S-G-m-P-D-nN-S

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A captivating raga with disparate modern strands. In its predominant Jaipur-Atrauli incarnation, Khokar is, according to some, essentially identical to Bihagda, itself a fusion of Bihag and Khamaj (Deepak Raja: “A melodic analysis of the so-called Khokar confirms its identity with Bihagda…[any] distinction remains unsupported by either logic or evidence”). On the other hand, Manjiri Asanare-Kelkar’s detailed lecture-demo summarises it as “a variant of Bihagda, [with] the Khamaj element being extended even more” (see full transcription below). Re is limited to avroh flourishes, and, as per Parrikar, “the attack on komal ni is pronounced, and suggestive of Shukla Bilawal” – recommending “the ineffable splendour of Kesarbai Kerkar‘s performance: the conception, execution, and resolution of her taans as they take flight, soar, and swoop back into the orbit of the tala make for a awe-inspiring spectacle” (also watch a duet by Kishori Amonkar & her mother Mogubai Kurdikar). Seemingly untouched by instrumentalists. Compare to other members of the Bihag and Khamaj ragangas.

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राग खोखर

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—Mallikarjun Mansur (~1980s)—

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[alap, e.g. 0:08] N, N/S, N(SN) N, (P)N S; SG, mPmP(GP)G\S, (PS)N S, S(NS)G m P, GmPD n(DnDn)P D(Pmm), GmP, GmPD(PD)P D(SnSDnD) n(DnDn)PP; (SGmG)P (S)mP G…

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Histories, melodies, mythologies, etc…

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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 (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar – today I am going to talk about Raag Khokar. I will begin with the alap: S(NS)G RS, S(NS)Gm, m(Gm)PG RS, S(NRSNS)N NDSN, SNGRS, GGPm(Pm)PG, GmDPm nDnP, (DP)D PmPG, SmGPm GRS, mPDPmN, PN(SN)S (N)S, (P)NSNS, D(NDND)P, PD PDPS(n) nDnP, (mPDP)D Pm, m(Pm)PG, S(m)GPm nD nDP DPm PG, SG(mPD)SnD nDP DPm PG, S(mGmGP)mG, GRS, (R)N S(NS) GRS.

 

We can say that Khokar is a variant of Bihagda, with an extended element of Khamaj in it. While Bihagda already has a Khamaj element, in Khokar the Khamaj element is taken with even more emphasis. In fact, there isn’t too much to explain about this raga: I have included it in the Amodini series because it is a Jaipur-Atrauli speciality, and also as it is rarely sung.

 

Now we will see how the raga is elaborated, including the extended Khamaj element: NS SG RS, Gm GmPmPG, SGmmP mmPG, G RS, N SRSS GRS, GmDm mPG, GmPDP PDnDP, Dm GmnDP, Dm PG, GmPG RS, PDPPN, N NDP [this is the extended Khamaj part:] PDPPN, N DSN DPDP, PN, NS(RSN)S NN(D)P, PDD(SnD)nD nDP [also from Khamaj:] PD, PD D(SnD)nD nDP Dm, mPmPG, GmPmPG RS, Dm nD, PDS(RS)nD PN, NNS, RNNS, NDNP, PNNS S(NR)S N(DND)P, D(P)m, PG, GmPD SnD nDP, Dm, G(mPDSnD)PG mP PG RS. This is how Khokar is elaborated. I will conclude with a beautiful bandish in jhaptal…”

 

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—Khokar (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: (none found)

See all shadav ragas which omit Re – and also compare to other members of the Bihag and Khamaj ragangas

–Swara Geometries–

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• Core form: S–G–m–P–D–nN–S

• Reverse: SrRgmPdS

• Complement: SrRgMdS

• Imperfect: 2 (Pa, Ni)

• Detached: none

• Symmetries: none

• Murchanas: Khokar set

–Global Translations–

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• Carnatic: (~Begada)

S-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Bebop Dominant (no 2nd)

1-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-4-5-7-9-10-11-0

(4–1–2–2–1–1–1)

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o • • • o o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Khokar, Khokhar, Kokar (~Bihagda)

• Transliterations: Hindi (खोखर)

—Kishori Amonkar & Mogubai Kurdikar (~1990s)—