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Raga Khamaj- A fragrance of Romance

Raga Khamaj 

 Raga Khamaj is a very popular and prominent  Raga in Hindustani Classical Music which represents both Ragang and Thaat. Khamaj is one of the major Ragang among the 30 various melodies that signify the distinctness of Indian classical music. Khamaj is also the mone among the 10 Thaat classified by the great musicologist Pt. Vishnu Narayan Bhatkhande. The Ashriya Raga Khamaj is classified under Khamaj Thaat. In this Raga both forms of Nishad (Ni) is used simultaneously, Shuddh Nishad in ascending and  Komal Nishad in descending order, and the rest of the notes are used in Suddha (Natural) form. In Aaroh Rishav (Re) is completely restricted and Suddh Nishad is used and Avroh is of all seven notes following with Komal Nishad. Jati of the  Raga in Shadav-Sampurna because Re is restricted in Aroh and singing time according to the Shasta in the first phase of the evening. This Raga is Purbang dominance where Gandhar is considered as the Vadi Swar or the main essence notes of the Raga. Dhaivat in Samvadi Swar and  Shadaj, Gandhar, Pancham, and Nishad are Nyas of the Raga Khamaj. 

          Raga Khamaj is not only the Raga but also the Ragang. Various other Ragas in Hindustani Classical Music adjoined with Khamaj-ang. Ga ma Pa Dha-ma Ga, Ga ma Dha Ni Dha ma Pa Dha ma Ga, Ga ma Ni Dha Ni Pa Dha Ni Sa, Sa Ni Dha Pa Dha ma Ga denotes the Khamaj-ang. Raga Jhinjhoti, Ahirbhairav, Gara, and many others are the Ragas mixture of Khamaj-ang with other melodies to form a new melody in Hindustani Classical Music. Semi-Classical forms of Hindustani Classical music are commonly sung in this Raga Khamaj i.e  Thumri, Dhamar, Dadra, Hori, Bhajan Chota Khyal in Geet, Ghazals are very often singing in this Raga. Dhrupad, Bada, Khyal are rare but sometimes in practice...

Aroha         :        Sa Ga ma Pa, Dha Ni Sa

Avroha       :        Sa Ni Da, Pa, ma Ga Re Sa

Pakad         :        Sa Ga ma Pa, Ga ma Ni Dha Ni Pa Dha ma Ga ma Ga Re Sa

Note: Please learn this raga with Guru in order to understand the proper note combination and its actual grammatic sequence of Raga. 


Raga Todi :Morning melody of Dishearten love

 Todi (Miya ki Todi)

          Raga Todi is also called Miya ki Todi is one of the famous Raga in Hindustani Classical Music. It is categorized under Todi Thaat and the legacy of  Todi. The Thaat Todi is named because of Raga Todi and is also known as Ashriya Raga of Todi Thaat. Rishav, Gandhar, Dhaivat are Komal and Madhyam in Tivra, and Pancham Swar is frequently omitted in Aroah while going from Tivra Madhyam to Komal Dhaivat. The Aroah consists of six notes while the Avaroah of Todi is Sampurana having all seven notes thus the jati of this raga in Shadav Sampurna. Singing time of this raga in the second phase of the day i.e. 9 am -12 pm.  Vadi Swar is Dhaivat and Samvadi is Gandhar in this Raga. The melody of the raga reflects the Karun Rasa- disheartened ambiance, attachment, or fraction in love. the Nyas Swar or the rest notes which creates the milieu are Dhaivat, Gandhar, and Shadaj

          Raga Todi is a soft melodic structure most commonly sung in Dhrupad Dhamar, Khyal, and all other semi-classical forms of Indian Classical Music. It is believed that Miyan Tansen created and popularise this Ragini so Miya is added as a suffix. Ragang Todi is also used in many ragas to create new raga. Re Ga Re Sa, Sa Dha Dha Ni Sa, Sa Re Ga Re Sa Re Sa, Ga Ma Dha Dha Pa, Re Ga Ma Pa Ma Ga Re Ga Re Sa are the main phrase of Todi. Raga Gurjari Todi, Bahaduri Todi, Bilaskhani Todi, Laxmi Todi are a few ragas among the bunch of Todi-ang Raga. Todi is the most beautiful and sooting raga having a variety of fragrances and garland of many upang raga. The basic ascend and descend of the raga is as follows:- 

Aroha         :        Sa Re Ga Ma Pa, Ma Dha Ni Sa

Avroha       :        Sa Ni Dha Pa Ma Ga Re Sa

Pakad         :        Ga Ma Dha Dha Pa, Ma Ga Re Ga Re Sa

Note:  Kindly learn with Guru or the expert for proper synchronization of notes in Todi 

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