CHAPTER V

PERSONAL AND ORIGINAL EXPRESSION

WITHIN THE REGULATED FRAMEWORK OF
THE RAGAS THROUGH THE COMPOSITION,
JAFFERKHANIGAT/RAAJ.
 82

5.1 Ragas of under-graduate Course

(A) 1) Yaman
2) Alhaiya Bilaval
3) Bhairav
4) Poorvi
5) Bhupali
6) Durga
(B) 1) Bhimpalasi
2) Vrindavani Sarang
3) Bageshn
(C) 1) Malkaunsh
2) Komod
(D) 1) Desakar
2) Puriva Dhanashri
3) Jaiiaiwanti
4) Darbari Kanda
5) Miya Malhar
5.2 Ragas of Post-graduate course
1) Chandrakaunsh
2) Maru Bihag
3) Suddha Sarang
4) Gurjari Todi
5) Ahir Bhairav
6) Madhuvanti
 83

In fine Arts, it is defined as the way of denoting character, sentiment, action,

feeling, etc., in a work of art. In music, this means that the artiste communicates the
state and workings of his mind and emotions through tones which are outward
manifestations of his psychological states. In musical performance, that which is
added by the performer in his rendering of the notated music is called Expression The
ideal performer is one who succeeds in bestowing upon the composition a personal
and original Expression within the regulated frame-work of the Raga

The framework of a Raga can be understood through the composition or a

“Gat” or Bandish and Expression may be said to r~ present that part of music which
can not be indicated by notes or in its highest manifestation, by any symbol or sign
whatsoever. It includes all the nuances of tempo, dynamics, phrasing, ascent and
touch succession of pitch-time-value is transformed in to a living organism. Although,
as far as the written notes are concerned the performer is strictly bound to the
composer’s work, yet, he enjoys a considerable amount of freedom in the field of
Expression and this may be said to represent the creative contribution of the
performer

Melody or Raga is the basis of musical composition. It is the musical idea

around which a composition is called a “theme”. Rudolph Rati has defined theme as
“a theme could be defined as a fuller function in a compositions course”. Theme is of
paramount importance to a composition and it provides one of the most important
approaches to intelligent listening23

The term tal, perhaps best translated as ‘time measure’ is conceived as a cycle.
It has two principle aspects: (1) quantitative:- The duration of a cycle measured in
terms of time units or beats (matra), which are generally held to be in three tempi
(Laya) -slow (Vilambit), medium (madbya) and fast (drat); and (2) qualitative:- The
distribution of stresses or accents within the cycle. These stress occur at different
levels of intensity: the principal stress at the beginning of the cycle called “Sam”,
secondary stresses within the cycle (tali); and than there is a negation of stress (Khali)
which always stress may be expected but is consciously avoided The following
illustrations show the quantitative and qualitative patterns of three prominent North

25 Ragas in Indian Classical Music by Anupam Mahajan

 84

Indian Music’s tals. Following Bhatkhande’s system, x represents the Sam, the
number 2,3 and 4 the tabs and O the Khalis.

Ex 1 -
(a) Tintal (Trital)
Time units 1234 5678 9 10 1112 13 14 15 16
n
Stresses X 2 0
(b) Ektal
Time units 12 34 56 78 9 10 11 12
Stresses X 0 2 " - '0 3 4
(c) Jhaptal
Time units 121 345 67 8 9 10
Stresses X 2 0 3

The metrical framework of each tal is represented by a basic drum pattern,

theka, which is a fixed sequence of drum syllables produces on a pair of Tabla.

It is in the composed piece that Rag and tal meet on common ground. In
instrumental music this piece or tune is called gat and m vocal music, set to wrods, it
is called chiz (ciz). THe gat or chiz is not only in a particular Rag but also has a fixed
relationship with the metre of a particular tal.

The Instrumental music, especially that on plucked stringed instruments such

as the sitar or sarod, the gat is constructed on percussive patterns obtained when the
instrument is plucked While the melody of the Gat is based bn a Raga. The
percussive pattern is a feature not of Raga, but of tala.26

The composed piece (gat) in instrumental music generally has two sections,
(1) sthavi (astai) and (2) antra.

Sthayi:- Sthayi is the main part of the composition.27 It means the base or foundation
Sthavi is that part of the Raga on which the super structure stands. It is the foundation

26 The Ragas of North Indian music their structure and evolution by N A Jairazbhoy
27 The Ragas of North Indian music their strcuture and evolution by N A Jairazbhoy
 85

It is not necessary that sthayi should be only in Mandra. It can be in Madhya or in Tar
also.28

Antara.- The Antra extends from the middle to the higher/upper registers.29

Antara is the portion which is higher in pitch than sthayi. It does not mean Tar
Sa or Tar Saptak. After the limit of sthayi Antara begins it is established according to
the characteristic features of the Raga and varies in each Raga/0

:s Ragas in Indian classical music by Aunpam Mahajan.

:9 Hindustani sangit Paddhati by Pt V N Bhatkhande
30 Ragas in Indian Classical Music by Anupam Mahajan
 86

RAAG: YAMAN
THAAT; KALYAN
JAATI: SAMPURNA
VADI: GANDHAR G
SAMVADI • NTSHAD N
KOMAL TTVRA : TTVRA MADHYAM M
VARJTT SWARA : Nil
AROHA: SRG MP D NS
AVAROHA: SNDPMGRS
TIME : 1st Prakar of Night31
PAKAD : NRGR, S, PMG, R, S.32

STYAYI SWARUP : G, RS, NR, S, ND, P, PDN, DN, R, SG, RG, MP, PMP, D,

PMP, ND, P, PMG, RG, R, NRS, NRGMP, NDP, MDN, DS,

NRS, NDPMGR, GR, NRS.

ANTRA SWARUP : MG,, MDN, DNR, S, NRS, NRGRS, RSND, P, MtP, NDP, DP.

MGR, PivIGR, NDP, IvlGR, NRS.33

31 Ragakosh by Vasant Page No. 16 (141).

32 Sitar Darpan Page No 20 by Ustad Bhikan Khan Banukhan & his traditions
31 Sitar Darpan Page No 20 by Ustad Bhikan Khan Banukhan and his traditions'
 87

RAAG - YAMAN

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

STHAI

0 3

- - —

RG, GR RSNS SN, ND DN NRG, GR

- DIR DA DIR DA DIR

X 2 ?

l l '
RG Ag RG RG,GR GMG GM,M GMP PM,DPM i

DA DA RA DIR DA DIR |
DIR DA
j

|
*■>
0 J
(
i

GMP PR RGRS RG,GR RSNS SN,ND DN DN,NR j

DA DA RA DIR DA DIR DA DIR j

X 2 \
t
!

Pfk,DPM
NDN ND DPJyfP PND DN RGR GMP
1

DIR 1
DA DA RA DA DA RA DA i

!
0 3

GMP PR RGRS e

DA DA RA
;
 88

RAAG YAMAN

JAFFERKHANI GAT

TAAL-- TEENTAAL MATRAS-16

ANTARA

0 3

GMA1G GIviP PM, MG MND PM,MP

DIP. DA DIR DA DIR

X 2

PS NRS NS NS.SN DN NG.GR RG GR.R

DA DA RA DIR DA DIR DA DIR

0 -» i
I
1

NDN MR SNS SN,NS SN ND,D PMP PM,IvlD

DA DA RA DIR DA DIR DA DIR

X 2
I
Is^G
PMP RG SND DN RGR GMfP P M,DPM

DA DA RA ■
DA DA RA DA DIR
1
!

0
1 ■

t
GMP PR RGRS

DA DA RA
 89

RAAG ; ALHAIYA BILAVAL

THAAT: BTLAVAL
JAATT: SHADAV SAMPURNA

VADI: DHAIVAT D
SAMVADI: GANDHAR G

KOMAL TIVRA • Occasionally Komal Nishad N

VARJIT SWARA: Madhvam in ascending order.

AROHA: SRGPDNS
AVROHA :SNDPMGRS.

TIME : Pratah Kal morning34

JAATT - SAMPURNA
AROHA • S, R, GR, GP, D, ND, NS
AVAROHA: SND, P, DNDP, MG, MR, S
PAKAD: GR, GP, D, N$.35

AROHA : S, GRGP, DNS

AVAROHA: SNDP, DNDP, MGMR, S.36

STHAI SWARUP - GRS, SR, GR, GP, MGMR, GP, D, P, MGMR, GPDND, DG, P,

MGMRS, GPDNDP, S, ND, ND, PD, MG, MR, GPDNS,

NDPMGR, GP, MG, MR, S.

