Section 4

In addition to the twelve notes, Hindustani classical

music is famous for using microtones to great effect.
Microtones play a very important role in raga music
and give it its trademark complexity. A subtle
change in the microtone used, and the mood
changes dramatically from, say playful to somber.
The g~ and d~ in Raag Darbari-Kanada, for
instance, indicate extra-flat versions of the notes g
and d and make this raga more serious and heavy
than its counterpart Jaunpuri (in the case of Miya-ki-
Malhar, a slightly sharpened version of g is used).
There are other reasons why Darbari-Kanada and
Miya-ki-Malhar are more serious than their
Welcome
counterparts Jaunpuri and Bahar - the fact that they
are sung mostly in the lower registers, the more Introduction
powerful ornamentations used. The most important
difference between the lighter ragas and their Notes
serious counterparts, however, is probably in their
musical phrasing. Raag Jaunpuri and Bahar use Scales
(raga)
short and crisp musical phrases that are resolved
Section:
with regularity. Raag Darbari and Miya-ki-Malhar, 1/2/3/4
however, deliberately create tension by using a
large number of unresolved or partially-resolved Rhythms
musical phrases. (taal)

As in the previous sections, I have provided a small Ornamentation

description of each raga including the mood
Notation
traditionally assigned to it as well as my own
understanding and experience of the raga. For
Listeners
Raag Jaunpuri
Raag Jaunpuri is a very pretty, if somewhat For
plaintive, raga. It portrays deep yearning mixed with Learners
a grounding sense of resignation. Compared with its
Simple
cousin, Raag Darbari, it has a distinctly feminine
songs
quality to it. It needs to be treated with a light touch
and uses predominantly light ornamentation. This Credits/Contact
raga is sung in the late morning hours, up to noon or
so.
Click to hear: Definition of Raag Jaunpuri
(Ascent: S R m P d n S' /Descent: S' n d P m g R S)

Pt. Venkatesh Kumar

Raag Jaunpuri

Ustad Fateh Ali Khan

Raag Jaunpuri

Raag Darbari-Kanada
Raag Darbari-Kanada is one of the most stately
ragas in the Hindustani tradition. The first part of its
name, Darbari, comes from the word darbar (the
king's court), and the second part, Kanada, indicates
that it is originally a Carnatic (south Indian) raga.
Grave and majestic, this raga is best sung in a
heavy bass voice during the late evening hours, and
sometimes deep into night. It is characterized by its
extensive use of powerful gamak ornamentation.

Click to hear: Definition of Raag Darbari

(Ascent: S R g~, m P d~, n S' /Descent: S' d~ n P, m P g~ m R S)

Ustad Fateh Ali Khan

Raag Darbari-Kanada

Ustad Munir Khan

Raag Darbari-Kanada

Raag Bahar
Bahar means spring, and Raag Bahar is filled with
the lightness and joyous celebration of springtime. It
is sung through out the spring season during the
early afternoon hours and lends itself best to a lively
tempo.

Click to hear: Definition of Raag Bahar

(Ascent: S m, m P g m, n D N S' /Descent: S' n P, m P, g m R S)
Pundit Bhimsen Joshi
Raag Bahar

Raag Miya-Ki-Malhar
The world-famous Raag Miya-Ki-Malhar is one of
the most ravishing ragas in the Hindustani tradition.
Malhar means "giver of rain" and all ragas that
contain the word Malhar in their names are rain
ragas. But not just any rain; it has to be the onset of
the Indian monsoon. If you haven't endured four
months of relentlessly rising mercury, searing heat,
dry dust storms during the day and suffocating
airless nights, you don't know what it feels like when
suddenly one day, black clouds gather in the
horizon, the thunder rumbles and temperatures drop
like lead as a cool wind swirls in dried leaves and
twigs ahead of the first monsoon storm. The
fragrance that rises as the first raindrops touch the
scorched earth is indescribable, peacocks start to
dance. And that is when the Malhar ragas are sung.
Miyan-Ki-Malhar can depict the joy and relief of the
first rains, but on a dramatically contrasting note, it
can also depict restless longing in separation and
unnamed fears. Ornamentations are used to great
effect in this raga to suggest the wind blowing, the
thunder rumbling and lightning cracking.

Click to hear: Definition of Raag Miya-Ki-Malhar

(Ascent: S m R P, m P n D N S' /Descent: S' D n P, m P, g+ m R S)
Pundit Shiv Kumar Sharma on the Santoor
Raag Miya-Ki-Malhar (cropped)

Pundit Bhimsen Joshi

Raag Miya-Ki-Malhar