Raga Multhani

 

Scale: Thodi

Jathi : Ovdawa Sampurna

Ascent :   NS , GMP , NS

Descent : SNDP , MG , RS

Catch Note : - NS , MG , PG , RS

Vadi : P

Samvadhi: S

Time of Singing : 3rd Phahar of the day

Raga Multhani is derived form Thodi Scale. It is raga of Oudawa Sampoorna jathi. Because it used five notes in ascent and used seven notes in descent. Its ascent is NS , GMP , NS and its descent is SNDP , MG , RS. It used “M” sharp and “G” flat both ascent and descent. Also “D” flat in only descent. Raga Multhani catch notes are NS  MG , PG , RS. Its vadi note is “P” and its samavadi note is “S”. Raga Multhani is uththarangavadi raga because its vadi note “P” is in the second part of the octave. This raga is singing at the 3^rd prahara of the day.

 

Key Features of Shuddh Kalyan

The meend or glide from taar (upper) Sa to Dha must graze(kan) Ni and the meend from Pa to Ga must graze teevra Ma.  Watch the video for a demonstration.

The Ni and teevra Ma in the avrohee phrases are not pronounced, however when singing taans they are pronounced.

It is a poorvang pradhan raag which means you develop this raag a lot in the mandra and madhya saptaks.

Bhoopali, Deshkar and Shuddha Kalyan are samaprakritik raags. Care must be taken to avoid accidentally entering another raag’s territory.

Movement of notes: Languid

Mood: Happy, peaceful, romantic, devotional

Aaroh-Avroh

s gr g p sud su

su nd p Mg r, pg pr s

Vaadi, Samvaadi

g, d

Nyaas Swars g

Avrohee phrases: r, p

Jaati Audav-Sampoorna

Pakad n d Mp, pg pr s

Time 1st prahar of the evening (7 pm - 10 pm)

Thaat Kalyan

Raga Shuddha Kalyan is derived from Kalyan Scale. It is raga of Oudawa-Sampoorna jathi. Its ascent is S , RG , PDS and its descent is SNDP , MG , R , S. It used all the seven notes in descent and used in five notes in ascent. Raga Shuddha Kalyan catch notes are G , RS , NDP , S , GR , PR , S. Its vadi note is “G” and samavadi note is “D”.Raga Shuddha Kalyan is poorrangavadi raga because its vadi note “G” is in the first part of the octave. Raga Shuddha Kalyan is singing at 1^st prahara of night.

  

Introduction to Raag Chhayanat

 

Key Features of Raag Chhayanat:

The Nat aspect and the Chhaya aspects of the raag are as follows:

Key Nat Phrase - s r r g g m qpw er

Key Chhaya Phrase - qpw er, r g m p g m r s

The qpw er meend is characteristic of Raag Chhayanat

It has both the Ni's and both the Ma's. However the shuddh Ni and the teevra Ma are in the form of a kan swar.

The Kalyan thaat is justified because of the existence of teevra M and some Kalyan phrases such as p d p p su

Chhayanat displays shades of many raags including Kedar, Kamod, Alhaiya Bilawal and Hameer.

It expresses a mood of adornement and also separation in love.

Aaroh-Avroh

s r g m p, p Md p p su

su nd N p, p Md qpw er, r g g m r s

Vadi, Samvadi

r, p

Nyaas Swars

r, s

Jati Shadav-Sampoorna

Pakad qpw er, r g g m qpw er s

Time 1st prahar of the night (7pm - 10pm)

Thaat Kalyan

- Raga Chayanat is derived from Kalyan scale. It is raga of Sampoorna- Sampoorna jathi. Because it used all the seven notes both ascent and descent.Its ascent is S , R , GMP , NDS and its descent is SNDP , MPDP , GMRS. It used “M” sharp and remaining shuddha notes and also it used natural “M” rather than sharp “M”. Raga Chayanat catch notes are P , R , GMP , GM , MRS. Its vadi note is “P” and its samavadi note is “R”. Raga Chayanat is uththarangavadi raga because its vadi note “P” is in the second part of the octave. This raga is singing at the 1^st prahara of night 

Raga Chayanat use “N” and “G” as crooked notes. As an example GMP , NDS and RGMPMG, MRS. It used “N” flat note as a vivadi note in the descent. Because it used to beautify the raga. It develops the notes in order “M” to “R”. its clearly prove the raga as Chayanat.

