musica indiana raga

PREFPREFPREFPREFPREFAAAAACECECECECEArya Bhattacherjee

My mother used to hum tunes to make me fallasleep. I still remember some of those tunes. Hauntingmelodies. Later on I discovered, many of those wereactually compositions by some of the pioneers of IndianClassical music.

Our home in Calcutta has an atmosphere of music.I still remember the 74 rpm LP records, wistful renderingsfrom the giants of Indian Classical music, which were keptwell out of my reach. Nevertheless, we listened to them,and tried to emulate them with the help of a music teacherwho used to come on Sundays.

In Bengal, my home state, culture invariably seepsinto our day-to-day life. It happens naturally, as, byconvention, every Bengali child gets into learning someform 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 withme. Always.

It is still my guiding spirit.

Today I am a software businessman, settledabroad. In the course of my travels across the world, I havecome across a variety of cultural experiences. Theseexperiences have re-affirmed my confidence in IndianClassical Music as the greatest possible rejuvenator of life.The compassionate faith healer of torn, bruised emotionsacquired out of everyday trials and tribulations.

Indian Classical music catches you unaware,forces you to look beyond everyday life, reminds you ofyour roots, your human self. Indian Classical Music teachesthe art of living.

At times, when lonely, the need to share my mostintimate memories emerged . I felt that, maybe, myexperiences were not isolated. There must be others whothought similarly. People who depend on the many moods

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of Indian Classical music to guide them through the serpentineby-lanes of livelihood.

My profession as a software businessman made mesettle down in America. I have seen my children grow up withoutany inkling of what they do not have. They need to know theirculture if they are to understand their roots. I felt that somethingdefinitely needs to be done for them, and countless others likethem.

No, I can’t 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 IndianClassical music with available options. Before long I realizedthat this is somewhat impossible. They may have the inclination,but they do not have the time to enjoy hour-long renditions. Lifehas become much faster.

I realized that Indian Classical Music could be re-presented in a way that could be easily accepted and enjoyedby the maturing face of globalisation.

“Khayal” was the evident choice – the most popularand flexible form of Classical music rendition in India. Theyhad to be presented in a concise form without interfering withtheir mood and content. It was a difficult task, but, if achieved,would open up a new gateway for a generation that wants tobe acquainted with it, but do not have the time.

I am not a musician, but a music lover. Yet, I took theliberty of personally selecting the bandishes for this presentationfrom the rich repertoire of Indian classical music. I also gatheredenough courage to approach the two most accomplishedvocalists of our times, and explained the idea to them. It wasfortunate that they agreed to be part of the experiment.

The results are with you.

�� The most popular mode of rendition in Indian Classical MusicThe most popular mode of rendition in Indian Classical MusicThe most popular mode of rendition in Indian Classical MusicThe most popular mode of rendition in Indian Classical MusicThe most popular mode of rendition in Indian Classical Music

The most widely accepted variety of Hindusthani ClassicalHindusthani ClassicalHindusthani ClassicalHindusthani ClassicalHindusthani ClassicalMusicMusicMusicMusicMusic today is called ‘Kha‘Kha‘Kha‘Kha‘Khayyyyyal’.al’.al’.al’.al’. Over the past fifty years, Kha Kha Kha Kha Khayyyyyalalalalalhas steadily gained popularity in comparison with ‘Dhrupad’,‘Dhrupad’,‘Dhrupad’,‘Dhrupad’,‘Dhrupad’, aform with simple grandeur and lack of embellishments. KhaKhaKhaKhaKhayyyyyal,al,al,al,al,with i ts f lexibi l i ty and abi l i ty to incorporate musicalornamentations, has effectively regaled the new listeners of IndianClassical Music, the middle and upper middle class.

� �� Where did KhaWhere did KhaWhere did KhaWhere did KhaWhere did Khayyyyyal come fral come fral come fral come fral come from?om?om?om?om?

Popular myth attributes the birth of khayal to Amir KhusrauAmir KhusrauAmir KhusrauAmir KhusrauAmir Khusrau, thestatesman poet of the court of AlaudAlaudAlaudAlaudAlauddin Khiljidin Khiljidin Khiljidin Khiljidin Khilji in the 13th century.This has been disproved by a number of musicologists headedby Thakur JaideThakur JaideThakur JaideThakur JaideThakur Jaidev Singhv Singhv Singhv Singhv Singh, an outstanding scholar of Philosophyand the theory of music.

According to him, the birth of khayal took place many centuriesago. “I maintain”, he writes, “that the so called ‘khayal’ style ofmusical composition is nothing but only a natural developmentof ‘Sadharan geeti’, which used the exquisite features of all thestyles... There is definite proof that such styles of musicalcompositions have been in existence in Indian music at least fromthe 7th or 8th century A.D.

��The Sadharani styleThe Sadharani styleThe Sadharani styleThe Sadharani styleThe Sadharani style

The sadharani style of composition with generous and plentifuluse of gamaks became our ‘khyal’ composition. Khyal expolitedall the famous features (ornamentations) without bothering abouttheir names - khatka, murki, meend, kamp, andolan - everythingwas beautifully woven into its structure…

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

�� Amir Khushru,Amir Khushru,Amir Khushru,Amir Khushru,Amir Khushru, impressed b impressed b impressed b impressed b impressed by it,y it,y it,y it,y it, ma ma ma ma may hay hay hay hay havevevevevejust named it…just named it…just named it…just named it…just named it…

Among other musicologists who support this theory is RajyeshwarMitra, also a scholar of Sanskrit and Persian. He goes on to writein his Bengali book ‘Moghul Bharater SangMoghul Bharater SangMoghul Bharater SangMoghul Bharater SangMoghul Bharater Sangeet Chintaeet Chintaeet Chintaeet Chintaeet Chinta’ (TheMusical Thoughts of Moghul India) – “ Amir Khusrau was not agreat admirer of Hindsthani music. He was the son of a Turkishfather, and his mother belonged to Hindusthan and his desire toimport 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 havenot stood the test of the time. ‘Qaul’ and ‘Qawali’ prosperedbecause of their poetic quality. However, there is no doubt, thathe had tried to liberate the traditional Hindusthani music shackledby the ‘shastrakars’ and grammarians and showed a new pathwhich in the hands of the muslim ‘sufis’ developed into a form ofconsiderable aesthetic appeal.”

�� MarriaMarriaMarriaMarriaMarriaggggge between Sadharani Geeti and Qae between Sadharani Geeti and Qae between Sadharani Geeti and Qae between Sadharani Geeti and Qae between Sadharani Geeti and Qawaliwaliwaliwaliwali

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

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

��Lets not gLets not gLets not gLets not gLets not get into endless debates,et into endless debates,et into endless debates,et into endless debates,et into endless debates, just enjo just enjo just enjo just enjo just enjoy the my the my the my the my the music…usic…usic…usic…usic…

But no one knows about the earlier forms of khayal. The presentday musicologist is more interested in music as a performing art,rather than the dry pages of musical history, much of which isspeculation. There was no system of notation till the middle ofthe 19th century.

The modern musicologist is inclined to take this view that khayal,in its present form, owes its existence to the later day Moghulsas well as the Nawabs of Oudh. Roughly speaking khayal, as it issung today, is no more than 300 yrs. old.

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� �� !The fThe fThe fThe fThe foundations of Indian Classical Music…oundations of Indian Classical Music…oundations of Indian Classical Music…oundations of Indian Classical Music…oundations 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 MusicIndian Folk MusicIndian Folk MusicIndian Folk MusicIndian Folk Music.To quote Prof. D.P. Mukherji “The historical fact about our classicalmusic is that, it was never above incorporating the folk, theregional, even non Indian types. Dhrupad, which is reported tohave been sung before ‘Akbar the GreatAkbar the GreatAkbar the GreatAkbar the GreatAkbar the Great’ (1556-1605) and whichis 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 Turkeygave ‘turask todi’. Such features are nothing special to Indianmusic. They are mentioned because many people in India thinkthat our ragas and raginis (female species) emanated from Godsand Rishis (sages of the past)”

(Modern Indian Culture(Modern Indian Culture(Modern Indian Culture(Modern Indian Culture(Modern Indian Culture,,,,, 2nd edition 1942, 2nd edition 1942, 2nd edition 1942, 2nd edition 1942, 2nd edition 1942, repub repub repub repub republished blished blished blished blished byyyyyRupa and Co under the title Indian Culture - a sociologicalRupa and Co under the title Indian Culture - a sociologicalRupa and Co under the title Indian Culture - a sociologicalRupa and Co under the title Indian Culture - a sociologicalRupa and Co under the title Indian Culture - a sociologicalstudstudstudstudstudy 2002)y 2002)y 2002)y 2002)y 2002)

"#��$#��%�� The fThe fThe fThe fThe folk base of the Raolk base of the Raolk base of the Raolk base of the Raolk base of the Raga System…ga System…ga System…ga System…ga System…

There is a folk tune prevalent in the Himalayan mountains, whichdeal with four major notes, only Ga, Re, Sa, Dha, out of which wehave Bhupali, Pahari and Deshkar, all of them use the pentatonicscale of Sa-Re-Ga-Pa-Dha with different movements. Out ofthis, again we have got Shudh Kalyan and Jait Kalyan. Bychanging the key we get Malkauns, Durga, Dhani, Megh and evenMarwa, though the last named raga consists of six notes. ThisPentatonic scale, some musicologists believe is the oldest. Thisis found in China as well. Whether we got it from them, or exportedit along with Buddhism - is a matter of speculation.

��JJJJJust a fust a fust a fust a fust a feeeeew cw cw cw cw changhanghanghanghanges in the scalees in the scalees in the scalees in the scalees in the scale,,,,, here and there… here and there… here and there… here and there… here and there…

In Karnatic music of South India, they still have the old Kafi scale(starting from middle C minor third and minor seventh), whileNorth and Western India have switched over at some period inthe past, possibly with the advent of Christian Missionaries, tothe tempered scale of major and minor notes as in Europe. In theSouth, most ragas owe their existence to either skipping one ortwo 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.

��The basis of our RaThe basis of our RaThe basis of our RaThe basis of our RaThe basis of our Ragas…gas…gas…gas…gas…

In my opinion, the basis of our ragas is ‘murchhana’ or modulation,i.e. the change of key. The features of the ragas stopped changingsince we adopted the tempered scale. Ragas described beforeSamrat Akbar’s reign and before the advent of muslim rule, donot remotely resemble the present ones, though they carry thesame name. Musicians over the centuries have created new ragasand are still going on creating.

