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Modern Rag Creations | ||
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Shantha Benegal, John Campana, Arijit Mahalanabis |
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Although there are only four raags listed here, there are many more 'created' raags that need to be noted and notated. It is however their durability in time that will earn them the honour of being a droplet in the vast ocean of music.
Some raags have already crossed gharana barriers, and if they were instrumental creations, they have been heard also sung. Hemant by Baba Allauddin Khansahib is one such raag.
Chandranandan (Ali Akbar Khan) John Campana This raag was created by Ustad Ali Akbar Khan. Its main poetic impetus is derived from the image of Krishna and the gopis playing with the moon, hence its name: "chandra", the moon and "anand", bliss. Khansahib has composed many instrumental gats in this raag and has set them to different taals. The stately Dhamaar taal, however, seems to be the most frequently used. Various vocal compositions, including a "Bengali style" khayal and taranas exist in Chandranandan. It is made up of four raags which are blended to produce a distinct melodic entity. The raags are: Malkauns: S g m d n S'/S' n d m g S Chandrakauns: S g m d N S'/S' N d m g S Nand Kauns: S G m P m D n S'/S' n D P m G S g S Kaushi Kanada: 'n S- m - mg - Pg - m n d - nS'/m' g' R' S' - n d m -Pg- m g R S Raag: Chandranandan Thaath: Asavari Aroh: S G m d n S' Avroh: R' S' n d P m G m g S Vadi - m Samvadi - S Jati: Shadav-sampurna Time: 8 PM - 3 AM Chalan: S 'n 'd 'n S m g R^S, G m d PmP d S'^n d^m m(N) S', S' R'n dnd g'R'S', S'R' m'R'S'n S'S'(N) S'R'n d Pm, m P
GmG mdmnPg d (N) R'n P(G) mPmg SmgS R S 'n 'd 'n m g S
Maru Kalyan (Amir Khan) Shantha Benegal Was there a time that this raga did not exist?. Once you listen to Maru Kalyan, it is difficult to believe that this isn't a primordial melody. Ustad Amir Khan has discovered a gambhir raga that surely could become as indispensable to the musician as Shree, Malkauns or Darbari -- if onlythere were commercial recordings of it. together Yaman, Maru and Hindol. The result is a raga of searching quality, that constantly contrasts Yaman's solidity with Maru's uncertainty. Khansahib develops it as a uttarang raga, staying mainly inthe mandra and madhya range, reinforcing its deep, introspective spirituality. I am convinced that he must have found it so, since his lyrics recall the restlessness of a world-weary Meera Baiishad are also dear to him. Vilambit bandish: "Hari naam rata re manameKaro janam safal" (Repeat the name of Hari in your mind, make your life replete) Drut bandish: (nothing chota about this!): Kahe karat abhimaan, murakh Hoon Jogan ban chaar dinana ko. (Why let Pride/Self have importance in life O Fool, After all one is here, a Jogan, for four days only) The recording quality has blurred the words, and I may have the lyrics wrong in places. Aroha: S R G M D N S> Avaroha: S> N D M G R S Mukhya Angae: D--MG-'R<S, NDNS, NRM-G-R-S Jati: 6-6 Vadi/Samvadi: It is hard to say. D and R are important notes. The twisting of Maru into Yaman is accomplished from the pivotal M and G. Maru's mukhya ang is D-MG-'RS (according to Ustad Yunus Husain Khan while describing Maru Bihag). The 'R is a kana note from G. D is a meend coming up from the mandra S. I have not heard Shuddha Maru, but here is a description according to Pandit Manikbua Thakurdas in "Raga Darshan" also contained within a sketch of Maru Bihag: Raga Maru: Aroha: NSG, DMPN, S> Avaroha: S> NDP, MGRS. Chalan: NSGMP, MPG, MGRS, RNDP, <M<P<NSRS, GMGRS Maru Kalyan leaves out the pancham but uses the rishabh. Khansahib's main purpose in creating Maru Kalyan seems to have been a desire to explore and enjoy the shrutis of rishabh. With the result, Maru Kalyan becomes to Yaman, what Marwa is to Pooriya. From time to time, the ear is teased into