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Major Revision. Added Text Box, consolidating Pakads.
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{{No footnotes|date=April 2009}}
{{No footnotes|date=April 2009}}
{{Hindustani Classical Music}}
{{Hindustani Classical Music}}
{| class="toccolours" cellpadding="3" cellspacing="0" style="float: right; margin: 0 0 1em 1em; width: 25em; clear: right" width=43%
⚫
'''Khamaj''' ({{lang-ur|کھماج}}) is one of the ten [[Thaat]]s (parent scales) of [[Hindustani music]]. It is also a specific [[raga]] in Khamaj thaat.
|-
⚫
Khamaj or Khamaaj is also the title of a popular song by [[Fuzön]] sung by [[Shafqat Amanat Ali]]
| colspan="2" style="font-size: larger; text-align: center; background: #dc7a54; " | [[Khamaj]]
|-
| colspan="2" style="text-align: center;"|
|-
| '''Thaat'''
⚫
| [[Khamaj]]
|-
| '''Aaroha'''
| Sa Ga Ma Pa Dha Ni Sa
|-
| '''Avroha'''
| Sa {{overline|Ni}} Dha Pa Ma Ga Re Sa<br />

|-
| '''Pakad (6 listed here)'''
| Ga Ma Pa Dha {{overline|Ni}} Dha<br />
Pa Dha Ma Ga<br />
Re Sa<br />
{{overline|Ni}} Dha Ma Pa Dha Ma Ga <br />
{{overline|Ma}} Pa Dha Ga {{overline|Ma}} Re Sa <br />
Ni Dha Ma Pa Dha Ma Ga
|-
| '''Vaadi'''
| Ga
|-
| '''Samvaadi'''
| Ni
|-
| '''Prahar (Time)'''
| Evening (Pratham Prahar)
|}

⚫
[[Khamaj]] ({{lang-ur|کھماج}}) is one of the ten [[Thaat]]s (parent scales) of [[Hindustani music]]. It is also a specific [[raga]] within the Khamaj [[thaat]].

Many [[ghazal]]s and [[thumris]] are based on [[Khamaj]]. It utilizes the komala (flat) form of Ni on the ascent, and the shuddha (pure) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance.

==Khamaj Thaat==
==Khamaj Thaat==


The parent-scale Khamaj Thaat, notated in [[sargam]] notation, has the following structure:
The parent-scale or Thaat of Khamaj, notated in [[sargam]] notation, has the following structure:
Sa Re Ga {{overline|Ma}} Pa Dha {{overline|Ni}} Sa.
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:
In Western terms, assuming the tonic (Sa) to be at C, the scale would be:
C D E F G A B-flat C.
C D E F G A B-flat C.
Khamaj thaat is thus equivalent to the [[mixolydian]] [[musical mode|mode]] in Western classical music.
Khamaj thaat is thus equivalent to the [[mixolydian]] [[musical mode|mode]] in Western classical music.


The [[Carnatic music]] equivalent of the Khamaj Thaat is ''[[Harikambhoji]]'', the 28th [[Melakarta]] [[raga]].
The [[Carnatic music]] equivalent of the [[Khamaj]] Thaat is ''[[Harikambhoji]]'', the 28th [[Melakarta]] [[raga]].


==Raga Khamaj==
==Raga Khamaj==


Raga Khamaj, the specific improvisational scale based on this mode, has the following structure:
According to Prem Jialal Vasant, [[Khamaj|Raga Khamaj]], the specific improvisational scale based on this mode, has the following structure:


[[Aroha]] (ascending structure)-S G M P D N S' [[Avroha]]-S'n D P M G R S <ref>SWAAI SANGEET (Part 1) Theory of Indian Classical Music by Prem Jialal Vasant</ref>
[[Aroha]] (ascending structure)-S G M P D N S' [[Avroha]]-S'n D P M G R S <ref>SWAAI SANGEET (Part 1) Theory of Indian Classical Music by Prem Jialal Vasant</ref>


If Sa=B, then this would translate to B C E F G A B C
If Sa is tuned to B, then this would translate to B C E F G A B C
If Sa=C, then this would translate as C B-flat A G F G A E F D C.
If Sa is tuned to C, then this would translate as C B-flat A G F G A E F D C.