ANTARA SWARUP: PP, D, NS, SRS, GMRRSND, P, DNSND, P, DMGMR, GPD,

N, S, SR, S, ND, P, MGMRGPDMGR, GP, MGMRS37 '

34 Raagkosh Page No 10
35 Kramik Pustak Malika, Part II Page No. 75
x Raag-Parichaya, Part I, Page No 30
37 Sitar Sarpan Page No 30, by Ustad Bhikan Khan Bannukhan and his traditions
 90

£AAG - ALHAIYA BILAWAL

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

STHAI

0 J)

SRG,GR GRG* -GP,P PND dns,s'n

DIR DA DIR DA DIR

j
x 2 j
1
. NS NS DNS SN.NS SND DP,P DN DP,P

DA DA RA DIR DA DIR DA DIR

0 J

DG GP MGMR SRG,GR GRG GP,P PND ND,DP‘

DA DA RA DIR DA DIR DA DIR

X 2

NDN DN NS SRG RG GP DN DP,P

(
DA DA RA DA DA RA DA DIR

0 3

DG GP MGMR

DA DA RA
i
.................... I
!
 91

RAAG - ALHAIYA BILAWAL

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS -16

ANTARA

0 3

— GRP . GP GP,P PND ND.DN

■**'

- ... DIR DA DIR DA DIR

X 2

NS NS DNS NS.SN NS SG,GR GRG MG.GM

DA DA RA DIR DA DIR DA DIR

MGM 'MR RS SN.NS SN SN,N SND ND.DP

DA DA RA DIR DA DIR DA DIR

X 2

MG MR RG SRG RG GP DN DP.P

DA DA, RA DA DA RA DA DIR

**>
O 3

DG PG MGMR

DA DA RA
 92

RAAG ; BHAIRAV
THAAT: BHAIRAV
JAATT SAMPURNA

VADI: DHAIVA'T D
SAMVADI: RISHABH R

KOMAL TIVRA: KOMAL R D

VARJIT SWARA: nil

AROHA: SRGMPDNS
AVROHA :_ SND PMG RS

TIME: PRATHAKAL (Morning)38

PAKAD ; S,GM,P,DP

STHAI SWARUP: SR, R, S, D, DNS, R, S, SGMR, R, S, NSD, NDPMD, S, GMR,

R, SGMP, M, G, MRRS, M, GM, D, PMP, MMPM, GM, R,

RSS, GMD, P, ND, P, SND, PMPMGR, GMPMGR,

RSGR4DP.39

ANTARA SWARUP: GMD, S, NSS, NS, D, P, MG, MP, D, P, MG, RGMPMG,

R, S, G, MP, D, P, MG, MR, RS, GMD, D, NS, GMR,

SNSRRS, NSDDP, M, PMGM, RRS 40

38 Ragakosh by Vasant Page No 15(118)

39 Sitar Darpan Page No. 46 by Ustad Bhikan Khan Bannukhan & his traditions
40 Sitai Dai pan page No 46, by Ustad Bhikan Khan Bannukhan & his traditions
 93

RAAG - BHAIRAV

! JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

STHAI

'y
0

MG,GM GR GR,S SG M,GM

DIR DA DIR DA DA,DIR

1
X 2 I

MD PD DP PM, MP MGM MP.P PG GM.M

DA DA RA , DIR DA DIR DA DIR

GR GR RS MG,GM GR GR,S SG M,GM

DA DA RA DIR DA DIR DA DA.DIR

X 2

DN NS SND DN NS NS PG GM,M
. * • * • • •
DA DA RA DA DA RA DA DIR

0 3

GR GR RS

DA DA RA
 94

RAAG - BHAIRAV

JAFFERKHANI GAf

TAAL - TEENTAAL MATRAS-16

ANTARA

0 n
J

MG,G GM GM,M MD DN,N

DIR DA DIR DA DIR

X 2

NS SN NS SN,N NS NS,S SG GM,M

DA DA RA DIR DA DIR DA DIR

0 '’V

GR GR RS SN,NS SN ND,NS ND DP;D

DA DA RA DIR DA DIR DA DIR

X 2
c

DN ND NDP PMP MG GM PG GM,M

DA DA RA DA DA RA DA DIR
c

0 *
3

GR GR RS

DA DA RA
 95

RAAG•POORVI
THAAT: POORVI .
JAATI SAMPURNA

VADT- GANDHAR G
SAMVADT: NISHAD N

KOMAL TTVRA : (1) KOMAL RTSHBH R

(2) KOMAL DHA1VAT D
(3) KOMAL'MADHYAM M&
(4) TIVRAJVLADH YAM M

VARJIT SWARA: Nil.

AROHA- SRGMPDNS
AVAROHA: SNDP IvlG R S

TIME: Last Prahar of Day.41

Pakad • PD, M, PjJlG, MG

STHAI SWARUP: S, NRG, RG, MG, RG, RS, NR MG, P, MP, M, G, MG, RG,

L4G, RG, RS, P, D, P, MPN DP (P) MG, MG, MPM, GR, S,

MDN, S, ND, Plskp M, Pfk, G, MG, MG, RG, RS.42

ANTARA SWARUP: MG, MD, P, S, NRS, NRGRS NRGRG, RS, ND, P, MPD, MP,
»

MG, MG, MD, ND S, NRG, f^G, R, GRS, NDP, IvIPDP, MG,

MGMGRS.43

41 Rag kosh by Vasant Page No 14(93)

42 Sitar Darpam Page No 54 by Ustad Bhikan Khan Bahnu Khan and his tradition
J-’ Sitar Darpam Page No. 54 by Ustad Bhikan Khan Bahnu Khan and his tradition
 96

RAAG - PURVEE

JAFFERKHANI GAT

1AAJL -- TEENTAAL MADRAS-16

STHAI

0 3

-
NR, RGR RG RG,GR NSN NR.GIvI

•
DIR DA DIR DA DIR

X 2 !

Plip flip
DP PM.PD DPM PM,PD PMG GIvLMP

DA DA RA DIR DA DIR DA DIR

0 3 i

GMG MGM RG NR, RGR RG RG,GR SN GR,SN

DA DA RA DIR DA DIR DA DIR

X 2

t i
NSN
• •
NR MG,RG RGR GMG GM DPMP GM,MP

DA DA RA DA DA RA DA DIR

0 3

1 1
GMG MGM RG

DA DA RA
 97

RAAG - FIJRVEE ;

JAFFERKHANI GAT

TA AL - TEENTAAL MATR AS-16

ANTARA

0 3

-
GM, TvTP MG MP.PlvI MND NS,SN

DIR DA DIR DA DIR

X 2

DNS SN NRS NS,SN NGR NR5GR NRG GR.R

DA DA RA DIR DA DIR DA DIR

0 - 3

fId.pm
NDN NGR NS NR,GR NS DN,ND MP

DA DA RA DIR DA DIR DA dir

X 2

GMG MG RG NSN GR RG - PMG GIVf,MP

DA DA RA DA DA RA DA DIR

0 3

GMG MGM RG

DA DA RA
 98

RAAG: BHUPALI
TOAAT: KALYAN
JAATI: AUDAV

VADI: GANDHAR G.
SAMVADI: DHAIVAT D.

KOMAL TTVRA- NIL

VARJIT SWARA:- MADHYAM & NISHAD. M & N

AROHA: SRGP DS
AVROHA: S DP G R S

TIME: NIGHT 1st Prahar44

PAKAD: G R, SD. SRG, PG, DPG, R, S.45

STOAT SWARUP: SD, SRG, RG, RS, RG, PG, DPG, RG, RS, G, RG, D, SRG, PG,

DPG, SRG, RGRS, DSRG

ANTARA SWARUP: GG, P, DPS, DDS, RR, SRS, DP, SSD, PDS, GGPDS, RR, S,

GRS, RSD, P, G, DP, S, D, P, GDPG, RP, G, RS, D SRG.

Precautions are required for maintaining this Rag from suddha kalyau,
Jaitkalyan and Desakar Ragas Due to its particular rules Bhupali Raga is different
from those Ragas
(A) Raga suddha kalyan:- This Raga is also originated from Kalyan Thaat. In
ascending order Madhyain & Nishad (M&N) both swaras are omitted as in Raga
Bhupali. This Raga also possesses G & D (Gandhar & Dhaivat) as Vadi &
Samvadi as swaras respectively. But this raga possess (1) The use of Tivra
Madhyan and Nishad (M, N) swaias in descending order and (2) Swara sangati of
PR (Pancham and Rishabh)46. Thus these two factors differ this Raga from

Bhupali Raga

44 Ragkosh by Vasant Page No 15(117)

iS Kramik-Pustak - Malika Part 3 Page No 23 by Pt V N Bhatkhande
46 Kramik Pustak Malika Pail 3 page No 61 by Pt V N Bhatkhande
 99

(B) Raga Jait Kalyan:- This Raga is also originated from Kalyan Thaat Madhyam and
Nishad (M&N) both swaras are omitted as in Bhupali Raga. But this Raga
possesses (1) Vadi swar Pancham P, (2) Swara Sangati GP & DG in ascending &
descending order respectively47. Thus these two factors differ this Raga from

Bhuapli Raga.
(C) Raga Desakar:- This Raga possesses the same swaras as Bhupali But this raga
possesses (1) Vadi swara D (Dhaivat) and (2) The use of the swara D in different
groups and (3) this raga is Uttarang Pradhan Raga while Bhupali Raga is Purvang
Pradhan Raga48. Thus these three factors differ this Raga from Bhupali Raga

(D) Raga Bhupali:- This Raga is also originated from Kalyan Thaat Madyam &
Nishad (M&N) both swaras are omitted. But this Raga possesses (1) Swara
sangati PG & (2) This Raga is purvang Pradhan Raga49. Thus these two factors

differ this Raga from (A) suddha kalyan, (B) jait kalyan, and (C) Desakar ragas.

