P Pa M ya G li

3
M ya D oo N jha D na

DN kaa

N oo

N oo

N oo

D oo

P r

P mo

P ri

M jha

D na

M na

G jha

M na

MR

G oo

nao baa

GG R R jey oo

RG oo

MD oo

M jha

G na

G ka

R oo

S ri

M Pi

M ya

G sa

DM

M oo

ND no

D oo

ma jhao

S sa

S ma

S jha

N ta

R na

S oo

S hi

S oo

D saa

N oo

R sa

GR

R da

S mo

nao na

ri

DN oo

RN oo

DP gi

M gaa

G oo

M ri

R oo

G oo

Raga

de

40

41

Raga Puria Dhaneshree

Taal : Ektaal (12 Beats - Drut)
Khush rahey sanam mora jaa jaarey hamre taraf ek nazar dhyan dharey. Bless my beloved to be happy my Lord. Hope he spares a glance for me, whenever he comes my way, says the loving virgin.

Raga Puria Dhaneshree

Taal : Ektaal (12 Beats - Drut)
Allah dia man Ali Fateh Ali Khan we miyan pyar lagadi tori aanbaan sur ki taan gaye dara fira She has dedicated herself to him through her music, says Ali Fateh Ali Khan (the poet) to Allah, praying for their welfare.

0
M khu

2
G sh M ra

0
M hey D sa

3
N nam N oo

4
D mo

X
M Al

0
M D D a S

2
S n

0
S A

3
S li

4
S teh

S Fa

S A

S li

lah di

ma

N ra

N oo

D oo

P oo

M jaa

R oo

G re

R oo

S oo

S oo

S n

N we

N oo

D mi

N yan

N oo

D oo

P oo

P oo

P oo

oo jaa

Kha oo

S re

S ta

S ra

S f

R e

G oo

R k

S na

S za

S r

P pya

P r

G la

R ga

G di

G oo

G oo

R to

G ri

M aa

D oo

D oo

ha m

M n

D oo

M khu

G sh

N nam

D mo

D oo

M na

G baa

G oo

R na

R oo

S su

R ki

S taa

S oo

S n

dhya o

dha re

rahey sa

G ga

M ye

D da

N ra

D fi

P ra

Raga

42

43

Puria Dhaneshree Raga

1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : P Samavadi : 7 p.m. R N R

Thhat : Poorvi
S. D. GM ND RM SN MM

R N

G D

M P,

P,

P, RG,

M RS.

MG, MG

ND RN GG

NR

ND GG SN

PM RR DN

MP SN RG MG

MM NS MP GG

GR RN ND RR

MR NN PM RS

GG ND MM NN

MM DD GG RS

D D NN PP PM

NR RR

4 p.m. to

R R MM GG

D D DP

PP

MM

4. 5.

Main Phrase :

N R G M P, D M

G, M

G R S.

Examples of a Few Taans : A. NR

GM

PM

DM

PG

MR

GR

SN

RN

RS.

B.

NR

GR RM SN

GM RG RS.

PM GN

DP ND

DM ND

DP PM

ND DM

ND PG

PM MG

PP MR

MP

GM GR

C.

GM MP ND PR

GM GM SN MR

RG DM NR GR

RG DP GM SN

MP ND MG RS.

MP NR RS

GM GR NR

GM NR SN

DN RN ND

DN ND DP

PD ND PM

MD DP MG

44

45

Raga

Raga Bihag
ch (Soft To u c h )
Bihag - is a very popular soft tempered raga. There is no mention of this raga in old Sanskrit books. Two varieties of Bihag are current. One with tivra ma and the other with shuddha ma. The phrase P M G M G can be sung without M. This is a scintilating late evening raga gradually moving towards night. Bihag belongs to Bilawal thhat which generally covers the morning ragas, whereas the use of tivra ma in Bihag with its sombreness it captures the mood of an evening raga.

