Arya Bhattacherjee PREFACE My mother used to hum tunes to make me fall asleep. I still remember some of those tunes. Haunting melodies. Later on I discovered, many of those were actually compositions by some of the pioneers of Indian Classical music. Our home in Calcutta has an atmosphere of music. I still remember the 74 rpm LP records, wistful renderings from the giants of Indian Classical music, which were kept well out of my reach. Nevertheless, we listened to them, and tried to emulate them with the help of a music teacher who used to come on Sundays. In Bengal, my home state, culture invariably seeps into our day-to-day life. It happens naturally, as, by convention, every Bengali child gets into learning some form 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 with me. Always. It is still my guiding spirit. Today I am a software businessman, settled abroad. In the course of my travels across the world, I have come across a variety of cultural experiences. These experiences have re-affirmed my confidence in Indian Classical Music as the greatest possible rejuvenator of life. The compassionate faith healer of torn, bruised emotions acquired out of everyday trials and tribulations. Indian Classical music catches you unaware, forces you to look beyond everyday life, reminds you of your roots, your human self. Indian Classical Music teaches the art of living. At times, when lonely, the need to share my most intimate memories emerged . I felt that, maybe, my experiences were not isolated. There must be others who thought similarly. People who depend on the many moods

1 of Indian Classical music to guide them through the serpentine by-lanes of livelihood. PREAMBLE My profession as a software businessman made me 1 The Birth of Khayal settle down in America. I have seen my children grow up without The most popular mode of rendition in Indian Classical Music any inkling of what they do not have. They need to know their culture if they are to understand their roots. I felt that something The most widely accepted variety of Hindusthani Classical definitely needs to be done for them, and countless others like Music today is called ‘Khayal’. Over the past fifty years, Khayal them. has steadily gained popularity in comparison with ‘Dhrupad’, a form with simple grandeur and lack of embellishments. Khayal, No, I can’t give them what I have had. with its flexibility and ability to incorporate musical ornamentations, has effectively regaled the new listeners of Indian Yes, I can share with them my passion, my emotions; Classical Music, the middle and upper middle class. I can at least try to give them what they deserve. Myths and Reality The first attempt was to introduce them with Indian Where did Khayal come from? Classical music with available options. Before long I realized that this is somewhat impossible. They may have the inclination, Popular myth attributes the birth of khayal to Amir KhusrauKhusrau, the statesman poet of the court of Alauddin Khilji in the 13th century. but they do not have the time to enjoy hour-long renditions. Life Alauddin Khilji This has been disproved by a number of musicologists headed has become much faster. by Thakur Jaidev SinghSingh, an outstanding scholar of Philosophy I realized that Indian Classical Music could be re- and the theory of music. presented in a way that could be easily accepted and enjoyed According to him, the birth of khayal took place many centuries by the maturing face of globalisation. ago. “I maintain”, he writes, “that the so called ‘khayal’ style of musical composition is nothing but only a natural development “Khayal” was the evident choice – the most popular of ‘Sadharan geeti’, which used the exquisite features of all the and flexible form of Classical music rendition in India. They styles... There is definite proof that such styles of musical had to be presented in a concise form without interfering with compositions have been in existence in Indian music at least from their mood and content. It was a difficult task, but, if achieved, the 7th or 8th century A.D. would open up a new gateway for a generation that wants to Music for the uncommon be acquainted with it, but do not have the time. common man I am not a musician, but a music lover. Yet, I took the The Sadharani style liberty of personally selecting the bandishes for this presentation from the rich repertoire of Indian classical music. I also gathered The sadharani style of composition with generous and plentiful use of gamaks became our ‘khyal’ composition. Khyal expolited enough courage to approach the two most accomplished all the famous features (ornamentations) without bothering about vocalists of our times, and explained the idea to them. It was their names - khatka, murki, meend, kamp, andolan - everything fortunate that they agreed to be part of the experiment. was beautifully woven into its structure…

The results are with you.

2 R 3 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 again meant for the common man). ‘Qawali’ is a form of religious song R in chorus, prospered in the hands of the muslim ‘sufis’. Yet, lots of questions remain Lets not get into endless debates, just enjoy the music…

When Amir Khusrau in the 13th century heard the ornate style or But no one knows about the earlier forms of khayal. The present ‘rupak alapti’ full of so many embellishments, he could not think day musicologist is more interested in music as a performing art, of obsignating this music of creative imagination better than the rather than the dry pages of musical history, much of which is word ‘khyal’. ... It was neither imported from Arabia nor from Persia. speculation. There was no system of notation till the middle of ... Neither Amir Khusrau invented it nor did Sultan Sharqi, King the 19th century. of Jaunpur (15th century) though each of them lent a hand in its development”. The modern musicologist is inclined to take this view that khayal, (Commemorative volume of Dr S.N. RatanjhankarRatanjhankar) in its present form, owes its existence to the later day Moghuls as well as the Nawabs of Oudh. Roughly speaking khayal, as it is The Debate continues sung today, is no more than 300 yrs. old. Amir Khushru, impressed by it, may have just named it…

Among other musicologists who support this theory is Rajyeshwar Mitra, also a scholar of Sanskrit and Persian. He goes on to write in his Bengali book ‘Moghul Bharater Sangeet ChintaChinta’ (The Musical Thoughts of Moghul India) – “ Amir Khusrau was not a great admirer of Hindsthani music. He was the son of a Turkish father, and his mother belonged to Hindusthan and his desire to import 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 have not stood the test of the time. ‘Qaul’ and ‘Qawali’ prospered because of their poetic quality. However, there is no doubt, that he had tried to liberate the traditional Hindusthani music shackled by the ‘shastrakars’ and grammarians and showed a new path which in the hands of the muslim ‘sufis’ developed into a form of considerable aesthetic appeal.” “Khayal” includes the manifestation of many forms Marriage between Sadharani Geeti and Qawali

A few things emerge from my own research, as well as that of several historians and musicologists. 4 R 5 Karnatic Music, the base is the same Just a few changes in the scale, here and there…

In Karnatic music of South India, they still have the old Kafi scale R (starting from middle C minor third and minor seventh), while North and Western India have switched over at some period in the past, possibly with the advent of Christian Missionaries, to the tempered scale of major and minor notes as in Europe. In the 2 Birth of the ‘ragas’ South, most ragas owe their existence to either skipping one or The foundations of Indian Classical Music… two notes in their scale or by changing one major note to minor. Major ragas in Karnatic music, though under different names, The Ragas in Hindusthani music, like the different genres i.e. are common to those in North and Western India. (dhrupad, khayal and thumri) are born out of Indian Folk MusicMusic. To quote Prof. D.P. Mukherji “The historical fact about our classical “Murchhana”, the core music is that, it was never above incorporating the folk, the The basis of our Ragas… regional, even non Indian types. Dhrupad, which is reported to have been sung before ‘Akbar the GreatGreat’ (1556-1605) and which In my opinion, the basis of our ragas is ‘murchhana’ or modulation, is so high browed, that nobody now-a-days listens to it. i.e. the change of key. The features of the ragas stopped changing It was in a sense the Agra-Gwalior style, just as ‘hori dhamar’ since we adopted the tempered scale. Ragas described before belonged to Mathura. Bengal gave ‘bangal bhairav’, Sindh Samrat Akbar’s reign and before the advent of muslim rule, do ‘sindhu’, Surat ‘surat’, Gujrat ‘gurjari todi’, Bihar ‘bihari’, Multan not remotely resemble the present ones, though they carry the ‘multani’, Jaunpur ‘jaunpuri todi’, the hills ‘pahari’, just as Turkey same name. Musicians over the centuries have created new ragas gave ‘turask todi’. Such features are nothing special to Indian and are still going on creating. music. They are mentioned because many people in India think that our ragas and raginis (female species) emanated from Gods and Rishis (sages of the past)”

