Khamaj
Encyclopedia
Khamaj is one of the ten Thaat
Thaat
A thāt is a mode in northern Indian or Hindustani music. Thāts always have seven different pitches and are a basis for the organization and classification of ragas in North Indian classical music.- System :...
s (parent scales) of Hindustani music. It is also a specific raga
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
in Khamaj thaat.
Khamaj Thaat
The parent-scale Khamaj Thaat, notated in sargam notation, has the following structure:S R G m P D n S'.n is komal here.
In Western terms, assuming the tonic (Sa) to be at C, the scale would be:
C D E F G A B-flat C.
Khamaj thaat is thus equivalent to the mixolydian mode
Musical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
in Western classical music.
The Carnatic music
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
equivalent of the Khamaj Thaat is Harikambhoji
Harikambhoji
Harikambhoji is a rāgam in Carnatic music . It is the 28th Melakarta rāgam in the 72 melakarta rāgam system....
, the 28th Melakarta
Melakarta
Melakarta is a collection of fundamental ragas in Carnatic music . Melakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well.In Hindustani music the thaat is equivalent of Melakarta...
raga
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
.
Raga Khamaj
Raga Khamaj, the specific improvisational scale based on this mode, has the following structure:Aroha (ascending structure)-'N S G m P N S'. If Sa=C, then this would translate to B C E F G A B C
Avroha-S' n D P m P D G m R S. If Sa=C, then this would translate as C B-flat A G F G A E F D C.
The vadi
Vadi (Hindustani classical music)
Vadi, in both Hindustani classical music and Carnatic music, is the dominant swara of a given raga . "Vadi is the most sonant or most important note of a Raga." It does not refer to the most played note but it rather refers to a note of special significance.It is usually the swara which is...
or sonant note is Ga, the dominant.
The samavadi
Samavadi
In Indian classical music, the second-most prominent note of a raga is referred as samvadi. This could be misleading, as it may not necessarily refer to the second-most played note....
or con-sonant note is Ni, the mediant.
There is no universally-accepted pakad
Pakad
In Hindustani music, a pakad is a generally-accepted musical phrase thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the pakad a person who knows the raga is usually able to identify it...
for Raga Khamaj, although the phrase m-P-D-G-m-R-S is considered important. ND MPD MG too is quite predominant pakad
Pakad
In Hindustani music, a pakad is a generally-accepted musical phrase thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the pakad a person who knows the raga is usually able to identify it...
.
The prahar
Prahar
In Indian languages, prahar is a unit of time. A day is divided into eight Prahars, making each prahar equivalent to three hours. The first prahar starts at 3am....
(prescribed performance time) of Raga Khamaj is 9 pm to midnight.
This raga has been explored more in the lighter forms of Hindustani Classical Music such as Thumri, Tappa etc. Yet a few compositions in Dhrupad and Khayal are found as well.
Compositions in Raga Khamaj – In Dhrupad
Dhrupad
Dhrupad is a vocal genre in Hindustani classical music, said to be the oldest still in use in that musical tradition. Its name is derived from the words "dhruva" and "pada"...
, Sadra
SADRA
SADRA also known as "Iran Marine Industrial Company" was founded in 1968 as a small ship repair yard in Bushehr. Since then, SADRA has established itself as the leading shipbuilding and shiprepairing company in Iran. SADRA is also active in offshore oil & gas development. SADRA specializes in...
, Khayal, Thumri
Thumri
Thumri is a common genre of semi-classical Indian music.The text is romantic or devotional in nature, and usually revolves around a girl's love for Krishna. The lyrics are usually in Uttar Pradesh dialects of Hindi called Poorbi and Brij Bhasha...