 

 

History of Indian Classical Music

History of Indian Classical Music (Brief but Detailed)

Indian classical music originated in Vedic times, nearly 6,000 years ago, and is based on the philosophy of Nāda Brahma (sound as divine). The Vedas contain references to musical notes and rhythm, with the Sāma Veda forming the foundation of Indian music. It consists of Rigveda hymns set to melody, sung using three to seven notes during rituals. Musical meters in the Rigveda are believed to be the earliest source of ragas. In ancient times, music was classified into Gandharva, which was formal and ceremonial, and Gāna, which was informal and meant for entertainment.

A major theoretical foundation was laid by Sage Bharata in the Nāṭya Śāstra (200 BCE–200 CE), which systematized music, dance, and drama and introduced the concept of Rasa, a key aesthetic principle in Indian arts. Another important treatise, Sangita Ratnakara, was written by Sharangadeva in the 13th century. Divided into seven chapters on swara, raga, tala, composition, and instruments, it influenced both Hindustani and Carnatic music traditions.

During the medieval (Muslim) period (c. 1200–1700 CE), Hindustani classical music developed rapidly due to Persian influence. Amir Khusrau (1253–1325 CE) played a crucial role by introducing new ragas and musical forms such as Qawwali and Tarana, along with instruments like the sitar and tabla. Under the Mughal ruler Akbar, music flourished, and his court musician Tansen (c. 1500–1586 CE) composed famous ragas such as Miyan ki Todi, Miyan ki Malhar, and Darbari Kanada, shaping many gharanas.

By this time, Indian classical music had clearly divided into Hindustani (North India) and Carnatic (South India) systems. In the 18th century, Khayal evolved from Dhrupad and became the main form of Hindustani music, leading to semi-classical styles like Thumri. Royal patronage by Nawabs and Maharajas supported musicians until the British period, when this system declined.

After India’s independence in 1947, classical music moved from royal courts to public concerts and institutions. In the late 19th and early 20th centuries, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande helped popularize and systematize Hindustani music. In the 20th century, artists like Pandit Ravi Shankar and Ustad Ali Akbar Khan introduced Indian classical music to global audiences, earning worldwide recognition.

What is Raga?

What is Raga?

A Raga is the foundation of Indian classical music. It is a melodic framework made of selected musical notes (swaras) arranged in a specific order, used to create a particular mood or emotion.

A raga is not just a scale. It is a set of rules that guide how notes are used, emphasized, and ornamented to express rasa (feeling).

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Definition

A raga can be defined as:

A melodic structure that evokes a specific emotion and is formed according to fixed rules of swaras, ascent (Aroha), descent (Avaroha), and characteristic phrases.

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Main Features of a Raga

• Swaras: Selected notes from the seven basic notes (Sa, Re, Ga, Ma, Pa, Dha, Ni)

• Aroha: Ascending order of notes

• Avaroha: Descending order of notes

• Vadi: Most important note

• Samvadi: Second most important note

• Pakad: Characteristic phrase of the raga

• Time Theory: Each raga is traditionally sung or played at a specific time of day or season

• Rasa: The emotion or mood (peaceful, joyful, devotional, etc.)

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Importance of Raga

• Ragas give identity and structure to Indian classical music

• They allow creativity within discipline

• Different ragas express different moods and emotions

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Example

• Raga Yaman – peaceful and devotional, usually performed in the evening

• Raga Bhairav – serious and meditative, performed in the morning

ONLINE HELP:

https://raag-hindustani.com/Scales1.html

Understanding Shruti

What is Shruti? 
In Indian classical music, the term Shruti refers to the smallest gradation of sound that the human ear can detect and differentiate. Originating from the Sanskrit word “श्रु” (śru), meaning “to hear,” shruti is not just a musical note but an auditory phenomenon—a sensation of sound that lies between the fundamental notes (swaras). While Western music is built on semitones, Indian music recognizes a greater range of microtones, which are theoretically divided into 22 shrutis per octave. 

Shruti in Practice 
The idea of shruti underpins the flexibility and subtlety of Indian classical music, allowing artists to convey nuanced emotions that resonate deeply with listeners. Although Indian music primarily uses seven main notes (swaras), each note is associated with a spectrum of microtonal variations, creating unique expressions and enabling a dynamic dialogue between melody and mood. 

Microtonal Adjustments: Artists often adjust shrutis within the context of different ragas, enhancing certain frequencies to convey specific emotional qualities. 

Enhanced Expressiveness: The use of shruti variations enables a deeper emotional and spiritual engagement, as the listener perceives not just the primary note but also its finer nuances. 