Thus, it is established that the particular groups of the swaras and swar
sangties of the Ragas build the Rag swarup and structure of the Raga which should be
maintained throughout the performance.

47 Kramik Pustak Malika Part 5 page No. 7 by Pt V N. Bhatkhande

48 Kramik Pustak Malika Part 3, Page No 245 & 246 by Pvt V N Bhatkhande
49 Raga Panchay Part 2 Page Nos 56 and 57 by Prof H C Shrivastav
 100

RAAG BHUPAL1

JAFFERKHANI GAT

TAAL- TEENTAAL MATRAS-16 ' •

STHAI

GRP PG GR, R GRS SR. R

- -DIR ~ DA DIR DA DIR

X 2

PG DPG RG RG, GR GPG GRP PG GR. R

DA DA RA DIR DA DIR DA DIR

o • 3

RG GR RGRS GRP PG GR, R GRS SR, R

DA DA RA DIR DA DIR DA DIR

X 1
—

sp sp DP SD DS RG PG GR, R

DA DA RA DA DA RA DA DIR

RG GR RGRS

DA DA RA
 101

RAAG BHUPALI

JAFFERKHANI GAT

TAAL - TEENTAAL M ATR AS-16

ANTARA

0 3

GP, P PG GP, P PSD DP, D

DIR DA DIR DA DIR

X 2

DS SR RS DS, S SD SD, D DS SR, R

DA DA RA DIR DA DIR DA DIR

0 3

RG GR RGRS GR, R RS RS, S RSD DP, P

DA DA RA DIR DA DIR DA DIR

X 2

DS SD DP GPD DG GP PG GR. R
•
DA DA RA DA DA RA DA DIR

0 3

RG GR RGRS

DA DA RA
 102

RAAG: DURGA
THAAT: BILAVAL
JAATI: AUDAV

VADI, MADHYAM M
SAMVADI: SHADA.T S

KOMAL TIVRA: Nil

VARJITSWARA: (1) GANDHAR G

(2) NISHAD N

AROHA. SRMPDS
AVAROHA- SDPMRS

TIME. IlndPrahar of Night. 50

PAKAD: S D S R P, M P D, M R, D S.51

STHAI SWARUP: SRD, S, R, S, SD, SR, P, MPD, MR, SR, DS RMP, D, MPD,.

SRMP, D, MR, M, R, SR, S, DS.

ANTARA SWARUP- MPDDS, RS, DMR, P, MPD, S, RS, D; P, MRP, MPD, MR,

SR, DS MPDDS, RS, MRS, PMRS, RSDP, DMR, SRRMPD,

PD, M, R, SRDS.52

50 Raga Kosh by Vasant Page NO 13 (67)

51 Sitar Darpan Page No. 145 bu u'stad Bhikan Kan Bannu Khan & his tradition
52 Sitar Darpan Page No. 145 bu Ustad Bhikan Kan Bannu Khan & his tradition
 103

RAAG- DOORGA

JAFFERKHANI GAT

TAL - TEENTAL MATRAS-16

STHAI |
S
I

-t
0 .3

- PM.DPM PM D, PM MR RS, R

DIR DA DIR DA DIR

X 2

RP PM DP PM, DP PM MP.P DSD DPJP

DA DA RA DER DA DIR DA DIR

0

0 3

PM SR RS PM, DPM PM D, PM MR RS,R

DA DA RA DIR DA DIR DA DIR

X 2

DP PSD DS SDS SR RP DSD DPR

DA DA RA DA DA, RA DA DIR

0 3
-
©

PM SR RS

DA DA RA
 104

RAAG- DOORGA

JAFFERKHANI GAT

TAL - TEENTAL MATRAS-16

ANTARA

0 3

PM,M ' - PM' MP,P PSD D,PD

DIR DA DIR DA DIR

X 2

DS SR RS SD, DS SD SD,D DSD SR,R

DA DA RA DIR DA DIR DA DIR

-t
0

PM SR RS DS, S SR RS, S SDS D,DP

DA DA - RA DER DA DIR DA DER

X 2

PM PMR MP PMP DS DP DSD DP,P

c

DA DA RA DA DA RA DA DIR

'■v
0

PM SR RS

DA DA RA
 105

RAAG: BHIMPALASI
THAAT: KAFI
JAATI: AUDAV-SAMPURNA . " "

VADI: MADHYAM M.
SAMVADI: SHADAJA S.

KOMAL TIVARA: Komal Gandhar & Nishad G N.

VARJTT SWARA:- RISHABHA & DHA.TVAT (R&D) in ascending order.

AROHA:NSGM PNS
AVROHA: SNDPM G RS

TIME: Illrd Prahar of the day.53

PAKAD:-M SM, MG, PM, G, MG RS5*’

STHAI SWARUP: S, MS, PNS, MPMS, SMG, MPG, MGRS, NS, MG, MPG, ,

GMPNDP, MPNDP, MPG, PG, MGRS, SM, GM, P, DP, MPG,

MPSNP, MPG, MP, DP, MG, MGRS.

ANTARA SWARUP: MP, N NS, NSGRS, RS, NDP, PG, MG, RS, RSND, PM, PG,

M, PG, MGRS. MPN, PNS, SNDP, MPNDP, GRS; NDP,

MPG, SGMPG. MGRS.

Dhanashri is considered Samprakrutik Rag of Bhimpalasi. But the Vadi Swar

of Dhanashri is Pancham. Therefore it is distinguished from Bhimpalasi, since there is
only one difference of Vadi Swar 'between these two Rags, there are chances of
mixing both the ragas. Hence, the use of “PG” & “MG” swar sangaties in the raga
Bhimpalasi differentiate it from Raga Dhanashri.

Thus it is established that “In the Samprakrutik Raga the main difference lies
between the swar sangaties used in them It will make the ragas clear from each
other”.

53 Rag Kosh by Vasant page 15 (1J 5)

54 Kramik Pustak Malika Part 3 page 516 by Pt V N Bhatkhande
 106

RAAG -BHIMPALASI

JAFFERKHANI GAT

TAAL -TEENTAAL MATRA-16

' STHAI

0 * •

PSN, NS ND MPJPM GMG MPM.M

DIR • DA DIR DA DIR

X 2

PG MG MP GM, MPM MG MP,PM MG GM,MPM

DA DA RA DIR DA DIR DA DIR

->
0

PG MG SGRS NSS,RS SN SN,N ND ND,DP

•

DA DA RA DIR , DA DIR DA DIR

X 2

MP PND DP NSS SMM GMM MG GM,MPM

*
•

DA DA RA DA DA RA DA DIR

0 3

PG MG SGRS
- —
DA DA RA I
i
1
i

■
 107

RAAG -BHIMPALASI

JAFFERKHANI GAT

TAAL - TEENTAAL MATRA-16

ANTARA

0 3

MPP,PM PG MP,P PN NSS.SN

■—

-
DIR DA DIR DA DIR

X 2
i

i
j

-
to .
73

NS NSN NS GMMG SRS,S NS NRS,SN

DA DA RA DIR DA DIR DA DIR

*>
0

HD PM MP S,GM MG GR,R NS NS,SRS

DA DA RA DIR DA DIR DA DIR

.X 2 '

SN HD MP GMG MPM MPP MG GM,MPM

DA DA RA DA DA RA DA DIR
J
s

0 3

PG MG SGRS

DA DA RA
 108

RAAG: VRINDAVANISARANG
THAAT: KAFI
JAATI. AUDAV

VADI: RISHABH R.
SAMVAD1: PANCHAM P.

KOMAL TIVARA: Both NISHAD N&N

VARJIT SWARA:- GANDHAR & DHAIVAT G&D

AROHA: NS, R, MP, NS

AVROHA- SNPMRS

TIME: MADHYAHAN KAL (Mid Day).55

PAKAD: N. SR. MR. PMR, S.

STHAI SWARUP: S, NS, MR, S, R, MR, RMP, MPMR, PMR, S, RMRS, RMPMRS,

NS, PNS, MPNS, MR, PR, RMP, NPMR, MPN NPMR, MR, S,

RMPNS, NNP, S, RS, NNP, MPNSRSNPMR, SMR, S.

ANTARA SWARUP: MPNS, RRS, RMRS, NP, RM, PMR, S, NSRS, NP, MPNS,

RMRS, RMPNSR, PMR, S, RS, NP, MR, RMPMR, N NPMR, S:

There are two opinions regarding the Rag Swarup of this Raga.
1. By omitting G & D and taking both Nishads (N & N)
2. By omitting G & D and taking only Suddha Nishad (N)
The matter was discussed in the Sangit Parishad at Delhi in the year 1918 and
it was decided to omit G & D and the use of Suddha Nishad in ascending order and
the use of Komai Nishad in descending order was finalized. Further the occasionally
use of Dhaivat D in descending order was also permitted.
Pakad: N, SR, MR, PMR, S56

Since Gandhar (G) is omitted and both Nishad Viz N & N are used in this
Raga some one can consider this Raga being originated from Khamaj Thaat.

35 Ragkosh by Vasant Page No 14(110)

56 Kramik Pustak Malika Part 3 page No 454 VUIth ed April 1988
 109

But considering the decision of the Parishad and Rag Swamp now it can be said that
this Raga should be considered to be originated from Thaat Kafi, instead of Thaat
Khamaj.