(Modern Indian Culture, 2nd edition 1942, republished by Rupa and Co under the title Indian Culture - a sociological study 2002) Spontaneous musical expressions derived from nature The folk base of the Raga System… There is a folk tune prevalent in the Himalayan mountains, which deal with four major notes, only Ga, Re, Sa, Dha, out of which we have Bhupali, Pahari and Deshkar, all of them use the pentatonic scale of Sa-Re-Ga-Pa-Dha with different movements. Out of this, again we have got Shudh Kalyan and Jait Kalyan. By changing the key we get Malkauns, Durga, Dhani, Megh and even Marwa, though the last named raga consists of six notes. This Pentatonic scale, some musicologists believe is the oldest. This is found in China as well. Whether we got it from them, or exported it along with Buddhism - is a matter of speculation. 6 R 7 His son Ghulam Nabi was equally famous. He spent a number of years in Punjab among the camel riders, and imbibed their regional style of singing, listening to their wedding songs. The sophisticated version of this style, which abounds in complicated zigzag fast taans (voice meanderings) is now known as ‘tappa’. R ‘Shori Miyanan’ alias Ghulam Nabi became famous all over Hindusthan with Tappa. Khayal Gharanas of today 3 Khayal in its present form and the Born out of the Gwalior Style of Rendition birth of the ‘Gharanas’ Gulam Rasool’s disciple, son-in-law Shakkar Khan together with his brother Makkhan KhanKhan, known as the ‘qawal bachchas’ were Intimately related to our socio-political history responsible for exporting this gayaki (style of rendering khayal) Several successors to the throne came and went during the dark to Gwalior. Makkhan Khan’s son Naththan Peerbaksh became days of the ‘Moghul Empire’ between 1707, the death of the bigot the guru (teacher) of the Maharaja of Gwalior. Daulat Rao emperor Aurangzeb and the accession to the throne of Scindhia, while Shakkar Khan’s son Bade Muhammad Khan Muhammad Shah Rangeele in 1721, responsible for losing his became the court musician of the comparatively smaller native peacock throne to Nadir Shah. state of Rewa, known to the world for its white tigers. Between them they made their Gwalior Gayaki popular enough to attract Sadarang and Adarang pupils from different parts of the country, and thus different The composers of the most popular bandishes of today… ‘Gharanas’ or Schools of Khayal were born out of Gwalior, e.g. Agra, Kirana, Jaipur, Patiala etc. Rangelee was a great patron of music and had two famous musicians Niyamat Khan and Firoz Khan who composed Living Traditions bandishes, the main song, under the pen names of Sadarang From the “Guru” (master) to the “Shishya” (disciple ) and AdarangAdarang. These are sung by all Gharanas to this day. They learnt Sanskrit and Brijbhasha (a dialect, prevalent in Mathura Each of these gharanas bears distinctive features and has and Vrindavan, where Lord Krishna was born and spent his produced great Ustads, whose styles have been imitated by their childhood and various incidents attributed to him form the themes disciples. Thus the gharana system perpetuated until recently, of most khayals and dhamars) from Azam ShahShah, one of the till the abolition of native states, whose patronage was an princes, khayal from a noted qawal singer named Tattarattar, dance invaluable asset for the propagation of classical music. This, along from professional ‘natuas’, in order to master the rhythmic patterns with the advent of the Radio, Television, Tape recorders, easier of the percussion instruments. A lot of Sadarang’s dhrupads were communication facilities and music festivals has endangered it. converted into khayals by his followers. But no one knows the Agra gharana was known for its greatest ustad Faiyaz KhanKhan, Gayaki (style of singing) of these brothers. Kirana for Abdul Karim KhanKhan, Abdul Waheed and Amir KhanKhan, Patiala for Bade Gulam Ali Khan etc. The tendency today, is to The Lucknow School of Khayal Gayaki evolve a synthetic gayaki, consisting of different styles, which Many musicians migrated to Lucknow as music was banned may or may not have been properly digested. Also compositions in Delhi and Agra known as bandishes, zealously being guarded hitherto by different gharanas, have become public property. A parallel stream of khayal gayaki was developed in the courts of Nawab Shuja-ud-daula (1756-75) and his son Asaf-ud-Daula of Lucknow, where quite a few musicians had migrated during Aurangzeb’s reign, when music was banned in his court and also in Delhi, his capital. The most famous Ustad to whom this style is attributed was Ghulam RasoolRasool. 9 8 R Nissar Hussain Khan died in Calcutta (Kolkata), a few years back, when he was approaching his nineties. He was an Ustad of considerable standing, who developed a style which had bits and pieces of all that was good in Gwalior and Agra, what he called a R ‘Guldast’ (a bunch of assorted flowers). Rashid khan owes his entire training to his Guru Ustd. Nissar Hussain Khan. Rashid, the young genius Sahaswan/Rampur Gharana and Breaking fresh grounds…keeping the Gharana alive 4 Ustd. Rashid Khan Rashid khan, who started his life as a child prodigy, has developed into a brilliant musician and is today, one of the top vocalists of The origin and the growth… the Indian Classical Music world. His voice production and application of notes have an intoxicating quality. His taans are ‘Gharana’ names normally comes from the names of places: his strongest points. The clarity, in spite of the breathtaking speed generally the places where the founders lived or came from. The of the taans, which cascade like a fountain is remarkable. His Rampur-Sahaswan Khayal Gharana, as it is quite apparent, gets innate musical sense makes one feel, that he is a natural its name from two places. musician, and sings with the ease of a swan taking to water.

First, Rampur (in Uttar Pradesh) which was a major centre of Not being content with what he has inherited from his Ustad, North-Indian classical music from the region of its fifth nawab, Rashid Khan has added a Kirana like vistar to his gayaki. There Nawab Yusuf Ali (1940-1868). This line of nawabs was of Afghan is nothing wrong with this. No Ustad, worth his mettle, follows his origin. guru blindly throughout his life. His style is bound to change, if he is sensitive and is susceptible to the good points of other The second, Sahaswan is a village in the Badaun district of the gharanas and with the growth of his own musical personality. same state in which most of the Gharana’s famous musicians, including Rashid Khan, were born. It is near Rampur. What Rashid Khan Sings today, however, is vastly different from the Gwalior Gayaki of the founder of the Sahaswan GharanaGharana. As Masters of the Gharana such, purists may not agree to call it a gharana, but ‘The Great Bringing in a note of freshness into the Gwalior Gayaki… Sahaswan / Rampur Dynasty’.

This gharana is traced to Enayet Hussain Khan, a noted vocalist of the late 19th and early 20th century, who learnt khayal from Bahadur Hussain Khan of Rampur, and got married to the daughter of the legendary Haddu Khan of Gwalior. He was a brilliant composer and a famous exponent of the Gwalior Gayaki.

Ustd. Nissar Hussain Khan was Enayet Hussian’s son in law, but also learnt from his grandfather Haider Khan and father Fida Hussain KhanKhan. While spending his formative years in Baroda (now Vadodara), Nissar Hussain Khan allowed his gayaki to be influenced by the Agra Gharana style, largely because of the dominating presence of Ustd. Faiyaz Khan, the court musician of Maharaja of Baroda. 10 R 11 Biography of USTAD RASHID KHAN

Biography of USTAD RASHID KHAN

The great grandson of the legendary Ustd. Inayat Hussain Khan SahebSaheb, the founder of the ‘Rampur . Molded by Discipline, nurtured with care Sahaswan Gharana’, Rashid Khan was born at No looking back, since the age of 11… Badaun, a small town in the state of Uttar Pradesh in India. Ustd. Nissar Hussain Khan was a strict disciplinarian, The Formative Years and the long and arduous training under this guru made Rashid Khan a perfect exponent of the Rampur- Learning from Nature Sahaswan Gharana, which owes its allegiance to the Rashid has faint memories of the town of Badaun and Senia traditions and has an impressive lineage of its surroundings where he spent his early days. The classical vocalists like the great Ustads Bahadur river which flows by the town was a witness to the Hussain Khan, Enayat Hussain Khan, Fida Hussain number of hours Rashid spent by its side singing the Khan, Mushtaq Hussain Khan and Nissar Hussain mazhars of Bade Sarkar and Chote Sarkar. Whenever Khan. Rashid visits his home town, he still pays his respects to this cemetery where his parents and young brother Rashid gave his first performance at the age of eleven, have also been laid to rest. in 1977. In 1979, he performed at the ITC Sangeet Sammelan at New Delhi. He has not looked back since, Rashid had little or no interest in music initially. His and his growing popularity is reflected in his increasing talents were first noticed by his uncle Ustd. Ghulam participation in all well-known music conferences in Mustafa Khan, another great exponent of Hindusthani India and extensive tours across the world. Classical music, on hearing his occasional humming. Rashid studied in Mumbai for about a year after which Amalgamation of styles he came back to his hometown. His tutelage started Respect for tradition, esteem for modern tastes… under his illustrious granduncle and guru, the late Ustd. Nissar Hussain Khan. He nurtured the latent potential Rashid Khan has included the slow elaboration in his of Rashid all along his training in the traditional one- vilambit khayals in the manner of his maternal uncle to-one manner, first at his own residence at Badaun, and also developed exceptional expertise in the use and subsequently at the Sangeet Research AcademAcademy of sargams and sargam taankari. He has also included in Kolkata 12 13 Biography of USTAD RASHID KHAN

Nawabs and Maharajas and their courtiers who were their prime audience found these aspects more interesting and did not bother about emotional appeal. Khayal to them was classical art song and emotional appeal was not an important requisite for this type of music.

