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Writing about the musical theory of Indian classical music is fraught with difficulties stemming from the lack of set or formal methods of written notation. Indian music is an oral tradition taught seena-ba-seena (person-to-person), hence written notations were not an essential part of attaining talim (knowledge). However modern scholars have used different ways to express the nuances in a Raga with accuracy. Notations of Raga Madhukali have been given in Raga-Rang section of website Omenad.
Arohana and Avarohana
Vadi and Samavadi
Pakad or Chalan
This Raga is Pentatonic while ascending and Heptatonic in descending.
Organization & Relationships
Madhukali is a Raga created by Dr. Lalmani Misra, who played Vichitra Veena, on basis of classical principles of consonance (The Raga Guide: A Survey of 74 Hindustani Ragas, 1999). It blends Madhuvanti, Multani and Ramkali (Raga Rupanjali, 2007 p. 304).
Thaat: It belongs to the category of Raga-s that can be classified under any thaat.
This Raga makes use of all seven notes. However, while ascending, the second and the sixth notes are skipped. It comprises third and sixth flat with sharp fourth. The seventh note is both, natural and flat. A special use of this seventh is indicative of Ramkali.
Madhukali has no seasonal associations.
Created in late sixties.
Sitar recordings by Dr. Gopal Shankar Misra, Dr. Ragini Trivedi in personal collection.
Madhukali on Vichitra Veena by B G Beenkar, disciple of Gopal Shankar Misra
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors) The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
Basu, Pushpa. Raga- Rupanjali. Ratna Publications, Varanasi: 2007.
- SRA on Samay and Ragas
- SRA on Ragas and Thaats
- More about Madhukali
- Madhukali Organization
- Omescribe: Writing Indian Classical Music
- Madhukali by Ragaswar
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