Raga Bihag
(Madhy alay Taal : Teentaal (Madhy alay a & Drut)
Aliri albeli sundara naar pyarey pyarey jiya ko lubhaye Look at the beautiful village maiden alabeli who steals my heart, says the young lover.

0
G oo S ar GM oo G oo S oo G ye G A GM

3
M oo RG P li GM on G pya N ri DP dao M rey S oo M ra M oo

R a G na P ji

R oo G oo N ya

N be G oo S

D oo RS oo GR

N oo S oo S

DP lio S oo S

P oo S oo N oo

GM oo SR oo DP oo

la G oo S

suo oo N

pya rey

ko

oo

luo

bha

oo

Raga

Contd.........

46

47

Raga Bihag
(Madhy alay Taal : Teentaal (Madhy alay a & Drut)
Aai kara shringara galey haar dar ayso chhabili naar chaal chalata achaka lachaka sabkey man tarpaye Adorned with necklace, pretty as a picture, she came out dressed beautifully. The heart of the viewer jingle with joy watching her gait as she walks along elegantly.

2
N r N cha RS oo

0
G Aa G ay P ka NR yeo

3
N N S

M i M so N la SN oo

P ka P

S oo GR oo S

S ra S ar M oo

NR

ra shrin gaa D M li P sa G o G na N ba

gao ley S cha G ma

ND

P r G la GM pao

NS dao M ta PN oo

N oo P a SG oo

N ao R na

haa oo S la S ta

chha bi S cha DP oo

M cha N ra

ka GM oo

key

Raga

48

49

Bihag Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : G Samavadi : to 1 a.m. D. 4. 5. Main Phrase : N S G M P, M P,

Thhat : Bilawal
C. GR PN R S PS NS SN DP NN SS ND DN SG GM DP SG ND MP MG GG PM PN RS MM DM NS GR PM PG GM SN GM MG GR DP GR GR SN MG NS RS DM RS NS GR SN SN PG PN MG

M M P,

S N D P,

G M G,

RS

7 p.m.

G, S N, S.

Examples of a Few Taans : A. PN SG RN SN PN SG MP DM PG MG RS NS

NS SG GG RS RS

NN GM MG NS NS

NS MP RS GM PS

NS PN NS PN

GG NS SN SG

RS NN PN MG

NS ND NP RN

GG DP MP SN

RS PP PM DP

GG RS MM MG GM MG DM PG

RN MM PG MG

NS GG MG MG

B.

NS

GM SG MG MG

SG RN RS

MP SP

MP GM

ND PS

ND NG

PM RS

DP RN

PM MP NS SN

GM PG DM PG

Raga

50

51

Desh Raga
(The Motherland)
Desh raga, according to Pdt. Bhatkhande belongs to the Khambaj thhat is comparatively a recent raga derived from folk music. It is sung during the monsoon as well as in the Holi, the festival of colours. There is, however, nothing to prevent it from being sung in other seasons. Desh also means motherland, so it has a vast coverage of area which relates to motherland; its beauty, bounty and benevolence. Hence its popularity. This raga is equally popular in other streams of Hindusthani Music also, like dadra, chaity, festive songs, geet, patriotic songs and light music as well.

Raga Desh
(Madhy alay Taal : Teentaal (Madhy alay a)
Karma kara dije karadije khwaja Mainuddin ke mai jaoon balihaari re Tum ho data pirana ke peer baliyana ke taj Enayat ki sharam rakhiyo Oh! Khwaja Moinuddin, the saint of saints, please do your deeds and save me. You are Oh! my saviour, and the crown of heroes, please protect me. - says the poor Enayet Khan (the poet).

