A weak Dha in also ascent adds to its beauty. Khamaj is Shadav sampoorna, Re is omitted in the ascent which utilizes a Shuddh Nishaad. The beauty of the Raag indeed lies in the Komal Nishaad in the descent, which adds a pensive beauty to the Raag. He looked backwards and lowered his voice! He was possessed by the magic of the Nishads, traversing all the millions of ways in which they could be reached” Then with a jerk, he crept down, singing Komal Nishad, like the bending branch of a Mango tree! He approached the note and seemed to study it from all angles – literally! He bent this way and that, stood up and looked downwards, fingers still on the harmonium. Then he continued in a whisper, Shadaj, extending it long and soft. “He sang Shuddha Nishad, Shadaj, Shuddha Gandhar, Shuddha Madhyam, Pancham, Shuddha Dhaivat, Shuddha Nishad and Shadaj. Ajoy Chakraborty of the Patiala gharana performing a khayal in the raagĪn evening time raga, it is the representative Raag of the Thaat by the same name under the Bhatkande system of classification of Hindustani Music ![]() Dhrupad and long khayals are rare in this raag. ![]() It has also captured the imagination of music composers in movies. ![]() Khamaj is a very sweet, light raga, used extensively in lighter forms of Hindustani classical music like thumris and dadras and the seasonal chaitis and horis.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |