Pleasantness Personified – Raag Nand

Delve into the pleasant world of Raag Nand and enjoy the celebration!

As has been emphasized time and again, there are a number of raag-matrices in Hindustäni classical music that use the same set of notes from an octave. The factors that identify them differently are peculiar rules of ascent and descent and phraseology associated with them individually. We examined one such group of raags (Märwä-Puriyä-Sohini) sometime back in this blog. We will now take a closer look at some matrices that use all seven flat notes in octave and use teevra madhyam (sharp fourth note), additionally. Raags Märu-Bihäg & Bihäg featured here belong to this category and we will look at some more melodies of this mould in this and subsequent episodes.

With such complete framework, raag-matrices of this type are generally pleasant in nature evoking romance (at times a little aggressive romance, too) and pleasantness. Raag Nand is one such raag that fits the bill perfectly. The typical chalan (phrase) that identifies Nand is ‘ga-Ma-pa-dha-ni-pa-dha-ma-pa’ and ‘ga-Ma-dha-pa-re-sä’. This raag, although it has evolved only in the last century or so, has been immensely popular amongst vocalists from all gharänä traditions. There have been comparatively few compositions in this raag and ‘Dhoondu bare saiyyän’, the most popular, has been immortalized by Pt Mallikärjun Mansoor. Pt Kumär Gandharva’s ‘Räjan ab tu äjä’ has also been hailed as a landmark composition in this raag. However, Pt Räjan-Säjan Mishra, in recent years, have popularized Nand with their trademark 'Benäras' style rendition. Their bandish ‘Bahut din beete’, definitely comes out as a top-recall from among compositions in this pleasant raag-matrix!

Late Madan Mohan, composer par excellence, was always at his best using Hindustani classical as a springboard for his creations. ‘Tu jahän jahän chalegä’ (Film: Merä Säyä) is a fitting example. Offbeat composer like Vanräj Bhatiä also composed ‘Ghar nähi hamare shyäm’ (Film: Sardäri Begum) for Smt. Aarati Ankalikar-Tikekar and gave his own flavour to Nand. In Maräthi section, we have Shridhar Pärsekar composing ‘Päkharä jä’ for the film ‘Vahini’ featuring celebrated ‘PuLa’. But once again, it was the genius of late Pt Jitendra Abhisheki who gave us ‘Aänand sudhä barase’ for ‘Meerä Madhurä’, a landmark musical play that cluelessly went flat at the box-office.

It is interesting to also know about Raag Swänandi, a blend that evolves out of a phrases from Raags Bhinna-Shadaj, Nand and Bhatiyär. This melody evolved out of the genius of Pt Jagannäthbuwä Purohit ‘Gunidäs’, but was popularized by Pt CR Vyäs and Pt Jitendra Abhisheki. Raag Nand is the mainstay of this combination and also the main contributor to the pleasant ‘mähaul’ projected here. So here's the genius of Late Abhisheki-buwä singing Nand turning it into an eternally pleasant melody fit for a lifetime of celebration!

Perpetually Romantic - Raag Bihag

We take a peek into the romantic world of Bihäg...

The raag-system in Hindustani music uses predominantly flat (shuddha) notes in matrices assigned to the night zone. We entered the enchanting realm of night-raags with Yaman. We also had an encounter with Raag Maru-Bihäg. We will now take a closer look at Raag Bihäg today.

Bihäg is a night melody, generally sung in the first quadrant of night and belongs to the Biläwal Thät. It uses the complete octave of shuddha notes with a touch of teevra madhyam (sharp fourth note) in descent, typically in the ‘pa-ma-ga-Ma-ga-Sä’ phrase. This separates Bihäg from other raag-matrices using the same set of notes. These notes evoke a romantic mood and offer tremendous potential for creative expression and expansive treatment to a performer and; hence, Bihäg has been an immensely popular raags.

Recordings from the 78-rpm era give us a taste of the talent and finesse achieved by the revered seniors and one finds numerous gramophone discs presenting Bihäg. ‘Gän-Hirä’ Hiräbäi Barodekar, Ustäd Abdul Karim Khän, Mushtäq Hussein Khän, Bade Ghuläm Ali Khän and other greats have given Bihäg an expansive treatment and composed a number of enchanting bandishes in this raag. Pt Vasanträo Deshpände, Pt Kumär Gandharva, Pt Jasräj and younger artists like Smt Ashwini Bhide-Deshpände, Räm Deshpände, in recent years, have also given due justice to Bihäg in their performances and recordings. Late Vasanträo’s trademark rendition ‘Nä chhedo nä’ in Bihäg (composed by Pt. Kumär Gandharv but sung exclusively by Vasanträo) merits a special mention in the context of its layakäri potential.

Vidushi Smt. Ashwini Bhide-Deshpande has also recorded a fabulous Bihäg in contemporary artists. Her rendition of jod 'Lat ulazi sulazä jä balmä' makes for a very special listening experience with tän-patterns and äläpi fitting the mood of this traditional composition.

Pt. Ravi Shankar’s early recording with tabla-accompaniment by late Ustäd Ahmedjän Thirakwa is a masterpiece in Bihäg. Ustäd Bismilläh Khän’s Bihäg is equally popular and widely available.

The list of compositions based on this matrix in popular music is vast. Latä Mangeshkar’s ‘Tere sur aur mere geet’ (Film: Goonj Uthi Shehnai) stands out as the top recall. However, late KL Saigal’s ‘Ae dil-e-beqarär zoom’ (Film: Shähjehän) is equally sweet and still hugely popular. Relatively lesser-known composers like Kanu Roy (‘Boliye surilee boliyän’, Film: Grih-Pravesh) or the unsung maestro late Jaidev (‘Koi gätä mein so jätä’, Film: Aäläp) also made perfect use of Bihäg’s magic in their work. A song like ‘Yeh kyä jageh hai doston’ (Film: Umräo Jän) exhibits composer Khayyäm’s mastery over Bihäg.

Nätya-sangeet once again leads the inventory in Maräthi compositions based on Bihäg. Bäl Gandharva’s ‘Mama ätmä gamalä’ (Play: Swayamwar) was sung once again by Pt Kumär Gandharva as a tribute to the old master and still remains much admired nätyageet. But the honour for the most imaginative composition in Raag Pat-Bihäg (a sister-melody of Bihäg) in recent years goes to Pt. Jitendra Abhisheki. ‘Yä bhawanätil geet puräne’ from ‘Katyär Kälajät Ghusali’ had the added advantage of Vasanträo’s electrifying gäyaki and is considered to be a landmark composition. But the true signature of Bihäg, so to say; came from Late Anand Modak, a revered name in Marathi music. His composition of renowned poet N. D. Mahanor's verse for 'Preet-Rang', a stage show of compilation of love-poems in Marathi, takes the top spot for my favorite compositions in Bihäg. Sung by Madhuri Purandare, here's the track that celebrates the true mood of Bihäg...

A Worthy Sibling - Räg Märu-Bihäg!

Räg Märu-Bihäg proves its mettle as a worthy sibling to Yaman with countless melodies...

A new post after a long hiatus here  (due entirely to my lethargy, let me confess!) after we looked at one of the most complete rägs (Räg Yaman) in detail! But now let’s move on our enjoyable musical trek towards a few more räg-matrices that are performed during the first quadrant of night. Naturally, the framework of notes used here is also similar to some extent. Most naturally, Räg Märu-Bihäg beckons us due to its closeness with Räg Yaman.

Märu-Bihäg, undoubtedly, is one of the most pleasant matrices in Indian Classical music tradition that uses all seven flat notes in the octave and also uses Teevra Madhyam (sharp fourth note) additionally. A number of musicologists have highlighted its similarity with Yaman, especially in its descent and can, therefore, be called its sibling! Märu-Bihäg also allows for a vast potential in its expansive treatment in presentation and has, therefore, been one of the favoured rägs with vocalists and instrumentalists, alike.

A number of seniors have left behind some remarkable compositions in this matrix, but Pt Vasanträo Deshpände’s ‘Mein patiyä likh bheji’ set to mid-tempo Teen-täl merits a special mention here. Thanx to good old DoorDarshan, you can actually enjoy Vasanträo’s super-expressive Märu-Bihäg bandish in video here!

Also special is Pt Bheemsen Joshi’s ‘Tarpat rainä din’ with some outstanding and breath-taking tän-patterns. But what I have specially for readers of ‘Music-Fundaaz’ is one of the most memorable Märu-Bihäg presentations by internationally reputed violinist Pt DK Dätär in a concert organized by Saptak, Nashik in 2000 where he was accompanied by Pt. Vibhav Nageshkar on tablä – enjoy the violin that sings…

Popular music has borrowed heavily on Märu-Bihäg matrix treating listeners to a number of delightful compositions. The top-recall, without doubt, is the immortal Latä-Rafi duet ‘Tum to pyär ho’ (Film: Sehrä) under the baton of Late Vasant Desai. But Mukesh, not really well known for classical singing, also holds his own in ‘Matwäli när thumak-thumak chali jäy’ based on Märu-Bihäg. The crown, however, definitely goes to late RD Burman for composing an exceptionally delightful song based on this räg in recent times. ‘Pancham-dä’, the composer responsible for popularizing Western music in Hindi films single-handedly, was always unpredictable in the sense that he came up with a lilting and hummable yet conservative, hardcore classical composition that was least expected of him - the most fitting example being ‘Rädhä jäye nä’ (Film: Mehboobä) sung by Latä Mangeshkar!

The enchanting world of Maräthi bhäv-geet is replete with many such compositions in Märu-Bihäg. Geet-Rämäyan, as usual, gives us an all-time favourite, ‘Palavili Rävane Seetä’.

However, my personal choice is ‘Jeevanät hi ghadi’ (Film: Kämäpuratä Mämä, Music: Yashwant Dev) sung by Lata-didi. 

Indeed a worthy sibling to the eternally pleasant Yaman – this Märu-Bihäg...!

'Yaman'-mania continues...

We conclude our trek in Räg Yaman with an overview of compositions in Maräthi.

Just like Hindi film and non-film music domain, Raag Yaman has spawned numerous compositions in Maräthi soundscape. With nätya-sangeet paving the way in popularizing classical music amongst the masses, the magic of Yaman-matrix was practically irresistible.

Pt. Bhäskarbuwä Bakhale, composer par excellence and mentor to greats like Bäl Gandharva, gave us ‘Rädhädhar madhu milind’ (Play: Saubhadra) and ‘Näth hä mäjhä’ (Play: Swayamvar) – evergreen compositions that refuse to fade from popularity charts even after a century. But late Bäl Gandharva is still nostalgically remembered for his ‘Nayane läjaveet’ (Play: Mänäpmän) and ‘Läge rhudayi hurhur’ (Play: Ekach Pyälä). The beauty of all these compositions is that these famous nätyageets have achieved immortality over the traditional bandishes from whom they were inspired. But the most significant composition (from this perspective) came from Mst. Krishnaräo. His ‘De maj devä janm hä’ (Play: Kone Eke Käli) made such a distinctive mark that a bandish was later composed (‘Preetam Saiyyan Lägi Re’) on the outline of this famous pad. 

The true ‘näyak’ of nätya-sangeet in recent years, however, has been late Pt Jitendra Abhisheki. His exceptional treatment of Yaman in compositions like ‘Devägharache dnyät kunälä’ (Play: Matsyagandhä) or ‘Tujhä ge nit nootan sahawäs’ (Play: Väsavdattä) has left a special ‘Abhisheki’ stamp on Yaman-matrix for other composers to follow. His Yaman compositions also include several popular songs like ‘Kashi tuj samajäoo säng’ in the bhävsangeet domain. Here’s a special treat for all Abhisheki-buwä fans - ‘Devägharache dnyät kunälä’ (Play: Matsyagandhä) in his own inimitable style from a private concert in the early 80s!