0
M oo P oo M re GR jeo P oo GR oo M Ka N khwa P ja

3
S ra N ja P oo R ma N Moi P n M ka S oo P ba

P ra S nu P li

N di

N oo

N oo RS oo PM oo

N oo R o M oo

S je SN nao MP oo

P oo N oo ND oo

P ka PM keo N oo

D ra M oo PD rio

PM dio D mai P oo

NS NS ddio PD hao oo D oo

M Tu S oo P E

R ma NS

M ho

P oo

N da N ta

N ta D oo

N pi P oo

N ra P j

N na P oo

N ke P oo

pe P oo

er P oo

S oo P na

S oo P yat

S oo P ki

PP bali

S M RS oo P oo

yana keo D

PD PDN

PD P M GR rakhi yoo oo

shara maoo oo

Raga

52

53

Raga Desh
Taal : Teentaal (Drut)
Nadaan jiyara gum gayo rey gum gayo gum gayo gum gayo rey Main sotithi apne mahal mey ek chor chori kar gayo rey My innocent heart is stolen. While I was sleeping in my palace, a thief came and robbed it says the beautiful princess.

2
P oo DP rey N Na P oo DP oo P oo

0
D o N gu PM daa N m M oo N ga

3
GR M nao N yo ji N gu GR yao S

SN

S oo S yo

rao N ga

R gu N gu

R m SM

M ga RS

M yo N yo

P rey N oo

moo gao

N so N cho

N oo N r

N oo S

N ti S

N oo S ri

N thi S oo

Main oo N a S ka

N pa R ra

S ne SN gao

P ma N yo

N ha DP reyo

S l P oo

MR mey

R oo

N e

N k

cho

oo

Raga

54

55

Desh Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : R 5 p.m. Samavadi : to 12 m.n.

Thhat : Khambaj
C. P N SR GR MG RG SR DP PP M M MG GG RR

S R M P N S. S N D P M G,

NS RG SN MG

RN S N SR DP NS

DP RM NS SS.

R G S.

P N SR GR P M GR SR RM GR RG GR S N DP

MP

RG S N

4. 5.

Main Phrase :

S R G S ,

R M G R ,

N S R N D P ,

M G

R G S.

Examples of a Few Taans : A. P N SR GS RM P N DP

MG

RG RS

NS.

B. RM P N DP DP RG SR N S PD P N SR GS.

MG RG RP DP MG MG

MG M P RG GR

NS SN

56

57

Raga

Chhayanat Raga
(The Dancing Shado w) Shadow)
Chhayanat - is a beautiful raga sung during the late nights. It is also mentioned in Sangeet Parijat one of the early Sanskrit texts, though the scale at that time was different. Starting from middle C, it had a minor third and a minor seventh notes, whereas today, the North Indian music has the same tempered scale as in European music. The beautiful and slightly unusual composition is accredited to Ustd. Enayat Hussain Khan, the founder of the Sahaswan/Rampur Gharana, to which Ustd. Rashid Khan belongs. This raga has close simile with the Raga Jay Jaiwanti

Raga Chhayanat
Taal : Teentaal (Madhyalaya & Drut)
Jhanana jhanana jhana nana nana nana nana baajey bichhuwa baajey piya se milan ko chali jaat apne mandar so naar. Puja karneko nikasi ghar so albeli naar chamakey piya Enayet baar baar. The anklet bells of the village belle are ringing, when she is going to meet her beloved in the sacred place. As she comes out of her house, for going to the temple, the heart of Enayet (the poet) is moved by her grace.

X
P

2
P

0
S na N

3
GR R MG GR G M na R oo PD ao R oo DP P na S jey P pa S r P nao na R oo DN jao R oo S gha MG

S jha M oo MG

S na R jey GP

S jha R

S na S

GR

Jha M

na M

na G oo SM seo G oo P ja P be

nao nao na nao P P G oo S oo MR oo S

M oo S oo R oo R oo P ra

baa oo S pi M ne SP

bi chhu wa P na M ra S ne G oo

baa oo P DN

oo P ta N

S ya M oo P

P ko GP S ko M oo

P oo P S oo P oo

mio lao R man S ka P oo

cha lio G oo D ni P oo G oo N ka P na

G di S ra R li

soo oo

na S ra M

Puo oo PP ala

si P oo

soo oo R

chao oo

ma key

DN ji

P oo

P ya

NS Eo

R oo

S na

S oo

DP yeo

P t

G ba

M oo

R ar

R oo

S ar

Raga

ba

58

59

Chhayanat Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : R Samavadi : to 1 a.m. P S S R, N G D M P, P, P R N G D M S. P, G M R S.

