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 said to combine six different ragas – although it remains unclear precisely which they may be (Subbha Rao’s Raga Nidhi cites either “Suha, Kanada, Sarang, Desi, Gandhari, & Sughrai” or “Ramkali, Asavari, Todi, Gujiri, Baradi, & Gandhari“). Often, Asavari is taken as a foundation (e.g. through a strong komal dha), with other flavours drawn from Bhairavi, Khamaj, and beyond (the renditions I’ve listened to collectively span all swara positions except tivra Ma). AUTRIM notes that “generally the komal re is used only [as] grS. Shuddha Ga and komal ga are used in the ascending and descending phrases respectively. However, the usage of Dha depends upon the particular phrase: for example, both Dhas could be used in the [aroha] like dnP and DnP”. Somewhat uncommon on the concert circuit – and seemingly the near-exclusive preserve of vocalists.

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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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• 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: Lakshmi Todi

–Swara Geometries–

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• Core form: S–rR–gG–m–P–dD–n–S

• Reverse: SRgGmPdDnNS (=Pilu)

• Negative: 7-5

• 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

—Mallikarjun Mansur (1978)—