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IntimatelIntimatelIntimatelIntimatelIntimately related to our socio-political history related to our socio-political history related to our socio-political history related to our socio-political history related to our socio-political historyyyyy

Several successors to the throne came and went during the darkdays of the ‘Moghul Empire’ between 1707, the death of the bigotemperor AAAAAurangzurangzurangzurangzurangzebebebebeb and the accession to the throne ofMuhammad Shah RangMuhammad Shah RangMuhammad Shah RangMuhammad Shah RangMuhammad Shah Rangeeleeeleeeleeeleeele in 1721, responsible for losing hispeacock throne to Nadir Shah.

"�� '�� The composerThe composerThe composerThe composerThe composers of the most popular bandishes of todas of the most popular bandishes of todas of the most popular bandishes of todas of the most popular bandishes of todas of the most popular bandishes of today…y…y…y…y…

RangRangRangRangRangelee elee elee elee elee was a great patron of music and had two famousmusicians NiyNiyNiyNiyNiyamat Khanamat Khanamat Khanamat Khanamat Khan and F i rF i rF i rF i rF i roz Khanoz Khanoz Khanoz Khanoz Khan who composedbandishes, the main song, under the pen names of SadarangSadarangSadarangSadarangSadarangand AdarangAdarangAdarangAdarangAdarang. These are sung by all Gharanas to this day. Theylearnt Sanskrit and Brijbhasha (a dialect, prevalent in Mathuraand Vrindavan, where LorLorLorLorLord Krishnad Krishnad Krishnad Krishnad Krishna was born and spent hischildhood and various incidents attributed to him form the themesof most khayals and dhamars) from Azam ShahAzam ShahAzam ShahAzam ShahAzam Shah, one of theprinces, khayal from a noted qawal singer named TTTTTattarattarattarattarattar, dancefrom professional ‘natuas’, in order to master the rhythmic patternsof the percussion instruments. A lot of Sadarang’s dhrupads wereconverted into khayals by his followers. But no one knows theGayaki (style of singing) of these brothers.

��(��)�*�"�� &� �)�ManManManManMany my my my my musicians migrated to Lucusicians migrated to Lucusicians migrated to Lucusicians migrated to Lucusicians migrated to Lucknoknoknoknoknow as mw as mw as mw as mw as music was bannedusic was bannedusic was bannedusic was bannedusic was bannedin Delhi and Agrain Delhi and Agrain Delhi and Agrain Delhi and Agrain Delhi and Agra

A parallel stream of khayal gayaki was developed in the courts ofNaNaNaNaNawab Shuja-ud-daulawab Shuja-ud-daulawab Shuja-ud-daulawab Shuja-ud-daulawab Shuja-ud-daula (1756-75) and his son Asaf-ud-DaulaAsaf-ud-DaulaAsaf-ud-DaulaAsaf-ud-DaulaAsaf-ud-Daulaof Lucknow, where quite a few musicians had migrated duringAurangzeb’s reign, when music was banned in his court and alsoin Delhi, his capital. The most famous Ustad to whom this style isattributed was Ghulam RasoolGhulam RasoolGhulam RasoolGhulam RasoolGhulam Rasool.

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His son Ghulam NabiGhulam NabiGhulam NabiGhulam NabiGhulam Nabi was equally famous. He spent a numberof years in Punjab among the camel riders, and imbibed theirregional style of singing, listening to their wedding songs. Thesophisticated version of this style, which abounds in complicatedzigzag fast taans (voice meanderings) is now known as ‘tappa’.‘Shor i MiyShor i MiyShor i MiyShor i MiyShor i Miyananananan’ alias Ghulam Nabi became famous all overHindusthan with Tappa.

�� &�� Born out of the Gwalior Style of RenditionBorn out of the Gwalior Style of RenditionBorn out of the Gwalior Style of RenditionBorn out of the Gwalior Style of RenditionBorn out of the Gwalior Style of Rendition

Gulam Rasool’s disciple, son-in-law Shakkar KhanShakkar KhanShakkar KhanShakkar KhanShakkar Khan together withhis brother Makkhan KhanMakkhan KhanMakkhan KhanMakkhan KhanMakkhan Khan, known as the ‘qawal bachchas’ wereresponsible for exporting this gayaki (style of rendering khayal)to Gwalior. Makkhan Khan’s son Naththan PNaththan PNaththan PNaththan PNaththan Peerbaksheerbaksheerbaksheerbaksheerbaksh becamethe guru (teacher) of the Maharaja of Gwalior. Daulat RaoDaulat RaoDaulat RaoDaulat RaoDaulat RaoScindhia,Scindhia,Scindhia,Scindhia,Scindhia, while Shakkar Khan’s son Bade Muhammad KhanBade Muhammad KhanBade Muhammad KhanBade Muhammad KhanBade Muhammad Khanbecame the court musician of the comparatively smaller nativestate of Rewa, known to the world for its white tigers. Betweenthem they made their Gwalior Gayaki popular enough to attractpupils from different parts of the country, and thus different‘Gharanas’‘Gharanas’‘Gharanas’‘Gharanas’‘Gharanas’ or ScScScScSchools of Khahools of Khahools of Khahools of Khahools of Khayyyyyalalalalal were born out of Gwalior, e.g.Agra, Kirana, Jaipur, Patiala etc.

(�%�� FrFrFrFrFrom the om the om the om the om the “Guru”“Guru”“Guru”“Guru”“Guru” (master) to the (master) to the (master) to the (master) to the (master) to the “Shish“Shish“Shish“Shish“Shishyyyyya ”a ”a ”a ”a ” (disciple ) (disciple ) (disciple ) (disciple ) (disciple )

Each of these gharanas bears distinctive features and hasproduced great Ustads, whose styles have been imitated by theirdisciples. Thus the gharana system perpetuated until recently,till the abolition of native states, whose patronage was aninvaluable asset for the propagation of classical music. This, alongwith the advent of the Radio, Television, Tape recorders, easiercommunication facilities and music festivals has endangered it.Agra gharana was known for its greatest ustad FFFFFaiyaiyaiyaiyaiyaz Khanaz Khanaz Khanaz Khanaz Khan,Kirana for Abdul Karim KhanAbdul Karim KhanAbdul Karim KhanAbdul Karim KhanAbdul Karim Khan, Abdul Abdul Abdul Abdul Abdul WWWWWaheedaheedaheedaheedaheed and Amir KhanAmir KhanAmir KhanAmir KhanAmir Khan,Patiala for Bade Gulam Ali KhanBade Gulam Ali KhanBade Gulam Ali KhanBade Gulam Ali KhanBade Gulam Ali Khan etc. The tendency today, is toevolve a synthetic gayaki, consisting of different styles, whichmay or may not have been properly digested. Also compositionsknown as bandishes, zealously being guarded hitherto by differentgharanas, have become public property.

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‘Gharana’‘Gharana’‘Gharana’‘Gharana’‘Gharana’ names normally comes from the names of places:generally the places where the founders lived or came from. TheRampur-Sahaswan Khayal Gharana, as it is quite apparent, getsits name from two places.

First, Rampur (in Uttar Pradesh) which was a major centre ofNorth-Indian classical music from the region of its fifth nawab,Nawab Yusuf Ali (1940-1868). This line of nawabs was of Afghanorigin.

The second, Sahaswan is a village in the Badaun district of thesame state in which most of the Gharana’s famous musicians,including Rashid Khan, were born. It is near Rampur.

��&��Bringing in a note of freshness into the Gwalior GaBringing in a note of freshness into the Gwalior GaBringing in a note of freshness into the Gwalior GaBringing in a note of freshness into the Gwalior GaBringing in a note of freshness into the Gwalior Gayyyyyaki…aki…aki…aki…aki…

This gharana is traced to EnaEnaEnaEnaEnayyyyyet Hussain Khan,et Hussain Khan,et Hussain Khan,et Hussain Khan,et Hussain Khan, a noted vocalistof the late 19th and early 20th century, who learnt khayal fromBahadur Hussain KhanBahadur Hussain KhanBahadur Hussain KhanBahadur Hussain KhanBahadur Hussain Khan of Rampur, and got married to thedaughter of the legendary HadHadHadHadHaddu Khandu Khandu Khandu Khandu Khan of Gwalior. He was abrilliant composer and a famous exponent of the Gwalior Gayaki.

Ustd.Ustd.Ustd.Ustd.Ustd. Nissar Hussain Khan Nissar Hussain Khan Nissar Hussain Khan Nissar Hussain Khan Nissar Hussain Khan was Enayet Hussian’s son in law,but also learnt from his grandfather Haider KhanHaider KhanHaider KhanHaider KhanHaider Khan and father FidaFidaFidaFidaFidaHussain KhanHussain KhanHussain KhanHussain KhanHussain Khan. While spending his formative years in Baroda(now Vadodara), Nissar Hussain Khan allowed his gayaki to beinfluenced by the Agra Gharana style, largely because of thedominating presence of Ustd. Faiyaz Khan, the court musician ofMaharajaMaharajaMaharajaMaharajaMaharaja of Baroda.

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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 ofconsiderable standing, who developed a style which had bits andpieces of all that was good in Gwalior and Agra, what he called a‘Guldast’ (a bunch of assorted flowers). Rashid khan owes hisentire training to his Guru Ustd. Nissar Hussain Khan.

�� Breaking fresh grBreaking fresh grBreaking fresh grBreaking fresh grBreaking fresh grounds…keeping the Gharana aliveounds…keeping the Gharana aliveounds…keeping the Gharana aliveounds…keeping the Gharana aliveounds…keeping the Gharana alive

Rashid khan, who started his life as a child prodigy, has developedinto a brilliant musician and is today, one of the top vocalists ofthe Indian Classical Music world. His voice production andapplication of notes have an intoxicating quality. His taans arehis strongest points. The clarity, in spite of the breathtaking speedof the taans, which cascade like a fountain is remarkable. Hisinnate musical sense makes one feel, that he is a naturalmusician, 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. Thereis nothing wrong with this. No Ustad, worth his mettle, follows hisguru blindly throughout his life. His style is bound to change, ifhe is sensitive and is susceptible to the good points of othergharanas and with the growth of his own musical personality.

What Rashid Khan Sings today, however, is vastly different fromthe Gwalior Gayaki of the founder of the SahasSahasSahasSahasSahaswan Gharanawan Gharanawan Gharanawan Gharanawan Gharana. Assuch, purists may not agree to call it a gharana, but ‘The GreatThe GreatThe GreatThe GreatThe GreatSahasSahasSahasSahasSahaswan / Rampur Dynasty’.wan / Rampur Dynasty’.wan / Rampur Dynasty’.wan / Rampur Dynasty’.wan / Rampur Dynasty’.