Thhat : Kalyan
D. MP PR ND RN

MP GP DD SD

MP RG GM RG DN DN

RG MP PM SN

RG NS PG RS.

GM RG MR

MP MP GR

NN GM GM

NS RS PP

DD RN MP

DN ND PP SD ND GM RN

ND NP

10 p.m.

4.

Main Phrase :

S R G,

G M,

M P,

P R,

G M R S.

5.

Examples of a Few Taans : A.

NS

RG

RG MP

RG

MN

DP

DM

PR

GM

PG

MR NS.

B.

SR GR

RG

GM MP

RG

MP ND

GM PM

RS PR

RN

SR

RG

GM MG MR SN RS.

SN

RN SN

SD

GM

PG

MR

C.

RG

RG DN RS.

RG MP ND DP

ND PR

PN RG

DP GM

RG MP

MP MG

NN GM

SN RG

RR RS NS MP GM

SD

RN

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61

Raga

Megh Raga
(The Rain Clouds)
Megh, literally means cloud. This is a well-known Malhar sung during the rainy season, or at the dead of night in other seasons. Without the Gandhar, the Megh raga sounds like the Sarang group of ragas, though with or without Gandhar, Megh is sung with gamakas to establish the effect of torrential rain and thunder. The one sung by Ustd. Rashid Khan in Jhaptal (10 beats) is with G or Komal Gandhar.

Raga Megh
slow) Taal : Jhaptaal (Dhima-10 Beats : slow)
Garajey ghata ghana kaarey kaarey pawasa ki ruta ayi dulhana mana bhaye Chahun aur ghana ghor boley dadur maur Niamat Khan sukha paayey Black clouds and roaring thunder of the monsoon have come to please and effuse the heart of the bride. Look at the gathering clouds says the frogs and the peacocks in delight. Niyamat Khan, (the poet) feels elated.

X
R Ga S kaa S pa M dul M cha M bo S Ni NP paao

2
R ra S oo SD oo M ha M hun NP oo SN oa PPNS oooo

0
R oo R oo R oo NS oo S o N oo RS oo R oo

3
S oo GMGM oooo SRSS ruta NSRS maooo NP nao R r GM noo PM oo

R jey R rey DR wa o PNSP naooo *N NPMPN * au o o o o o N ley R ma R oo

S oo S oo RS sao S oo SS or S da *R *t SN oo

SS ghata RRMG kaao S ki S oo N gha R du MG Kha o NP oo

PN gha o R oo N a NPMM naooo NP ghoo NR mauo R su MR oo

NP oo R oo N oo RRSN b h ao o o MR oo R oo RS oo SN oo

PP ona S rey PP yio SSNS ooye NS or R r S kha NP oye

Raga

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Megh Raga
Taal : Teentaal (Drut)
Gagana garajey chamakata damini chalata purabai sananana nana nana meha barasey manwa larajey piya bina kachhu na suhaye The sky jolts with the sounds of thunder and flashes of lightning. The easter wind blows in sweet melody. The pouring rain sounds like mellow strings, but how can the mind rest without the beloved?

Raga Megh
Taal : Teentaal (Drut)
Umada ghumada ghiri ayi badaria ghora ghora ati barasana lagi jhingurwa boley chhum chhananana nana nana meha barasey manwa larajey piya bina kachhu na suhaye The clouds gather, the cicadas sound passionately as droplets of rain fall. But alas! at this moment, I feel empty missing my lover.