Important groups of swaras in the raga are as under:

(1) RMR, PMR, NS, RS
(2) NP, MR, SR, NS
(3) NSR, S,NPMR57

And, therefore it is established that the Raga swarup is more important than the
swaras used m the Raga for determination of Thaat from which a particular Raga is
originated

'7 Raga Parichay part 2 page No 18 by Prof H C Shrivastav

 110

RAAG --VRINDAVANI SARANG

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

STHAI

' 0 3
1

RSN,NS RMR RM, MPM MR RSN,NS

DIR DA DIR DA DIR

i

!
X 2 ii
!

RMR MR SR NS.S SR RM,M MP PM,M

{
DA DA RA DIR DA DIR DA DIR j
l
|
0 3

RM SR NS RSN.NS RMR RM,MPM MR RSN,NS

DA DA RA DIR DA DIR ' DA DIR

o
X 2

PSN SN NP MPN NS SR MP PM,M

DA DA RA DA DA RA DA DER

RM SR NS
j
f
DA DA RA [

i
 Ill

RAAG- VRINDAVANI SARANG

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

ANTARA

0 :>

PM,MP PM MP,P PNP PN.N

f

DIR DA DIR DA DIR

!
i
i
i
X 2
.00
z

•SNS NS SN,NS SN NS;S SR RS,S :

DA DA RA DIR DA DIR DA DIR i

0 i
Si

SN NP MP RM,M MR RS,S SNS NP.P .

' [
DA DA RA DIR DA DIR DA DIR ;

X 2 •

NSR
4
■ RM MP PMP MR SR MP PM,M :

DA DA RA DA DA RA DA DER

0 3

RM SR NS

DA DA RA
 112

RAAG: BAGESHREE
THAAT:KAFI-'
JAATI: AUDAV - SAMPURNA

VADI: MADHYAM M.
SAMVADI: SHADAJA S.

KOMAL TIVARA: KOMAL GANDHAR (G) &

KOMAL NISHAD (N)

VARJIT SWARA:- RISHABH &

PANCHAM In Aroha (Ascending order)

AROHA: S MG MDN S
AVROHA'.S NDMG MGR S

TIME: Mid Night58

PAKAD-.S HD S MDND MG R S59

STHAI SWARUP: S, N ND, NS, DNS, SM, GGM, MDM, GMGRS, ND, MDND.

NS, M, GM, DDM, N NDDM, GMDNS. NDM, GGM, NDMG,

MGRS.

ANTARA SWARUP: S, MG, MDNDMG, MDNS, RSND, DNSMGRS, N N D,

MDNSM, G G M, G, MGRS, N NRSND,MSND, NDMG,

MGRS.

“MDN” Swar Sangati provides pleasant effect in this Raga. There are different
opinion about the use of Paneham (P) in this Raga. Some experts omit P, some other
allows it in descending order and some other allows it in both ascending and
descending order. Therefore the Jati of this raga becomes (1) shadav shadav (2)
shadav sampuma and (3) sampuma-sampuma, considering the above options.

58 Ragkosh by Vasant page No 14(105)

59 Kramik Pustak Malika part 3, Page 404 by Pt V N Bhatkhande
 113

RAAG -BAGESHREE

JAFFERKHANI GAT

TAAL,- TEENTAAL MATRA-16

STHAI
1
|
0
3 I
i

gm,m MG GR,R ...N.S DND.N

• • • •

DIR DA DIR DA DIR

2
X

NS GM M GMG;G GM DND,D M PD.DND

DA DA RA DIR DA DIR DA DIR

0 |
- 3
-

MG GR SNS NS5SN SR NRS,SN DN D NN.D

DA DA RA DIR DA DIR DA DIR

i
x !
-4
i
i

M DND NS GMG GM DND M PDJ2ND

• . *

DA DA RA DA DA RA DA DIR

0
3

1
i

MG GR SNS
• i
1

' RA i
DA DA
•
■
 114

RAAG -BAGESHREE

JAFFERKHANi GAT

TAAL- TEENTAAL MATRA-16

ANTARA
•

MDN,ND MG GMM,M DND NSNN

DIR DA DIR DA DIR

X 2

mg’
NS DNS NS dn.nd _ NS sad GR.RS

DA DA RA DIR DA DIR DA DIR

NS SN PND GM,M MG GR,RS NS nrs;sn

DA DA RA DER DA DIR DA DIR

X 2

NS DN ND GMG MD DND M PD,DND

DA DA RA DA DA RA DA DIR

0 3

MG GR SNS
#

DA DA RA
 115

RAAG: MALKAUNS
THAAT: BHAIRAVI
JAATI: AUDAV
VADI: MADHYAM M.
SAMVADI: SHADAJ S.

KOMAL TIVRA: KOMAL QANDHAR G

KOMAL DHAIVAT Dand
KOMAL NISHAD N

VARJIT SWARA - R1SHABH (R) &

PANORAMA (P) in both Aroha & Avroha (Ascending &
Descending order)

AROHA: NS GM D NS
AVROHA: SND MG MG S

TIME: Illrd Prahar of Night 60

PAKAD: M G MDND M G S61

STHAI SWARUP: S, MS, B N S M, MD, I) N, GS, D N S, SG, GM, MG, GMGS,

SM, MG, MDM, MD N, D N D M, GMD NS, D N D M, GM,

SGM, D N, N DM, D G M, GS.

ANTARA SWARUP: NS, M, GM, DM, N D M, MD N S, D N S, GS, D NSGM,

GMG, SSGS, DNDS, SNDJDM, GMD NS, GSN DM,

GMGS.

Since R & P are omitted and GDN these three swars are Komal in Malkaunsh
Raga, some one can consider this Rag being originated from Asavari Thaat. But
considering other aspect of the Raga i.e. its improvisation. The following groups of
swaras are used frequently, one can consider this Raga being originated'from Bhairavi
Thaat

60 Ragkosh by Vasant, page No 15(128)

61 Kramik Pustak Malika P - 3 Page No 644 by Pt V N Bhatkhande
 116

(1) H S GMDNS (2) MDNS (3)DNS (4) D M D N S

These types of improvisations are also appeared in Raga Bhairavi but they can
not appear in Rag Asavari. Use of Pancham is essential factor in Asavari but it is
omitted in Raga Malkanus. When it is established that the “Raga Swarup” is more
important than the “Swaras used in the Raga” for determination of Thaat from which
a particular Raga is originated”. Hence, Raga Malkauns should be considered to be
originated from Bhairavi Thaat.
c

Thus finally it is proved that though the raga Malkanus which takes GDN but it
should be considered to be originated from ‘Bhairavi Thaat”.
 117

RAAG - MALKAUNS I
!

JAFFERKHANI GAT ;

TAAL - TEENTAL MATRA-16 j

I
STHAI !

0 J

SM.GM MG SN, NS SND DNS,SN

V * ''

•
DIR DA DIR DA DIR

X 2

NS SM GM GM,M MG GM.M MND DM,M

DA DA RA DIR DA DIR DA DIR

MGGM MG MGS SM,GM MG S N»N.S SND NDN.N

DA DA RA DER DA DIR DA DIR

X 9

SH ND DM MND DSN NS MND DM.M

DA DA RA DA DA RA DA DIR

0 3

MGGM MG MGS

DA DA RA
i
_
___
___
___
___
___
___
___
___
__
 118

RAAG - MALKAUNS

JAFFERKHANI GAT

TAAL - TEENTAL MATRA-16

ANTARA

0 3

GM,MG MG GM,M MND DNS,SN

DIR DA DIR DA DIR

X 2

NS SND NS NS. S NS SUN N DN DM,M

DA DA RA DIR DA DIR DA DIR

n
0 3

1 t

MNND DN DNS SM,GM MG GM,M MGS N D.D N S

DA DA RA DIR DA DIR DA DIR

X 2

SN DND DM MGM MGS NS MND DM.M

DA DA RA DA DA RA DA DIR

0 3

MGGM MG MGS

DA DA RA
 119
c

RAAG: KAMOD
THAAT: KALYAN
JAATI- SAMPURNA

VADI:' PANCHAM P
SAMVADI: RISHABH R

KOMAL HVRA: Both MADHYAM (M & M)

VARJIT SWARA:- NIL

AROHA: SRP MPDP NDS

AVROHA: SND P ivlPDP GMRS

TIME: 1st Prahar of Night 62

PAKAD.-R, P, MP, DP, GMP, GMRS63

STHAI SWARUP: S, RS, GMRS, GMPGMRS, RP, MP, DP, GMP, GMRS, DP, PS,

RS, GMRS, P, GMRS, P, GMRS, RP, GMRS, PDP, S, GMP,

GMRS, P, DP, GMDP, GMRSRP

ANTARA SWARUP: P, MP, DP, NDP, SNDP, 1V1PDP, GMP, GMRS. PDP, S, RS*

NDP, PS, GMRS, GM, P, GMRS, SRS, NDP, MP, DP, GMP,

GMRS.

RP Swar Sangati is the most important in the Raga Kamod for establishment
of the Raga. M Can only be used in Aroha (Ascending order) in the group of swara
“MPDP.” G & N are used in a Vafcra manner, and some time they become Durbal and
further Nishad is rarely used in Aroh (Ascending order).