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The great grandson of the legendary Ustd.Ustd.Ustd.Ustd.Ustd. Ina Ina Ina Ina InayyyyyatatatatatHussain Khan SahebHussain Khan SahebHussain Khan SahebHussain Khan SahebHussain Khan Saheb, the founder of the ‘Rampur‘Rampur‘Rampur‘Rampur‘RampurSahasSahasSahasSahasSahaswan Gharana’,wan Gharana’,wan Gharana’,wan Gharana’,wan Gharana’, Rashid KhanRashid KhanRashid KhanRashid KhanRashid Khan was born atBadaun, a small town in the state of Uttar Pradesh inIndia.

�� .��%�� Learning from Nature

Rashid has faint memories of the town of Badaun andits surroundings where he spent his early days. Theriver which flows by the town was a witness to thenumber of hours Rashid spent by its side singing themazhars of Bade SarkarBade SarkarBade SarkarBade SarkarBade Sarkar and Chote SarkarChote SarkarChote SarkarChote SarkarChote Sarkar..... WheneverRashid visits his home town, he still pays his respectsto this cemetery where his parents and young brotherhave also been laid to rest.

Rashid had little or no interest in music initially. Histalents were first noticed by his uncle Ustd.Ustd.Ustd.Ustd.Ustd. Ghulam Ghulam Ghulam Ghulam GhulamMustafa Khan,Mustafa Khan,Mustafa Khan,Mustafa Khan,Mustafa Khan, another great exponent of HindusthaniClassical music, on hearing his occasional humming.Rashid studied in Mumbai for about a year after whichhe came back to his hometown. His tutelage startedunder his illustrious granduncle and guru, the late Ustd.Ustd.Ustd.Ustd.Ustd.Nissar Hussain Khan.Nissar Hussain Khan.Nissar Hussain Khan.Nissar Hussain Khan.Nissar Hussain Khan. He nurtured the latent potentialof Rashid all along his training in the traditional one-to-one manner, first at his own residence at Badaun,and subsequently at the SangSangSangSangSangeet Researeet Researeet Researeet Researeet Researccccch Academh Academh Academh Academh Academyin Kolkata

. �� No looking back, since the age of 11…

Ustd. Nissar Hussain Khan was a strict disciplinarian,and the long and arduous training under this guru madeRashid Khan a perfect exponent of the Rampur-Sahaswan Gharana, which owes its allegiance to theSenia traditions and has an impressive lineage ofclassical vocalists like the great Ustads BahadurHussain Khan, Enayat Hussain Khan, Fida HussainKhan, Mushtaq Hussain Khan and Nissar HussainKhan.

Rashid gave his first performance at the age of eleven,in 1977. In 1979, he performed at the ITC SangeetSammelan at New Delhi. He has not looked back since,and his growing popularity is reflected in his increasingparticipation in all well-known music conferences inIndia and extensive tours across the world.

'�� Respect for tradition, esteem for modern tastes…

Rashid Khan has included the slow elaboration in hisvilambit khayals in the manner of his maternal uncleand also developed exceptional expertise in the useof sargams and sargam taankari. He has also included

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the slower tempo vilambit in his style. He is alsoextremely adept in producing all the other techniquesand characteristic features of the Rampur Sahaswanstyle. His taankari is as powerful and variegated as anyof his predecessors and, in fact, among the best in thenation at the moment.

The brilliant Enayat Hussain drut and medium pacekhayals ring as true in his voice as they have done downthe ages. He is also a master of the tarana like his gurubut sings them in his own manner, preferring the khayalstyle rather than the instrumental stroke-based stylefor which Nissar Hussain was famous. There is noimitiation of instrumental tone in them either. His vocalprowess is in the best tradition of the Rampur SahaswanGharana. His mastery of all aspects - tonal variations,dynamics and timbre adjustment leave very little to bedesired in the realm of voice culture.

�� By then, the audience of music has changed…

A notable achievement of Rashid Khan is the infusionof an emotional content into his melodic elaboration.This was generally considered to be lacking in the stylesof the older exponents. The older ustads, beingessentially court singers, put the emphasis on polishedtechnique, skillful execution of difficult passages andthe ability to astound with their musicianship. The

Nawabs and Maharajas and their courtiers who weretheir pr ime audience found these aspects moreinteresting and did not bother about emotional appeal.Khayal to them was classical art song and emotionalappeal was not an important requisite for this type ofmusic.

But after independence and especially in the secondhalf of the 20th century, classical music, including themost popular vocal forms of khayal, and thumri, waspatronised by audiences coming from the middle andupper-middle class segments of the society. Themodern listener thus tended to find Mushtaq Hussainor even Nissar Hussain rather dry for their taste. As aresult these singers were not as popular as certaincontemporaries who infused emotions into the khayal.

��/�%�� &��Single handedly, he included new modes to maintainthe tradition of excellence…

With the entry of Rashid Khan the tables have beenturned and the spontaneous emotional appeal of hismanner of singing, be it is the melodic elaboration or inthe upper octave pukars, have won him enthusiasticlisteners and followers throughout the globe.

“There is no“There is no“There is no“There is no“There is now at least one perw at least one perw at least one perw at least one perw at least one person in sight who isson in sight who isson in sight who isson in sight who isson in sight who isan assurance fan assurance fan assurance fan assurance fan assurance for the future of Indian vor the future of Indian vor the future of Indian vor the future of Indian vor the future of Indian vocal mocal mocal mocal mocal music” ,usic” ,usic” ,usic” ,usic” ,said Pdt. Bhimsen Joshi, a few years ago, reflecting onthe concern of connoisseurs of Hindustani vocal musicabout whether its tradition of excellence would continue.

Indian Classical Music has indeed maintained itstradition of excellence- with Ustad Rashid Khan, theyoung maestro, one of the leading torch-bearers.

1414141414 1515151515

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1616161616

8. If there is more than one segment in a note (Matra), it is boundedby the sign “ ” below the cluster. A singles segmenthas no such sign.eg. GG GMP GMP GM GM D D P

9. 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 MP NS , SN S NN PP

Tu OO OO ma , Ka OO he ko

10. Taal (Tala) - is a number of beats coming in a rotation, whichis 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 talais shown by the Sign “X”. The return of a passage with theuniformity 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 2 3 4 5 6 7 8Dha Dhin Dhin Dha Dha Dhin Dhin Dha

X 2 O

Som 2nd Beat Off-Beat or Phank

9 10 11 12 13 14 15 16Na Teen Teen Ta Ta Dhin Dhin Dha

3

3rd Beat

• • •

1717171717

1. North Indian Classical Music (Hindustani Classical Music) haveseven (7) Natural Notes (Shuddha Swar). Like— Saraj=Sa,Rishav=Re, Gandhar=Ga, Madhyam=Ma, Pancham=Pa,Dhaivat=Dha & Nishad=Ni.

2. 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 thanthe Natural Notes, and only the Tivra Madhyam is just halfa note higher than the Natural Note i.e. Shuddha Madhyam.

3. Signs of our Komal Swars are : Re Ga Dha Ni and only forTivra Madhyam, it is M.

4. We can identify our lower octave (Mandra Saptak) notes withthe Dot, Sign (•) Under the Swar. eg. Ni, Dha, Pa, Ma......

5. Higher Octave (Taan Saptak) is denoted by the Dot sign above

the Swar. i.e. Sa, Re, Ga, Ma ....................

6. In Notations, the notes are denoted in short forms as :

Sa = S, Re = R, Ga = G, Ma = M, Pa = P, Dha= D, Ni = N

7. The Sign of (Meend) or the glide is shown by - “ ”

eg. G M, G M, P P, G D, D P.

M G, M M R, S.

• • • •

• •••

11. For Ragas — the following terms to be noted :

a) Arohi : The ascending notes during therecital of raga.

b) Abarohi : The descending notes.

c) Vadi - The most important note of a particularraga.

d) Samavadi - The second important note.

e) Main Phrase - The essential combination notes of araga whic brings out its anatomical picture.

f) Taan - The behaviouristic movements of a raga in vowelsat a fast tempo.

g) Thhat - The eight categories to which all the Hindusthaniragas belong.

h) Laya - The speed or the tempo of thesong in four divisible categories as below -

i) Alaap - The slow exposition of a raga in acomposition without any taal or rhythmicbeat - elaboratively.

ii) Vilambit or Dhima - Very slow speed ortempo.

iii) Madhyalaya - Medium slow speed.

iv) Drut - Medium to very high speed -progresively.

USTDUSTDUSTDUSTDUSTD..... RASHID KHAN RASHID KHAN RASHID KHAN RASHID KHAN RASHID KHANRendit ionsRendit ionsRendit ionsRendit ionsRendit ions

Raga & DurationRaga & DurationRaga & DurationRaga & DurationRaga & Duration BandishBandishBandishBandishBandish

1 .1 .1 .1 .1 . Bi las KhaniBi las KhaniBi las KhaniBi las KhaniBi las Khani a)a)a)a)a) Kahey Karata MoseyKahey Karata MoseyKahey Karata MoseyKahey Karata MoseyKahey Karata MoseyTod iTod iTod iTod iTod i ( 1 5 . 5 3 ) b)b)b)b)b) Jaa Jaa Re JaaJaa Jaa Re JaaJaa Jaa Re JaaJaa Jaa Re JaaJaa Jaa Re Jaa

2.2.2.2.2. TTTTTod iod iod iod iod i (15.41) a)a)a)a)a) Langara KankariyLangara KankariyLangara KankariyLangara KankariyLangara Kankariyaaaaab)b)b)b)b) Aba Mori NaiyAba Mori NaiyAba Mori NaiyAba Mori NaiyAba Mori Naiyaaaaa

3.3.3.3.3. BasantBasantBasantBasantBasant (10.17) a)a)a)a)a) PiyPiyPiyPiyPiya Sanga Kheluna Sanga Kheluna Sanga Kheluna Sanga Kheluna Sanga Khelun

4.4.4.4.4. MarwaMarwaMarwaMarwaMarwa (15.19) a)a)a)a)a) Guru Bina GyGuru Bina GyGuru Bina GyGuru Bina GyGuru Bina Gyananananan

5.5.5.5.5. PuriyPuriyPuriyPuriyPuriyaaaaa a)a)a)a)a) PPPPPaaaaayyyyyal iyal iyal iyal iyal iya Jhankaara Jhankaara Jhankaara Jhankaara JhankaarDhaneshreeDhaneshreeDhaneshreeDhaneshreeDhaneshree (14.13) b)b)b)b)b) Khush RaheKhush RaheKhush RaheKhush RaheKhush Rahey Sanamy Sanamy Sanamy Sanamy Sanam