The Importance of Shruti in Tuning and Performance 
Shruti plays a critical role in the tuning of Indian instruments and vocal music. Unlike Western music, which uses a standard tuning system, Indian musicians often tune their instruments and voices based on the raga they are performing. This can vary between performances, as musicians adapt to the emotional and atmospheric qualities they wish to evoke. 

Darbari Kanada

✔ Thaat: Asāvari

✔ Jati: Vakra–Sampūrṇa (primarily descent-oriented)

AROH:         .n  S   R   g   R   S  ,  M   P   d   n   R.   S. 

AVROH:       S.   d   n   P   M   P   g   M   R   S 

PAKAD  :     g   M    R   S ,   .d    .n    S    R    S   

TIME  OF  PLAYING :   Late night    

✔ Vadi: Re

✔ Samvadi: Pa

✔ Ang: Kanada-ang + Durbār-ang

✔ Key signature phrases:

• S d~ n~ p M P

• M g~~ R S

• n S R g~ R S

✔ Core identity:

• Heavy andolan on komal g, d, n

• Gamak-oriented poorvanga

• Deep, grave night rāga

• Descent-dominant (avaroha-pradhān)

• Vakra movement always

• Phrases more important than scale

• No straight ascent

    

SLOW  COMPOSITION in Teena Taal (16 Beats) starting at 12th beat  STHAI:  

          3                             X                          2                              0 PP  |  gM  RS  .nS   R-SR  |  g    g    g    gM  |  R    SS    .nS    RS  |  .d    .n    .P .M.M | .P   .d.d    .n    S  |  R    R    R    RP  |  gM   RS   .nS   RS  |  .d    .n   .P MM  |  P    PP    MP    nP  |  g    g    g    gM  |  R    SS    .nS    RS  |   .d    .n    .P  

ANTARA:    

       3                        X                          2                              0 MM | P   dd    n    S. |  R.   R.   R.   R.P.| g.M.  R.S.  nS.  R.S.| .d    .n    .P MM | P   PP   MP  nP |  g     g     g     gM |  R     SS    .nS    RS | .d    .n    .P  TODE:  Will start at SUM (X – 1st beat) and merge into SUM after a Tihai (Triplet). Tihai has been shaded X 1. SRgg   RgMM  gMPP  MPdd | Pdnn  dnS.S.  S.ndP  MgRS | gMRS  .d.nSR   g   gMRS | .d.nSR   g   gMRS  .d.nSR | X  2. MgRM  gRMg  .nSRg  ndPn | dPnd  PdnS.  M.g.r.M.  g.R.M.g. | R.S.nS.  S.ndP  MgRS  .d.nSR |  g   .d.nSR   g   .d.nSR | X 

Raga Darbari Kanada is derived from Ashawari Scale. Raga Darbari Kanadas’ Jathi is Sampoorna - Shadawa. Its ascent is NS , RG , RS , MP , D , NS and its descent is S , D , N , P , MP , G , MRS. It used al the seven notes in ascent and used six notes in descent. 

Raga Darbari Kanada catch notes are G , RR , S , D , NS , R , S. Raga Darbari Kanada vadi note is “R” and its samavadi note is “P”. Raga Darbari Kanada is poorrangavadi raga because its vadi note “R” is first part in the octave. Raga Darbari Kanada is singing at the mid night (3^rd quarter of night).

Purvanga (or Purvang) and Uttaranga (or Uttarang)

 In Hindustani classical music, the terms Purvanga (or Purvang) and Uttaranga (or Uttarang) refer to the lower and upper halves of the octave (saptak) respectively, and not to specific sections or stages of a khyal performance.

Definitions

• Purvanga (Purvang):
  This denotes the lower tetrachord of the octave, comprising the notes Sa, Re, Ga, and Ma (S R G M).
• Uttaranga (Uttarang):
  This denotes the upper tetrachord, comprising the notes Pa, Dha, Ni, and the upper Sa (P D N S′).

Relevance to Khyal and Raagas

Although these terms do not describe formal parts of a khyal, they are essential for understanding raag structure, melodic emphasis, and time theory:

• Raag Classification:
  Raagas are often classified as Purvanga-vadi or Uttaranga-vadi, depending on whether the vadi (dominant note) lies in the lower or upper half of the octave.
• Melodic Development:
  In a khyal performance, melodic elaboration—such as alap, bol-alap, taans, and sargams—tends to emphasize the register (Purvanga or Uttaranga) that is central to the raag’s identity.
• Time Theory of Raagas:
  This classification is closely linked to the traditional samay siddhant (time theory) of raagas.
• Purvanga-vadi raagas are generally performed during the first half of the day or night (approximately 12 p.m. to 12 a.m.).
• Uttaranga-vadi raagas are typically performed during the second half (approximately 12 a.m. to 12 p.m.).