Biography of But after independence and especially in the second half of the 20th century, classical music, including the USTAD RASHID KHAN most popular vocal forms of khayal, and thumri, was patronised by audiences coming from the middle and upper-middle class segments of the society. The the slower tempo vilambit in his style. He is also modern listener thus tended to find Mushtaq Hussain extremely adept in producing all the other techniques or even Nissar Hussain rather dry for their taste. As a and characteristic features of the Rampur Sahaswan result these singers were not as popular as certain style. His taankari is as powerful and variegated as any contemporaries who infused emotions into the khayal. of his predecessors and, in fact, among the best in the nation at the moment. Rejuvenation of the Gharana Single handedly, he included new modes to maintain The brilliant Enayat Hussain drut and medium pace the tradition of excellence… khayals ring as true in his voice as they have done down the ages. He is also a master of the tarana like his guru With the entry of Rashid Khan the tables have been but sings them in his own manner, preferring the khayal turned and the spontaneous emotional appeal of his style rather than the instrumental stroke-based style manner of singing, be it is the melodic elaboration or in for which Nissar Hussain was famous. There is no the upper octave pukars, have won him enthusiastic imitiation of instrumental tone in them either. His vocal listeners and followers throughout the globe. prowess is in the best tradition of the Rampur Sahaswan Gharana. His mastery of all aspects - tonal variations, “There is now at least one person in sight who is dynamics and timbre adjustment leave very little to be an assurance for the future of Indian vocal music”, desired in the realm of voice culture. said Pdt. Bhimsen Joshi, a few years ago, reflecting on The emotional content the concern of connoisseurs of Hindustani vocal music By then, the audience of music has changed… about whether its tradition of excellence would continue.

A notable achievement of Rashid Khan is the infusion Indian Classical Music has indeed maintained its of an emotional content into his melodic elaboration. tradition of excellence- with Ustad Rashid Khan, the This was generally considered to be lacking in the styles young maestro, one of the leading torch-bearers. of the older exponents. The older ustads, being essentially court singers, put the emphasis on polished technique, skillful execution of difficult passages and the ability to astound with their musicianship. The 14 15 8. If there is more than one segment in a note (Matra), it is bounded NOTATION INDEX by the sign “ ” below the cluster. A singles segment has no such sign. eg. GG GMP GMP GM GM D D P

1. North Indian Classical Music (Hindustani Classical Music) have 9. To show the recurrence of a word of Composition (Bandish) seven (7) Natural Notes (Shuddha Swar). Like— Saraj=Sa, the Sign “oo” is used only for the English Notation. eg. Wordings. Rishav=Re, Gandhar=Ga, Madhyam=Ma, Pancham=Pa, Tu ma Ka he ko. Dhaivat=Dha & Nishad=Ni. ••• GM PN MP NS , SN S NN PP 2. We have Five(5) Flat Notes or Komal Swar. Like— Re, Ga, Dha, Ni & Tivra Madhyam/Sharp Note (Ma). Komal Swars like— Tu OO OO ma , Ka OO he ko Re, Ga, Dha, Ni are the immediate half a note lower than the Natural Notes, and only the Tivra Madhyam is just half 10. Taal (Tala) - is a number of beats coming in a rotation, which a note higher than the Natural Note i.e. Shuddha Madhyam. is repeated throughout the song. It may be of 8, 12, 16 etc. beats. We have three(3) Signs in any Tala. 3. Signs of our Komal Swars are : Re Ga Dha Ni and only for A. The ‘Som’ or the first beat or the starting point of any tala Tivra Madhyam, it is M. is shown by the Sign “X”. The return of a passage with the uniformity of taal, back to the beginning phrase (mukhda) 4. We can identify our lower octave (Mandra Saptak) notes with is denoted by “­ ”. the Dot, Sign (•) Under the Swar. eg. Ni, Dha, Pa, Ma...... •• •• B. The Off-Beat of the Tala is shown by the “O” Sign. 5. Higher Octave (Taan Saptak) is denoted by the Dot sign above C.The other beats of the Tala are shown by the sign of 2, 3, ••• • the Swar. i.e. Sa, Re, Ga, Ma ...... 4, 5, numbers. 6. In Notations, the notes are denoted in short forms as : eg. “Teentaal” - Taal of (16 beats)

Sa = S, Re = R, Ga = G, Ma = M, Pa = P, Dha 12 3 4 5 6 78 = D, Ni = N Dha Dhin Dhin Dha Dha Dhin Dhin Dha

7. The Sign of (Meend) or the glide is shown by - “ ” X 2 O

eg. G M, G M, P P, G D, D P. Som 2nd Beat Off-Beat or Phank M G, M M R, S. 910111213141516 Na Teen Teen Ta Ta Dhin Dhin Dha

3

3rd Beat 16 17 USTD. RASHID KHAN Renditions 11. For Ragas — the following terms to be noted : a) Arohi : The ascending notes during the Raga & Duration Bandish recital of raga. b) Abarohi : The descending notes. 1. Bilas Khani a) Kahey Karata Mosey Todi (15.53) b) Jaa Jaa Re Jaa c) Vadi - The most important note of a particular raga. 2. Todi (15.41) a) Langara Kankariya d) Samavadi - The second important note. b) Aba Mori Naiya e) Main Phrase - The essential combination notes of a 3. Basant (10.17) a) Piya Sanga Khelun raga whic brings out its anatomical picture. f) Taan - The behaviouristic movements of a raga in vowels 4. Marwa (15.19) a) Guru Bina Gyan at a fast tempo. 5. Puriya a) Payaliya Jhankaar g) Thhat - The eight categories to which all the Hindusthani Dhaneshree (14.13) b) Khush Rahey Sanam ragas belong. h) Laya - The speed or the tempo of the 6. Bihag (10.30) a) Aliri Al’beli song in four divisible categories as below - 7. Desh (15.42) a) Karma Kara Dije i) Alaap - The slow exposition of a raga in a b) Nadaan Jiyara composition without any taal or rhythmic beat - elaboratively. 8. Chhayanat (10.13) a) Jhanana Jhanana ii) Vilambit or Dhima - Very slow speed or tempo. 9. Megh (15.21) a) Garajey Ghata Ghana b) Gagana Garajey iii) Madhyalaya - Medium slow speed. b) Gagana Garajey

iv) Drut - Medium to very high speed - 10.Hansadhwani (10.33) a) Laagi Lagana progresively. In Order of Performance

18 19 RagaBilas Khani Todi RagaBilas Khani Todi (The Hymn of Melancholy) Taal : Teentaal (Vilambit)

Kaahey karata mosey jhag’raa “Why do you quarrel with me - my beloved”? Bilas Khani Todi - is attributed to Bilas Khan, pritama pyarey says the damsel. Kara Enayat’ mopey sajani “Oh! Lord, have mercy on me and make my lover the favourite son of Miyan Tansen, who passed Morey piya ko sam’jhawey understand” says Enayat (the poet). away at a young age. Tansen was heart broken and while he was chanting the hymn in Miyan-ki- Todi at the obsequies of his son, he used Shuddha X2 03 Ma instead of Tivra Ma by mistake in the composition, ­ ­ ­ G RDDDSSR which improvised to a new form of Raga Todi. Tansen • • • offered it to his disciples as a new raga and named ­ ­ ­ kaa hey kao rao tao it after his son as Bilas Khani Todi. G G G G G G R RG M G RS S S R GP P P Like all Todi, it is sung in the sandhi-kshan, i.e. at the time of the arrival of dawn from night. mo oo oo oo oo seoojha ga raa oo oo pri oo taooo ma

Although, it is a category of raga todi, yet because ­ PP PP DPMG R R G RS­ of the use of Shuddha Ma, this raga converts from ­ pya oo oo oo oo oo oo oo rey o ­ the ‘thhat Todi’ to the ‘thhat Bhairavee’.