0
MR R R na S ga SR

3
S N P

0
M U M ma SR

3
P da R ra M wa MR hao N bi

P R

N S

P da S

N ghi S a P

N ri S ti P

gao ga

rao jey cha ma

ghu ma gho oo P bo S oo N na P oo R ba P

S aa MR R R R R oo R mi N ni S

S oo S ra P

S yi R sa P na R na

S ba S na P na R wa

N da NP lao MN nao S la

R ri P oo PM nao S ra

S a P gi R na S jey

PN

oo ghoo oo P oo S na S oo M M

ra P

MR MR chao lao

MR tao

M pu

M ra

P oo N ba

kao ta oo da

oo

ba i

jhin gur R me N pi P oo N ya

ley chhu m S ra M N

P P

M na

PM na

R na

S na

R me

M oo

R ha

S oo

R ba

sa na na na

ra sey oo

chha na * R ma

sey R na

oo S su

R R R

N la

S oo

N pi

N ya

N bi

N na

M R

ka chhu

ma na wa oo

ra

jey

ka chhu na su RM PN hao oo SR oo

NS RM PN SR hao oo oo oo

SN PM oo oo

RS

NS

SN oo

PM oo

RS oo

SR oo

yeo

yeo oo

Raga

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65

Raga Megh
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. 4. 5. S Samavadi : P E. R S, M R P, MR NP

Thaat : Kafi
D. SR MP S. SS RR

SR MP NN RS

NS

NS

RP NS PP SN

MN RS MM SR

NP RM PP SN

MP RP MM PM

S S

M N

R P

M M

P R,

N M

N N

S. R

NP PP NM

NS NN RN

MR RR RN

RS.

Time of Recital Rainy Night Main Phrase : N

PN PN

RP NP NP RP

RS PM NP PP

NS MP MP NN

RP PM NS RR

MR MR RM SN

SN RM PM PM

NS MR RN RN

SN RN PM

NP SR RN RS.

PSN

S. RS RR

Examples of Few Taans : A. PN

PN

PS

NR

NS

RR

PP

MM

RR

MR

NP

SN

RS.

B.

PN

RP

RS PN

NR

SN

NN

PP

MP

NM

NP

MR

PM

RR

SN

RS.

C.

PN NS MR

SR PN RS

MP
RM

NS PM

RM RN

MR RS

SN

NN
NS

NP
SN

PM NP NP

NP PM SS.

NN NM

SN

SN

RN

SP

PM

RS

Raga

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Hansadhwani Raga
(Call of the Swan)

Raga Hansadhwani
Taal : Teentaal (Madhyalaya & Drut)
Laagi Lagana pati sakhi sana parama sukha ati anandana Anga sugandhana chandana mathey tilak dharey mriganayana anjana pawana de Amar uniti pati kaajey sajana My cherished moment has finally arrived, to be united with my beloved, says the newly wed bride. My body has been bathed in perfume, with sandal paste on my forehead and kohl on my doe-eyes. Amar, my husband, is anxiously waiting for me.

X Hansadhwani is a Karnataki i.e. South Indian Classical raga adopted by Hindusthani Music. Thanks to Ustd. Aman Ali Khan of Bhindibazar Gharana, whose composition Laagi Lagan is sung by Ustd. Rashid Khan in his favourite style and class. It is a late midnight raga wating for the arrival of the dawn. This raga is very closed to Raga Shankara, and its renditions suits very much for dance compositions of Bharat Natyam. It beholds fast taans and tarana. It is a late midnight raga.

0
G Laa G oo P pa GP oo G ra GR gio P ma

3
R oo P oo R la P oo S ga P S na GR

R ti

R oo

S sa

R khi

R oo

S sa

S na

pa

su khao

NP oo

G a

P ti

GR ao

SN nan

GP oo

GR

dao na

GG

PP

An gasu gan dhana chan dana ma they

S ti S

S oo S pa GP oo

S oo R wa NS oo

S la G na GR oo

R ka S de SN jeyo

RS

G ga G ma

R na G ra

N ya R u

P na N ni

S an P ti

S oo G pa

S ja R ti

dha reyo oo mri S

S oo RS ja

S oo NS

P A

na PP

oo PG sa

Raga

kaa

na

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Hansadhwani Raga
1. Main Structure : Arohi : Abarohi : 2. Prime Notes : Vadi : 3. Time of Recital : S Samavadi : P S S

Thhat : Bilawal
N S D. GP GP GP PN RS PN

R N

G P

P G

G R

R, S.