Since it is established that “in the samprakritik Ragas the main difference lies
between the swar sangaties used in them. And it will make the Ragas clear from each
other”. The Raga Kamod clear form it’s samprakratik Ragas by the swar sangati R P
used in the Raga

62 Ragkosh by Vasant page No. 11 (16)

63 Kramik Pustak Malika Part III, page No 91 byPt V N Bhatichande
 120

RAAG -KAMOD

JAFFERKHANI GAT
TAAL - TEENTAAL MATRA-16

STHAI

0 3

SR,P GM MR,R SR NRS,S

DIR DA DIR DA DIR

1
!
Vv
y O

i
PM,PD |
SMR MR RP PM, MP PMDPIvIP PDD,D DMP

; da DA RA - DIR DA DIR DA DIR |

i
i

I
b 3 ij
i

DMP GMPGM SRS NSS,SN SRR NSS,SN PDD PD,DP i

DA DA RA DIR DA DIR DA DIR |

J

1
X 2

1 i
SNS SR RP PMDPIVDP GMPIvI f MPP DMP PM,PD

DA , DA RA DA DA RA DA DIR

0 3

j
DMP GMPGM SRS
-
DA DA RA •
 121

PvAAG -KAMOD

JAFFERKHANI GAT
TAAL - TEENTAAL MATRA-16 j

ANTARA
------ ------- !j-------------
0 i
t 3
I s

piip PD;DP1^P DP.iip |

SRP,PDP NDP
i

om DA DIR DA DIR !

X '“I

SNS NS NS SN,NS SR SRR,RS SNS NS.SN

DA DA RA DIR DA DIR DA DIR '

0 3

SR RS NS ‘ SNS,SN SRR NS.SN PD PD:DP ,

DA DA RA DIR DA DIR DA DIR

X 2

i
SNS SND NDP PTvf DPIvip GMPlvIP MPP DMP pm5pd !

DA DA RA DA DA RA DA dir :
i
i
0 3

DMP GMPGM SRS ■

DA DA RA ’
 122

RAAG: DESAKAR
THAAT: BILAVAL
JAATI: AUDAV

VADI: DHAIVAT D
SAMVADI: GANDHAR G.

KOMAL TIVRA: NIL

VARJIT SWARA:- MADHYAM & NISHAD (M & N)

AROHA: SRG P D S
avroha:sdp gpdp grs

TIME: 1st Parahar of Da}'64

PAKAD: D P G P GRS 65

STHAI SWARUP: S, RS, SGRS, GP, DP, GRS. DS, RS, GP, D, GP, GGDP, P, DP,

DGP, GRS. P, GP, SGP, PS, SGP, GD, P, PDS, DP, DGP, GRS.

GPD, PD, P, GPDP, G, RS.

ANTARA SWARUP: P, DP, SDP, GPDS, RS, DP, PDS, DS, RS, GRS, RS, DP,

SGP, GRS, SRS, RD, P, GPDS, RSDP, SP, PDP, G, P, DGP,

GRS GPD, PD, P, GPDP, G, RS.

Though the same Swaras are rendered in the Ragas Bhuapli & Deshkar but the
use of them in different groups of swaras make them distinct from each other. Bhupaii
is purvang Pradhan Raga but Deshkar is Uttarang Pradhan Raga. The use of Dhaivat
at different places is the basic requirement for establishing the Raga Deshkar
c

Thus it is established that the Ragas are established on the ground of the
purvang pradhan and uttarang pradhan though they possess the same swaras.

M Ragkosh by Vasant page No 13(71)

65 Kramik Pustak Malika Part 4, Page No 246 by Pt. V N Bhatkhande
 123

RAAG -DESHKAR

JAFFERKHANI GAT

TAAL- TEENTAAL MATRA-16

STHAI

0
J i

Dsi
- SD, DP, P G,PP G,PP,DP

DIR DA DIR DA,DIR DA,DIR,DARA

X 2
i
!
DSD SD DP DP.P PG GPJP PD DP.P !
y 1

DA DA RA DIR DA DIR DA DIR

!i
!
' i
0 i1
i1

i
PG GR .. GRS DS,S SD DP,P PG gp,p ;
i

DIR |
DA DA RA DIR DA DIR DA
c

X 2

GRG RG RG DPD PD DP PD DP,P

DA DA RA DA DA RA DA DIR

PG GR GRS

DA DA RA
 124

RAAG - DESHKAR

JAFFERKHANI GAT

TAAL - TEENTAAL MaTRA- 16

ANTARA

0
I
f——....................j

GP,P PG GP,P PD DP,D !

1
1

DIR DA DIR . DA DIR

!
i
i
2 1
X i

i
i

DSS SGR RS DS,S SD SD.D DS SR.R j

DA DA RA DIR DA DIR DA DIR |

0 J 1
i

SD SD DPD SR,R RS RS,S SD DP.P I

DA DA RA DIR DA DIR DA dir ;

2
X
1
j

PGP PSD PD DPD PD DP PD DP,P

DA DA RA DA DA RA DA DIR
1

PG GR GRS

DA DA RA
 125

RAAG: PURIYA DHANASHRI

THAAT: POORVI
JAATI: SAMPURNA

VADI* PANCHAM P
SAMVADT KOMAL RISHABH R

KOMAL TIVRA: KOMAL RISHABH & KOMAL DHAIVAT

& TIVRA MADHYAM (R D & M)

VARJIT SWARA:- NIL

AROHA. N RGMP DP NS
AVROHA RffDP MIG NIRGRS

TIME- SANDHYAXAL (Evening)66

PAKADNRG, MP,DP,MG, MIR G,DMG, RS67

STHAI SWARUP: NRS, RNDR PR MB DR PS, NRS, G, RS, GMP, MG, MR, G,
MGRS. NRGRS,/^GRSP, MG, MR G, NRGMGMG, IvlRG. RS.

P, DP, NDP, MDN, RHDP, AmDP, DP, l!lG, IvlRG, DltlG,

lOfGRS

ANTARA SWARUP: MDP. S, RS, NRGRS, RNDP, MDN, DP, NRGRS, IV1RG,

Ab. RS. NRNDP, MDN. DP. MG. MRG. MGRS.

Somebody say that Puriya Dhanashri Raga is very near to Poorvi and special
attention is required from making the difference between them. But it is not true.
Since there are both Madyams (M & M) in Raga Poorvi and there is only one
Madhyam viz. Tivra M in Raga Puriya Dhanashri. More over the Vadi and Samvadi
swaras of both the Ragas are also different, these two Ragas can not be considered
very near to each other.

Therefore, it is established that Ragas Puriya Dhanshri & Poovi are not so near
to each other and no special attention is required from making the difference between
them.

"6 Ragkosh by Vasant page No 14 (97)

f>1 Kramik Pustak Malika Part 4, page No 342 by Pt V N Bhatkhande.
 126

RAAG - PURIYA DHANASHREE

JAFFERKHANI GAT

taal - teentaal MATRA-16

STHAI

1 i
| 0 I 3 5
i j
\

!
i

“2
i pisJip

PI
t PM, MPD PIVIG,G DN.ND
i

!
i DIR DA DIR DA DIR
i 1
i
! X 2

1 DN ' ND MP MP;PM MPD MDP.PM MG RGR,M

i DA
a
<

DA RA DIR DIR DA DIR

i
0 ' n
J5
;
i
MG GR SNS NS.SRS SN NGR,R RG GM.MG

DA DA RA DIR DA DIR DA DIR

1

X 2

MP ; DP MP MPM . MPD DPM MG RGR,M

i --
DA j DA RA DA DA RA DA Dlk
i
i

o : J

i
MG GR SNS
•

n a
lsr\ DA RA
j
 127

RAAG - PURIYA DHANASHREE

JAFFERKHANI GAT

TAAL - TEENTAAL MATRA-16

ANTARA

: 0 3

i GM,MP MG MPRMG MPD NSN,N

: DIR DA DJR DA DIR

j X 2

Is i
j sr NS DRD NSN RGR RGG RGRIvl

| DA DA RA DIR DA DIR DA DIR

i 0
i
! '
GR SNS NS,SN NSR NR, ND DPMP pi^,pd
<

| DA DA DIR DIR DA DIR

RA DA

x 2 ;
t
1
}
t

It
|

| P&D MG RG MPli PD MPm i4g RGR,M

| DA DA RA DA RA DA DIR
DA
!
! o 3 ■
i
j MG GR SNS (

! DA DA RA
 128

RAAG: JAIJAI WANTI

TEAAT: KHAMAJ
JAATI: SAMPURNA

VADI: RISHABH R
SAMVADI: PANCHAM P

KOMAL TlYRA’ (1) KOMAL & SUDDHA GANDHAR

(2) KOMAL & SUDDHA NTSHAD
(G, G & NN).

VAR.TIT SWARA - NTL

AROHA: SR GMP NS
AVROHA: SNDP DM RGRS

TIME- Ilnd Prahar of Nighet 68

PAKAD. RGRS, NDP, R,69

« *

STHAI SWARUP. S, DNR, RG, GM, RGR, S. SNDP, PR, RG, GM, MP, MG,

RGMP, MG, M, RGR, DNPR, S. NS, RGRS, RNDP, PR.

RGMGR, MP, NDP, MG, MR, GMP, MGMR, GR, S, DNR.