­ ­ ­ G GP P D ­ ­ ­ ka oo ra oo E

SS 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 niooooomo rey oo

• ­ R N D DMG R R GM G R RSR G pi ya oo koooosaoo ma jha oo wey oo ­

20 Raga 20 21 RagaBilas Khani Todi Taal : Teentaal (drut)

Jaa jaarey ja, wo khagwa “Oh! dear bird, please convey this message to my it’no sandesh morey kahio jaarey. beloved when he comes. My eyes would be Jo aaye pritama dwaar dwelling on the path, awaiting his arrival”, cries naina bichhaoon magawa the loving maiden.

X2 0 3

­­ ­ S R GP P P ­­ ­Jaa oo jaa oo rey

N D D D DPMMG R RMG RS S D D S S R • • jaa oo oo oo oo oo wo oo ka ga wa i t nooosan

•• • • GP DSR G R N DM G ­ de sh mo rey ka hi o oo jaa oo rey ­

­ GM D ­ Jo aa oo

SS 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 DMG R R G R GMG R RS­ chha oo oo noooo ma ga waooooo ­

Raga 22 23 RagaBilas Khani Todi Thhat : Bhairavi

1. Main Structure : ••••••••••• C. DS R GP D N D DS R GMR G R R G G R N D D N N D • • Arohi : S R G M G , P D N S. •••••• N D DS SR R R R N N N D D DM MM G G G R R R G R • • • Abarohi : S N D P, D M G, M G R S. G R N N N D D D DM MM MG G G G R R R R N N D DS • • • • 2. Prime Notes : R GPD N DMG R G G R R G RS

Vadi : D Samavadi : G

3. Time of Recital : 4 a.m. to 7 a.m. (arrival of dawn) • ••• • • • • • • • D. R GPD N D R R G GPP D D N D DS SR R G GM G R GP ••• • • • • • • • 4. Main Phrase : S, R G P D N D, M G R G RS. R G R G R G G R N D N D D N N DMG R G PD N DSR • • 5. Exmamples of a Few Taans : G R N D N DMG R GPPPD D N N D N DMG R G G R G N

N DMG R G N D R GPM G R R G RS A. SR GP D N N D N DMG R GPD N D D N N D N DMG G R

R GPD N DMG R G G R RS.

B. SR R R G G GP PD N N N D DM MG G RSNDS• • R GPD • ••• SR G R N D D N N D N DMG R GPPPD N D R G N D N D • MG R G G R R N DM G R R G RS.

24 25Raga RagaTodi Raga Todi

(The Morning Glory) Taal : Teentaal (Madhyalaya & Drut)

Langara kankariya ji na maaro “You wicked urchin, don’t you dare throw gravel at morey angawa lag’jaaye me” says the young bride. I will get hurt”. Todi - is a well known morning raga. It is a Suno pawe mori saas nanadiya “If my mother & sister-in-laws find out, comparatively recent raga in the sense there is daur’ daur’ ghar’ aawey they will come running to take me back home”. no mention of it in ancient scriptures. Some musicologists think, that it is derived from Bhairavi, X2 0 3 an even more well known morning raga. In Karanatic Music the northern Bhairavi is their Todi. ­ RGM ­ Lan ga ra There are several kinds of Todi e,g, Deshi Todi, Bahaduri Todi, Gurjari Todi, Chhaya Todi, Barati D D D D D P P P P P MP PM GRGRS Todi, Hussaini Todi, Jaunpuri Todi, Ashavari Todi etc. What Rashid Khan sings here is Miyan-ki- ka oo oo ka ri ye oo oo ji na maa oo roooomo rey Todi or Shuddha Todi, which, by some people • has been credited to Miyan Tansen, the premier ­ SRGM D D D D DND D DMDNRNDMGM musician in the court of the Moghul emperor ­ anga waooooooo la ga jaoooooooyeo lan ga ra ‘Akbar the Great’.

M DMGMMDM D Su na pa oo we oo moo ri

••••• ••• ••• • • • SS S S N RSS DG G GRGRS sa ao sa na na di ya oo da u ra da u ra gha ra

••••••• ••••• DS RG RG RS NN DN DN SRSRSN DN DM DMGM aooooooooooooooooooooooowe lan ga ra Raga 26 27 RagaTodi Taal : Teentaal (Drut)

Aba mori naiya paar, karo rey “Oh! Lord Nizamuddin take my rocking boat to Hazarat, Nizamuddin’ Aulia the bank of the river”. Dukha daridra saba door’ karana hara Save your devotee Tanras Khan (the Taan ras Khan ki lio khabaria gata composer) from sorrow, poverty and miseries sautana ke lara laraiya o f life. X2 0 3

SSR R G R RS Abamori oo nai oo ya

• DM DNDMG RSRG M M DS N paa oo rkarooo rey oo Ha za ra ta Ni za oo mud

M DM R G R RS ­ di oo na Au oo li oo a ­

­ MM M D DM D ­ Du kha da rid ra sa ba

••• • • • • • • • • • SS S S S RSS NDNNSSSS doo oo ra ka ra na ha ra taa na ra sa kha oo nki

R••G RSNSN•• • ••D ­ G• RSNSN• D li oo o kha ba ri a oo ­ ga ta sau ta na ke oo

DN R G RS NRSN DP MG RS ­ laooodao lao raio yaooooo ­

28 Raga 29 RagaTodi Thhat : Todi

1. Main Structure : •••• •• ••• •• C. R G R G R S DN DN DP R G R G RS DN DS D R D G G R • Arohi : S R GM DP,DNS. •• • •••• •• • SN DS NDSNSR R G G RSNNNND D DND DP PM • • ••• ••• • • • • Abarohi : S N DP,M DM G, R G R S. MDNDSNSDNDSNSR R G G RSNDS NDNDPM

2. Prime Notes : PR G R R GMG R G RS.

Vadi : D Samavadi : G

D. R GMG RS DN SN DP MD ND SN SR G R R 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. MGMDMDMDNDSNSR R RGGGMMG R R • Also R G M G , M D P , M R G R S. SN NDND DM DM MGMG G R G R RS ND SN • • • 5. Examples of a Few Taans : SR GM DP MD DP PRMR G R R GMR G R SS.

A. DN SR G R G G R G R S R G R G R G R GMG R G • • MDNDPMDM DP MR G R SS.

B. MG R GMG R G RS ND SN ND PM MD DN NS SR • • • • • •• •• • • • R GMDNDNDND DN NDPMDM DP MG R GMD • ••••••••• • NDSNRS R G R G G RSN DS NDPMDM G R R G

MR G R SS.

30 31 Raga RagaBasant RagaBasant (The Spring & colour Festival) Taal : Teentaal (Drut)

Basant, is the name of the season spring. As such Piya sanga khelun hori eri mai It is ‘Holi’, the festival of colours. “I am playing it is meant to be sung only in spring, though there barana basant, ke basata pihara with coloured powders with my beloved”.It is phulabana ke harawa gunda ‘Spring’, “I am plucking flowers from the garden is no taboo for this raga to be sung in midnight gunda darugi gara harawa to make garland for him” says the pretty woman. in any other season except monsoon. Basant, which is the season when flowers bloom and also coincides X2 03 with the festival of colours known as ‘Holi’ in Northern • & Western India. ­­ ­ SN DPP ­­ ­ By adding one extra note, the shuddha ma to raga Pi ya san oo ga Puriya Dhaneshree, which has also been rendered in this series by Ustd. Rashid Khan. Raga Basant, ••• •• • • which has a different movement, assumes a totally PP P P PMGMDNSS S S S D RNS different complexion. The exposition of this raga khe oo oo oo oo luno hoooooo ri oo oo erimai favours the ‘uttaranga’ or the upper portion of the octave. ••• ••• • DN S RSNDP M M DNMGRNRN ba ra na ba san ta keooo ba sa ta pio ha ra phu la

DM M M GMDGMG RSSSSMMMMM bao na oo keoo oo ha ra wa oo gun da gun oo da oo da

•• • GM S S N DNDMNDS­ oo ru gi oo ga ra ha ra waooooo ­ Raga 32 33 RagaBasant Thhat : Poorvi

•• • • • 1. Main Structure : D. GM MG GM MG RS GG GN NN GG GN NN DR SN • • • • • • • • • Arohi : S G M D RS MD RS NDNDPMDP DM PG MG NRMGRN SN DP • Abarohi : RN D P, MG, M G RS MDPMPMGMSMGNNN D DPPMMGGGMMGRS

2. Prime Notes :

Vadi : M Samavadi : N

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

• 4. Main Phrase : M DN SN DP,M G,M GRS,SMGNDP.

