Khamaj

Our Notation

Indian

British

English

Dha

A cheerful Raga of verve, vigour and joy, this is popular with all kind of artistes -- classical, folk and light composers. Although there a number of Dhrupads composed in Khamaj, it is not a serious Raga in essence. The Komal Nishad used immediately after Shuddha Nishad grants it effusiveness. Till 1950s it was extremely popular with Sitarists and each perfomer played it in a unique style of his own, such are the vast possibilities of this Raga. Although classically Rishabh being barred in ascending, it should start with lower octave Nishad (N_*), but it can be used as N S R S, the note being higher than following Shadaj. Yet, N S R G or S R G would fault the Raga. There are several variants possible in both progression and regression.

Characteristics

Ascending order / Progression

N_* S G M P, G M P D N_bD P, G M P D N S^{^*}

Descending order / Regression

S^{^*} N_b D, M P D, M G, P M G R S

Jaati

Hexa-tonic and hepta-tonic

Sonant Note

Consonant Note

Time for rendering

Evening. Around 7 pm to 10 pm

Composition

Sthai

S^*S^*

S^*

N_bN_b

- M

dir

rda

- r

N_bN_b

- M

dir

rda

- r

Antara

N_b

S^*

S^*S^*

G^*G^*

R^*

R^*S^*

- S^*

S^*

dir

rda

- r

G^*

R^*R^*

S^*

- N

S^*

N_b

- M

dir

- r

dir

rda

- r

Find Misrabani compositions in Rag Vibodh: Misrabani and Rag Rupanjali