Once we enter the realm of Maräthi bhävsangeet, there’s a range of songs to choose from in Yaman-matrix. We have feasted on Ashä Bhosale’s ‘Känadäu Vitthalu’, or her rendition of Pt Dinänäth Mangeshkar’s landmark nätyageet ‘Suhäsya tujhe’ and ‘Mee maj harapun basale ga’ (based on this nätyageet) for decades. She has also immortalized ‘Mäge ubhä mangesh’ (in company with sister Ushä  Mangeshkar) and ‘Kä re durävä’ (Film: Mumbaichä Jävai) based on this raag. Sudhir Phadke, the doyen of Maräthi music, has also teamed up with Ashäji while humming ‘Dhundi kalyänä’ (Film: Dhäkti Bahin) while his solos like ‘Samädhi sädhan’, ‘Toch chandramä nabhät’, ‘Parädheen ähe jagati’ (from Geet-Rämäyan) have regaled rasiks forever. Very few listeners today are aware that ‘Kä re durävä’ (Film: Mumbaichä Jävai) and ‘Dhundi kalyänä’ (Film: Dhäkti Bahin) are twin compositions that Babuji had to do at the insistence of the film producer. Here's the original version of Ashä Bhosale - Ushä Mangeshkar 'Mahänandä' number and some more...

Pt Bhimsen Joshi, in his ‘Abhangwäni’ has rendered ‘Adhik dekhane tari’ in Yaman-Kalyän and has joined late Pt Vasanträo Deshpande in ‘Täl bole chipalilä’ (Film: Bholi Bhäbdi) to music-lovers’ joy. Vasanträo himself is forever remembered for ‘Pratham tulä vandito’ (Film: Ashtavinäyak), a film song based on Yaman. Songsters like Arun Date (‘Shukratärä’), Late Smt Mänik Varmä (‘Kabiräche vinato shele’), Suman Kalyänpur (‘Jithe sägarä dharani milate’) have also left a mark on the Yaman-matrix with some memorable songs. Even younger composers like Shreedhar Phadke has given us his best in ‘Tejomay näd bramha he’ while attempting his hand at Yaman.

But the piece-de-resistance, so to say, still remains in the form of Latä-didi’s wealth of songs. Her early songs like ‘Tinhi sänjä sakhe milälyä’, ‘Sundar te dhyän’ or ‘Chäphä bole nä’ are as valuable as khändäni bandishes in hardcore classical. The Yaman-mania will continue to haunt us forever, but we must move on due primarily to sheer vastness of the räg-matrix. More on some other raag-matrix in the next post – till then enjoy this medley of songs in the greatest räg of them all – Räg Yaman...!!!

A Veritable Treasure Trove - Raag Yaman On the Lighter Side...

Raag Yaman has given us innumerable songs that have stood the test of time and changing public tastes.  We look at some of the truly 'timeless' numbers from the Hindi Film-world in this post!

Having said that Rāg Yaman is one of the most versatile matrices capable of expressing a range of emotions, we can find numerous songs in the Hindi film and non-film domain. Practically every singer / composer has given us a few gems in Yaman and Yaman-Kalyān, but the melody-queen Latā Mangeshkar still reigns supreme in the domain.

We begin our day with Latā-didi’s ‘Shree Rāmchandra Krupālu’ in the early hours and drift off to sleep late in the night with ‘Beeti nā bitāyi rainä’ (Film: 'Parichay' with Bhupendra). The range of songs in-between is simply amazing! Consider just a few – ‘Sansārse bhāge phirate ho’ (Film: Chitralekha), ‘Lau lagāti’ (Film: Bhābhi ki Chudiyān), ‘Jeevan dor tumhi sang’ and ‘Tum gagan ke chandramā’ (both from Film: Sati Sāvitri), ‘Kinu sang khelu holi’ (Meerabāi’s devotional song), ‘Jāre badarā bairi jā’ (Film: Bahānā), ‘Jiyā le gayo ji’ (Film: Anpadh), ‘Mausam hai äshikānä’ (Film: Pākizāh), ‘Chhupālo yun dil mein pyār’ (Film: Mamtā with Hemant Kumar), ‘Zindagi bhar nahin bhoolegi’ (Film: Barsāt Ki Rāt) and a host of others truly memorable ones!

Other artists from film-world are not far behind. Talat Mehmood, with his velvety voice, has given us ‘Aānsoo samazke kyoon mujhe’ (Film: Chhāyā) and ‘Seene mein sulagate hai aramān’ (Film: Tarānā with Latā) while Mukesh has left behind ‘Tum bin jeevan’ (Film: Anitā), ‘Sārangā teri yād mein’ (Film: Sārangā), ‘Chandan sā badan’ (Film: Saraswatichandra) and ‘Bhooli hui yādon’ (Film: Sanjog) for posterity. Mohammed Rafi, the voice with an incredible range, sang ‘Man re tu kāhe na’ (Film: Chitralekhā), ‘Lagtā nahin hein dil merā’ (Film: Lāl Quilā), ‘Ehsān terā hogā mujhpar’ (Film: Junglee) and ‘Abhi na jāo chhodkar’ (Film: Hum Dono) in Rāg Yaman.

Late KL Saigal, the immortal singer, is also best remembered for ‘Mein kyā jānoo kyā jādoo hai’ (Film: Zindagi), ‘Diyā jalāo’ (Film: Sangeet Samrāt Tānsen) and ‘Do nainā matwāle’ (Film: Meri Bahen / aka My Sister) sung in Yaman-matrix.

Even Kishor Kumar, not particularly known for his classical leanings, has given us ‘Woh shām kuchh ajeeb thi’ (Film: Khāmoshi) and ‘Aāp ke anurodhpe’ (Film: Anurodh) based on this matrix. Yesudās, the southern superstar, is still best remembered for ‘Jab deep jale ānā’ (Film: Chitchor) from his forays in the Hindi film world. And who can forget veteran Mannā-dā  with Ashā Bhosale when they belt out effortless tāns in ‘Re man sur mein gā’ (Film: Lāl Patthar)...!