5. Examples of a Few Taans :

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

• •• • ••• B. MG MDNS••••DR SN SG GM MG•• RS NRSNDS•

NDNDPMDP DM PG MG MG RS

• • • •• • C. SN DRSNSMMMMGNDSN RS GM NM GR • • • • • • SN RN SN GN NDPMDP PM PG MG MM GR

SN NDMGMGRS • • 34 35 Raga RagaMarwa RagaMarwa (Tune of the Dusk) Taal : Teentaal (Drut)

Guru bina gyaan nahi pawey No knowledge can be gained without the Guru (Teacher). Marwa, is a popular raga to be sung at dusk, it mana murakha soch soch aba Why should the stupid mind waste its time in fruitless kaahey pachh’tawey. thinking. If one accompanies and follows a great guru suggests the feeling of apathy towards worldly Sat’ guru ki sangat karey (satguru), he will gain the true wisdom and will be interests, what is known in our language as ‘Vairagya’. gunijana mey guni kahawey recognised as a wise person in the company of a learned. It should be noted that the shruti of Komal re or minor second is slightly higher than the Komal re X2 03 used in Raga Todi. ­­­ SSSNR It is a remarkable feature of Indian music that ­­­ Gu ru bi oo na two ragas Puriya & Marwa use the same notes but sounds different because of different emphasis and ND D DNRGMDNDM R RS S S DM M different combination of notes. The use of D with •••••• • • N is emphasised more in Marwa, whereas N with gya oo oo nnaooohiooo pa oo wey oo oo ma na mu R is stressed in Puriya. Both are sung at the same time in the early evening. DS S S­ MDS SS­ NDNRGMDM • •• •• • ra oo kha oo ­ so ch so oo ch ­ abakaooooo

DDMMMMDMMGRGMDMGR ­ hey oo oo oo pa chh taoo oo oo oo wey ­

contd...... Raga36 37 RagaMarwa Thhat : Poorvi 1. Main Structure : • E. DN RN DD MD ND MM DN RN DD • •• ••• Arohi : N R, G M D, N D S. • ••••••• • DS NR RG MG RN SD ND MD DM Abarohi : S N D, M D, M G RS. •• DM MG GRGRNDMDNMNMDD

2. Prime Notes : MG RN DN MN DS DM MG GR RS •••••• 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.

5. Examples of a Few Taans :

• • • A. DN RG MD DM GRNDSNRS

B. MD ND MD DM GRNMNDSS •• ••

C. R RGMDMMDDMGRNDSN• • • RN ND MD DN ND DM MG RS • ••

•• ••• D. MD NM ND SN RN DN RG RN DN MD NM ND DM MG GRND • • ND DM DM MG GR RN ND SS • • • 38 39Raga RagaPuria Dhaneshree Raga Puria Dhaneshree (Evening Concert) Taal : Teentaal (Madhyalaya)

Payaliya jhan’kaar mori She says “shingalingaling - my anklet bells Jhanana jhanana baajey jhan’kari ring”. “I am afraid, if my in-laws finds out Piya sam’jhaoon samajh’ta nahi they shall be angry and cross with me. My Puria Dhaneshree, yet another popular soft saas’ nanada mori degi gaari beloved doesn’t understand my plight”. raga which captures the mood of the solitariness X2 03 of missing one’s beloved, being broken hearted. ­ PM GM DN D The speciality in the origin of this raga is that ­ Pa ya li ya oo jha na ‘Puria’ and ‘Dhaneshree’ are two independent ragas, but strangely Puria Dhaneshree is not the unison of these two ragas. It resembles DN N N N DPPPMDMGMMRGG simile with raga ‘puria’ but not with ‘dhaneshree’ at all. It is a sandhi-prakash raga, where dusk kaa oo oo oo oo r mo ri jha na na jha na nao baa oo deepens into evening.

GG R R RG MD M G G RS­ jey oo oo oo jha na ka oo ri ­

MMGGDM M ND D P i ya sa ma jhao oo nooo

• •• ••••• •••••• • • SS S NRSSSDNRGRG RS S sa ma jha ta na oo hi oo saa oo sa nao na da mo ri

• N DN RN DP M G M RG­ de oo oo gi gaa oo ri oo oo ­ Raga 40 41 RagaPuria Dhaneshree Raga Puria Dhaneshree

Taal : Ektaal (12 Beats - Drut) Taal : Ektaal (12 Beats - Drut)

Allah dia man Ali Fateh Ali “Bless my beloved to be happy my Lord. Hope She has dedicated herself to him through her Khush rahey sanam mora jaa Khan we miyan pyar lagadi tori jaarey hamre taraf ek nazar he spares a glance for me, whenever he comes music, says Ali Fateh Ali Khan (the poet) to aan’baan’ sur ki taan gaye dara Allah, praying for their welfare. dhyan dharey. my way”, says the loving virgin. fira

X 020 3 4 X0 2 0 3 4 • • • • • • • • MGMM DN N D MMD DS SS SS S S S khu sh ra hey sa nam oo mo Al lah di a ma n A li Fa teh A li

• • • N N D P P P M RG RS S SSS NN D N N DPPP ra oo oo oo jaa oo jaa oo re oo oo oo Kha oo n we oo mi yan oo oo oo oo oo

SS SS S S RGRSSS PPG RG G G RG M D D ha m re ta ra f e oo knazar pya r la ga di oo oo to ri aa oo oo

DMG GR RS NRSSS DM MDMDM GM DN D • dhya o n dha re oo khu sh rahey sa nam mo oo na baa oo na oo su r ki taa oo n

GMDNDP­ ga ye da ra fi ra ­

Raga 42 43 RagaPuria Dhaneshree Thhat : Poorvi 1. Main Structure : • Arohi : N RGMP,DP,MDN S. • • Abarohi : RND P, MG, MG RG, RS. D. GM NDRMNDNRNDPMMPMMGRMRGGMM • •• •••••• •• 2. Prime Notes : D DNNSN RN NRGG R RSNNS RN NN ND D D

PP PM MM GG R RSNDN RG MP NDPMMMGG Vadi : P Samavadi : R ••• R RMMGG D D DP PP MM MG GG R R RS NN RS 3. Time of Recital : 4 p.m. to 7 p.m. ••

4. Main Phrase : N R G M P, DM G,M RGRS. •

5. Examples of a Few Taans :

A. NR GMPMDM PG MRGRSN RN RS. • ••

B. NRGRGMPMDP DM DP NDNDPMPPMP • GM RM RG GN NDNDPM DM PG MG MR • GRSNRS. •

C. GM GM RG RG MP MP GM GM DN DN PDMD •••• • MP GM DM DP NDNRGRNR RN NDND DP •••••••••• NDSNNRGMMG RS NRSNND DP PM MG

PRMRGRSN RS. • 44 45 Raga RagaBihag Raga Bihag

(Soft Touch) Taal : Teentaal (Madhyalaya & Drut)

Bihag - is a very popular soft tempered raga. There Aliri al’beli sundara naar’ “Look at the beautiful village maiden ‘alabeli’ who steals is no mention of this raga in old Sanskrit books. pyarey pyarey jiya ko lubhaye my heart”, says the young lover. Two varieties of Bihag are current. One with ‘tivra ma’ and the other with ‘shuddha ma’. The phrase P M G M G can be sung without M. This is a scintilating X2 0 3 late evening raga gradually moving towards night. Bihag belongs to Bilawal thhat which generally • covers the morning ragas, whereas the use of ‘tivra ­­ ­ GM P NS ma’ Bihag in with its sombreness it captures the ­­ ­ A oo li ri oo mood of an evening raga. •• • R R S N D N DPP GMGG GMRGGMDPM a oo la be oo oo liooooooooosuoooondao ra

GGGGRSSSSSRSSNSGMM • na oo oo oo oo oo oo oo oo ar oo pya rey pya rey oo

PNS SGRS SNDPGMG­ •••••• jiyakooo luo bha oo oo oo oo ye ­

Contd...... Raga46 47 RagaBihag

Taal : Teentaal (Madhyalaya & Drut)

Adorned with necklace, pretty as a picture, Aai kara shringara galey haar dar she came out dressed beautifully. The heart ayso chhabili naar’ chaal chalata of the viewer jingle with joy watching achaka lachaka sab’key man’ tar’paye her gait as she walks along elegantly”.