6.6.6.6.6. BihaBihaBihaBihaBihaggggg (10.30) a)a)a)a)a) Alir i Al ’bel iAl ir i Al ’bel iAl ir i Al ’bel iAl ir i Al ’bel iAl ir i Al ’bel i

7.7.7.7.7. DeshDeshDeshDeshDesh (15.42) a)a)a)a)a) Karma Kara DijeKarma Kara DijeKarma Kara DijeKarma Kara DijeKarma Kara Dijeb)b)b)b)b) Nadaan JiyNadaan JiyNadaan JiyNadaan JiyNadaan Jiyaraaraaraaraara

8.8.8.8.8. ChhaChhaChhaChhaChhayyyyyanatanatanatanatanat (10.13) a)a)a)a)a) Jhanana JhananaJhanana JhananaJhanana JhananaJhanana JhananaJhanana Jhanana

9.9.9.9.9. MeghMeghMeghMeghMegh (15.21) a)a)a)a)a) GarajeGarajeGarajeGarajeGarajey Ghata Ghanay Ghata Ghanay Ghata Ghanay Ghata Ghanay Ghata Ghanab)b)b)b)b) GaGaGaGaGagana Garajegana Garajegana Garajegana Garajegana Garajeyyyyy

10.Hansadhwani10.Hansadhwani10.Hansadhwani10.Hansadhwani10.Hansadhwani (10.33) a)a)a)a)a) Laagi LaganaLaagi LaganaLaagi LaganaLaagi LaganaLaagi Lagana

In Order of PerformanceIn Order of PerformanceIn Order of PerformanceIn Order of PerformanceIn Order of Performance

1818181818 1919191919

TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Vilambit)eentaal (Vilambit)eentaal (Vilambit)eentaal (Vilambit)eentaal (Vilambit)

Bilas Khani Todi - is attributed to Bilas Khan,the favourite son of Miyan Tansen, who passedaway at a young age. Tansen was heart brokenand while he was chanting the hymn in Miyan-ki-Todi at the obsequies of his son, he used ShuddhaMa instead of Tivra Ma by mistake in the composition,which improvised to a new form of Raga Todi. Tansenoffered it to his disciples as a new raga and namedit 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 becauseof the use of Shuddha Ma, this raga converts fromthe ‘thhat Todi’ to the ‘thhat Bhairavee’.

Raga

(The Hymn of Melanc(The Hymn of Melanc(The Hymn of Melanc(The Hymn of Melanc(The Hymn of Melanch o lh o lh o lh o lh o ly)y)y)y)y)

Kaahey karata mosey jhag’raa pri tama pyareyKara Enayat’ mopey sajaniMorey piya ko sam’jhawey

“Why do you quarrel with me - my beloved”?says the damsel. “Oh! Lord, have mercy on me and make my loverunderstand” says Enayat (the poet).

RagaBilas Khani Todi Bilas Khani TodiRaga

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�

G R DD DS SR

kaa hey kao rao tao

G G G G G G R RG M G R S S S R GP P P

mo oo oo oo oo seo ojha ga raa oo oo pri oo tao oo ma

P P P P D PM G R R G R S

pya oo oo oo oo oo oo oo rey o

G G P P D

ka oo ra oo E

S S S S D D DS R G G G R N D D D G R R R

na oo ya ta mo oo pey oo oo saja nio oo oo mo rey oo

R N D D MG R R GM G R R S R G

pi ya oo koo oo saoo ma jha oo wey oo

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••

•

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��

��

��

�

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�

�

Raga

Jaa jaarey ja , wo khagwait’no sandesh morey kahio jaarey.Jo aaye pri tama dwaarnaina bichhaoon magawa

“Oh! dear bird, please convey this message to mybeloved when he comes. My eyes would bedwelling on the path, awaiting his arrival”, criesthe loving maiden.

TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (drut)eentaal (drut)eentaal (drut)eentaal (drut)eentaal (drut)

Bilas Khani TodiRaga

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� � � S R GP P P

� � � Jaa oo jaa oo rey

N D D D D PM M G R R MG RS S D D S S R

jaa oo oo oo oo oo wo oo ka ga wa i t no oo san

G P D S R G R N D M G �

de sh mo rey ka hi o oo jaa oo rey �

� G M D

� Jo aa oo

S S S R G R N N N D D G G R R N

ye oo oo pri oo ta oo ma dwa oo ar nai oo na oo bi

D D M G R R G R G M G R R S �

chha oo oo no oo o ma ga wao oo oo �

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Raga

C. DS R G P D N D DS R G MR G R R G G R N D D N N D

N D DS SR R R R N N N D D DM MM G G G R R R G R

G R N N N D D D DM MM MG G G G R R R R N N D DS

R G PD N D MG R G G R R G RS

D. R G PD N D R R G G PP D D N D DS SR R G GM G R GP

R G R G R G G R N D N D D N N D MG R G PD N D SR

G R N D N D MG R G PP PD D N N D N D MG R G G R G N

N D MG R G N D R G PM G R R G RS

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RagaBilas Khani Todi Thhat : Bhairavi

1. Main Structure :

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

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

2. Prime Notes :

Vadi : D Samavadi : G

3. Time of Recital : 4 a.m. to 7 a.m. (arrival of dawn)

4. Main Phrase : S, R G P D N D, M G R G R S.

5. Exmamples of a Few Taans :

A. SR GP D N N D N D MG R G PD N D D N N D N D MG G R

R G PD N D MG R G G R RS.

B. SR R R G G GP PD N N N D DM MG G R SN DS R G PD

SR G R N D D N N D N D MG R G PP PD N D R G N D N D

MG R G G R R N DM G R R G RS.

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Raga

(The Morn ing Glor(The Morn ing Glor(The Morn ing Glor(The Morn ing Glor(The Morn ing Glory )y )y )y )y ) TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Madheentaal (Madheentaal (Madheentaal (Madheentaal (Madhyyyyyalaalaalaalaalayyyyya & Drut)a & Drut)a & Drut)a & Drut)a & Drut)

Langara kankariya j i na maaromorey angawa lag’jaayeSuno pawe mori saas nanadiyadaur’ daur’ ghar’ aawey

“You wicked urchin, don’t you dare throw gravel atme” 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”.

RagaTodi Raga Todi

Todi - is a well known morning raga. It is acomparatively recent raga in the sense there isno mention of it in ancient scriptures. Somemusicologists think, that it is derived from Bhairavi,an even more well known morning raga. In KaranaticMusic the northern Bhairavi is their Todi.

There are several kinds of Todi e,g, Deshi Todi,Bahaduri Todi, Gurjari Todi, Chhaya Todi, BaratiTodi, Hussaini Todi, Jaunpuri Todi, Ashavari Todietc. What Rashid Khan sings here is Miyan-ki-Todi or Shuddha Todi, which, by some peoplehas been credited to Miyan Tansen, the premiermusician in the court of the Moghul emperor‘Akbar the Great’.

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� R G M

� Lan ga ra

D D D D D P P P P P MP PM GR G R S

ka oo oo ka ri ye oo oo ji na maa oo roo oo mo rey

� SR GM D D D D D ND D D MD NR ND M G M

� anga wao oo oo oo la ga jao oo oo oo yeo lan ga ra

M D M G M M DM D

Su na pa oo we oo moo ri

S S S S N R S S D G G G R G R S

sa ao sa na na di ya oo da u ra da u ra gha ra

DS RG RG RS NN DN DN SR SR SN DN DM D M G M

ao oo oo oo oo oo oo oo oo oo oo oo we lan ga ra

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Raga

TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Drut)eentaal (Drut)eentaal (Drut)eentaal (Drut)eentaal (Drut)

Aba mori naiya paar, karo reyHazarat , Nizamuddin’ Aul iaDukha daridra saba door’ karana haraTaan ras Khan k i l io khabar ia gatasautana ke lara laraiya

“Oh! Lord Nizamuddin take my rocking boat tothe bank of the river”.Save your devotee Tanras Khan (thecomposer) from sorrow, poverty and miserieso f life.

RagaTodi

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S S R R G R R S

A ba mo ri oo nai oo ya

D M D N D M G R S R G M M D S N

paa oo r ka ro oo rey oo Ha za ra ta Ni za oo mud

M D M R G R R S �

di oo na Au oo li oo a �

� M M M D D M D

� Du kha da rid ra sa ba

S S S S S R S S N D N N S S S Sdoo oo ra ka ra na ha ra taa na ra sa kha oo n ki

R G R S N S N D � G R S N S N Dli oo o kha ba ri a oo � ga ta sau ta na ke oo

DN R G RS NR SN DP MG RS �

lao oo dao lao raio yao oo oo �

X 2 0 3

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Raga

1. Main Structure :

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

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

2. Prime Notes :

Vadi : D Samavadi : G

3. Time of Recital : 6 a.m. to 10 a.m.

4. Main Phrase : S N R G, M D, N S, S N D, P M D M G M R G, R S.

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

5. 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 R G

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 DP MG R G MD

ND SN RS R G R G G R SN DS ND PM DM G R R G

MR G R SS.

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C. R G R G R S DN DN DP R G R G RS DN DS D R D G G R

SN DS ND SN SR R G G R SN NN ND D D ND DP PM

MD ND SN SD ND SN SR R G G R SN DS ND ND PM

PR G R R G MG R G RS.

D. R G MG RS DN SN DP MD ND SN SR G R R G

MG MD MD MD ND SN SR R R GG GM MG R R

SN ND ND DM DM MG MG G R G R RS ND SN

SR GM DP MD DP PR MR G R R G MR G R SS.

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Raga Thhat : TodiTodi

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Basant, is the name of the season spring. As suchit is meant to be sung only in spring, though thereis no taboo for this raga to be sung in midnightin any other season except monsoon. Basant, whichis the season when flowers bloom and also coincideswith the festival of colours known as ‘Holi’ in Northern& Western India.

By adding one extra note, the shuddha ma to ragaPuriya Dhaneshree, which has also been renderedin this series by Ustd. Rashid Khan. Raga Basant,which has a different movement, assumes a totallydifferent complexion. The exposition of this ragafavours the ‘uttaranga ’ or the upper portion of theoctave.

Raga

(The Spring & colour Fest iv(The Spring & colour Fest iv(The Spring & colour Fest iv(The Spring & colour Fest iv(The Spring & colour Fest ival)al)al)al)al)

RagaBasant RagaBasant


Piya sanga khelun hori er i maibarana basant , ke basata p iharaphulabana ke harawa gundagunda darugi gara harawa

I t is ‘Hol i ’ , the fest iva l of co lours. “ I am play ingwi th coloured powders wi th my beloved”. I t is‘Spr ing’ , “ I am plucking f lowers f rom the gardento make gar land for h im” says the pret ty woman.