ANTARA SWARUP: MPS, NS, NDP, PR, RS. SNDP, DNR, RG. MGR. GR, S.

RNDP, MGMR, GMP, MGMR, RGRS , DMPS, RGRS, RNS.

DNR, RGMP, MGR, DNR, PR, GRS, NDP, MGMR, RGR, S,

DNR

w Raga Kosh by \'asnat Page No 12 (48)

Sitar Daqjan Page No 338 by ustad Bbikan Kban Bannukhan & his tradition
 129

RAAG - JAIJAIWAnIE

JAFFERKHANI GAT
TAL - TEENTAL MATRAS-16

STHA1

0 '

RG, GR SNS NSRJRS RN PD.DP

•
DIR DA DIR DA DIR

i
x ! 2
!

RGR RGR SR RG,GR RGG GMG, GR RGG GM. MG

DA DA RA DIR DA DIR DA DIR

i
0 3
!

RGG GR SNS RG, G R SNS NSR,RSN NDN PD, DP

DA DA RA DIR DA DIR DA DIR

X 2

DM MP FN PN NSSN SR RGG GM.MG

DA DA RA DA DA RA DA DIR

0 3

RGG GR SNS

DA DA RA
 130

RAAG - JAIJAI WAN|X

JAFFERKHANI GAT

TAL-TEENTAL MATRAS-16

r\
w
3

MP, PM MGM MPP,PM PN NSS, RS

DIR DA DIR DA DIR

....

2
X

NS NSR RNS NS,SN SR RG,GR RGG GlClMG

DA DA RA DIR DA DIR DA DIR

0
3

RGG GR SNS rg,gr SNS NSR;RSN NDN PD. DP

DA DA RA DIR. Da DIR. DA DIR

tr
A. 2

DM MG RGR RGR RGG GR RGG GM.MG

DA DA RA DA DA RA DA DIR

*
T'* r~^ o> to
A U; u; OiNO

Da DA RA
 131

RAAG : DARBARIKANDA
THAAT: ASAVARI .
JAATI: SAMPURNA SHADAV

VADI: R1SHABH R
SAMVAD1 • PANCHAM P

KOMAL T1VRA : KOMAL GANDHAR G

KOMAL DHAIVAT D
KOMAL NISHAD " N

VARJIT SWARA : DHAIVAT’D in descending order

AROHA : ^SRGRS MP D N S
AVAROHA : S D NP MP G MRS
TIME: Mid night70
PAKAD : GRR, S, D, NS, R, S71

STHAI SWARUP: S, NS. RS, D D, NP, MPD, N, NRS. RD, MPD, SD, RRSD, NS,
MP, B, NP, RS SR, RG, RSR, RS, RG, MPG, MRS, NR, SMP,
N NP, MP, GM, PGM, RS, MPD, NP, MPD, NS, D NP, MPN G.
MRS.

ANTARA SWARUP: SRMPD, NP, MP, D, NP, SD, MPD, NP, vSD, NP, RS, SD, NP,
MMP, D, MPNSR, RG, RRS, G, MR? S, P, 6, MR, D, NR, NP,

MP, G, MRS.

70 Ragkosh by Vasant page No 12 (63)

71 SitarDarpan Page No 34] by Ustaci Bikhan Khan Bannufchan and his tradition
 * ' RAAG - DARBARIKANADA

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-I6

STHAI

0 3

r nsn,sr SRG,GM SR,RS NSM SR.RS

i1
DIR DA DIR DA DER

X 2

ssnb po DNP DND,D NS SR, R RG GMG. GM

DA DA RA DIR DA DTR DA DIR

•o 3

RSR SRR RNS

*
NS.SN
• •
NSR NRS,SN DND NP,P

DA DA RA DIR DA DIR DA DIR

X 2

M
•
MPDP PND DND NSN SR SRR GMG,GM

DA DA RA DA DA RA DA DIR

0° 3

RSR SRR RNS

*

DA DA RA
 133

RAAG - DARBARI KAN ADA

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

ANTARA

i
0 3 i

MPM,M MPP MP,P PD NSN. N

DIR- DA DIR DA DIR

X 9“ •1'

NS NSR RNS DND,D NSN NSR,R SR NRS.S

DA DA RA DIR DA DIR DA. DIR

0 3 - . "

DND DNN MP SR,GM MR SRS,S SD NP,P

-DA DA RA DIR DA DIR DA DIR

1i
X 2 t
ii

PMP PGM MR SRS NSN SRS SRR GMG,GM

DA DA RA DA DA RA DA DIR

0 3

RSR SRR R^S

DA DA RA
 134

RAAG : MIYA MALHAR

THAAT: KAFI
JAATI: SAMPURNA SHADAV

VADI MADYAM M
SAMVADI; SHADAJ S

KOMAL TTVRA : KOMAL GANDHAR & Both NTSHAD

(G & N, N)

VARJIT SWARA : EMIAIVAT in descending order.

AROHA : RMRS MR P NDNS

AVAROHA : SNP MPGM RS.
TIME: Mid night72
PAKAD . RMRS, NPMP, ND, NS, P, GMRS 73

STHA1 SWARUP: MP, Nr DNS, RS, N N, NS, ND, NP, M, PND, NS. S, RP, N GM,
GM, P, GM, RS, MP, N NDNS. RRP, MRP, GGM, RS, MP.
nd:np,mp,ggm,rs

ANTARA SWARUP: MP, ND, NS, SRS, ND, N, ND, NS, SRNS, ND N, MP, N, N,
S, GMRS, N N D, S, NS, RP, GMRS, NND, NSNPMP, GGM,
RS

'2 Ragkosh b}' Vasant page No 16 (136)

73 Sstar Darpan Page No 345 by Ustad Bikhan Khan Bannukhan and his tradition
 135

RAAG- MIYAMALHAR

JAFFERKHANI GAT

TAAL--TEENTAAL MATRAS-16

STHAI
]

0 i
0
_>
!

MRJLPMP GMG RM.MR RSNS DNDJvJP

» T • ’ *
*

DIR DA DIR r% a D!R

...
X 2 t
1

NDN> DN NS NS.S NSR SRS,S SMR RPP,P

DA DA RA DIR DA DIR DA DIR

0 o
3 S
i

GMG MR RNS NS,SN NSR NRS,SN DN DN,ND

•

DA DA RA DIR DA DIR DA ' DIR

X 2

M MP NDN DND NSN SRS SMR RPP,P

t , »

DA DA RA DA , DA RA DA DIR

0 3

GMG MR RNS
c

D.A DA RA
 136

RAAG - MIYAMALHAR

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

ANTARA
i
-

■ 0
J J
i

PM, MP MP MP,PNP PND NS.SN

DIR DA DIR DA DIR

X 9

NS SN NS- DN, ND NSN SR,S NS SRS.NS

DA DA RA DER DA DIR DA DIR

j
0
J

NDN MPM MP MR,RPM? GMG RM,MR NDN MP.P

DA DA RA DIR DA DIR DA DIR

X 2
1

NDNJD DN NS MP MPM MPP GM RPP,P

DA DA RA DA DA RA DA DIR

0 -~5

GMG MR RNS

DA DA RA
RAAG: CHANDRA KAUNSH
THAAT: KAFI
JAATI: AUDAV

VADI: MADHYAM ' M.

SAMVADI- SHADAJA S.

KOMAL TIVRA: KOMAL GANDHAR (G) &

KOMALNISHAD (N)

VARJIT SWARA:- RISHABH & PANCHAM (Rs P)

AROHA- SG MDNS
AVROHA: SNDMG MG S

TIME: Mid Night74

PAKAD- G M G S. NS
o

CHALAN SN D MDN S, MG, S.

* * * * %

MGMDNS, SNDMG,MGS
GMDN S. NS,MG. S, NSND,NMD,
ND MG MDND, MG, MG S 75

S, GNDN. DNSNGSN. DMDN, GN. SGSND S GSN, DNS S S S, GSNSND, D G

S S.

SGSN S GSG, MGSGMG, DNSGMG, SMG, SMG, NDSGMG, MGSNSGMG,

MGSGS, DNS.

SMG S G S M S S M, SGNSM, SMG S GM, SGM, NS S SG S G

MSDMNS. GMDM, SGMSM, MG S MS S GM, GMDM, NSGM, GS, NSNG.

o *

SGMDN S N, DMGMDN, D, NDMGMDNMN, ND GMN, SGSGMDN, NDN,

MGSDM, DNSGSNDNDM, GMGMGS, NS,

Ragkosh by Vasant page No 11 (39)

7' Kramik Pustak Malika Part 6. page No 288 by Pt V N Bhatkhande
 138

S DN S DNS S S S SRSNS S i MDNS, SGMGS, SGMGS S S N

DMDNS S S GNDNDM, GMDNS S S NDM, GMGSNDNS.76

At present the Raga Chandrakaunsh is considered to be originated from

Bhairvi Thaat rendered by taking G and D Korn at and N Suddha and Omitting R and
P Swarns and considering M and S Vadi & Samvadi Swaras respectively. 78 is not
true Considering the references mentioned above it can not be said that the Raga
ChandraKaunsh belongs to the Bhairvi Thaat. and it takes G & D Komal On the
contrary it takes G & N Komal.