X2 03

•••• • ­­GM PNN S SSNRS ­­Aa i ka ra shrin gaa oo ra gao ley

• NNDP NSN N G M P D M G GRS S N haa oo rdaooo rayso chha bi li na oo ar cha ao

•• •• •• SMG MP NPN SSP N SM GR 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 paoooooooyeoooooooo ­

Raga 48 49 RagaBihag Thhat : Bilawal

1. Main Structure : • • • • • ••• C. GR SN DP DP MG RS GR SN DP MG RS NS • ••• Arohi : N S G M P S • • • • • • • ••• ••• ••• • •• • PN NN SS SG GG MM PM GM GR NS GR SN • • Abarohi : S N D P, M P, G M G, R S PS ND DN ND PM DM PG MG GR RS SN PN • • • • • • • • • 2. Prime Notes : NS SG GM MP PN NS GM GR SN DM PG MG • Vadi : G Samavadi : N RS

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

D. NS NN NS NS GG RS NS GG RS GG RS RN NS •••••• •• 4. Main Phrase : N S G M P, M P, G M G, S N, S. • • • SG GM MP PN NS NN ND DP PP MM MG MM GG 5. Examples of a Few Taans : • • •• •• • • GG MG RS NS SN PN NP MP PM GM MG PG MG •• • • • • A. PN SG RN SN PN SG MP DM PG MG RS NS RS NS GM PN SG MG RN SN DP DM PG MG MG •• • ••• • • RS NS PS • • 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

Raga50 51 RagaDesh Raga Desh (The Motherland) Taal : Teentaal (Madhyalaya)

Kar’ma kara dije karadije khwaja “Oh! Khwaja Moinuddin, the saint of saints, please Mainuddin’ ke mai jaoon balihaari re Tum’ do your deeds and save me. You are Oh! my ho data pirana ke peer’ baliyana ke taj saviour, and the crown of heroes, please protect Desh raga, according to Pdt. Bhatkhande belongs Enayat ki sharam’ rakhiyo me.” - says the poor Enayet Khan (the poet). to the Khambaj thhat is comparatively a recent raga derived from folk music. It is sung during X2 03 the monsoon as well as in the ‘Holi’, the festival ­­­ MSRMP of colours. There is, however, nothing to prevent ­­­ it from being sung in other seasons. ‘Desh’ also Ka ra ma ka ra means ‘motherland’, so it has a vast coverage of ••• area which relates to motherland; its beauty, bounty NN N N S P PDPMMGRN NNSS and benevolence. Hence its popularity. di oo oo oo je oo ka ra diooojeo khwa ja Moi oo nu raga •••••• This is equally popular in other streams of NS NS RS R SN NPMMDPP P PPPP Hindusthani Music also, like dadra, chaity, festive ddioooooo naoookeooo mai oo oo ja oo n ba li songs, geet, patriotic songs and light music as well. PD D PM M MP ND NPDP MGR­ haoooooooooooooriooore oo ­

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

•• • • ••••• SS S SPPNSSMRSNDP P PPPP oo oo oo oo bali yana keooo ta oo oo j oo oo oo oo

PP P PPDPDND P PDPMGR ­ E na yat ki shara maoo oo oo rakhi yoooo ­ Raga 52 53 RagaDesh Taal : Teentaal (Drut)

Nadaan’ jiyara gum gayo rey gum gayo gum gayo gum gayo rey “My innocent heart is stolen. While I was Main sotithi ap’ne mahal mey sleeping in my palace, a thief came and ek chor chori kar gayo rey robbed it” says the beautiful princess.

X2 03

­­NDPDPMM GRMGRSNS • ­­Na oo o daa oo nao ji yao raooo

•• RRMMPPPPNNNNNSNS gu m ga yo rey oo oo oo gu m ga yo gu m ga yo

•• •• NSMRS N NDP­ gu moo gao yo oo rey ­

MPNNNNNN Main oo so oo oo ti oo thi

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

••• • SRSN NDPP­ ka ra gao yo reyooo ­

Raga 54 55 RagaDesh Thhat : Khambaj

1. Main Structure : •••••• •• •• • • • C. PN SR GR MG RG SR NS RN SNDP • Arohi : S R M P N S. DP PP MM MG GG RR RG SR NS RM • • Abarohi : S N D P M G, R G S. •• •••• •• ••••• • PN SR GR PM GR SR SNDPMPNS •••• •• • 2. Prime Notes : RM GR RG GR SN DP MG RG SN SS. • 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.

5. Examples of a Few Taans :

A. PN SR GS RM PN DP MG RG RS NS. • • •

• B. RM PNDPDPMGRGRP MGMPNS •• •• • RG SR NS PD DP MG MG RG GR SN • PN SR GS. ••

56 57Raga RagaChhayanat RagaChhayanat (The Dancing Shadow) Taal : Teentaal (Madhyalaya & Drut)

Jhanana jhanana jhana nana nana nana nana baajey bichhuwa baajey piya se milan ko chali The anklet bells of the village belle are ringing, when jaat’ ap’ne mandar’ so naar’. she is going to meet her beloved in the sacred place. As Chhayanat - is a beautiful raga sung during the Puja kar’neko nikasi ghar’ so al’beli naar she comes out of her house, for going to the temple, the late nights. It is also mentioned in ‘Sangeet Parijat’ chamakey piya Enayet baar baar. heart of Enayet (the poet) is moved by her grace. one of the early Sanskrit texts, though the scale at that time was different. Starting from middle X203 C, it had a minor third and a minor seventh notes, PPPSSSSSGRGRRMGGRGMP ••• whereas today, the North Indian music has the Jha na na jha na na jha na nao nao na nao nao na na na same tempered scale as in European music.

MMG MR N RS PPGM RNRS The beautiful and slightly unusual composition •• is accredited to Ustd. Enayat Hussain Khan, the baa oo oo oo jey bi chhu wa baa oo oo oo oo oo oo jey founder of the Sahaswan/Rampur Gharana, to which •• Ustd. Rashid Khan belongs. This raga has close SSSMMGGPP PP PDNSSDNPPDP simile with the Raga Jay Jaiwanti pi ya seo mio lao na ko oo cha liooooo jao ta ao pa

MMG R G MGPP GGMRR RNRS • ne oo oo man di ra soooooooooooooona oo r ••••• • •••• SPPPSS SSSDNSR SSDPP Puooo ja ka ra ne ko oo ni ka si oo gha ra soooo

••• • • ­ PPP P R GMP PPPP MGMRS ­ ala be oo li oo oo oo oo na oo ra chaooo ma key

••• • ­ DNP PNSR SSDPPGM RNRS • ­ ji oo ya Eooona oo yeo tbaoo ar ba oo ar Raga58 59 RagaChhayanat Thhat : Kalyan

1. Main Structure : • D. MP MP MP RG RG RG GM MP NN NS DD DN ND PP • Arohi : S R, G M P, N D S. ••• • • • • • • • • PR GP GM RG MP NS RG MP GM RS RN SD ND Abarohi : S N D P, P R G M P, G M R S. ND DD DN ND PM PG MR GR GM PP MP GM RN

2. Prime Notes : RN SD DN NP SN RS. ••••• • 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.

5. Examples of a Few Taans :

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

RN• RS. 60 61 Raga RagaMegh RagaMegh (The Rain Clouds) Taal : Jhaptaal (Dhima-10 Beats : slow)

Black clouds and roaring thunder of the Garajey ghata ghana kaarey kaarey monsoon have come to please and effuse the pawasa ki ruta ayi dulhana mana bhaye heart of the bride. “Look at the gathering Megh, literally means cloud. This is a well-known Chahun aur ghana ghor boley dadur clouds” says the frogs and the peacocks in Malhar sung during the rainy season, or at the maur Niamat Khan sukha paayey delight. Niyamat Khan, (the poet) feels elated. dead of night in other seasons. Without the Gandhar, the Megh raga sounds like the Sarang group of ragas, X 2 0 3 though with or without Gandhar, Megh is sung with gamakas to establish the effect of torrential R R R R S SS S PN NP PP • • •• rain and thunder. The one sung by Ustd. Rashid Ga ra jey oo oo ghata oo ghaoooona Khan in Jhaptal (10 beats) is with G or Komal Gandhar. ­ S S R R S RRMG GMGM R R S ­kaa oo rey oo oo kaao oooo oo oo rey

