S-R-G-m-P-D-n-S

---

Among the most popular light-classical ragas, Khamaj’s core form matches the ultra-versatile Mixolydian Mode of Western music. Despite being chosen by Bhatkhande as the titular raga of Khamaj thaat, renditions will usually draw on melodic combinations from outside these main seven swaras. Jairazbhoy discusses the evolution of these ‘mishra‘ features as a natural outgrowth of the raga’s “disjunct tetrachords”: the lower of which has a major third (S-G), and the upper a minor third (P-n) – arguing that it is only natural for artists to ‘swap’ this intervallic pattern by adding a komal ga (S-g) and shuddha Ni (P-N), giving SRgGmPDnNS (an effect strengthened by a strong Pa in the tanpura). Described by Tanarang as “light and enthralling, but not sedate…with a husky voice that emits the emotion of painful separation with khatkas…decorated with the diverse thumri styles of Punjab, Lucknow, and Benares” (n.b. while not really in any particular raga, Khamaj is probably the ‘best fit’ for George Harrison’s sitar lines on The Beatles’ Within You Without You: also see an intriguing 2006 sitar, sarangi, & dilruba cover by the Beatles’ Magic Orchestra).

---

• Raga Megalist (365+) •

राग खमाज

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SGmPDnS

Avroh: SnDPmGRS

---

Chalan: variable – pakad e.g. GmPDmG; GmPDnD(P)m; PD(P)mG; mnDn; PDNS (Anand)

—Ulhas Kashalkar (2011)—

---

[refrain, e.g. 1:32] mG(m)P, n(DnPnP) n(DRSnDnD)P, mG G(m)R, mG(m)P…

---

• Experiments •

Novel interpretations of the raga’s essence…

---

—Amjad Ali Khan (orchestral)—

---

“At age 65, Khan has performed for nearly 60 years. He’s a longtime fan of European classical music (‘Bach, Beethoven, Mozart, Tchaikovsky; the works!’) and finally the time seemed right to compose his first concerto. He was asked to write a piece for the Scottish Chamber Orchestra…With conductor David Murphy, they debuted the concerto in 2008. The piece’s full title is ‘Samaagam: A Concerto for Sarod, Concertante Group, and String Orchestra‘. In Sanskrit, ‘samaagam’ refers to a confluence, or flowing together…” (NPR)

---

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

---

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

---

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Khamaj thaat, Jhinjhoti, Kambhoji, Khambavati, Sameshwari, Sakh, Gaoti

–Proximate Forms–

Kafi = ‘Khamaj komal ga‘

Bilawal = ‘Khamaj shuddha Ni‘

Ahir Bhairav = ‘Khamaj komal re‘

Desh = ‘Khamaj double Ni‘

Vachaspati = ‘Khamaj tivra Ma‘

Jansammohini = ‘Khamaj no ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

---

• Core form: S–R–G–m–P–D–n–S

• Reverse: SRgmPdnS (=Darbari)

• Negative: 2-2-3-2-3 (e.g. Bhupali)

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Bilawal set

---

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

---

–Global Translations–

---

• Carnatic: Khamas

S-R₂-G₃-M₁-P-D₂-N₂-S

• Jazz: Mixolydian

1-2-3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-10-0

(2–2–1–2–2–1–2)

---

o • o • o o • o • o o • o

---

• Tanpura: Sa–Pa (+Pa)

• Names: Khamaj, Kamaj, Khammaj, Khambaz

• Transliterations: Hindi (खमाज); Bengali (খামাজ)

—Vilayat Khan (1966)—