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� � � S N D P P

� � � Pi ya san oo ga

P P P P P MG MD NS S S S S D R N S

khe oo oo oo oo luno hoo oo oo ri oo oo e ri ma i

D N S R S N DP M M D N MG R N R N

ba ra na ba san ta keo oo ba sa ta pio ha ra phu la

DM M M GMD GM G R S S S S M M M M M

bao na oo keoo oo ha ra wa oo gun da gun oo da oo da

G M S S N D N D MN D S �

oo ru gi oo ga ra ha ra wao oo oo �

X 2 0 3

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Raga

1. Main Structure :

Arohi : S G M D R S

Abarohi : R N D P, MG, M G R S

2. Prime Notes :

Vadi : M Samavadi : N

3. Time of Recital : End of spring season, midnight.

4. Main Phrase : M D N S N D P, M G, M G R S, S M G N D P.


A. SG SM MG MG MD RN SN DP MG GM MG RS

B. MG MD NS DR SN SG GM MG RS NR SN DS

ND ND PM DP DM PG MG MG RS

C. SN DR SN SM MM MG ND SN RS GM NM GR

SN RN SN GN ND PM DP PM PG MG MM GR

SN ND MG MG RS

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•

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•

D. GM MG GM MG RS GG GN NN GG GN NN DR SN

MD RS ND ND PM DP DM PG MG NR MG RN SN DP

MD PM PM GM SM GN NN D D PP MM GG GM MG RS

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•••••••

RagaBasant Thhat : Poorvi

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Marwa, is a popular raga to be sung at dusk, itsuggests the feeling of apathy towards worldlyinterests, what is known in our language as ‘Vairagya’.It should be noted that the shruti of Komal re orminor second is slightly higher than the Komal reused in Raga Todi.

It is a remarkable feature of Indian music thattwo ragas Puriya & Marwa use the same notes butsounds different because of different emphasis anddifferent combination of notes. The use of D withN is emphasised more in Marwa, whereas N withR is stressed in Puriya. Both are sung at the sametime in the early evening.

Raga

(T(T(T(T(Tune of the Dusk)une of the Dusk)une of the Dusk)une of the Dusk)une of the Dusk) TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Drut)eentaal (Drut)eentaal (Drut)eentaal (Drut)eentaal (Drut)

Guru bina gyaan nahi paweymana murakha soch soch abakaahey pachh’tawey.Sat’ guru ki sangat kareygunijana mey guni kahawey

No knowledge can be gained without the Guru (Teacher).Why should the stupid mind waste its time in fruitlessthinking. If one accompanies and follows a great guru(satguru), he will gain the true wisdom and will berecognised as a wise person in the company of a learned.

RagaMarwa RagaMarwa

3636363636

� � � S S S N R

� � � Gu ru bi oo na

N D D D NR GM DN DM R R S S S D M M

gya oo oo n nao oo hio oo pa oo wey oo oo ma na mu

D S S S � M D S S S � N D NR GM DM

ra oo kha oo � so ch so oo ch � a ba kao oo oo

D D M M M M DMM GR GM DM GR �

hey oo oo oo pa chh taoo oo oo oo wey �

X 2 0 3

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contd..........

•

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Raga

1. Main Structure :

Arohi : N R, G M D, N D S.

Abarohi : S N D, M D, M G R S.

2. Prime Notes :

Vadi : D Samavadi : R

3. Time of Recital : 3 p.m. to 6 p.m.

4. Main Phrase : D D M G R, N D S.


A. DN RG MD DM GR ND SN RS

B. MD ND MD DM GR NM ND SS

C. R R GM DM MD DM GR ND SN

RN ND MD DN ND DM MG RS

D. MD NM ND SN RN DN RG RN

DN MD NM ND DM MG GR ND

ND DM DM MG GR RN ND SS

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RagaMarwaE. DN RN DD MD ND MM DN RN DD

DS NR RG MG RN SD ND MD DM

DM MG GR GR ND MD NM NM DD

MG RN DN MN DS DM MG GR RS

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Thhat : Poorvi

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Puria Dhaneshree, yet another popular softraga which captures the mood of the solitarinessof missing one’s beloved, being broken hearted.

The speciality in the origin of this raga is that‘Puria’ and ‘Dhaneshree ’ are two independentragas, but strangely Puria Dhaneshree is notthe unison of these two ragas. It resemblessimile with raga ‘puria’ but not with ‘dhaneshree’at all. It is a sandhi-prakash raga, where duskdeepens into evening.

Raga

(Evening Concert)(Evening Concert)(Evening Concert)(Evening Concert)(Evening Concert) TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Madheentaal (Madheentaal (Madheentaal (Madheentaal (Madhyyyyyalaalaalaalaalayyyyya)a)a)a)a)Payaliya jhan’kaar moriJhanana jhanana baajey jhan’kariPiya sam’jhaoon samajh’ta nahisaas’ nanada mori degi gaari

She says “shingalingaling - my anklet bellsring”. “I am afraid, if my in-laws finds outthey shall be angry and cross with me. Mybeloved doesn’t understand my plight”.

RagaPuria Dhaneshree Raga Puria Dhaneshree

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� P M G M D N D

� Pa ya li ya oo jha na

DN N N N D P P P M D M G M MR G G

kaa oo oo oo oo r mo ri jha na na jha na nao baa oo

GG R R RG MD M G G R S �

jey oo oo oo jha na ka oo ri �

M M G G DM M ND D

Pi ya sa ma jhao oo no oo

S S S N R S S S D N R GR G R S S

sa ma jha ta na oo hi oo saa oo sa nao na da mo ri

N DN RN DP M G M R G �

de oo oo gi gaa oo ri oo oo �

X 2 0 3

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Khush rahey sanam mora jaajaarey hamre taraf ek nazardhyan dharey.

“Bless my beloved to be happy my Lord. Hopehe spares a glance for me, whenever he comesmy way”, says the loving virgin.

Raga

Raga

RagaPuria Dhaneshree

TTTTTaal :aal :aal :aal :aal : Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut)

M M D D S S S S S S S S

Al lah di a ma n A li Fa teh A li

S S S N N D N N D P P P

Kha oo n we oo mi yan oo oo oo oo oo

P P G R G G G R G M D D

pya r la ga di oo oo to ri aa oo oo

D M G G R R S N R S S S

oo na baa oo na oo su r ki taa oo n

G M D N D P �

ga ye da ra fi ra �

X 0 2 0 3 4

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•M G M M D N N D

khu sh ra hey sa nam oo mo

N N D P P P M R G R S S

ra oo oo oo jaa oo jaa oo re oo oo oo

S S S S S S R G R S S S

ha m re ta ra f e oo k na za r

D M M D M D M G M D N D

dhya o n dha re oo khu sh rahey sa nam mo

X 0 2 0 3 4

Puria Dhaneshree

TTTTTaal :aal :aal :aal :aal : Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut) Ektaal (12 Beats - Drut)

Allah d ia man Al i Fateh Al iKhan we miyan pyar lagadi tor iaan’baan’ sur k i taan gaye daraf i ra

She has dedicated herself to him through hermusic, says Ali Fateh Ali Khan (the poet) toAllah, praying for their welfare.

4242424242 4343434343

Thhat : Poorvi1. Main Structure :

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

Abarohi : R N D P, MG, MG RG, RS.

2. Prime Notes :

Vadi : P Samavadi : R

3. Time of Recital : 4 p.m. to 7 p.m.

4. Main Phrase : N R G M P, D M G, M R G R S.


A. NR GM PM DM PG MR GR SN RN RS.

B. NR GR GM PM DP DM DP ND ND PM PP MP

GM RM RG GN ND ND PM DM PG MG MR

GR SN RS.

C. GM GM RG RG MP MP GM GM DN DN PD MD

MP GM DM DP ND NR GR NR RN ND ND DP

ND SN NR GM MG RS NR SN ND DP PM MG

PR MR GR SN RS.

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D. GM ND RM ND NR ND PM MP MM GR MR GG MM

D D NN SN RN NR GG R R SN NS RN NN ND D D

PP PM MM GG R R SN DN RG MP ND PM MM GG

R R MM GG D D DP PP MM MG GG R R RS NN RS

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RagaPuria Dhaneshree

Raga4444444444 4545454545

Raga

Bihag - is a very popular soft tempered raga. Thereis no mention of this raga in old Sanskrit books.Two varieties of Bihag are current. One with ‘tivrama’ and the other with ‘shuddha ma’. The phraseP M G M G can be sung without M. This is a scintilatinglate evening raga gradually moving towards night.Bihag belongs to Bilawal thhat which generallycovers the morning ragas, whereas the use of ‘tivrama’ in Bihag with its sombreness it captures themood of an evening raga.

(Soft (Soft (Soft (Soft (Soft TTTTTo u co u co u co u co u ch)h)h)h)h)

Bihag

TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Madheentaal (Madheentaal (Madheentaal (Madheentaal (Madhyyyyyalaalaalaalaalayyyyya & Drut)a & Drut)a & Drut)a & Drut)a & Drut)

“Look at the beautiful village maiden ‘alabeli’ who stealsmy heart”, says the young lover.

Alir i a l ’bel i sundara naar’pyarey pyarey j iya ko lubhaye

Contd.........

Raga

Raga

Bihag

4646464646 4747474747

� � � G M P N S

� � � A oo li ri oo

R R S N D N DP P GM G G GM RG GM DP M

a oo la be oo oo lio oo oo oo oo suo oo on dao ra

G G G G RS S S S SR S S N S G M M

na oo oo oo oo oo oo oo oo ar oo pya rey pya rey oo

P N S S GR S S N DP GM G �

ji ya ko oo luo bha oo oo oo oo ye �

X 2 0 3

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Raga

RagaBihag

TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Madheentaal (Madheentaal (Madheentaal (Madheentaal (Madhyyyyyalaalaalaalaalayyyyya & Drut)a & Drut)a & Drut)a & Drut)a & Drut)

Adorned with necklace, pretty as a picture,she came out dressed beautifully. The heartof the viewer jingle with joy watchingher gait as she walks along elegantly”.