S SD DR R RS S SRSS N N PP •• • • pa oo waooosao ki ruta a oo yio

••••••• MM PNSP NS S S NSRS NPMM RRSN• SSNS• dul ha naooo oo oo oo maooo naooo bhaooo ooye

••• MM*N NPMPNS SS N NP NP MR NS• cha hun *auooooo o or gha nao ghooooor

• • • • •• M NP N NSRRNR R R booo ley oo da du r mauooo r

•• •••••••• •••• ­ SSNRRS*RMG GM R RS S ­ Ni oamaoo *tKhao noo su oo kha

• ••• NP PPNS R R SN NP PM MR SN• NP• paao oooo oo oo oo oo oo oo oo oye 63 Raga62 RagaMegh Raga Megh Taal : Teentaal (Drut) Taal : Teentaal (Drut)

Gagana garajey chamakata damini The sky jolts with the sounds of thunder Umada ghumada ghiri ayi badaria ghora The clouds gather, the cicadas sound chalata purabai sananana nana and flashes of lightning. The easter wind ghora ati barasana lagi jhingurwa boley passionately as droplets of rain fall. But nana blows in sweet melody. The pouring rain chhum chhananana nana nana meha barasey alas! at this moment, I feel empty - meha barasey manwa larajey sounds like mellow strings, but how can manwa larajey piya bina kachhu na suhaye missing my lover. piya bina kachhu na suhaye the mind rest without the beloved?

X 2 0 3 X2 03

MRRRSSRSNP MM P P NP N N • gao ga na ga rao jey cha ma U ma da ghu ma da ghi ri •• • • • •• •• ••• •• SS S S NRSSPNSRR R S S S S aa oo yi ba da ri a oo ghoooo ra gho oo ra a ti 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 NS R SNP P P P M M M P P P P P ba ra sa na laooogi oo jhin gur wa bo oo ley chhu m

PP P NMPMRSRMRSRSNP PP P PMNPMRS RPMRSRS NP • • • • sa na na na na na na na me oo ha oo ba ra sey oo chha na na na nao nao na na me oo haoooba ra sey oo

*RR RS SSS N N N NPM RS RR R M N N S S N N N NPMRS • • o ma na wa la ra jey oo pi ya bi na ka chhu na su ma na wa oo la ra jey oo pi ya bi na ka chhuna su

•• • ­­ ••• RM PNSRSNPMRSN SR NS RM PN SR SNPMRSNS ­ • • • haoooooooooooyeo oo haooo oo oo oo oo yeooo ­

Raga 64 65 RagaMegh Thaat : Kafi 1. Main Structure : D. SR SR NS NS RP MN NP MP • • • ••••••••• • Arohi : S M R M P N NS. MP MP NP NS NS RS RM RP MR • •• Abarohi : S NP MR,M NRS. SS N NPPN NPPMMPPMMRR •••• • • • • RR RS NM RNSNSRSN PM RN RS. 2. Prime Notes : •

Vadi : S Samavadi : P ••• •••••••• E. PNRPRSNS RP MR SN NS SN NP 3. Time of Recital — Rainy Night PN NP PM MP PM MR RM MR RNSR 4. Main Phrase : N P S N R S, M R P, M R N P S. • • • • • • • • • •• RS NP• • NP MP NS RM PM RNPMRN• • 5. Examples of Few Taans : RR RP PP N NRRSN PM RN PN RS. • • •

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• PNRMPMR•• • • •••NRSN N NS •• SN NP PM

MR RS SN S• NR••NSPNM PM RS NP SS. • • •

Raga 66 67 RagaHansadhwani RagaHansadhwani (Call of the Swan) Taal : Teentaal (Madhyalaya & Drut) Laagi Lagana pati sakhi sana “My cherished moment has finally arrived, to be united parama sukha ati anandana with my beloved”, says the newly wed bride. “My body Anga sugandhana chandana mathey tilak has been bathed in perfume, with sandal paste on my dharey mriganayana anjana pawana de forehead and kohl on my doe-eyes. Amar, my husband, is Amar’ uniti pati kaajey sajana anxiously waiting for me”. X20 3 Hansadhwani is a Karnataki i.e. South Indian GGGPGRR RSS Classical raga adopted by Hindusthani Music. Laa oo oo giooo la ga na Thanks to Ustd. Aman Ali Khan of Bhindibazar Gharana, whose composition ‘Laagi Lagan’ is sung •• PRR S R RSS­ PGPPPPGR by Ustd. Rashid Khan in his favourite style and • class. It is a late midnight raga wating for the pa ti oo sa khi oo sa na ­ pa ra ma oo oo su khao arrival of the dawn.

•• • This raga is very closed to Raga Shankara, and NP G P GR SN GP GR S ­ its renditions suits very much for dance oo atiao nan oo dao na ­ compositions of Bharat Natyam. It beholds fast taans and tarana. It is a late midnight raga. •• • GGGP PPS S N R An gasu gan dhana chan dana ma they

•• • • • •••• • • • • • SSSSRGRSSPGRNPSSS ti oo oo la ka dha reyooo mri ga na ya na an oo ja •••••••• ••• SS R GS S SSPG G R N PGR 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 ­ Raga 68 69 RagaHansadhwani Thhat : Bilawal 1. Main Structure : • Arohi : S R G P G R, G P N S • D. GP GP GP RG RG RG SR SR SR GG GP PP NN NS NP Abarohi : S• N P G R S. •• •• •• • •• PN RS PN GR PN PG RS NN NP PP GG GR RR RR 2. Prime Notes : •• •• •• •• •• •• •• GR PN GR PP NN SS GR PG RS NP GR NP GR NP • Vadi : S Samavadi : P SN PG RS NP GP NR GR PG RS •• •• • 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 ••

5. Examples of a Few Taans :

•••••••• 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 •• •••• Raga 70 71 Biography of PANDIT KUMAR PRASAD MUKHERJI

Thyagaraja Bidwat Samaj (Chennai), Institute of Advanced Studies (Simla) and Gana Kala Parishad (Bangalore) where he was conferred the title of Panditandit. He has also received the Biography of Rabindranath Tagore Awardd. PANDIT KUMAR PRASAD MUKHERJI On behalf of Sangeet Research Academy, he has done a complete analysis of five major Khayal Pandit Kumar Prasad Mukherji is the son of gharanas with illustrations from old archives as Late Prof. Dhurjati Prasad MukherjiMukherji, the inter- well as his contemporary artistes. The Ford Foun- nationally known Economist, Sociologist and Mu- dation financed this project. sicologist and a literary figure of Bengal. He has also been one of the most brilliant music His childhood and formative period was spent critics of the country and wrote for about 15 years largely around strongholds like Agra, Atrauli, for two leading English dailies of Calcutta. He has Gwalior and Rampur wherefrom radiate the prin- authored three best sellers in Bengali, entitled cipal vocal styles of North Indian Music. This “Kudrat Rangi Birangi” “Majlis” and “Mehfil”. The enabled him to have a direct access to many first attempts to blend anecdotal history and Ustads including great Faiyaz Khan of Agra analysis of the major Khayal gharanas with the School and Mustaq Hussain Khan of Gwalior history of creativity in Hindusthani music. This School. He also had training from Ustd. Ata attempt has received ‘Rabindranath Tagore Hussain Khan and Ustd. Latafat Hussain Award’ from the Government. KhanKhan. Very few musicians have had the oppor- tunity of being exposed to these two most impor- He is currently under contract with Penguin tant and authentic schools of singing, the Gwalior India to write a book on Hindusthani Music and and the Agra. As a deft vocalist, Kumar is equally Musicians. His last book in Bengali ‘Dishi Gaan at ease with both the styles. Biliti Khela’ published by Ananda Publisher is a Jugalbandi (twin play) of cricket and music. As a musicologist, he has given lecture demon- strations in Sangeet Research Academyy, Calcutta, Viswa Bharati (Shantiniketan), Delhi University, Administrative Staff College, Calcutta University, The Music Academy and 72 73 Biography of PANDIT SAMAR SAHA

‘Rhythm’ represents life. Music also becomes lively and enjoyable categorically with the help of the rhythm. The slow and fast tempo in soft or bold tones bring tremendous variety to an otherwise monotonous musical event. A matured musician, therefore, needs a matured percussionist, without whom his recital does not bloom.

