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

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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. 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”. Jairazbhoy discusses the evolution of the raga’s ‘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 komal ga and shuddha Ni (as with the similarly-folksy Kafi, an effect strengthened by a strong Pa in the tanpura). [n.b. While The Beatles’ Within You Without You isn’t strictly in any particular raga, Khamaj is probably the ‘best fit’ for George Harrison’s sitar lines: see an intriguing 2006 sitar, sarangi, & dilruba cover]. Compare to other members of the extensive Khamaj raganga.

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• Raga Masterlist (1000+) •

राग खमाज

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• Hindustani Raga Index •

Aroha: e.g. SGmP; GmPDNS

Avroh: e.g. SnDP; DmG; mGRS

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Pakad: e.g. SGmP; nDP; DmG

Chalan: variable – illustrative sequences e.g. SGmPDnD; SnD; mDmG; mPDmG; SnDPDmG (Parrikar)

• A loose, folksy framework which permits diverse interpretations – usually presented in ‘mishra’ format (in particular, shuddha Ni is common in ascent – and komal Ga and tivra Ma also turn up frequently)

• Shuddha Re is skipped in aroha as SGmP – and GmP is used as a vital uttarang launch amidst a strong Ga-Dha sangati (e.g. GmPDnD; GmPDNS)

• Descending lines can vary greatly according to the performer – although highlighting the nDP and DmG motions will bring out the raga essence (e.g. SnDPDmG; nDPD(m)GmG)

• Associated with late-night sentiments of shringara (‘love, romance, attraction’) – drawing influence from thumri, bhajan, and other light-classical styles

—Ulhas Kashalkar (2011)—

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

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• Experiments •

Novel interpretations of the raga’s essence…

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—Amjad Ali Khan (orchestral)—

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“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)

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• Classifiers •

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

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

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

Also compare to other members of the Khamaj raganga

–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–

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• Core form: S–R–G–m–P–D–n–S

• Reverse: SRgmPdnS (=Darbari)

• Complement: SrgMdNS (=Gujiri Todi)

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Bilawal set

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

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–Global Translations–

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• 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)

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o • o • o o • o • o o • o

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• Tanpura: Sa–Pa (+Pa)

• Names: Khamaj, Kamaj, Khammaj, Khambaz

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

—Vilayat Khan (1966)—