There is no universally-accepted [[pakad]] for Raga Khamaj, although some consider the phrases
The Jaati: Shadav-Sampoorn
The [[Vadi (Hindustani classical music)|vadi]] or sonant note is Ga, the dominant.
The [[samavadi]] or con-sonant note is Ni, the mediant.
There is no universally-accepted [[pakad]] for Raga Khamaj, although the phrase m-P-D-G-m-R-S is considered important. ND MPD MG too is quite predominant [[pakad]]. The [[prahar]] (prescribed performance time) of Raga Khamaj is 9&nbsp;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.
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.
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* Tere bina sajna lage na jiya hamar – Aarti
* Tere bina sajna lage na jiya hamar – Aarti
* Tere mere milan ki raina - [[Abhimaan (1973 film)|Abhimaan]]
* Tere mere milan ki raina - [[Abhimaan (1973 film)|Abhimaan]]
⚫
* Khamaj - [[Fuzön]] sung by [[Shafqat Amanat Ali]]


The Narsinh Bhajan "[[Vaishnav jan to]]" is also based on Khamaj.<br>
The Narsinh Bhajan "[[Vaishnav jan to]]" is also based on Khamaj.<br>
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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 <br>three beats in case of _ _ _
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 <br>three beats in case of _ _ _

'''rag khamaj
'''
aro-S G M P D N S

avaro-S N D p M G R S
⚫
Thata-Khamaj
Jathie-shadava,Sampurna
(because 6 Notes at the arohana and 7 notes at the avarohana)
Vadi-G
Sanvadi-N
Pakad-n(komala N)D MPD MG
Time of singing- secound quator of night
brief explanation - It is a very old rag very sweet and popular many gazals and thumris based on this rag .it has both komala and shudha N and athoer notes shudha notes.


==References==
==References==

Revision as of 16:32, 18 February 2013

Hindustani classical music
Concepts
Genres
Thaats
Khamaj
Thaat Khamaj
Aaroha Sa Ga Ma Pa Dha Ni Sa
Avroha Sa Ni Dha Pa Ma Ga Re Sa
Pakad (6 listed here) Ga Ma Pa Dha Ni Dha

Pa Dha Ma Ga
Re Sa
Ni Dha Ma Pa Dha Ma Ga
Ma Pa Dha Ga Ma Re Sa
Ni Dha Ma Pa Dha Ma Ga

Vaadi Ga
Samvaadi Ni
Prahar (Time) Evening (Pratham Prahar)

Khamaj (Template:Lang-ur) is one of the ten Thaats (parent scales) of Hindustani music. It is also a specific raga within the Khamaj thaat.

Many ghazals and thumris are based on Khamaj. It utilizes the komala (flat) form of Ni on the ascent, and the shuddha (pure) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance.

Khamaj Thaat

The parent-scale or Thaat of Khamaj, notated in sargam notation, has the following structure: Sa Re Ga Ma Pa Dha Ni Sa. 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 in Western classical music.

The Carnatic music equivalent of the Khamaj Thaat is Harikambhoji, the 28th Melakarta raga.

Raga Khamaj

According to Prem Jialal Vasant, Raga Khamaj, the specific improvisational scale based on this mode, has the following structure:

Aroha (ascending structure)-S G M P D N S' Avroha-S'n D P M G R S [1]

If Sa is tuned to B, then this would translate to B C E F G A B C If Sa is tuned to C, then this would translate as C B-flat A G F G A E F D C.

There is no universally-accepted pakad for Raga Khamaj, although some consider the phrases

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, Sadra, Khayal, Thumri & Tappa styles :

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 - Abhimaan
  • Khamaj - Fuzön sung by Shafqat Amanat Ali

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 _ 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 _ _ _

References

  1. ^ SWAAI SANGEET (Part 1) Theory of Indian Classical Music by Prem Jialal Vasant
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