RG RG RG SR GR PN

SR NN

SR NP RS RS

GG GP PP NP

PP

NN RR

NS RR

NP

PG SS NR

RS

GG GR GR NP

GR PN GR PP NN SN PG RS

GR PG GR PG

GR NP

NP GP

1 a.m. to 4 a.m.

4. 5.

Main Phrase :

G P N G R N P, G

P S

Examples of a Few Taans : A. PN SR PG GR GP RS RN GP PN NP RS.

NS

RG

GR

SN

RN

SN

PG

NP

GR

B. GR RS NP

NR SN

GR GP

NP PS

PN NP

NS

SR

GR SR

PN

GR

PG

RN PG PN

PN RN RG RN

GR PN

GR PG

NP

PN NP GR SN RS.

C. RG PG RS PP NN SS GR NP NS

PN PS

RR GG PG RS RG PN SR

NR GR GP GP

NP PN

PN

NP

SN

SG

GR GP

SN GR

NP

SN

PG PG

RG RP PN

GP

GR SN

PG PG RN

RS

Raga

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Biography of PANDIT KUMAR PRASAD MUKHERJI

Thy Bidwat Thy agaraja Bidwat Samaj (Chennai), Institute Adv of Adv anced Studies (Simla) and Gana Kala Parishad (Bangalore) where he was conferred the title of Pandit He has also received the andit. Awar ward Rabindranath Tagore Award . On behalf of Sangeet Research Academy, he has done a complete analysis of five major Khayal gharanas with illustrations from old archives as well as his contemporary artistes. The Ford Foundation financed this project. He has also been one of the most brilliant music critics of the country and wrote for about 15 years for two leading English dailies of Calcutta. He has authored three best sellers in Bengali, entitled Kudrat Rangi Birangi Majlis and Mehfil . The first attempts to blend anecdotal history and analysis of the major Khayal gharanas with the history of creativity in Hindusthani music. This attempt has received Rabindranath Tagore Award from the Government. He is currently under contract with Penguin India to write a book on Hindusthani Music and Musicians. His last book in Bengali Dishi Gaan Biliti Khela published by Ananda Publisher is a Jugalbandi (twin play) of cricket and music.

Biography of PANDIT KUMAR PRASAD MUKHERJI

Kumar Pandit Kumar Prasad Mukherji is the son of Late Prof. Dhurjati Prasad Mukherji the interMukherji, nationally known Economist, Sociologist and Musicologist and a literary figure of Bengal. His childhood and formative period was spent largely around strongholds like Agra, Atrauli, Gwalior and Rampur wherefrom radiate the principal vocal styles of North Indian Music. This enabled him to have a direct access to many Ustads including great Faiyaz Khan of Agra aiyaz School and Mustaq Hussain Khan of Gwalior School. He also had training from Ustd. Ata Hussain Khan and Ustd. Latafat Hussain Khan. Khan Very few musicians have had the opportunity of being exposed to these two most important and authentic schools of singing, the Gwalior and the Agra. As a deft vocalist, Kumar is equally at ease with both the styles. As a musicologist, he has given lecture demonstrations in S a n g eet Resear c h A c a d e m y , geet Researc my Calcutta, Viswa Bharati (Shantiniketan), Delhi Viswa ge rs y, U n i v e r s i t y, A d m i n i s t r a t i v e S t a f f C o l l e g e , University sity, Academy Calcutta University, The Music Academy and

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Biography of PANDIT SAMAR SAHA

Rhythm Rhythm represents life. Music also becomes lively and enjoyable categorically with the help of the rhythm. The slow and fast tempo in soft or bold tones bring tremendous variety to an otherwise monotonous musical event. A matured musician, therefore, needs a matured percussionist, without whom his recital does not bloom.
Such a percussionist is Samar Saha. Numerous musical performances by renowned artistes start throbbing with life with the magical touch of his fingers on the tabla in style that belongs to the Benaras Gharana. Born in Kolkata, Samars initial training started at a very tender age under the guidance of his father Shri Sudhangsu Bhusan Saha and brother Shri Tarak Saha, a tabla player of repute. His formal training star ted under the tutelage of Shri Sachchidananda Goswami and then flowered under the able guidance of Shri Krishna Kumar Ganguly (Natubabu) of Benaras Gharana . It was he, who shaped up Samar into a performer of great promise, ambiance and virtuosity.