Such a percussionist is Samar Saha. Numerous musical performances by renowned artistes start throbbing with life with the magical touch of his fingers on the tabla in style that belongs to the ‘Benaras Gharana’.

Born in Kolkata, Samar’s initial training started at a very tender age under the guidance of his father Shri Sudhangsu Bhusan Saha and brother Shri Tarak Saha, a tabla player of repute. His formal training started under the tutelage of Shri Sachchidananda Goswami and then flowered under the able guidance of Shri Krishna Kumar Ganguly (Natubabu) of Benaras Gharana. It was he, who shaped up Samar into a performer of great promise, ambiance and virtuosity. 74 75 Lyrics

Raga : Bilas Khani Todi Raga : Basant Bandish - I Piya sanga khelun hori eri mai It is ‘Holi’, the festival of colours. “I am barana basant, ke basata pihara playing with coloured powders with my Kaahey karata mosey jhag’raa “Why do you quarrel with me - my phulabana ke harawa gunda gunda beloved”. pritama pyarey beloved”? darugi gara harawa Kara Enayat’ mopey sajani says the damsel. “Oh! Lord, have mercy It is ‘Spring’, “I am plucking flowers from Morey piya ko sam’jhawey on me and make my lover understand” the garden to make garland for him” says Enayat (the poet). says the pretty woman. Raga : Marwa Bandish - II Guru bina gyaan nahi pawey No knowledge can be gained without the “Oh! dear bird, please go and convey mana murakha soch soch aba Guru (Teacher). Why should the stupid mind Jaa jaarey ja, wo khagwa this message to my beloved. kaahey pachh’tawey. waste its time in fruitless thinking. it’no sandesh morey kahio jaarey. My eyes would be dwelling on the path, Sat’ guru ki sangat karey If one accompanies and follows a great guru Jo aaye pritama dwaar awaiting his arrival”, cries the loving gunijana mey guni kahawey (satguru), he will gain the true wisdom and naina bichhaoon magawa maiden. will be recognised as a wise person in the company of a learned. Raga : Puria Dhaneshree Raga : Todi Bandish - I She says “shingalingaling - my anklet bells Bandish - I Payaliya jhan’kaar mori ring”. jhanana jhanana baajey jhan’kari “You wicked urchin, don’t you dare “I am afraid, if my in-laws finds out they shall Langara kankariya ji na maaro Piya sam’jhaoon samajh’ta nahi throw gravel at me” says the young be angry and cross with me. morey angawa lag’jaaye Suno pawe saas’ nanada mori degi gaari mori saas nanadiya daur’ daur’ ghar’ bride. I will get hurt”. My beloved doesn’t understand my plight”. aawey “If my mother & sister-in-laws find out, they will come running to take me back Bandish - II home”. Bandish - II Khush rahey sanam mora “Bless my beloved to be happy my Lord. jaa jaarey hamre taraf ek nazar Hope he spares a glance for me, whenever Aba mori naiya paar, karo rey “Oh! Lord Nizamuddin take my rocking dhyan dharey. he comes my way”, says the loving virgin. Hazarat, Nizamuddin’ Aulia boat to the bank of the river”. Allah dia man Ali Fateh Ali Khan She has dedicated herself to him through her Dukha daridra saba door’ karana “Save your devotee Tanras Khan (the we miyan music, says Ali Fateh Ali Khan (the poet) to hara Taan ras Khan ki lio khabaria poet) from sorrow, poverty and miseries pyar lagadi tori aan’baan’ sur ki Allah, praying for their welfare. gata sautana ke lara laraiya of life”. taan gaye dara fira

Raga 76 77 Lyrics

Raga : Bihag Raga : Megh Aliri al’beli sundara naar’ “Look at the beautiful village maiden Bandish - I pyarey pyarey jiya ko lubhaye ‘alabeli’ who steals my heart”, says the Black clouds and roaring thunder of the Aai kara shringara galey haar dar young lover. Garajey ghata ghana kaarey kaarey monsoon have come to please and ayso chhabili naar’ chaal chalata “Adorned with necklace, pretty as a pawasa ki ruta ayi dulhana mana effuse the heart of the bride. “Look at achaka lachaka sab’key man’ picture, she came out dressed bhaye Chahun aur ghana ghor the gathering clouds” says the frogs and tar’paye beautifully. The heart of the viewer boley dadur maur jingle with joy watching her gait as she Niamat Khan sukha paayey the peacocks in delight. Niyamat Khan, walks along elegantly”. (the poet) Raga : Desh feels elated. “ Bandish - I Kar’ma kara dije karadije “Oh! Khwaja Moinuddin, the saint of Bandish - II khwaja Mainuddin’ ke mai jaoon saints, please do your deeds and save Gagana garajey chamakata damini The sky jolts with the sounds of thunder balihaari re me. You are Oh! my saviour, and the chalata purabai sananana nana and flashes of lightning. The easter wind Tum’ ho data pirana ke peer’ crown of heroes, please protect me.” - nanameha barasey manwa larajey blows in sweet melody. The pouring rain baliyana ke taj Enayat ki sharam’ says the poor Enayet Khan (the poet). piya bina kachhu na suhaye sounds like mellow strings, but how can rakhiyo the mind rest without the beloved? Umada ghumada ghiri ayi badaria The clouds gather, the cicadas sound Bandish - II ghora ghora ati barasana lagi passionately as droplets of rain fall. But “My innocent heart is stolen. jhingurwa boley chhum chhananana alas! at this moment, I feel empty - Nadaan’ jiyara gum gayo rey nana nana meha barasey missing my lover. gum gayo gum gayo gum gayo rey While I was sleeping in my palace, a thief came and robbed it” says the manwa larajey piya bina kachhu na Main sotithi ap’ne mahal mey suhaye ek chor chori kar gayo rey beautiful princess.

Raga : Hansadhwani “My cherished moment has finally arrived, to Raga :Chhayanant Laagi Lagana pati sakhi sana be united with my beloved”, says the newly parama sukha ati anandana wed bride. Jhanana jhanana jhana nana nana The anklet bells of the village belle are Anga sugandhana chandana “My body has been bathed in perfume, with nana nana ringing, when she is going to meet her mathey tilak dharey sandal paste on my forehead and kohl on my baajey bichhuwa baajey piya se beloved in the sacred place. mriganayana anjana pawana de doe-eyes. Amar, my husband, is anxiously milan ko chali jaat’ As she comes out of her house, for Amar’ uniti pati kaajey sajana waiting for me”. ap’ne mandar’ so naar’. going to the temple, the heart of Enayet Puja kar’neko nikasi ghar’ so (the poet) is moved by her grace. al’beli naar chamakey piya Enayet baar baar.

Raga 78 79 Conceived and Produced by Arya Bhattacherjee

Hosted by Costumes Gautami Bhattacherjee Niraj Chokhani: Arya Bhattacherjee Bloomingdales; Kolkata

Excutive Producer Video Photography, Subhanjan Sarkar Post production Arindam Mukherjee Bappa Roy Malay Pradhan Creative Co-ordination Anil Pandey Sanjoy Ganguli Soumya Bose Graphic Design Utkarsha Malakar Accompaniments Samar Saha: Tabla Audio Sudhir Nayak: Harmonium Daman Sood: Western Outdoor, Srinivas Joshi: Mumbai Tanpura & Voice Bablu Prasad: Om Studio, Kolkata Jhantu Jana: Studio Inframe, Kolkata Additional Tracks Roshan Ali: Sarengi Studio & Post Production Babu Shome: Synthesizer Umesh Upadhayay: New Delhi Communication Network Limited Music Recording & Arrangement Daman Sood Acknowledgements Soumya Bose Kuntal Bhadar Debajyoti Bhattacharjee Music notes, Lyrics and Editorial Adip Tandon Compilation Gokul Bhai Pdt. Kumar Prasad Mukherjee Mr. & Mrs. Rashid Khan Sanjoy Ganguli Santosh Nag Kumar Roy Meghnath Mukherjee Anirban Bhattacharya Bud Bremner: Coastal Mastering, Canada

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