S-rR-gG-m-P-dD-n-S

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Often described as one of the most complex Hindustani forms, Khat (Sanskrit: ‘six’) is based on the idea of combining six different ragas – although the precise six chosen may vary between performers. Subbha Rao’s Raga Nidhi volumes cites two main forms (“Suha, Kanada, Sarang, Desi, Gandhari, & Sughrai” and “Ramkali, Asavari, Todi, Gujiri, Baradi, & Gandhari“) – while Manjiri Asanare-Kelkar’s detailed Jaipur-Atrauli demo (transcribed in full below) takes an Asavari-inclined set of Jaunpuri, Desi, Darbari, Adana, Sughrai, and Shahana, also noting the existence of Bhairav-ang and Bhairavi-ang variants (the renditions I’ve listened to collectively span all swara positions except tivra Ma). AUTRIM‘s analysis of a Mashkoor Ali Khan recording highlights the Kirana’s intricate structure, with both forms of Re, Ga, and Dha in attendence  amidst an array of sruti subtleties (“Don’t be egotistical; When the almighty is in charge of the world, why are you so vain and proud?”). Still uncommon on the concert circuit – and seemingly the near-exclusive preserve of vocalists. Also see the related Khat Todi – as well as Patmanjari, (another multi-raga shuffle), and Triveni (which, in some interpretations, is a general term for a ‘confluence of three ragas’).

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—Manjiri Asanare-Kelkar (2016)—

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[bandish themes, e.g. 4:48] m(R)mR P, m P P(mP)mR gS R(m)n; R(mR)mP, mP (R)d, (Pn)d, (n)d, (d)n, n\P P, Pnm, mnP, PS, PS(nS), S nSR S, Sn, n\d…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga’s ‘Asavari-ang’ form (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I come with an extremely complicated, very difficult raga: Khat. It is obviously a shade raga; there are differences of opinion regarding the name: some scholars say that ‘Khat’ is derived from the Sanskrit ‘shad’, meaning ‘six’ [indicating a blend of six ragas]. There are different types of Khat: including Bhairav-ang and Bhairavi-ang, as well as the Asavari-ang which I will demonstrate today (although you may find other Asavari-ang versions). As the name implies, it has the shades of six basic ragas: Jaunpuri, Desi, Darbari, Adana, Sughrai, and Shahana.

 

I’m not going to explain all the individual shades here, but will explain the structure with reference to the bandish:

• [Jaunpuri] mmPP, mmPPd(nd), (n)dS (n)dS, (nS)RS, RnS(n)d, dnP
• [Adana/Darbari] n(S)RS, (RSn)S (n)d (n)dP, mm(m)P, m(nP)P, PmP(mgmg)m gS [Darbari:] R(gR)S, R(g)nS
• [Desi] PmR gRSR(g)nS, S(nS)mRP, PmnP
• [Sughrai/Nayaki] (m)nP, mPmPRm, mmPPd, d(nd)S(nS), R(SRSn)S, S(nS)nd(ndn)P, mm(P)mP, nP nmP(mP) m(RmR) RS RgRS RnS, SSm mnP, nPmP(mP)Rm, mPd(ndn)P, S(n)S
• [Adana] mPd(PdPn)d, nS, n(SnS)R RS, n(RnRn)S S(nS)nd n(dnd)nP, mnmP, m(Rmg)m
• [Shahana with higher ni sruti] mPD (SnSn)S, n(R)S R, n(RnR)S, (P)n (m)P (R)m, PmPRmP.

 

The overall structure is like this: mm mPmg(mg)m S, RgS Rn(Rn)S, mRP mn(Pn)P, mPd(Pd)nP, P(SP)Sn(dnd)nP, nmPRm RPm(gmg)m S, R(nSn)S, mPd, mPd mmPPd, d(Sd)S, nSRS, RgS Rn(Sn)S, mPD(nD) nnS, (n)RS n(dnd)nP, mPdn S(n)d nP, nnPmP RmRP m(gmg)m S, Rn(Sn)S.

 

So, this is the structure of Khat. You may also find different versions of the same bandish. After looking at the structure, you will realise that this raga is difficult even just to understand! This is why Pandit Ramashreya Jha has specifically mentioned, in his book Abhinav Geetanjali, that artists should only perform this raga when they have learned it directly from their guru. If you have listened to the bandish carefully, you will have noticed its meaning: ‘instead of unnecessarily fighting and discussing, you should surrender to your guru for knowledge’.

 

We have seen that there are shades of six basic ragas, but during this presentation, you may also find other ragas which are close to them. For example, shades of Nayaki Kanada, as it is close to Sughrai. Here, I will add one more point: during a performance, the artist may focus on only five of the six ragas, and the percentages of each shade will vary in each performance too. I will conclude with a famous composition in jhaptal…”:

 

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—Khat: Asavari-ang (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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: Lakshmi Todi

–Swara Geometries–

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• Core form: S–rR–gG–m–P–dD–n–S

• Reverse: SRgGmPdDnNS (=Pilu)

• Complement: SMNS

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (Rg—dD)

• Murchanas: Pilu (on ma)

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

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–Global Translations–

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• Carnatic: (~Kamavardhini)

S-R₁-R₂-G₂-G₃-M₁-P-D₁-D₂-N₂-S

• Jazz: Mixolydian+Lydian

1-b2-2-b3-3-4-5-b6-6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-2-3-4-5-7-8-9-10-0

(1–1–1–1–1–2–1–1–1–2)

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o o o o o o • o o o o • o

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• Tanpura: Sa–Pa

• Names: Khat, Kat

• Transliterations: Hindi (खट); Bengali (খট)

—Mallikarjun Mansur (1978)—