The author of the book named Sangit Pravin Darshika says about the Raga in
the rind part of the book at page no. 92 that Chandra Kaunsh Raga is considered to be
originated from Bhairavi Thaat

Malkaunsh is considered to be originated from Bhairvi Thaat instead of

Asavari Thaat on the ground of the following groups of swaras, used in the Malkaunsh
Raga
fl)NS GMDNS (2) MDNS (3) DNS (4) D M D N S

Since these types of improvisations are also appeared in Raga Bhairavi and
Pancham Swara is omitted in Raga Malkaunsh It is considered to be originated from
Thaat Bhairavi instead of Asavari.

If the said Raga Chandra Kaunsh does not possess any improvisation
mentioned above which is appeared m Raga Bhairavi it can not be said that Raga
Chandra Kaunsh belongs to Bhairavi Thaat. Further, more the rendering of Chandra
Kaunsh is considerd in accordance with the Raga Malkaunsh completely it is obvious
to take N instead of N. And therefore the opinions quoted at above seem to be more
correct.

And therefore the Raga Chandra Kaunsh should be considered to be originated

from Kafi Thaat m stead of Bhairvi Thaat

" Raga Parichay Part-4 Page NO 54 by Prof H C Shrivastav

Rag Parichaya Part 4, page No 53 by Pt V jN Bhatkhancie
Sangil Pravin Darshtkas Part 2 page No 92
 139

RAAG -CHANDRAKAUNS j
j

JAFFERKHAN1 GAT ;
j

TAAL - TRITAAL MATRA-16 >

STHAI

0 J

SMG.GMM MG SN,SGS SND DNS.SN

DIR DA DIR DA DIR

X 2

NS SMG G[S NSG,SGM MGM MD.MDN NDM MDN.ND

DA DA RA DIR DA DIR DA DIR

0 3

MG MGM GS SMG,GMM MG SN,SGS SND DNS.SN

• ~•
DA DA RA DIR DA DIR DA DIR

X 2

MG SMG GS DN DNS ND NDM MDN.ND

DA DA RA DA DA RA DA DIR

0 3

MG MGM GS

DA DA RA
*
 140

RAAG -CHANDRAKAUNS !

JAFFERKHANI GAT !
TAAL..TRITAAL ' MATRA-16 '

ANTARA

0 3

GMMDN ND MG.GMM MND, DNN.H

DIR DA DIR DA DIR

X - 2

NS SNS NS DNS,NS NS MDN,DNS SMG SG,MGS

DA DA RA DIR DA DIR DA DIR

0 3

MG GM MGS SMG.GM MG MGS.NSN ”gsn DNS,NS

DA DA RA DIR DA DIR DA DIR

X 2

SN SND DM MDN NS SND DM MDN,ND;

DA DA RA DA DA RA DA DIR !
{
i

i
j
0 3 i

MG MGM GS

DA DA RA
 141

RAAG : MARU BIHAG

THAAT: KALYAN
JAAT1: AUDAV SAMPURNA

VADI: GANDHAR G
SAMVADI: NISHAD N

KOMAL TIVRA : TIVARA MADHYAM M 4 M

VARJIT S WARA : (1) RISHABH R&

(2) DHAIVAT D in Ascending order

AROHA : PNSG A? NS

AVAROHA : NRND P MG RS.

TIME : Last Prahar of Day f9
PAKAD . N, P, DMP, MG, MG RS.80

SRNSG, SRS, RNPD S P, PNS, PN S RS, SM S MGM S MS* MG. RSR S

SNSG SRS.

SGSGiVfPlVlP, IJ\P, MPDDP, DP S MGP, RS S NSGMPMP, MPDPDP, RSDP,

MGMPNDP, MPMG, N*/I S MG SR S S, NSMMG, SGSGMPMP.

PGMPNDPDP. GMGNDPDP, DPivfP^GPN S DPDP. P^PMGGMP S MG.
i l i _ t
MGMG SRSRNSGNSMMG, GMP S MG, MGRSRS.
GMPN S PNS S S NS, NDPM GMPN S, PNRS, NSG S RSRS, CjAp S

MGSRS, PNSRSNDP, DPMPMG, MGSRS, NSGSGMSMP S MG, MGS, NSM S

MG, IvIGRS.81

' Ragkosh by Vasant page No 15 (126)

80 Raga Parichav Fan -4 Page \'o 55 by Prof H C Shnvastav
81 Raga Paiiebay Par[-4 Page No 36byPiofHC Sluivaslav
 142

RAAG - MARUBIHAG

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS-16

STHAI

0 J

NSN,NS SM MG,G RNS ~ NRS,SGM

DIR DA DIR DA DIR

X 2

MP DMP MP MPP PN.NSN ND PM,KIP

DA DA RA DIR DA DIR DA DIR

0 3

MG GR RNS NS,8RS SN SN.NSN ND PDP,P

• * • •
DA DA RA DIR DA DIR DA DIR

X it 2
1i
MPlA MPP NSN NS SM GMM MG PM,IvfP
0. , . 9 •
DA DA RA DA DA RA DA DIR

0 3

MG •GR RNS

DA DA RA
.
 143

RAAG - MARU BIHAG i

' 1
JAFFERKHANI GAT j

TAAL - TEENTAAL MATRAS-16 |

!
I
ANTARA . i

o
i
0 3
i

i4p PGMPjFT*1? |
PGA4P PN PNNJNDP

DIR DA DIR DA DIR |

i
l

X 2
i

t .
NSS NRS NS PNS,NS NDP GM,PN SNS SN.NS '

DA DA < RA DIR DA DIR DA DIR

C
0 3

ND PM MPP PN,SG RS NSG,RS SRS PNSR.SNDP i

' i
DA DA RA DIR DA DIR DA DIR :

X 2

i I i \ i
NDP DPM PMG USGRS GMMG RNS MG PM;MP ;

DA DA RA DA DA RA DA DER !
!

0 3 i

j
i
MG GR RNS
• -

DA DA RA -
 144

HAAG : SUDDHA SARANG

THAAT : KAFI
JAATI: SHADAV '

VADI: RTSHABH R
SAMVADI : PANCHAM ' P

KOMAL TIVRA : (I) Both MADHYAM (M & M)

(2) Both NISHAD (N & N).

VARJIT SWARA : (i) GANDHAR (G)

(ii) DHAIVAT (D) in descending order occasionally

AROHA: SRMP MPNS

AVAROHA : SNPMPDPMRNS
TIME : Ilnd Prahar of Day.82
PAKAD : R MP, MRS, N, ND SN, RS.83

S, MR S N S S NS, (S)N, PNSN, PM S PN, DSNRSN, NSMRRMR S

MMRMRSN, PNSRMRSN, RMRSN, NDSNRS.

S S MRNSMR, MRSNDPSNSMR, RMPRSR. SRMRMR, PNSRMPMR.

RMPDMPRMR, NDSN&5 •
NS, RMP S S St^fP,(P)RMRM S IvCP, ^IPDMP, DDP, DPMP MRSP, MRIvlP,

fkPN S DPMR S 4p, NDSNMRPMPN S DP, R^P, DDPMP RMR,

NSRMPD MPRMRSDSNRS
4pN S S S S S S RS, SNS, RMRS, RlIffMR, R, NS, NDSNRS, SNDP,
r

RfvIPNSNDP, MR, MPR, SN, NDSNRS 84

Ragkosh by Vasant page No 16-A (170)

8' Raga Parichay Part-4 Page NO 64 by Prof H C Shrivaslav
8-4 Raga Parichay Part-4 Page No 65 by Prof H C Shrivasiav
 145

RAAG - SHUDDHA SARANG

JAFFERKHANI GAT
TAAL - TEENTAAL MATRAS-16

STHAI

0 3

RMP,MP MR RMR,NS RNS MR.MP

DIR DA DIR DA DIR •

X 2

RMR RMM MPP MPD,MP PDDP DP,MP MR MR.IvlP

DA DA RA DIR DA DIR DA DIR

0 3

RMP RMR SNS SMR.NS MR RSN,NS ND -’ND.SN

DA DA RA DIR DA DIR DA DIR

|
t

X ! 2
l
1
I
i !
RNS NSN - PNSN NSS RMR RMP MR MR.MP

DA DA RA DA DA RA DA DIR

O 3
f

RTvIP RMR SNS '

DA DA RA
 146

RAAG - SHUDDHASARANG

JAFFERKHANI GAT

TAAL - TEENTAAL MATRAS -16

ANTARA

MR,MP RJS/1P MP,DP MPN PN*S,N

DIR DA DIR DA DIR

X 0

pmjnJpp
NS NSN SRS RS.SNS RMR NRS,SN ND

DA DA RA DIR DA DIR DA DIR

0 3

PM MR SR SN.NS RMR RSN,NS ND ND.SN

DA DA RA DIR DA DIR DA ^ DIR

X 2 |
i
RlJlP
RNS NSN PNSN NSS RMR MR MR.rvTP

DA DA RA DA DA RA DA DER

o
0

RJS^P
RMR SNS

DA DA RA
 147

RAAG: GURJARITODI
THAAT: TODI
JAATI: SHADAV

VADI: KOMAL DHAIVAT D

SaMVADI : KOMAL RISHABH R

KOMAL T1VRA : (1) KOMAL RISHABH R

(2) KOMAL DHAIVAT D
(3) TIVRA MADHYAM M

VAR.TIT SWARA : PANCHAM P.

