Raga Khamaj- A fragrance of Romance

Raga Khamaj 

 Raga Khamaj is a very popular and prominent  Raga in Hindustani Classical Music which represents both Ragang and Thaat. Khamaj is one of the major Ragang among the 30 various melodies that signify the distinctness of Indian classical music. Khamaj is also the mone among the 10 Thaat classified by the great musicologist Pt. Vishnu Narayan Bhatkhande. The Ashriya Raga Khamaj is classified under Khamaj Thaat. In this Raga both forms of Nishad (Ni) is used simultaneously, Shuddh Nishad in ascending and  Komal Nishad in descending order, and the rest of the notes are used in Suddha (Natural) form. In Aaroh Rishav (Re) is completely restricted and Suddh Nishad is used and Avroh is of all seven notes following with Komal Nishad. Jati of the  Raga in Shadav-Sampurna because Re is restricted in Aroh and singing time according to the Shasta in the first phase of the evening. This Raga is Purbang dominance where Gandhar is considered as the Vadi Swar or the main essence notes of the Raga. Dhaivat in Samvadi Swar and  Shadaj, Gandhar, Pancham, and Nishad are Nyas of the Raga Khamaj. 

          Raga Khamaj is not only the Raga but also the Ragang. Various other Ragas in Hindustani Classical Music adjoined with Khamaj-ang. Ga ma Pa Dha-ma Ga, Ga ma Dha Ni Dha ma Pa Dha ma Ga, Ga ma Ni Dha Ni Pa Dha Ni Sa, Sa Ni Dha Pa Dha ma Ga denotes the Khamaj-ang. Raga Jhinjhoti, Ahirbhairav, Gara, and many others are the Ragas mixture of Khamaj-ang with other melodies to form a new melody in Hindustani Classical Music. Semi-Classical forms of Hindustani Classical music are commonly sung in this Raga Khamaj i.e  Thumri, Dhamar, Dadra, Hori, Bhajan Chota Khyal in Geet, Ghazals are very often singing in this Raga. Dhrupad, Bada, Khyal are rare but sometimes in practice...

Aroha         :        Sa Ga ma Pa, Dha Ni Sa

Avroha       :        Sa Ni Da, Pa, ma Ga Re Sa

Pakad         :        Sa Ga ma Pa, Ga ma Ni Dha Ni Pa Dha ma Ga ma Ga Re Sa

Note: Please learn this raga with Guru in order to understand the proper note combination and its actual grammatic sequence of Raga. 

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