The younger generation also feels gravitated to the irresistible magic of Yaman’s scale and the evidence can be found in compositions like ‘Aāye ho meri jindagimein’ (Film: Rājā Hindustāni), ‘Ghar se nikalate hi’ (Film: Pāpā Kehte Hai) and ‘Sochenge tumhe pyär’ (Film: Deewānā). Shankar Mahādevan’s ‘Breathless’ composed in Rāg Yaman stayed atop the best-seller charts for a considerable time.

But the icing on the cake, also my personal favourite, in Yaman is ‘Ranjish hi sahi’ sung by Mehdi Hasan, the ghazal-maestro. Oh gosh, what a wealth of compositions and we have not even scratched the surface...!

To round off this lovely riot of songs, here's a 'fun-medley' of some evergreen Yaman songs for your pleasure – a true treasure trove indeed!!!  We will round-off this Yaman-trek with the next post especially devoted to Marathi compositions in this pleasure-domain...

Meet the Lord - Räg Yaman

With a complete scale and an impossible range of possibilities to match, Raag Yaman is treated with reverence. Let’s look at the matrix in its classical ‘avtär’…

कमल चरण करित स्मरण नमन सर्व मंगला,

तन-मन हो भाव सुमन, 'यमन' येथ रंगला...

This is without doubt the most popular räg-matrix really! A räg that uses the complete scale, capable of expressing an exhaustive range of emotions with an unfathomable depth of potential in presentation! It has also been referred to as the Lord of Rägs – come let’s get acquainted with Räg Yaman!

Technically speaking, Yaman belongs to the ‘Kalyän Thät’ and is sung in the first quadrant of night. The matrix uses all seven notes in the scale and, barring teevra madhyam (sharp fourth note), all others are flat. With typical phraseology that drops Sä or Pa in the ascent but uses them out of sequence in descent (e.g. ‘Ni-Re-Ga-Ma-Dha-Pa’ or ‘Ni-Dha-Ni-Re-Sä’), Yaman never fails to achieve an effect of well-being, serenity, and a pleasant ambience all around. Yaman-Kalyän, its sister-melody that’s very close in nature to Yaman, differs only in its usage of both shuddha and teevra madhyam (flat and sharp fourth notes) and both these matrices have been sung extensively by artists over past few centuries. Here is a typical layout and phraseology of Yaman for you -

With its enormous potential, Yaman has always beckoned artists to discover something new in its phrases and all great vocalists and instrumentalists have given us their own flavour of this räg over changing times. Recorded material from several all-time greats from earlier generations has left behind some sparkling gems in Yaman for posterity. The greats of current generation have also explored the vastness of Yaman in their own inimitable way.

To begin with, here’s Late Smt. Heerabai Barodekar’s Yaman that personifies ‘Kiränä Gäyaki’ with its emphasis on purity and completeness of ‘swar’ and serenity in presentation.

And listen to Pt Kumär Gandharva’s all-time hit recording of Kalyän (Kumar-ji always referred to this räg-matrix as ‘Kalyän’) that refuses to fade from popularity charts.

Or take ‘Swar-Bhäskar’ Pt Bhimsen Joshi’s Yaman recorded about thirty-five years ago. Although his ‘täleem’ is typically ‘Kiränä Gäyaki’, some ‘Punjab & ‘Patiyala’ influence is very much evident in this presentation by young Bhimsen-ji. Some very aggressive tän-patterns and the overall approach seems to have been borrowed from his early forays in the North India in search of a ‘Guru’! You will definitely discover new moments of pleasure every time you hear ‘Eeri äli piyä bin’.

In the instrumental territory, I have for you a wonderful ‘äläp-jod-jhälä’ on sitar by Pt. Budhäditya Mukherjee played recently in a concert in Pune. (The recording quality may not be top-drawer since this was recorded from the auditorium.)

To round off, here’s a traditional bandish from ‘Gwalior Gharänä’ presented by Vijay Koparkar that typically projects the pleasant personality of this evergreen räg-matrix.

It is inevitable that Räg Yaman, with its immense potential, presented an irresistible proposition to composers in light and popular music. The number of songs composed in this matrix and the range of emotions they express is really unbelievable. But more about Yaman’s versatility in its lighter form in the next post…

The Bitter-Sweet Melancholy - Räg Madhuwanti

I don’t know why, but I was (kind of) putting off writing on this räg matrix for some time now. One reason, probably, is that the true nature of this räg still eludes me and I am unable to put my finger on the pulse of this matrix. But then I go back to the basic premise which says that a composition that is able to project a picture in the minds of listeners will be celebrated as a ‘räg’ and it solves my conundrum!

Räg Madhuwanti actually derives from Räg Multäni but differs from it where it uses Shuddha Rishabh & Shuddha Dhaivat (flat second & sixth notes, respectively). This brings Madhuwanti in a time-slot that’s a little later than its parent matrix – Madhuwanti is generally sung in the early hours of the fourth (last) quadrant of the day. All phraseology and chalan are similar to that of Multäni but use of Shuddha Rishabh & Dhaivat brings some degree of calm and, at times, melancholy feelings in the matrix. Listen to this very popular ghazal from ‘Dil ki Rähen’ (1973) composed by Late Madan Mohan-ji in the melancholy vibes of Madhuwanti.

But then there are other moods of Madhuwanti that are more subtle and better expressed in the expansive format of classical music. What I have for you is an elaborate and well laid-out Madhuwanti by Vijay Koparkar. This recording is part of a workshop on classical vocal music held in Nashik a few years back and Vijay presents four compositions one after another presenting different shades and moods of the matrix.

But we close this episode with yet another melancholy number composed by Sudheer Phadke, the maestro of Marathi Bhäv-sangeet. All his compositions from ‘Geet-Rämäyan’ are based solidly on various räg-matrices but carry the mood of ‘GaDiMä’ lyrics so well that the listener is completely immersed in the ethos of the totality, not just the composition! So lose yourself in Seetä’s quiet grieving question to Lord Räm as he prepares to leave for vanaväs…

The Last of the Trio!

