S-r-G-mM-P-dD-N-S

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Spanning a diverse range of ‘Lalit + Gauri‘ experiments, the name ‘Lalita Gauri’ essentially refers to the general concept of fusing these two ragas rather than a specific melodic form. The most prominent modern incarnation was created by Jaipur-Atrauli vocalist Kesarbai Kerkar (who often employed it as a concert centrepiece), although differing forms of the raga are also popular in other khayal gharanas – and Clément Gauthier recently sent me an intriguing Dhrupad recording by the Junior Dagar Brothers, set in a traditional bandish which may predate Kerkar’s release. Most renditions take a shuddha Dha, but some use komal dha instead (e.g. Vinayakrao Patwardhan’s Bhairav-tilted take) – while Parrikar notes that in Mallikarjun Mansur‘s version, “there can be no straight sapat taans…they zigzag and keep bouncing off Ni [PNNdN; NmdNN]”. Also see Manjiri Asanare-Kelkar’s demo lesson below – and a superb analysis of Kesarbai’s renditions by Wim van der Meer (“The ‘wah’ follows a passage that goes from shuddha Ni to an extremely low komal re…[which] is lower than 50 cents, and as such could be considered a ‘raised tonic‘…And the shuddha Ga is ~375 cents…There is no accident, as Kesarbai’s intonation is very precise throughout…It is well-known that ‘great’ artists play more with intonation then younger musicians…”). ‘Lalita Gauri’ is also the name of a famous Benares temple.

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राग ललित गौरी

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—Manjiri Asanare-Kelkar (1997)—

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[bandish, e.g. 1:15] GrS S(N)S, rNS, S(rN)S N, (N)dSrG, GmG GmMG(mM)Gr, S/P P\G rS(NS), r(d)Sr(Gr)G, rG(rGPM)P, PG rGM(GrSNS), GrS S(N)S…

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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 have come with a jod raga: Lalita Gauri. This is a favourite raga of the Jaipur-Atrauli musicians, and it is also very special for me – because my talim with my guru-ji M.S. Kanetkar (who I call ‘Appa’) started with this raga. Somewhere in the series, I will share more about my talim with Appa-ji and Kishori-tai.

 

First I will sing a short alap: N(Sr)S (Nd)N, NrG, rGrGMP MPMG, NrMG GMGMG rGrS, rNGSGm mMGm MGmG, rGMG rGMP PMdP dMPPG, SGMPMGM GMGrS, MNP NS, NSrS SrSN, drN rNdNdP, dMPGm mG mMGmG, SGMPMGM GrG rS.

 

Lalita Gauri blends Lalit and Gauri. Here are short alaps in both ragas:

• [Gauri] N NrS NdN, rG rGrG(PM)P, MPd(Pd)P dMP PG, rGP(MP)MGM GrG, rS, P PMGrGMPdP, PMdN dNrNdP, MdS, NSrS, NdN, dNrNdP, dPMP, MGrGMP, MGM, GrG, GrS
• [Lalit] NrGm NrG, r(MGrG) r(MGMG)rS, dNr(Gr)Gm GmMG, GmdMdMm MmG, MdNrNd MdMm MmG, MmGrGMG rS, NrGmMdMm

Now we will see how they are combined. I will use my thumb to indicate Gauri, and my index finger will represent Lalit: SrS NdN, dNrG, rGM GrG rS, NrGm GmM GmMG, NrGm MmG rGMP MG, rGMP MGM GrGm, MmG MmGrG rS, NdN, rGrS; P MPdP MG, MdN dNrNdP, dPGm dMdMm MmG, MGrGMPdP Gm, NrGmMmG P MGP GrG, MGrS.

 

Some musicians use the full length of Lalit in the upper octave: P MPdP, MGrGMP, MdS NSrS NdN, rNdMdMm, MdS NrNdMdMm, MmG, NrGmMmG MGrGMP MGM GrG, GrS, rSN, rGrS. The full overview of the raga is like this: NrG, rGMP, dPGmM GmMmG, MGrG rS, P MdNrNdP, MdS, dNrG rS, rN NdP GmdMdMm MmG rGMdMdMm MmG rGMP MGM GrG, MGrS, NdN. This is the whole picture. I will conclude with a famous Jaipur-Atrauli composition in tintal…”

 

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—Lalita Gauri (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

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: Purba, Bhankar, Sazgiri, Sonakshi

–Swara Geometries–

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• Core form: S–r–G–mM–P–dD–N–S

• Reverse: SrgGmMPdNS

• Negative: 4-1-7

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Kashiramakriya

S-R₁-G₃-M₁-M₂-P-D₁-D₂-N₃-S

• Jazz: Double Harmonic (dbl. 4th/6th)

1-b2-3-4-#4-5-b6-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-6-7-8-9-11-0

(1–3–1–1–1–1–1–2–1)

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o o • • o o o o o o • o o

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• Tanpura: Sa–Pa

• Names: Lalita Gauri, Lalit-Gauri

• Transliterations: Hindi (ललित गौरी); Bengali (ললিত গৌরী)

—Kesarbai Kerkar (1947)—