Aai kara shringara galey haar darayso chhabi l i naar’ chaal chalataachaka lachaka sab’key man’ tar’paye

4848484848 4949494949

� � G M P N N S S S NR S

� � Aa i ka ra shrin gaa oo ra gao ley

N ND P NS N N G M P D M G GR S S N

haa oo r dao oo r ay so chha bi li na oo ar cha ao

S M G M P N P N S S P N S M G R

la cha la ta a cha ka la cha ka sa ba key oo ma na

S N GM PN SG RS NR SN DP GM G �

ta ra pao oo oo oo yeo oo oo oo o �

X 2 0 3

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Raga Thhat : Bilawal

Raga

Bihag

5050505050 5151515151

1. Main Structure :

Arohi : N S G M P S

Abarohi : S N D P, M P, G M G, R S

2. Prime Notes :

Vadi : G Samavadi : N

3. Time of Recital : 7 p.m. to 1 a.m.

4. Main Phrase : N S G M P, M P, G M G, S N, S.


A. PN SG RN SN PN SG MP DM PG MG RS NS

B. NS GM SG SG MP MP ND ND PM DP PM MP

GM PG MG RN SP GM PS NG RS RN NS SN

DM PG MG RS

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D. NS NN NS NS GG RS NS GG RS GG RS RN NS

SG GM MP PN NS NN ND DP PP MM MG MM GG

GG MG RS NS SN PN NP MP PM GM MG PG MG

RS NS GM PN SG MG RN SN DP DM PG MG MG

RS NS PS

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C. GR SN DP DP MG RS GR SN DP MG RS NS

PN NN SS SG GG MM PM GM GR NS GR SN

PS ND DN ND PM DM PG MG GR RS SN PN

NS SG GM MP PN NS GM GR SN DM PG MG

RS

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Raga

Desh raga, according to Pdt. Bhatkhande belongsto the Khambaj thhat is comparatively a recentraga derived from folk music. It is sung duringthe monsoon as well as in the ‘Holi’, the festivalof colours. There is, however, nothing to preventit from being sung in other seasons. ‘Desh’ alsomeans ‘motherland ’, so it has a vast coverage ofarea which relates to motherland; its beauty, bountyand benevolence. Hence its popularity.

This raga is equally popular in other streams ofHindusthani Music also, like dadra, chaity, festivesongs, geet, patriotic songs and light music aswell.

Raga

(The Motherland)

Desh

TTTTTaal :aal :aal :aal :aal : TTTTTeentaal (Madheentaal (Madheentaal (Madheentaal (Madheentaal (Madhyyyyyalaalaalaalaalayyyyya)a)a)a)a)

Kar’ma kara dije karadije khwajaMainuddin’ ke mai jaoon balihaari re Tum’ho data pirana ke peer’ baliyana ke tajEnayat ki sharam’ rakhiyo

“Oh! Khwaja Moinuddin, the saint of saints, pleasedo your deeds and save me. You are Oh! mysaviour, and the crown of heroes, please protectme.” - says the poor Enayet Khan (the poet).

RagaDesh

5252525252

� � � M S R M P

� � � Ka ra ma ka ra

N N N N S P P D PM M GR N N N S S

di oo oo oo je oo ka ra dio oo jeo khwa ja Moi oo nu

N S N S RS R S N N PM M D P P P P P P P

ddio oo oo o nao oo keo oo mai oo oo ja oo n ba li

PD D PM M MP ND N PD P M GR �

hao oo oo oo oo oo oo rio oo re oo �

M R M P N N N N N N S S

Tu ma ho oo da ta pi ra na ke pe er

S S S S PP N S SM RS N D P P P P P P

oo oo oo oo bali yana keo oo ta oo oo j oo oo oo oo

P P P P PD PDN D P PD PM GR �

E na yat ki shara maoo oo oo rakhi yoo oo �

X 2 0 3

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Raga


Nadaan’ j iyara gum gayo reygum gayo gum gayo gum gayo reyMain sot i thi ap’ne mahal meyek chor chori kar gayo rey

“My innocent heart is stolen. While I wassleeping in my palace, a thief came androbbed it” says the beautiful princess.

RagaDesh

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� � N DP D PM M GR M GR S N S

� � Na oo o daa oo nao ji yao rao oo

R R M M P P P P N N N N N S N S

gu m ga yo rey oo oo oo gu m ga yo gu m ga yo

N SM RS N N DP �

gu moo gao yo oo rey �

M P N N N N N N

Main oo so oo oo ti oo thi

N N S P N S MR R N N N N S S S S

a pa ne ma ha l mey oo e k cho r cho oo ri oo

S R S N N DP P �

ka ra gao yo reyo oo �

X 2 0 3

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Raga

Raga Thhat : KhambajDesh

5656565656 5757575757

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C. P N SR GR MG RG SR N S RN SN DP

DP PP M M MG GG RR RG SR N S RM

P N SR GR PM GR SR SN DP MP N S

RM GR RG GR SN DP MG RG S N SS.

1. Main Structure :

Arohi : S R M P N S.

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

2. Prime Notes :

Vadi : R Samavadi : P

3. Time of Recital : 5 p.m. to 12 m.n.

4. Main Phrase : S R G S , R M G R , N S R N D P , M G R G S.


A. P N SR GS RM P N DP MG RG RS NS.

B. RM PN DP DP MG RG RP MG MP N S

RG SR N S PD DP MG MG RG GR S N

P N SR GS.

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RagaChhayanat

Chhayanat - is a beautiful raga sung during thelate nights. It is also mentioned in ‘Sangeet Parijat’one of the early Sanskrit texts, though the scaleat that time was different. Starting from middleC, it had a minor third and a minor seventh notes,whereas today, the North Indian music has thesame tempered scale as in European music.

The beautiful and slightly unusual compositionis accredited to Ustd. Enayat Hussain Khan, thefounder of the Sahaswan/Rampur Gharana, to whichUstd. Rashid Khan belongs. This raga has closesimile with the Raga Jay Jaiwanti

Raga

(The Dancing Shado(The Dancing Shado(The Dancing Shado(The Dancing Shado(The Dancing Shadow)w)w)w)w) Taal : Teentaal (Madhyalaya & Drut)Taal : Teentaal (Madhyalaya & Drut)Taal : Teentaal (Madhyalaya & Drut)Taal : Teentaal (Madhyalaya & Drut)Taal : Teentaal (Madhyalaya & Drut)

Jhanana jhanana jhana nana nana nana nanabaajey bichhuwa baajey piya se milan ko chalijaat’ ap’ne mandar’ so naar’.Puja kar’neko nikasi ghar’ so al’beli naarchamakey piya Enayet baar baar.

The anklet bells of the village belle are ringing, whenshe is going to meet her beloved in the sacred place. Asshe comes out of her house, for going to the temple, theheart of Enayet (the poet) is moved by her grace.

RagaChhayanat

5858585858

P P P S S S S S GR GR R MG GR G M P

Jha na na jha na na jha na nao nao na nao nao na na na

M M G M R N R S P P G M R N R S

baa oo oo oo jey bi chhu wa baa oo oo oo oo oo oo jey

S S SM MG GP P P P P DN S S DN P PD P

pi ya seo mio lao na ko oo cha lio oo oo jao ta ao pa

M M G R G M GP P G G MR R R N R S

ne oo oo man di ra soo oo oo oo oo oo oo na oo r

SP P P S S S S S D N S R S S DP P

Puo oo ja ka ra ne ko oo ni ka si oo gha ra soo oo

� PP P P R G M P P P P P MG M R S

� ala be oo li oo oo oo oo na oo ra chao oo ma key

� DN P P NS R S S DP P G M R N R S

� ji oo ya Eo oo na oo yeo t ba oo ar ba oo ar

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Raga

Raga

Chhayanat Thhat : Kalyan1. Main Structure :

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

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

2. Prime Notes :

Vadi : R Samavadi : P

3. Time of Recital : 10 p.m. to 1 a.m.

4. Main Phrase : S R G, G M, M P, P R, G M R S.


A. NS RG RG MP RG MN DP DM PR GM PG MR NS.

B. SR RG GM MP RG MP GM RS RN SR RG GM MG MR

GR SN RN SN SD ND PM PR GM PG MR SN RS.

C. RG RG RG MP ND PN DP RG MP NN SN RR RS NS

SD DN ND DP PR RG GM MP MG GM RG MP GM

RN RS.•

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D. MP MP MP RG RG RG GM MP NN NS DD DN ND PP

PR GP GM RG MP NS RG MP GM RS RN SD ND

ND DD DN ND PM PG MR GR GM PP MP GM RN

RN SD DN NP SN RS.

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RagaMeghRagaMegh, literally means cloud. This is a well-knownMalhar sung during the rainy season, or at thedead 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 sungwith gamakas to establish the effect of torrentialrain and thunder. The one sung by Ustd. RashidKhan in Jhaptal (10 beats) is with G or Komal Gandhar.

Raga

Megh(The Rain Clouds)(The Rain Clouds)(The Rain Clouds)(The Rain Clouds)(The Rain Clouds) TTTTTaal :aal :aal :aal :aal : Jhaptaal (Dhima-10 Beats : Jhaptaal (Dhima-10 Beats : Jhaptaal (Dhima-10 Beats : Jhaptaal (Dhima-10 Beats : Jhaptaal (Dhima-10 Beats : s lo slo slo slo slow)w)w)w)w)

Garajey ghata ghana kaarey kaareypawasa k i ruta ayi dulhana mana bhayeChahun aur ghana ghor boley dadurmaur Niamat Khan sukha paayey

Black c louds and roar ing thunder of themonsoon have come to p lease and ef fuse theheart of the br ide. “Look at the gather ingclouds” says the f rogs and the peacocks indel ight . Niyamat Khan, ( the poet) feels e lated.

6262626262

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R R R R S SS S PN NP PPGa ra jey o o o o ghata o o ghao o o ona

� S S R R S RRM G GMGM R R S� � kaa o o rey o o o o kaao oooo o o o o rey

S SD D R R RS S SRSS N N PPpa o o wao o o sao ki ruta a o o y io

M M PNSP NS S S NSRS NPMM RRSN SSNSd u l ha naooo o o o o o o m a o o o na ooo bhaooo ooye

M M *N NPMPN S SS N NP NP M R NS

cha h u n *auooooo o o r gha na o gho o o o o r

M NP N N S R R N R R Rb o o o ley o o da d u r mau o o o r

� S SN R RS * R MG GM R RS S� Ni oa m a o o *t Khao noo su o o kha

NP PPNS R R SN NP PM M R SN NP paao oooo o o o o o o o o o o o o o o oye

6363636363

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Raga

Raga

Megh

Gagana garajey chamakata daminichalata purabai sananana nanananameha barasey manwa larajeypiya bina kachhu na suhaye

The sky jo l ts wi th the sounds of thunderand f lashes of l ightn ing. The easter windblows in sweet melody. The pour ing ra insounds l ike mel low st r ings, but how canthe mind rest wi thout the beloved?