Alongwith Märwä and Puriyä, Raag Sohni completes the trio that uses the same scale of notes.

Remember ‘Kuhu-kuhu bole koyaliyä’, that immortal melody from ‘Swarna-Sundari’? An unforgettable song composed by Aädi Näräyan Räo, a relatively unknown composer from yesteryears! Really speaking, this song is a medley of raags but the mukhadä (opening lines) and the first antarä (stanza) are composed in Raag Sohni, the focus of this episode.


Having said that Märwä and Puriyä originate from the same scale but differ radically in the ethos they project, we must also take a look at Raag Sohni that shares the same scale and, like these two raags, differs by projecting an intense and aggressive, yet romantic, mood. While Märwä and Puriyä are more inclined to serenity, Sohni tends to be more aggressive. The difference lies in its phrases. Märwä focuses on Komal Rishabh and Dhaivat and Puriyä on Gandhär and Nishäd. Sohni, however, keeps its emphasis firmly on Tär Shadja (the base note Sä in the higher octave). The compositions in this raag, therefore, excel in the upper-half of the octave and create electrifying atmosphere. Moreover, the chalan (phraseology) here is vakra (using notes in a circular, out-of-sequence pattern) giving the entire matrix an interesting twist.

Sohni has been an all-time favourite amongst vocalists and instrument-players of all generations. With the fast-paced compositions excelling in the upper octave, Sohni has been used very effectively to transform ambience in concert after a serious raag like Mälkauns. A number of greats like Ustäd Bade Ghuläm Alikhan, Pt DV Paluskar, ‘Gän-Hirä’ Hiräbäi Barodekar, etc have recorded some fabulous bandishes in Sohni and, fortunately, all this recorded material is easily available to music-lovers today.

Mention must be made here of some delightful compositions that have regaled the audiences. The first and foremost is the renowned thumri sung by Ustäd Bade Ghuläm Alikhän-saheb. The thumri became such a rage in those days that Naushäd (famous composer) had to go to great lengths to have the veteran Ustäd to sing its filmy version for the magnum-opus ‘Mughal-e-Azam’.

Pt Kumär Gandharva immortalized ‘Rang nä dälo shämji’, a traditional bandish that’s both aggressive and romantic at the same time, and set new a benchmark that has been difficult for others to follow. Pt Rämäshray Jhä ‘Rämrang’ has composed a few delightful bandishes in Sohni that paint an aesthetically pleasing picture of this raag. A couple of taränäs composed in Sohni have also been immensely popular with their fast tempo and imaginative presentation.  Here's a selection of some of these compositions for your listening pleasure!

In popular music, Sohni has given us some sparkling moments through various songs that are based on this matrix. Apart from the ‘Swarna-Sundari’ and ‘Mughal-e-Azam’ numbers above, Asha Bhosale’s ‘Jeevan jyot jale’ (Film: Gruhasthi) remains forever favourite with music lovers. Pt Jitendra Abhisheki has also sung ‘Haribhajanä veen käl’, a Maräthi devotional song that has achieved a permanent place in Maräthi-rasik’s heart.

However, we simply cannot conclude the Sohni post without mentioning my personal favorite from the famous Maräthi musical play 'Katyär Kaljät Ghusali'. Late Pt. Vasantrao Deshpande's electrifying 'gäyaki' has made 'Surat piyäki na chhin bisaräyi' a veritable treat for all music-lovers (Maräthi or otherwise) - Enjoy...!

Peace in the eye of the storm!

Raag Puriyä gives a feel of being on an island of peace!

‘Serenity is not freedom from storm, but peace amid storm!’ – So goes a famous quotation. How true, especially when you think of Raag Puriyä! This is one raag-matrix which has a scale identical with Raag Märwä but differs from it radically in nature. While Märwä evokes tension and turmoil, Puriyä is more like an island of peace amidst the storm. The difference lies in its phraseology and emphasis on notes. Where Märwä favours Komal Rishabh (minor second note) and Dhaivat (sixth note), Puriyä relies on Gandhär and Nishäd (third and seventh note, resp). Teevra Madhyam (sharp fourth note) also gets good prominence in the presentation in Puriyä.

Puriyä is an ancient melody and one can find any number of good recordings in vocal and instrumental music. The most prominent that come to mind, from among the old masters, are the three-and-half minute 78-rpm discs of Pt DV Paluskar and Pt Omkarnäth Thäkur. Both have presented the same traditional composition but, in the recent years, Pt Rajan-Sajan Mishra have given us a delightful bandish that’s serenity and romance, at the same time. The lyrics ‘Main to kar äyi piyä sang rang raliyä’ lend it the silken touch of romance and the raag treatment brings out serenity in the matrix. The same bandish has also been recorded by young Ustäd Rashid Khän, but lacks the typical Puriyä touch of serenity.

The instrumental section gives us a variety of options vis-à-vis Puriyä. Ustäd Bismilläh Khän (shehnäi) and Pt Hariprasäd Chauräsiyä (flute) are simply superb while Pt Shivkumär Sharmä (santoor) and Pt Nikhil Bänerjee (sitar) also sketch an enchanting soundscape of this raag. Puriyä also melds well with a couple of other raag-matrices and gives birth to combination raags. Puriyä-Kalyän and Puriyä-Dhanäshri are the most common examples and we find a number of recordings in these.  Here I have a delightful and serene Puriyä-Kalyän rendered in an exclusive concert by Aarti Anklikar-Tikekar a few years back in Nashik.  Enjoy...

Popular music has borrowed a lot on all varieties of Puriyä and given us a number of delightful songs. Compositions like ‘Jai-Jai kartär tori’ (Film: Baiju Bäwrä), ‘Mere säson ko jo mehkä rahi hai’ (Lata-Mahendra Kapoor, Film: Badalte Rishte), ‘Aäke teri bähon mein’ (Film: Vansh) from Hindi film-music take us into the Puriyä territory while Marathi bhäv-sangeet boasts of ‘Jivalagä, rähile re’ (Ashä Bhosale, Composition: Hridaynäth Mangeshkar), an all-time great in Puriyä-Dhanäshri. A few other compositions like ‘Muralidhar shyäm’ (Katyär Käljät Ghusali, Composition: Pt Jitendra Abhisheki) or ‘Harawale te gavasale ka’ (Lata Mangeshkar, Composition: Vasant Prabhu) give us a different flavour of Puriyä and keep us riveted by the magic of its notes.