thinking: "Ah, this is Pooriya," then in the next phrase the rishabhs bring Maru and Kalyan back to the top. On a scale of 1 to 4 in which 1 is lowest, the Pooriya rishabh is 1, Marwa is 2, Yaman is 3, and Maru is 4. The relationship of 4 to 3 recalls that of 2 to 1. Every time MDND, MDN suggests Pooriya, NR quickly establishes Yaman. The Chalan in the madhya saptak: NSDNS, SGM-G'RS, (Maru) DNS, (S) N, MDNRS, NDSNR, M-G-R-S, (Yaman) D--MG-'RS, DNS. SGM, NDM- GS, DNS (Maru) M-G-R-S, NDSNR, DNS, MDN, MDND, NRS (Yaman) Maru's R is preceded by MG-. It aspires to be G, but fails and falls to S. Yaman's R is protected by an even distribution of M-G-R-S. The former gives the raga its searching character, the latter returns it to safety. The two Rs are constantly contrasted, the phrases overlapping one another like two strands that are apparent in a braid. The surprise comes when the raga moves towards the taar saptak. As soon as the upper Shadja is even remembered, another strand begins to emerge: NRGMND, MG-'R<S Once the raga soars to S>, the perspective changes and Hindol's chaya dominates until it swings back to the lower 'RS: S>NDMG-'R<S Hindol was there all the time, but since it is a pendulum raga that needs a boost to the taar Sa to establish its force, it was hidden. One didn't suspect it even though NDM-GS occured in the Maru phrase. Now with taar Sa established, Hindol's strand is brought up like a golden thread thatornaments the end of a braid. I apologize for extending the braid metaphor, but I can't help but think of it every time I listen to Maru Kalyan. Khansahib does not use just a catchy phrase to to convey a second or a third raga: he alternates the shrutis and the short phrases every inch of the way.
With Maru Kalyan, Amir Khansahib shows that ragas that have tivra madhyam but not komal rishabh are also dear to him. They must be, since he sings this with such feeling.
Shiv Abhogi (C.R.Vyas) Arijit Mahalanabis Aaroha: S R g M D S | Avroha: S D M g R S || The component ragas of this raga are Shivaranjani and Abhogi Kanada. My efforts to analyze this raga were hampered by my unfamiliarity with Shivaranjani. The only recording of Shivaranjani in my possesion happens to be a mere thumri by Smt. Sandhya Mukherjee. Here, the raga is prefixed with the (in)famous Mishra. But from what I gathered, Shivaranjani has the following scale. Please correct me if I'm wrong: Aaroha: S R g P D S | Avroha: S D P g R S || ie. Bhoop with Komal Gandhar. Assuming this scale to be correct, the raga in question, Shiv Abhogi, is easily derived from Shivaranjani by simply flattening Pancham to Tivra Madhyam. The derivation from Abhogi is as simple as that from Shivaranjani. The scale of Abhogi is of course: Aaroha: S R g m D S | Avroha: S D m g R S ||
If we flatten Tivra Madhyam in Shiv Abhogi to Shuddh Madhyam, we come to Abhogi. There seems to be little in the way of characteristic phrases. I would think that as long as the artist stays within the permissible notes, any permutation of the notes would be allowed. Like its components, the raga is extremely linear. It seemed to me that Dha and Ga were both very strong. I would also guess that the time of performance would be some time around 8:00 in the night. A pure guess of course. And another obvious fact; the jati happens to be audav-audav.
Kuheri Kalyan (Bade Ghulam Ali Khan) John Campana This is the only raag created by Bade Ghulam Ali Khansahib. It is supposedly a mixture of Bhupali and Kalavati with frequent remiscences of Janasamohini. Kalavati is veiled behind the mist (kuhra) of the komal nishad which adds a touch of tenderness to the atmosphere of Bhupali. The only recording of this raag is on LP by Khansahib's son Ustad Muwar Ali Khan. Aroh: S R G P D S' Avroh: S' n D P G R - S That: Khamaj Jati: Audav-shadav Vadi: G Samvadi: D Time: evening Pakad: S R G 'D S; S R G R S 'D 'n 'D 'P S
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