& Tappa
Tappa
Tappa is a city and a municipal council in Sangrur district in the Indian state of Punjab.-Demographics: India census, Tappa had a population of 18,887. Males constitute 54% of the population and females 46%. Tappa has an average literacy rate of 57%, lower than the national average of 59.5%: male...
styles :
- Sudhi Bisara Gayi...(SadraSADRASADRA also known as "Iran Marine Industrial Company" was founded in 1968 as a small ship repair yard in Bushehr. Since then, SADRA has established itself as the leading shipbuilding and shiprepairing company in Iran. SADRA is also active in offshore oil & gas development. SADRA specializes in...
form – in 10 beat cycle of Jhaptala.Sung by Abdul Karim KhanAbdul Karim KhanUstad Abdul Karim Khan , was an Indian classical singer of the Kairana gharana .-Early life and background:...
of Kirana GharanaKirana GharanaKirana Gharana is one of the most prolific Hindustani khyal gharanas.-History:The name of this school of music derives from Kirana or Kairana, a town and tehsil of Muzzafarnagar District in Uttar Pradesh...
) - Piya Tori Tirchhi Najar Laage Pyaari Re... (Bol Banav Ki Thumri form. Sung by Faiyaz KhanFaiyaz KhanUstad Faiyaz Khan is so far the best known exponent of Agra Gharana in Hindustani classical music. He was the master khayal vocalist of his time. Born at Sikandara near Agra in 1886 , he was the son of Shabr Hussain, who died three months before his birth...
of Agra *Gharana) - Koyaliyan Kuhuk/Kook Sunaave... (Khayal/Bandishi Thumri form – in 16 beat cycle of Teentala. Sung by Nisar Hussain Khan of Rampur Gharana, Ajay Chakravarti of Patiyala Gharana
- Shyaam Rang Daari... (DhrupadDhrupadDhrupad is a vocal genre in Hindustani classical music, said to be the oldest still in use in that musical tradition. Its name is derived from the words "dhruva" and "pada"...
form – in 14 beat cycle of Dhamar Tala. Sung by N. Zahiruddin Dagar & F. Wasfuddin Dagar) - Sudh Naa Lini Jabse Gaye... (DadraDadraDadra refers to two separate but originally linked concepts in Hindustani classical music.-Dadra tala:This is a Hindustani classical tala , consisting of six beats in two equal divisions of three. The most commonly accepted theka or basic pattern for this tala is dha dhi na, dha tu na...
form – Sung by Faiyaz KhanFaiyaz KhanUstad Faiyaz Khan is so far the best known exponent of Agra Gharana in Hindustani classical music. He was the master khayal vocalist of his time. Born at Sikandara near Agra in 1886 , he was the son of Shabr Hussain, who died three months before his birth...
of Agra GharanaAgra gharanaAgra Gharana is a tradition of Hindustani Classical Vocal Music descended from the Nauhar Bani. So far, Nauhar Bani has been traced back to around 1300 AD, during the reign of Emperor Allauddin Khilji of Delhi....
and also Mentioned in Vishnu Narayan BhatkhandeVishnu Narayan BhatkhandePandit Vishnu Narayan Bhatkhande was an Indian musicologist who wrote the first modern treatise on Hindustani Classical Music , an art which had been propagated earlier for a few centuries mostly through oral traditions...
's Kramik Pustak Malika Vol. 2)
Hindi Film Songs based on Raga Khamaj :
- Bada natkhat hai...ka kare yashoda maiya – Amar Prem
- Ayo kahanse ghanashyam – Buddha Mil Gaya
- Vo na aenge palatkar – Devdaas
- A dilse dil mila le – Navrang
- Dhal chuki shame Gam – Kohinoor
- Khat likha de savariyake nam babu
- Mere to giridharagopala – Meera
- Tere bina sajna lage na jiya hamar – Aarti
- Tere mere milan ki raina.
The Narsinh Bhajan "Vaishnav jan to" is also based on Khamaj.
The Sargam Geet is as follows: set to teentaal, that is sixteen beats:
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 |
| G | G | S | G | M | P | G | M | N | D | _ | M | P | D | _ | M |
| G | _ | _ | _ | D | N | S | N | S | N | D | P | M | G | R | S |
This is the Prelude to the Sargam Geet, the underscore signifies the avagraha i.e prolongation of the previous note by one beat for one _ and
three beats in case of _ _ _