Yet another raag-matrix also evolves from the scale shared by Märwä and Puriyä, but more about it in the next episode…

Notes from the Twilight Zone...

There’s an inexplicable tension in the skies when day crosses over into the night and Raag Märwä personifies this ambience...

As retreating sun makes way for dark skies, even migratory birds take a break for a while to make sure of their bearings. There is an unmistakable apprehension about the uncertainty that darkness may bring. Added to it are leftover feelings of strain, stress and anxieties from the day that was and then your heart yearns for comfort zone. Even these minor comforts are denied to man at times and your mind goes into a self-denial mode – what we Indians call ‘vairägya’! This, precisely, is the ethos of Raag Märwä!

Technically speaking, Märwä is the main raag of Märwä Thät and also shares the same pentatonic scale with two other raags in its close proximity, namely Puriyä and Sohni. Märwä is typical in its emphasis on Komal Rishabh and Dhaivat (second and sixth notes). With the absence of Pancham, the other stable note in the scale, and base note Sä being used very sparingly, Märwä heightens tension palpably!

An interesting anecdote merits mention here – Late Pt Vasanträo Deshpände learned Bhendibazär Gäyaki from Ustäd Asadali Khänsaheb at Lähore. The reclusive Ustäd, who for six months taught only Märwä to Vasanträo, told him to sing this matrix with base note firmly in mind but employ phrases using all other notes in the scale. Vasanträo’s rendition of Märwä is truly electrifying and an independent interpretation of this matrix. Also memorable is the bandish ‘Piyä more anant des’ sung by Ustäd Amir Khänsäheb, founder of Indore gharänä. This raag has also been rendered magnificently by instrumentalists whose instruments allow meend (unbroken passage from one note to another) and khichäv (progression from one note to another by pulling the string in an instrument), most notable examples being Pt Ravi Shankar, Pt Nikhil Bänerjee (both sitar) and Pt Hariprasäd Chauräsiyä (flute).

Märwä excels in the upper ranges of the octave and compositions from popular music also bear out its potential to build tension. ‘Jo tum todo piyä’ (Film: Silsilä) sung by Lata Mangeshkar under Shiv-Hari’s baton comes to mind as the top recall. The melody-queen has also sung a number of memorable songs such as ‘Känhä re känhä re’ (Film: Taxi Driver), ‘Päyaliyä bäwari’ (Film: Säj Aur Aäwäj) in Märwä. Maräthi bhäv-sangeet also boasts of some sparkling gems in this matrix, the most notable being Arun Däte’s ‘Swar gangechyä käthävarati’, Suman Kalyanpur’s ‘Shabd-shabd japun thev’ and Lata-didi’s ‘Mävalatyä dinakarä’. Märwä never fails to evoke emotions that portray shades of self-denial, disappointment and devotion. The other two sister melodies that share the same scale are, however, entirely different in their nature. But more about them in future episodes of Music-Fundaaz. Right now, dig out a recording of Ustäd Amir Khänsäheb or Vasanträo Deshpande, sit back and let the magic of Märwä wash over you…

Deep ki jyot jale...

This week we celebrate Diwali with Kumar-ji's Raag Dhan-Basanti, composed specially for this joyous festival of light…

Diwali is an occasion to celebrate – with crops harvested, bountiful Mother Nature in full bloom and worries over, at least for the yearly cycle. It has also given birth to a number of compositions in folk music that suit the mood of this merriment. Indian classical music, which evolved from folk music, is no exception to this ambiance and also boasts of a number of delightful compositions to suit it.

However, when legendary Pt Kumär Gandharva, in early 1960s, was invited to present an evening concert on the occasion of Diwali for All India Radio, he could not find a bandish that suited the festive mood of Dhan-Teras. The creativity in him motivated him to take a fresh look at an existing raag-matrix and gave birth to a new delightful raag.

Kumärji was an artist par excellence when it came to the creativity and, what we call in this era, lateral thinking. There have been numerous occasions when Kumärji’s creativity has given established norms a big jolt but, at the same time, offered immense joy to the listeners and connoisseurs, alike. He came up with a number of new raag-matrices that evolved from Mälwi (belonging to Mälwä region that’s now part of Madhya Pradesh) folk music. He also composed completely original bandishes to suit various moods envisages by the raags.

The new matrix used the scale of Raag Puriyä-Dhanäshri but presented it in the manner of Raag Basant. Both these raags use essentially the same set of notes with Shuddha Madhyam (flat fourth note) being an addition in Basant. But the treatment given to it in the latter evokes a mood of well-being, pleasantness and celebration. Kumärji also came up with a suitable self-composed lyric that suited the occasion of Diwali and ‘Deep ki jyot jale’, the composition in the new matrix named ‘Raag Dhan-Basanti’, became extremely popular. The AIR concert, for which this composition was made, also was a huge success. Kumärji later included this composition in his ‘Geet Vasant’, a novel presentation of compositions related to spring season. Here's the bandish in Kumar-ji's mellifluous voice for all connoisseurs...

They say ‘Art reflects life’! This is all the more true in case of performing arts that touch the very core of one’s heart. Kumärji’s Dhan-Basanti proves this point beyond doubt and marks him as a ‘Näyak’, elevating him on a platform distinct from others. Connoisseurs may have heard ‘Deep ki jyot jale’ earlier. But this Diwali, buy yourself a cassette or CD of Pt Kumär Gandharva’s Dhan-Basanti and soak in the joyful mood with sweets, lots of diyäs, firecrackers and lots of happiness! Here’s wishing a Very Happy Diwali to all the readers!!!

Of The Setting Sun And Orange Skies!