While a standard khyal performance consists of compositional sections such as sthayi and antara, and is presented in vilambit (slow) and drut (fast) tempos, the terms Purvanga and Uttaranga specifically describe the melodic regions of the octave emphasized within that structure, rather than the performance form itself

Thaats (Hindustani Musical Scales)

 Thaats were created by a musicologist name Vishnu Narayan Bhatkhande (1860-1936) and his first ideas were inspired by the Mela System of Carnatic Music from South India.

Here are the 10 Thaats and some Ragas which belong to it.

1). Bilawal (Ionian mode): S R G M P D N S (no komal swar)

• Morning: Raag Alhaiya Bilawal, Raag Bilawal
• Evening: Raag Durga
• Night: Raag Bihag, Raag Hamsadhwani

2). Kalyan (Lydian mode): S R G M' P D N S (M' Teevra)

• Afternoon: Raag Shudh Sarang
• Evening: Raag Bhopali, Raag Meru Bihag, Raag Yaman
• Night: Raag Kedar 

3). Khamaj (Mixolydian mode): S R G M P D n S (n komal)

• Evening: Raag Desh, Raag Khamaj
• Night: Raag Gorakh Kalyan, Raag Champakali, Raag Jog, Raag Rageshree, Raag Saraswati, Raag Tilak Kamod

4). Bhairav (double harmonic): S r G M P d N S (rd-komal)

• Morning: Raag Ahir Bhairav, Raag Bairag, Raag Bhairav, Raag Jogiya, Raag Nat Bhairav, Raag Ramkali  

5). Kafi (Dorian mode): S R g M P D n S (gn Komal)

• Morning: Raag Asavari, Raag Jaunpuri
• Afternoon: Bhimpalasi
• Evening: Raag Kafi, Raag Patdeep
• Night: Raag Bageshree, Raag Chandrakauns, Raag Pilu, Raag Shivranjini

6). Asavari (Aeolian mode):  S R g M P d n - (gdn - komal)

• Morning Raag Asavari, Raag Jaunpuri
• Night: Raag Adana, Raag Darbari

7). Bhairavi (Phrygian mode): S r g M P d n S (rgdn- komal)

• Morning: Raag Bhairavi, Raag Komal Rishabh Asavari
• Night: Raag Malkauns

8). Poorvi - S r G M' P d N S (r M'd)  - rd - komal / M' Teevra)

• Dawn: Raag Lalit
• Afternoon: Raag Poorvi
• Evening: Raag Puriya Dhanashree 

9). Marwa - (Lydian b2) :  G M' P D N S (M' Teevra)

• Dawn: Raag Bhatiyar, Raag Sohini
• Evening: Raag Puriya Kalyan

10). Todi - S r g M' P d N S (rgM'd)

• Morning: Gujari Todi
• Afternoon: Raag Madhuvanti, Raag Multan

shrutis

The detailed study of the controversy regarding equality and in equality of shrutis in ancient, medieval and modern periods

Ancients who lived between the 4th century and 12th century believed that the interval between two shrutis was equal. This theory is called the Saman shruti antar. This was scientifically incorrect as science at that time was not developed. 

The medievals who were Lochana, Ahobala,Sri Nivas and Vyankathamukhi used the veena to locate the swaras. Because of this slightly advanced system of locating swaras on the stretched wire of veena, they realized that the interval between two shrutis is not equal.

 Therefore they did not accept the Saman Shruti antar of ancient writers like Bharata and Sarangadeva. Lochana, Ahobala and Srinivas lived between 15thC and 18th centuries and due to their advanced knowledge of shrutis , they found the interval between shrutis changed. 

Pandit Bhathkande the chief writer among moderns, lived in the 19th century. Thaats were created by a musicologist name Vishnu Narayan Bhatkhande (1860-1936) and his first ideas were inspired by the Mela System. During his time science had developed much and with the help of Acoustics or the science of sound , he discovered that the interval between shrutis was basically unequal and went further than the medievals and stated that even the location of komal Ri, komal Dha and Teewra Ma of medievals were wrong and placed the shudda swaras on the first shruti. His theory was correct as he used the modern major Diatonic scale or the Bilawal That as the proper shudda swar saptak.