AROHA : S R GIVID N S
AVAROHA : SNDIvIGRGRS
TIME : Ilnd Prahar of Day85
PAKAD :NDMG,RGRS8G

S,GRGR,S,NS,NSRNSRND, M, DND,^DNRGR (S) ND,MQMNp,NS, RG

R S S RS.

S, NR, DNR S SR G R. GMR GR.GGRGRS S ND, R. SR, RGRGRG

R, SRGMDIMGR S G RS, ND S NR, S.

SR G, G R G, NR G R S G, G^IR GSRGSRG, IvWlG R G, DNSR G,

DNDSSR,DG,GRGMRG,SRGRR,GS S DNSRG^GR S S.

GMD, DIvIGIVID, MDMg4d, SR GIv®, R GS SSR GIVfD, MDNDND, NMD, R

GIvlDND, ND, NDIvlG R G RSND D, DNSND, DND5< DNSND, MDNS S ND,

IVED D, MND, NDMG, R R G R, S.

G S tAd S NS (S) ND S MDNS, SR, G R G S, S, ND, tJlDlifG RSD D S

Agr,sndnrs.87

8' Rag kos!i by Vasant page No 11 131)

86 Raga Parichay Part-4.cPage No 45 by Prof H C Shrivastav
87 Raga Parichay Pait-4 Page No 45 by PjoF Shrivastav
 148

RAAG - GURJARI TODl

- ■ JAFFERKHAN1 GAT
TAAL-TEENTAAL ' MATRAS-16

STHAI
j

0
J

I SG R,GR SNS NSRNSRND RND - DND. MDN

I
• . . ...

; DIR DA DIR' DA , -•DIR

t -

X 2
t
c
«

NR RGR RG SNR, DNR SR G R GMRG.RG G R GRS DND.MDNR

• *
RS
DA DA DIR DA DIR DA DIR
RA
0
; 3

dnr RGR GRS SR G, GR G NR GR SR, NSR DND MDNR

DA DA RA DIR DA DIR DA DIR

--------------------- i

X 2
l

RGR GRG RGR SRG GRID Iv! GR GRS DND, MDNR

DA DA RA DA DA RA DA DIR'

0
3

s~* t\ n
DNR RGR \J O

DA DA RA ■
 149

RAAG - GURJARITODI

JAFFERKHANI GAT
TAAL - TEENTAAL MATRAS-16

ANTRA

0 3

GMD, DM GMD MGMD fvIDD n4nn

DIR DA DIR DA DIR

X 2

NS NSN SRS NS, SRS NSR RG R, R RGR NS, SRS

DA DA RA DIR DA _ DIR DA DIR

NSN DND MDD R G,GMG GRGSR NS,SRS NSN DNNSN

DA DA RA DIR DA DIR DA DIR

X 2

illDlJl
DND MDD RGR MGR DND Mg, N’R

DA DA RA DA DA RA DA DIR

0 3 ■

DNR RGR GRS

DA DA RA
 150

RAAG : AHIR - BHAIRAV

THAAT : BHAIRAV
JAATI: SAMPURNA '

VADI. MADHYAM M
SAMVADI • SHADAJA S

KOMAL TIVRA : KOMAL RISHABH R

&
KOMAL NISHAD N

VARJIT SWARA : Nil

AROHA : SRGMPDNS
AVAROHA : SNDPMGRS
TIME : PRATAHKAL morning 88
PAKAD : GMR, RS, NDN R, RS.89

S, R S RS, NSDN R S S, NSND, DNDSN R S RS, SRGMR S R S.

SRG. MMR S RG. NSDN R RG, MPGMRS S RG. MSDH R S RGMR S

RS S S RGM.90

GM, PMGM, R RS S RGM. PM, SRG S RGM S PMGMD S DNDPM,

PMGMRS, NSDN R S RS S RGM.

GMP, GMDP, GMGMDP, PGMR S RSGMD S P, GMDN S NDP, DPM.

PGMR S RS S GM5RGMPM,GRRS,MSDNR S RS.

GMD S N SDNRSJNR S S, SRGMRS, S, GMR RS, GRS, RSNS 'S

ND,NDNDSNRS S ND, NSRGRSRSNSND, NDPM, DPNDSN RS S ND S

PM, PGMR S RS, NS, DN R S RS. 91

88 Ragkosh by Vasant page No 10 (4)

Kq Raga Parichay Part-4, Page No 28 by Prof H C Shnvastav
90 Rag Parichay Pan-4 Page NO 29 by Prof H C. Shrivastav
91 Raga Parichay Part-4 Page NO 30 by Prof H C Shrivastav
 RAAG- AKIR BHAIRAV Vp'. - Aw
JAFFERKHANI GAT
TAAL - TEENTAAL MATRAS-16

STHAI

1
0 • 3

NS, SRS SN NSR, SN ; dn NSN, N

DIR DA DIR DA DIR

X 2

SR SR MS .SRS, S SR GMG, G GM MPD, PM

DA DA RA DIR DA DIR DA DIR

0 3

GM RS NS NS, SRS' SN DN, NSN ND PD, DP

DA DA RA DIR DA DIR DA DIR

X 2

DMD NSN NS DND NSN SR GM MPD.JPM

DA DA RA DA DA RA DA DIR

0 3
i

GM 5s NS

DA DA RA
1
 152

RAAG - AHIR BHAIRAV

JAFFERKHANI GAT
TA AL - TEENTAAL M ATRAS-16

ANTRA
!
1
'■»
0

GM, MPM GM MP,D' ; pd DN, nsn;

DIR DA DIR DA DIR

!
X

SR RS NS DN.ND NSN NSS, RS SN DNRSN

DA DA RA DIR DA - DIR DA DIR

r
0 3

ND DP GM GM, M RS RS, SR NS nsn, N

DA DA RA DIR DA DIR DA DIR

X 2

ND DP MGM GMG GM MP? i ' PD o MPD.PM

DA DA RA DA DA RA j DA DIR

0 3 1

GM RS NS 1

DA DA RA
 153

RAAG ' MADHUWANT1

THAAT: TODI
JAATI : AUDAV SAMPURNA

VADI. PANCHAM P
SAMVADI • SHADAJ S

KOMAL T1VRA : (1) KOMAL GANDHAR G

(2) TIVRA MADHYAM fJl

VARJIT SWARA : (1) R1SHABH &

(2) DHAIVAT in Ascending order

AROHA • NS GMP NS
AVAROHA . SND P tSl G RS
TIME : Illrd Prahar of Day.92
PAKAD • NS, G NIP, lifGR, S 93

S, NSNS1VIG S SR S S,NPDP,NSN S PDP,NSMG S SR S S.

NSGMP, MP, MR, NSMGPMP, SP S S MP, MPDDP, DPMP S I^G,

NSGMPMO, SGP S GMG S RSR S S

PIvIGfvlPN S DP, DPMPMG S MPN S DP, GlvlPNPN S DP, GMGPGN S

DPPN S DP, GMP, DPMPMG, NSGNIPIvia NMG S RSR S S

GIvfPN S NS SSS NS, NS S RSN SGI^MgR S S, NSGRS, RSNS N S DP,

PNSNPDP, D S PlVEPlVIG, NSGN1PGP S IV1G, G^PD S M/LQ, D S P&G,

K^GRSR S S,NNSMG S RSR S S. 94

'* Ragkosh by Vasant page No 15(124)

Raga Panchay Part-4 Page No 25 by Prof H C Shrivastav
Raga Parichay Pai :-4 Page NO by Prof H C Shrivastav
 154

RAAG - MADHUVANTI.

JAFFERKHANI GAT
TAAL - TEENTAAL MATRAS-16

STHAI

0 3
1i
1 j
GMP. PMP PIvlG SMG PMP MP • IvIG,RSR !
- - i
DIR DA DIR DA DIR ;

X 2
i
i i !
SRR RS SNS SN, NS SIsIG ns,gm GMP DPMP.MG

DA DA RA DIR DA DIR DA DIR

0 3 S
i

1
MG RSR RSS SN,SNS MG SR, RS SN PD. DP .
' * *
DA DA" RA DIR DA DIR DA DIR

X 2 ■

„i DP1v£P,Ag ;
NSN PDF
0 • •
NS NSIvfG SRS SIvlG GMP

DA DA RA DA DA RA DA DIR

0 3 I

RSR RSS

DA DA RA
 155

RAAG - MADHUVANTI

JAFFERKHANI GAT
TAAL - TEENTAAL MATRAS-16

ANTRA

!
0 3

PMG, AiP NDP DP,DPIvlP MG GIvlPN,NSSi

DIR' DA DIR DA DIR ;

X 2
j

NS NSNS RNS NS,SN NSNSR RS, s' NS SRS,RSN '

DA DA RA DIR DA DIR DA ‘ DIR

jin? pdp; Pi!iP ■

ND PIVI SNSG,GRS RSNS -NSN,NDP pNSN

DA DA RA DIR DA DIR DA DIR

X 2 -

!vfe*P
GMG MPM SNNS SMG NSGM GMP DPIvlP,ivK3;

DA DA RA DA DA RA DA DIR j

I1

0 3 i|

lvlC RSR RSS

DA DA RA