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

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A loose mixture involving Jhinjhoti, Khamaj, and Mand, with different renditions emphasising varied facets of these ragas. The movements of the former tend to predominate: as per Deepak Raja, “normally performed in slow or medium tempo, with low to medium melodic density…an instant identification of Khambavati, as distinct from Jhinjhoti, requires consummate musicianship. This depends largely on the signature phrase Gm\S, executed with a leisurely meend from ma to Sa…Except for [DSRm; DmPDS; mPNS; GmS], all other phrases of Khambavati may be encountered in Jhinjhoti”. Ascending lines often alternate between Dha and ni (SRmPDS; SRmPnS), with some variants employing a double-Ni. Also refer to the allied Champak and Sindhura (n.b. the Jaipur-Atrauli raga known by the name ‘Khambavati’ is a distinct entity to that above, essentially identical to Rageshri).

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• Raga Megalist (365+) •

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• Hindustani Raga Index •

Aroha: SRmPDS / SRmPnS

Avroh: SnDPmGS

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Chalan: e.g. SRnDS; DSRm; RmP; DmPDS; DSRGS; RnDP; Dm; GmS (Raja)

—Kishori Amonkar (~1990s)—

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[refrain, e.g. 4:03] (S)GR (R)m, P D(PD) S, (mDPnDS)R S\n DP, mP P(DPDPmP)D (P)m, R(PmDPm)P (mP)G, S(mR)m, P D(PD) S…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Khambavati Ragini, a worshipper of Lord Brahma” (Jaipur, c.1750) / “A female mendicant makes a yajna [Vedic fire offering] to Brahma: who has four overlapping faces, and holds a text, a flower, and a mala [beaded string]…” (Rajasthan, c.1675)

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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

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.

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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, Khamaj, Jhinjhoti, Kambhoji, Sakh, Gaoti

–Swara Geometries–

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• 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

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

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–Global Translations–

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• Carnatic: ~Balahamsa

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: Khambavati, Kambavati, Khamba Vatee (n.b. the Jaipur-Atrauli raga known as ‘Khambavati’ is essentialy identical to Rageshri)

—D.V. Paluskar (~1950s)—