As Sun starts its daily journey towards western sky, we not only see the sky changing its colours, but we also experience the brilliant soundscapes afternoon raags create for your senses!

Raag Multäni, one of the ancient and expansive melodies in the Indian classical format, belongs to the Todi Thaat and is primarily sung in the late afternoon. The scale employs all seven notes but komal (minor) rishabh, gandhar and dhaivat and teevra (sharp) madhyam. The ascent and descent in the raag are typical in the sense that they provide symmetry of progression at ‘Sä’ and ‘Pa’. This is commonly known as ‘Shadaj-Pancham Bhäv’ where the progression of notes shows similarity of movement. Multäni is more popular amongst vocalists and, more so, with exponents of Kiränä and Gwalior gharänäs. However, Ustaad Ali Akbar Khan’s (sarod) recording dating back to mid-sixties also showcases a brilliant soundscape of Multäni’s mood.

What I have for you in this post is an expansive Multäni sung once again by Vijay Koparkar. He sings ‘Kavan des kavan nagariya mein', one of the electrifying bandishes popularized by late Pt. Vasantrao Deshpande. He even sang it on-stage in the landmark play ‘Katyär Käljät Ghusali’.



The popular repertoire from Hindi films, regrettably, has not seen many forays into the vast canvas offered by this raag. However, the credit again goes to legendary composer Naushad for getting Ustäd Amirkhan to sing ‘Dayä karo he giridhari’, a devotional song for the film ‘Shabäb’ in the golden era of Hindi film-music. SD Burman also composed ‘Lag gayee akhiyän’, a superb melancholy for the film ‘Jeevan-Jyoti’ sung by Mohd Rafi and Geeta Dutt.

But Marathi nätya-sangeet has come up with some remarkable numbers in Multäni. The most memorable and remarkable composition that comes to mind is ‘Prem sewä sharan’ as sung by Late Dinanath Mangeshkar. The nätyageet was originally composed in Raag Bhimpaläs but the Maestro of Mangeshi gave it a different twist and people loved it immensely. Late Pt Vasantrao Deshpande, who idolized Dinanath Mangeshkar, also rendered this composition brilliantly but in his own way. He also sang ‘Kavan des kavan nagariya mein’, an electrifying bandish in Multäni composed by Ustad Fateh Ali Khan in ‘Katyär Käljät Ghusali’, a popular musical play.

Another nätyageet in the 1970s that bore the un-mistakable stamp of Multäni came from Pt Jitendra Abhisheki, a genius who was equally proficient at hard-core classical and other lighter forms. ‘Nako visaru sanket meelanächä’ from ‘Sangeet Matsyagandhä’ is one of the most remarkable compositions from Pt Abhisheki and has been immensely popular even with the younger generation of singers. Raag Multäni, it has been felt, offers immense potential to a composer, but has been used very sparingly as far as popular music goes. But who knows, we might even get a composer who gives it a go and we experience the ambience of brilliant skies of the late afternoon, the orange ball that is the setting sun, a few wisps of cloud and the trademark pull at your heartstrings – typically Multäni!

An Amazing Family!

This is unmistakably one of the most unforgettable Lata Mangeshkar melodies from the golden era of Hindi film music. ‘Aeri mein to prem diwäni’ (Film: Naubahar, Music: Late Roshan) bears unmistakable stamp of Raag Bhimpaläs and almost fifty years since it was composed, the song still holds its position on the top of charts. Similarly, Bhimpaläs, an afternoon melody in classical repertoire belonging to Käfi Thät, also retains its popularity amongst vocalists and instrumentalists alike despite availability of other raag-matrices in this time zone.

Some musicologists hold that Bhimpaläs’s originates from Raag Dhanäshri (rarely sung in recent times), but differs from Dhanäshri in its emphasis on Shuddha Madhyam (fourth note). Right from the old maestros like Ustäd ‘Baba’ Alläuddin Khän, Ustäd Faiyäz Khän, Pt Krishnaräo S Pandit, Pt Mallikärjun Mansoor to today’s Pt Kishori Amonkar, Late Dr Vasantrao Deshpände, Pt Jitendra Abhisheki and a host of others have explored Bhimpaläs’s matrix according to individual creativity. The Abhisheki composition ‘Rang chhuye jo kesarake’ is worth mentioning here with the maestro’s creativity highlighting upper half of the Bhimpaläs This composition is available for your listening pleasure in the voice of Vijay Koparkar, Pt. Abhisheki's disciple, elsewhere on this page.

Maräthi nätyasangeet has derived a host of popular numbers from this matrix. Bäl Gandharva’s ‘Swakul tärak sutä’ (Sangeet Swayamvar) is one of the most remarkable and popular compositions in Bhimpaläs. Equally popular is ‘Prem sewä sharan’ from ‘Mänäpamän’ composed by Late Pt Govindräo Tembe in Bhimpaläs. This composition was later given a distinct ‘Multäni’ flavour by Pt Dinänäth Mangeshkar. ‘Marathi rasik’ will also forever remember ‘Amrutähuni god näm tuze devä’ sung by Late Smt Manik Varmä in her inimitable, sweet voice.

There are a couple of other melodies that are close to Bhimpaläs’s structure but with a small variation thrown in. The first that comes to mind is Raag Patdeep, identified separately from Bhimpaläs with the use of Shuddha Nishäd and its emphasis on Pancham. Patdeep has been immortalized in Hindi film-music by Late SD Burman in his composition ‘Meghä chhäye äadhi rät’ (Film: Sharmilee, Music: Late SD Burman) while Veer Säwarkar’s ‘Marma bandhätali thev’ (Sangeet Sanyasta Khadga) has been sung by a number of vocalists over the years and has truly been a treasure-trove.