Taal : Teentaal (Drut)Taal : Teentaal (Drut)Taal : Teentaal (Drut)Taal : Teentaal (Drut)Taal : Teentaal (Drut)

Umada ghumada ghir i ayi badaria ghoraghora a t i barasana lagi jh ingurwa boleychhum chhananana nana nana meha baraseymanwa larajey piya bina kachhu na suhaye

The c louds gather , the c icadas soundpassionate ly as droplets of ra in fa l l . Buta las! a t th is moment, I fee l empty -miss ing my lover .

Raga Megh

Taal : Teentaal (Drut)Taal : Teentaal (Drut)Taal : Teentaal (Drut)Taal : Teentaal (Drut)Taal : Teentaal (Drut)

6464646464 6565656565

MR R R S SR S N P

gao ga na ga rao jey cha ma

MR R R R R R N S MR MR MR M M P P P

kao ta oo da oo mi ni oo chao lao tao pu ra ba i oo

P P P N M PM R S R M R S R S N P

sa na na na na na na na me oo ha oo ba ra sey oo

R R R M N N S S N N N N P M R S

ma na wa oo la ra jey oo pi ya bi na ka chhu na su

NS RM PN SR SN PM RS NS �

hao oo oo oo oo oo yeo oo �

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M M P P N P N N

U ma da ghu ma da ghi ri

S S S S N R S S PN SR R R S S S S

aa oo yi ba da ri a oo ghoo oo ra gho oo ra a ti

N S R S NP P P P M M M P P P P P

ba ra sa na lao oo gi oo jhin gur wa bo oo ley chhu m

P P P P MN PM R S R P MR S R S N P

chha na na na nao nao na na me oo hao oo ba ra sey oo

* R R R S S S S N N N N P M R S

o ma na wa la ra jey oo pi ya bi na ka chhu na su

RM PN SR SN PM RS N SR � �

hao oo oo oo oo oo yeo oo

X 2 0 3

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Raga

Thaat : KafiRagaMegh

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D. SR SR NS NS RP MN NP MP

MP MP NP NS NS RS RM RP MR

SS N N PP N N PP MM PP MM RR

RR RS NM RN SN SR SN PM RN RS.

E. PN RP RS NS RP MR SN NS SN NP

PN NP PM MP PM MR RM MR RN SR

RS NP NP MP NS RM PM RN PM RN

RR RP PP N N RR SN PM RN PN RS.

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• •1. Main Structure :

Arohi : S M R M P N N S.

Abarohi : S N P M R, M N R S.

2. Prime Notes :

Vadi : S Samavadi : P

3. Time of Recital — Rainy Night

4. Main Phrase : N P S N R S, M R P, M R N P S.

5. Examples of Few Taans :

A. PN PS NR NS RR PP MM RR MR NP SN RS.

B. PN RP RS NR SN N N PP MP NM NP MR PM

RR SN PN RS.

C. PN SR MP NS RM MR SN N N NP PM NP

NS PN RM PM RN RS N N NS SN NP PM

MR RS SN SN RN SP NM PM RS NP SS.

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Raga

Raga

Hansadhwani is a Karnataki i.e. South IndianClassical raga adopted by Hindusthani Music.Thanks to Ustd. Aman Ali Khan of BhindibazarGharana, whose composition ‘Laagi Lagan’ is sungby Ustd. Rashid Khan in his favourite style andclass. It is a late midnight raga wating for thearrival of the dawn.

This raga is very closed to Raga Shankara, andits renditions suits very much for dancecompositions of Bharat Natyam. It beholds fasttaans and tarana. It is a late midnight raga.

(Cal l of the Swan)(Cal l of the Swan)(Cal l of the Swan)(Cal l of the Swan)(Cal l of the Swan)

Hansadhwani

Laagi Lagana pati sakhi sanaparama sukha at i anandanaAnga sugandhana chandana mathey t i lakdharey mriganayana anjana pawana deAmar’ unit i pati kaajey sajana

“My cherished moment has finally arrived, to be unitedwith my beloved”, says the newly wed bride. “My bodyhas been bathed in perfume, with sandal paste on myforehead and kohl on my doe-eyes. Amar, my husband, isanxiously waiting for me”.

RagaTaal : Teentaal (Madhyalaya & Drut)

Hansadhwani

6868686868

G G GP GR R R S S

Laa oo oo gio oo la ga na

P R R S R R S S � P G P P P P GR

pa ti oo sa khi oo sa na � pa ra ma oo oo su khao

NP G P GR SN GP GR S �

oo a ti ao nan oo dao na �

G GG P PP S S N R

An gasu gan dhana chan dana ma they

S S S S R G RS S P G R N P S S S

ti oo oo la ka dha reyo oo mri ga na ya na an oo ja

S S R G S S S S P G G R N P G R

na pa wa na de oo oo oo A ma ra u ni ti pa ti

PP GP NS GR SN PG RS NS �

kaa oo oo oo jeyo sa ja na �

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Raga

Raga1. Main Structure :

Arohi : S R G P G R, G P N S

Abarohi : S N P G R S.

2. Prime Notes :

Vadi : S Samavadi : P

3. Time of Recital : 1 a.m. to 4 a.m.

4. Main Phrase : G P N G R N P, G R N P S


A. PN SR GR GP GP NP NS RG GR SN RN SN PG NP

GR PG RS RN PN RS.

B. GR RS NP NR SN GR GP NP PN NS SR GR PN GR PG

RN PG PN PN RN RG RN PS NP GR PN SR GR PG NP

PN NP GR SN RS.

C. RG PG RS PN PS NR GR GP GP NP PN NP SN SG GR SN

PP NN SS RR GG PG RS NP SN PN PG PG RG RP GP GR

GR NP NS RG PN SR GP GR SN PG PG RN PN RS

Thhat : BilawalHansadhwani

7070707070 7171717171

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D. GP GP GP RG RG RG SR SR SR GG GP PP NN NS NP

PN RS PN GR PN PG RS NN NP PP GG GR RR RR

GR PN GR PP NN SS GR PG RS NP GR NP GR NP

SN PG RS NP GP NR GR PG RS

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��

� ��

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PPPPPandit Kandit Kandit Kandit Kandit Kumar Prasad Mukherjiumar Prasad Mukherjiumar Prasad Mukherjiumar Prasad Mukherjiumar Prasad Mukherji is the son ofLate Prof. Dhurjati Prasad MukherjiDhurjati Prasad MukherjiDhurjati Prasad MukherjiDhurjati Prasad MukherjiDhurjati Prasad Mukherji, the inter-nationally known Economist, Sociologist and Mu-sicologist and a literary figure of Bengal.

His childhood and formative period was spentlargely around strongholds like Agra, Atrauli,Gwalior and Rampur wherefrom radiate the prin-cipal vocal styles of North Indian Music. Thisenabled him to have a direct access to manyUstads including great FFFFFaiyaiyaiyaiyaiyaz Khanaz Khanaz Khanaz Khanaz Khan of AgraSchool and Mustaq HussainMustaq HussainMustaq HussainMustaq HussainMustaq Hussain Khan Khan Khan Khan Khan of GwaliorSchool. He also had training from Ustd.Ustd.Ustd.Ustd.Ustd. Ata Ata Ata Ata AtaHussain KhanHussain KhanHussain KhanHussain KhanHussain Khan and Ustd. Latafat HussainUstd. Latafat HussainUstd. Latafat HussainUstd. Latafat HussainUstd. Latafat HussainKhanKhanKhanKhanKhan. Very few musicians have had the oppor-tunity of being exposed to these two most impor-tant and authentic schools of singing, the GwaliorGwaliorGwaliorGwaliorGwaliorand the AgraAgraAgraAgraAgra..... As a deft vocalist, Kumar is equallyat ease with both the styles.

As a musicologist, he has given lecture demon-strations in SangSangSangSangSangeet Researeet Researeet Researeet Researeet Researccccch Academh Academh Academh Academh Academyyyyy ,Calcutta, VisVisVisVisViswa Bharatiwa Bharatiwa Bharatiwa Bharatiwa Bharati (Shantiniketan), DelhiDelhiDelhiDelhiDelhiUniverUniverUniverUniverUnivers i t ys i t ys i t ys i t ys i t y,,,,, Administrat ive Staf f Col leg Administrat ive Staf f Col leg Administrat ive Staf f Col leg Administrat ive Staf f Col leg Administrat ive Staf f Col legeeeee,,,,,Calcutta UniverCalcutta UniverCalcutta UniverCalcutta UniverCalcutta Universi tysi tysi tysi tysi ty,,,,, The Music AcademThe Music AcademThe Music AcademThe Music AcademThe Music Academyyyyy and

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ThThThThThyyyyyaaaaagaraja Bidgaraja Bidgaraja Bidgaraja Bidgaraja Bidwat Samajwat Samajwat Samajwat Samajwat Samaj (Chennai), InstituteInstituteInstituteInstituteInstituteof Adof Adof Adof Adof Advvvvvanced Studies anced Studies anced Studies anced Studies anced Studies (Simla) and Gana KalaGana KalaGana KalaGana KalaGana KalaPPPPParishadarishadarishadarishadarishad (Bangalore) where he was conferredthe title of PPPPPanditanditanditanditandit. He has also received theRabindranath Rabindranath Rabindranath Rabindranath Rabindranath TTTTTaaaaagore Agore Agore Agore Agore Awarwarwarwarwarddddd.

On behalf of Sangeet Research Academy, he hasdone a complete analysis of five major Khayalgharanas with illustrations from old archives aswell as his contemporary artistes. The Ford Foun-dation financed this project.

He has also been one of the most brilliant musiccritics of the country and wrote for about 15 yearsfor two leading English dailies of Calcutta. He hasauthored three best sellers in Bengali, entitled“Kudrat Rangi Birangi” “Majlis” and “Mehfil”. Thefirst attempts to blend anecdotal history andanalysis of the major Khayal gharanas with thehistory of creativity in Hindusthani music. Thisattempt has received ‘Rabindranath TagoreAward’ from the Government.

He is currently under contract with PenguinIndia to write a book on Hindusthani Music andMusicians. His last book in Bengali ‘Dishi GaanBiliti Khela’ published by Ananda Publisher is aJugalbandi (twin play) of cricket and music.

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‘Rh‘Rh‘Rh‘Rh‘Rhythm ’ythm ’ythm ’ythm ’ythm ’ represents life. Music also becomes livelyand enjoyable categorically with the help of therhythm. The slow and fast tempo in soft or boldtones bring tremendous variety to an otherwisemonotonous musical event. A matured musician,therefore, needs a matured percussionist, withoutwhom his recital does not bloom.