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Lyrics

Raga Ra ga : Bilas Khani To d i

Raga Raga : Basant

Why do you quarrel with me - my beloved? says the damsel. Oh! Lord, have mercy on me and make my lover understand says Enayat (the poet). Piya sanga khelun hori eri mai barana basant, ke basata pihara phulabana ke harawa gunda gunda darugi gara harawa It is Holi, the festival of colours. I am playing with coloured powders with my b e l ove d . It is Spring, I am plucking flowers from the garden to make gar land for him says the pretty woman. No knowledge can be gained without the Guru (Teacher). Why should the stupid mind waste its time in fruitless thinking. If one accompanies and follows a great guru (satguru), he will gain the true wisdom and will be recognised as a wise person in the company of a learned.

Bandish - I
Kaahey karata mosey jhagraa pr itama pyarey Kara Enayat mopey sajani Morey piya ko samjhawey

Raga Raga : Marwa Bandish - II

Jaa jaarey ja, wo khagwa itno sandesh morey kahio jaarey. Jo aaye pritama dwaar naina bichhaoon magawa Oh! dear bird, please go and convey this message to my beloved. My eyes would be dwelling on the path, awaiting his arrival, cries the loving maiden. Gur u bina gyaan nahi pawey mana murakha soch soch aba kaahey pachhtawey. Sat gur u ki sangat karey gunijana mey guni kahawey

Raga : Todi Bandish - I

Langara kankar iya ji na maaro morey angawa lagjaaye Suno pawe mor i saas nanadiya daur daur ghar aa wey You wicked urchin, dont you dare throw gravel at me says the young bride. I will get hurt. If my mother & sister-in-laws find out, they will come running to take me back home. Oh! Lord Nizamuddin take my rocking boat to the bank of the river. Save your devotee Tanras Khan (the poet) from sorrow, poverty and miseries of life.

Raga Raga : Puria Dhaneshree Bandish - I

Payaliya jhankaar mor i jhanana jhanana baajey jhankar i Piya samjhaoon samajhta nahi saas nanada mor i degi gaar i

She says shingalingaling - my anklet bells ring. I am afraid, if my in-laws finds out they shall be angry and cross with me. My beloved doesnt understand my plight.

Bandish - II
Khush rahey sanam mora jaa jaarey hamre taraf ek nazar dhyan dharey. Allah dia man Ali Fateh Ali Khan we miyan pyar lagadi tor i aanbaan sur ki taan gaye dara fira Bless my beloved to be happy my Lord. Hope he spares a glance for me, whenever he comes my way, says the loving virgin. She has dedicated herself to him through her music, says Ali Fateh Ali Khan (the poet) to Allah, praying for their welfare.

Bandish - II
Aba mori naiya paar, karo rey Hazarat, Nizamuddin Aulia Dukha daridra saba door karana hara Taan ras Khan ki lio khabaria gata sautana ke lara laraiya

Raga

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Lyrics

Raga : Bihag
Alir i albeli sundara naar pyarey pyarey jiya ko lubhaye Aai kara shr ingara galey haar dar ayso chhabili naar chaal chalata achaka lachaka sabkey man tarpaye Look at the beautiful village maiden alabeli who steals my heart, says the young lover. Adorned with necklace, pretty as a picture, she came out dressed beautifully. The heart of the viewer jingle with joy watching her gait as she walks along elegantly.