Another raag-matrix that’s close to Bhimpaläs is known as Raag Dhäni. The emphasis here is on ‘Gandhar’ (third note) and the matrix uses only five notes from the octave. SD Burman once again comes up with a masterpiece in this raag with ‘Khilte hai gul yahän’ (Film: Sharmilee). But the ‘magnum opus’ in Dhani has been composed by Pt Jitendra Abhisheki. His brilliance was evident when he composed an electrifying version of ‘Ghei chhand makarand’ in ‘Katyär Kälajät Ghusali' (also available as a link under "For your listening pleasure..."). Late Jaidev also immortalized Dhäni in ‘Prabhu tero näm’ (Film: Hum Dono)।

Truly an amazing family – Raag Bhimpaläs and its siblings! Then there's Raag Madhuwanti - also from the similar time-slot, but an independent raag-matrix closer to Raag Multäni worth writing a separately on. More about it in some other episode...

The Multi-faceted Family

As dawn progresses into morning, there’s a wide variety of raags in this zone under Indian Classical music system. One of the foremost matrixes in this time-slot is Raag Särang and its variants. Sung in the second quadrant (prahar) of the day, Särang belongs to the Käfi Thät. Apart from the main melody, there are several variants of Särang like Shuddha Särang, Brindäbani Särang, Madhmäd Särang, Miyän-Ki-Särang, Lankä-Dahan Särang, Badhans Särang, etc. The entire family presents a wide menu of soundscapes.

Raag Shuddha Särang uses both sharp and flat Madhyam (fourth note) highlighting tension and is ideally suited to projecting the intense heat and restlessness of summer. Brindäbani Särang, on the other hand, is much more soothing while Madhmäd Särang also follows serene path. Other variants like Lankä-Dahan Särang, Badhans Särang are rarely heard these days.

In classical repertoire, Pt Bheemsen Joshi’s Shuddha Särang, recorded about thirty-five years ago, is still popular while Pt Jasraj-ji’s Shuddha Särang projects a typical Mewati Gharänä treatment. But Ustäd Abdul Karim Khan’s 1905 recording of Brindäbani Särang, lasting just three-and-half minutes, puts a sparkle in your heart even today. Smt Hiräbäi Barodekar’s Särang, on the other hand, projects a very composed and sweet picture. With the technology available today, all these recordings have been preserved for posterity and are highly recommended for listening.

Light music has also used various forms of Särang Family and given us numerous memorable songs. Composer SN Tripathi was probably in love with the Särang matrix when he worked on ‘Rani Roopmati’ way back in early-50s. He composed as much as five songs in this matrix for the movie. The best known amongst them is the Mukesh number ‘Aa lautke aajä mere meet’ based on Madhmäd Särang. ‘Lägi tose nain’ (Talat Mehmood-Asha Bhonsale, Film: Chändi Ki Diwär), ‘Jhanan-jhanjhanä ke apani päyal’ (Lata, Film: Rani Roopmati) are some of the better-known songs in Särang. But the most lilting melody comes from under Late Hemantkumar’s baton. ‘Jädugar saiyyä, chhodo mori baiyyä’ from ‘Nägin’ is as fresh as ever with Lataji’s soft melodious voice. Marathi array also boasts of some evergreen numbers with Sudhir Phadke’s ‘Santh vähate krushnämäi’ topping the charts. But the honour for the most energetic presentation based on Särang matrix undoubtedly goes to Shammi Kapoor – Sharmilä Tägore ‘masti’ number ‘Häy re häy, ye mere häthonmein terä häth’ from the legendary OP Nayyar’s ‘Kashmir Ki Kali’. Wow – what a variety! Truly a multi-faceted ‘Särang Family’!

The mercurial ‘Chärukeshi’

This matrix puzzles me – on one hand, there are romantic songs like ‘Baiyä nä dharo’ (Film: Dastak) or a lively Marathi number like ‘Rutu hirawä’ by Asha Bhosale (Music: Shridhar Phadke), while there are equally sweet but sad numbers like ‘Akele hai chale äao’ (Mohd. Rafi, Film: Räz) or that famous Hridaynath Mangeshkar song ‘Gele te din gele’! These songs belong to the mercurial repertoire of Raag Chärukeshi.

Although Chärukeshi hails from the Kärnatic musical tradition, it has been assimilated in the Hindustani tradition for quite some time now. A sampoorna raag (employing all seven notes in the octave) that uses komal Dhaivat and Nishäd (minor sixth and seventh notes), Chärukeshi has found more favour with instrumentalists. Probably, the usage of all seven notes allows them, esp. the maestros of string instruments like sitär, santoor, more freedom of expression and better playing techniques. Pt Ravi Shankar’s recording of Chärukeshi from mid-‘70s is popular even today and memories of Pt Shivkumar Sharma’s early morning’s presentation of this raag in a concert at Pune in early ‘80s are still vivid. Pt Hariprasad Chaurasiyä had also recorded this raag for HMV once upon a time but the cassette seems unavailable these days.

The vocal tradition, however, seems to have sidelined Chärukeshi in a way. This may have been because of availability of other beautiful raag-matrix in the closer range like, for instance, Nat-Bhairav, Asävari, etc. But Gäna-Saraswati Kishori Amonkar used to sing Chärukeshi in her own inimitable style around twenty years ago. Others have rarely, if ever, included this raag in their repertoire. Popular music, on the other hand, has made extensive use of Chärukeshi’s captivating notes to belt out some of the most memorable songs. Lata Mangeshkar’s outstanding songs like ‘Chhod de sari duniya kisi ke liye’ (Film: Saraswatichandra), ‘Kisi räh mein kisi mod par’ (Film: Mere Humsafar) or ‘Aaj dil pe koi jor chalta nahin’ (Film: Milan) are all based on Raag Chärukeshi. But who can forget that nätyageet from ‘Yayäti Aäni Devayäni’, ‘He suräno chandra vhä’, composed by Pt Jitendra Abhisheki? Almost thirty years since its debut, the song still holds its forte as one of the all-time favourites and artists of current generation also seem to be enamored by its magic. This composition, in the late maestro's own voice, is now available for your listening pleasure elsewhere on this page as a link. Do enjoy the rousing 'peshkari' of this otherwise serene raag-matrix!

Although we borrowed it from the South Indian music, Chärukeshi is now here to stay, like the proverbial spoonful of sugar in a glass of milk!