Such a percussionist is Samar Saha. Numerousmusical performances by renowned artistes startthrobbing with life with the magical touch of hisfingers on the tabla in style that belongs to the‘Benaras Gharana’.‘Benaras Gharana’.‘Benaras Gharana’.‘Benaras Gharana’.‘Benaras Gharana’.

Born in Kolkata, Samar’s initial training started ata very tender age under the guidance of his fatherShri Sudhangsu Bhusan Saha and brother ShriTarak Saha, a tabla player of repute. His formaltraining star ted under the tutelage of ShriSachchidananda Goswami and then floweredunder the able guidance of Shri Krishna KumarGanguly (Natubabu) of Benaras Gharana. It washe, who shaped up Samar into a performer of greatpromise, ambiance and virtuosity.

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Raga

“Why do you quarrel with me - mybeloved”?says the damsel. “Oh! Lord, have mercyon me and make my lover understand”says Enayat (the poet).

“Oh! dear bird, please go and conveythis message to my beloved.My eyes would be dwelling on the path,awaiting his arrival”, cries the lovingmaiden.

“You wicked urchin, don’t you darethrow gravel at me” says the youngbride. I will get hurt”.

“If my mother & sister-in-laws find out,they will come running to take me backhome”.

“Oh! Lord Nizamuddin take my rockingboat to the bank of the river”.“Save your devotee Tanras Khan (thepoet) from sorrow, poverty and miseriesof life”.

I t is ‘Holi ’ , the fest ival of colours. “ I amplaying with coloured powders with mybeloved ” .

I t is ‘Spring ’ , “ I am plucking f lowers fromthe garden to make gar land for him”says the pretty woman.

No knowledge can be gained without theGuru (Teacher). Why should the stupid mindwaste its time in fruitless thinking.If one accompanies and follows a great guru(satguru), he will gain the true wisdom andwill be recognised as a wise person in thecompany of a learned.

She says “shingalingaling - my anklet bellsring”.“I am afraid, if my in-laws finds out they shallbe angry and cross with me.My beloved doesn’t understand my plight”.

“Bless my beloved to be happy my Lord.Hope he spares a glance for me, wheneverhe comes my way”, says the loving virgin.She has dedicated herself to him through hermusic, says Ali Fateh Ali Khan (the poet) toAllah, praying for their welfare.

RaRaRaRaRaga :ga :ga :ga :ga : Basant Basant Basant Basant Basant

Piya sanga khelun hori eri maibarana basant, ke basata piharaphulabana ke harawa gunda gundadarugi gara harawa

RaRaRaRaRaga :ga :ga :ga :ga : Marwa Marwa Marwa Marwa Marwa

Guru bina gyaan nahi paweymana murakha soch soch abakaahey pachh ’ tawey.Sat ’ guru ki sangat kareygunijana mey guni kahawey

RaRaRaRaRaga :ga :ga :ga :ga : Puria Dhaneshree Puria Dhaneshree Puria Dhaneshree Puria Dhaneshree Puria Dhaneshree

Bandish - IBandish - IBandish - IBandish - IBandish - I

Payal iya jhan ’kaar mor ijhanana jhanana baajey jhan ’kar iPiya sam ’ jhaoon samajh ’ ta nahisaas ’ nanada mor i degi gaar i

Bandish - IIBandish - IIBandish - IIBandish - IIBandish - II

Khush rahey sanam morajaa jaarey hamre taraf ek nazardhyan dharey.Al lah dia man Ali Fateh Al i Khanwe miyanpyar lagadi tor i aan ’baan ’ sur kitaan gaye dara f ira

RaRaRaRaRaga :ga :ga :ga :ga : Bilas Khani Bilas Khani Bilas Khani Bilas Khani Bilas Khani TTTTTod iod iod iod iod i


Kaahey karata mosey jhag ’raapr i tama pyareyKara Enayat ’ mopey sajaniMorey piya ko sam ’ jhawey


Jaa jaarey ja, wo khagwait ’no sandesh morey kahio jaarey.Jo aaye pri tama dwaarnaina bichhaoon magawa

Raga : Todi


Langara kankar iya j i na maaromorey angawa lag ’ jaaye Suno pawemori saas nanadiya daur ’ daur ’ ghar ’aawey


Aba mori naiya paar, karo reyHazarat, Nizamuddin ’ Aul iaDukha daridra saba door ’ karanahara Taan ras Khan ki l io khabariagata sautana ke lara laraiya

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Raga

“Look at the beautiful village maiden‘alabeli’ who steals my heart”, says theyoung lover.“Adorned with necklace, pretty as apicture, she came out dressedbeautifully. The heart of the viewerjingle with joy watching her gait as shewalks along elegantly”.

“Oh! Khwaja Moinuddin, the saint ofsaints, please do your deeds and saveme. You are Oh! my saviour, and thecrown of heroes, please protect me.” -says the poor Enayet Khan (the poet).

“My innocent heart is stolen.While I was sleeping in my palace, athief came and robbed it” says thebeautiful princess.

The anklet bells of the village belle areringing, when she is going to meet herbeloved in the sacred place.As she comes out of her house, forgoing to the temple, the heart of Enayet(the poet) is moved by her grace.

Black clouds and roar ing thunder of themonsoon have come to please andeffuse the hear t of the br ide. “Look atthe gather ing clouds” says the frogs andthe peacocks in del ight. Niyamat Khan,(the poet)feels elated. “

The sky jol ts with the sounds of thunderand f lashes of l ightning. The easter windblows in sweet melody. The pour ing rainsounds l ike mellow str ings, but how canthe mind rest without the beloved?

The clouds gather, the cicadas soundpassionately as droplets of rain fal l . Butalas! at this moment, I feel empty -missing my lover.

“My cherished moment has finally arrived, tobe united with my beloved”, says the newlywed bride.“My body has been bathed in perfume, withsandal paste on my forehead and kohl on mydoe-eyes. Amar, my husband, is anxiouslywaiting for me”.

Raga : MeghRaga : MeghRaga : MeghRaga : MeghRaga : Megh


Garajey ghata ghana kaarey kaareypawasa ki ruta ayi dulhana manabhaye Chahun aur ghana ghorboley dadur maurNiamat Khan sukha paayey


Gagana garajey chamakata daminichalata purabai sananana nanananameha barasey manwa larajeypiya bina kachhu na suhaye

Umada ghumada ghir i ayi badar iaghora ghora at i barasana lagijhingurwa boley chhum chhananananana nana meha baraseymanwa larajey piya bina kachhu nasuhaye

Raga : HansadhwaniRaga : HansadhwaniRaga : HansadhwaniRaga : HansadhwaniRaga : HansadhwaniLaagi Lagana pati sakhi sanaparama sukha at i anandanaAnga sugandhana chandanamathey t i lak dhareymr iganayana anjana pawana deAmar ’ unit i pat i kaajey sajana

Raga : BihagRaga : BihagRaga : BihagRaga : BihagRaga : Bihag

Alir i al ’beli sundara naar ’pyarey pyarey j iya ko lubhayeAai kara shr ingara galey haar darayso chhabi l i naar ’ chaal chalataachaka lachaka sab ’key man ’tar ’paye

Raga : Desh


Kar’ma kara dije karadijekhwaja Mainuddin’ ke mai jaoonbalihaari reTum’ ho data pirana ke peer’baliyana ke taj Enayat ki sharam’rakhiyo


Nadaan ’ j iyara gum gayo reygum gayo gum gayo gum gayo reyMain soti thi ap ’ne mahal meyek chor chor i kar gayo rey

Raga :ChhayanantJhanana jhanana jhana nana nananana nanabaajey bichhuwa baajey piya semilan ko chal i jaat ’ap ’ne mandar ’ so naar ’ .Puja kar ’neko nikasi ghar ’ soal ’beli naar chamakey piya Enayetbaar baar.

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Hosted byHosted byHosted byHosted byHosted byGautami Bhattacherjee

Arya Bhattacherjee

Excutive ProducerExcutive ProducerExcutive ProducerExcutive ProducerExcutive ProducerSubhanjan Sarkar

Arindam Mukherjee

Creative Co-ordinationCreative Co-ordinationCreative Co-ordinationCreative Co-ordinationCreative Co-ordinationSanjoy GanguliSoumya Bose

AccompanimentsAccompanimentsAccompanimentsAccompanimentsAccompanimentsSamar Saha: Tabla

Sudhir Nayak: HarmoniumSrinivas Joshi:

Tanpura & Voice

Additional TracksAdditional TracksAdditional TracksAdditional TracksAdditional TracksRoshan Ali: Sarengi

Babu Shome: Synthesizer

Music Recording & ArrangementMusic Recording & ArrangementMusic Recording & ArrangementMusic Recording & ArrangementMusic Recording & ArrangementDaman SoodSoumya Bose

Music notes, Lyrics and EditorialMusic notes, Lyrics and EditorialMusic notes, Lyrics and EditorialMusic notes, Lyrics and EditorialMusic notes, Lyrics and EditorialCompilationCompilationCompilationCompilationCompilation

Pdt. Kumar Prasad MukherjeeSanjoy Ganguli

Kumar RoyAnirban Bhattacharya

CostumesCostumesCostumesCostumesCostumesNiraj Chokhani:

Bloomingdales; Kolkata

Video Photography,Video Photography,Video Photography,Video Photography,Video Photography,Post productionPost productionPost productionPost productionPost production

Bappa RoyMalay Pradhan

Anil Pandey

Graphic DesignGraphic DesignGraphic DesignGraphic DesignGraphic DesignUtkarsha Malakar

AudioAudioAudioAudioAudioDaman Sood: Western Outdoor,

MumbaiBablu Prasad: Om Studio, Kolkata

Jhantu Jana: Studio Inframe, Kolkata

Studio & Post ProductionStudio & Post ProductionStudio & Post ProductionStudio & Post ProductionStudio & Post ProductionUmesh Upadhayay: New Delhi

Communication Network Limited

AcknowledgementsAcknowledgementsAcknowledgementsAcknowledgementsAcknowledgementsKuntal Bhadar

Debajyoti BhattacharjeeAdip TandonGokul Bhai

Mr. & Mrs. Rashid KhanSantosh Nag

Meghnath MukherjeeBud Bremner: Coastal Mastering, Canada

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Conceived and Produced byConceived and Produced byConceived and Produced byConceived and Produced byConceived and Produced byArya Bhattacherjee

musica indiana raga

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