Raga : Megh Bandish - I

Garajey ghata ghana kaarey kaarey pawasa ki r uta ayi dulhana mana bhaye Chahun aur ghana ghor boley dadur maur Niamat Khan sukha paayey Black clouds and roar ing thunder of the monsoon have come to please and effuse the hear t of the br ide. Look at the gather ing clouds says the frogs and the peacocks in delight. Niyamat Khan, (the poet) feels elated.

Raga : Desh Bandish - I

Karma kara dije karadije khwaja Mainuddin ke mai jaoon balihaari re Tum ho data pirana ke peer baliyana ke taj Enayat ki sharam rakhiyo

Oh! Khwaja Moinuddin, the saint of saints, please do your deeds and save me. You are Oh! my saviour, and the crown of heroes, please protect me. says the poor Enayet Khan (the poet).

Bandish - II
Gagana garajey chamakata damini chalata purabai sananana nana nanameha barasey manwa larajey piya bina kachhu na suhaye Umada ghumada ghir i ayi badar ia ghora ghora ati bar asana lagi jhingurwa boley chhum chhananana nana nana meha barasey manwa larajey piya bina kachhu na s u h aye The sky jolts with the sounds of thunder and flashes of lightning. The easter wind blows in sweet melody. The pour ing rain sounds like mellow str ings, but ho w can the mind rest without the beloved? The clouds gather, the cicadas sound passionately as droplets of rain fall. But alas! at this moment, I feel empty missing my lover.

Bandish - II
My innocent heart is stolen. Nadaan jiyara gum gayo rey gum gayo gum gayo gum gayo rey While I was sleeping in my palace, a thief came and robbed it says the Main sotithi apne mahal mey beautiful princess. ek chor chor i kar gayo rey

Raga : Hansadhwani Raga :Chhayanant

Jhanana jhanana jhana nana nana nana nana baajey bichhuwa baajey piya se milan ko chali jaat apne mandar so naar. Puja karneko nikasi ghar so albeli naar chamakey piya Enayet baar baar. The anklet bells of the village belle are ringing, when she is going to meet her beloved in the sacred place. As she comes out of her house, for going to the temple, the heart of Enayet (the poet) is moved by her grace. Laagi Lagana pati sakhi sana parama sukha ati anandana Anga sugandhana chandana mathey tilak dharey mr iganayana anjana pawana de Amar uniti pati kaajey sajana

My cherished moment has finally arrived, to be united with my beloved, says the newly wed bride. My body has been bathed in perfume, with sandal paste on my forehead and kohl on my doe-eyes. Amar, my husband, is anxiously waiting for me.

Raga

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Conceived and Produced by Arya Bhattacherjee

Hosted by Gautami Bhattacherjee Arya Bhattacherjee Excutive Producer Subhanjan Sarkar Arindam Mukherjee Creative Co-ordination Sanjoy Ganguli Soumya Bose Accompaniments Samar Saha: Tabla Sudhir Nayak: Harmonium Srinivas Joshi: Tanpura & Voice Additional Tracks Roshan Ali: Sarengi Babu Shome: Synthesizer Music Recording & Arrangement Daman Sood Soumya Bose Music notes, Lyrics and Editorial Compilation Pdt. Kumar Prasad Mukherjee Sanjoy Ganguli Kumar Roy Anirban Bhattacharya

Costumes Niraj Chokhani: Bloomingdales; Kolkata Video Photography, Post production Bappa Roy Malay Pradhan Anil Pandey Graphic Design Utkarsha Malakar Audio Daman Sood: Western Outdoor, Mumbai Bablu Prasad: Om Studio, Kolkata Jhantu Jana: Studio Inframe, Kolkata Studio & Post Production Umesh Upadhayay: New Delhi Communication Network Limited Acknowledgements Kuntal Bhadar Debajyoti Bhattacharjee Adip Tandon Gokul Bhai Mr. & Mrs. Rashid Khan Santosh Nag Meghnath Mukherjee Bud Bremner: Coastal Mastering, Canada

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