Named after the city of Jaunpur, near Benares, rag Jaunpuri is very similar to Asawari.
The main differences are in the mood, which is less serious, in the use of ni, which is used more freely, and in register; Asawari generally avoids the higher octave, while Jaunpuri uses it extensively.
Some phrases in Jaunpuri that would not be used in Asawari are:
Rag Bageshri (also known as Bageshree, Bagesri or Bageshwari) is one of the most popular and often per-formed of the night ragas. A simple version of the ascend-ing-descending is:
This demonstrates the basic features of Bageshri:
Kafi that, Re omitted in ascent, Ma strong, Pa omitted in ascent, but used in vakra phrases in descent. These features are clearly stated in this longer version of the ascending-descending:
An even more complete picture of the rag is given in this short alap:
As its name implies, Bagesri Kanada is a combination of elements from Bagesri and Kanada. A very simple ascending-descending:
Bagesri Kanada
Kanada Bagesri Kanada Bagesri Kanada
Kanada Bagesri Kanada
Kanada
A chalan, with indications of what phrases come from where:
Malkauns, also known as Malkosh, is one of the most standard, simple, yet profound ragas. It is regarded by many as having numinous powers, such as the ability to attract djins. It is treated with great respect by many musicians, and
would never be performed outside of its appoint-ed time of early night.
Its scale is one of the simplest:
Malkauns is also considered one of the six 'male' rags, and has generated a large family of rags, whose names end with -kauns or -kosh.
Bhimpalasi is one of the most beautiful ragas of the late afternoon.
Two simple versions of the scale:
Bhimpalasi's main characteristics are shown: ommition of re and dha in ascending, crooked motions in descending.
Asawari is one of the most important late
morning ragas. It has a serious mood and is to be performed in a slow and dignified manner. There are three types of this raga: one with only komal re, one with only shuddh re and one with both.
In all three, ga and ni are avoided in ascend-ing, but ga is strong in descent. The vadi is dha and the samvadi is ga.
the first kind is the most common:
The second kind, using komal re, is sometimes called 'Komal Asawari' or 'Komal Rishab Asawari'.
The ascending-descending is basically the same as the first kind, but the use of ni and ga is a little less strict:
The third and rarest kind, using both
komal and shuddh re, but the komal re is weak and used only before sa:
Gaur Sarang is the first raga of the afternoon, and depicts the sleepy, naptime mood of that time of day. Despite the 'Sarang' in its name, Gaur Sarang has little in common with other ragas in that family.
Jaijaiwanti is one of the more complex of the frequently performed rags. Its gentle mood and melodic complexity make it unsuitable for fast performances. Ascending-descending scales can only give a vague picture of this type of raga.
Dhani is a simple, but not ferquently performed rag. Its similarity to Bhimpalasi and Soha Kanada may be the reason. It has a forceful and restless mood, and is usualy played in a fast tempo.
One of the most beloved ragas of all, and the most often performed of the rainy season rags, Desh (also known as Des) should not be confused with Desi Todi. The name means 'country' or 'land' and rag Desh is suitable for a wide variety of styles, from very plain to very complex and subtle.
A few of the most important phrases:
The key to the expression of raga is the phrasing of
' ' or ' '.
Here is an alap which shows some delicate orna-mentation and phrases which are not obvious from knowing the scale.
Many artists consider Desh and Desh Malhar to be identical. Others, though, make a distinction between the two. While both are considered
rainy season ragas, Desh Malhar adds a few phrases that move it closer to the other ragas of the Malhar family.
The biggest difference is in the use in Desh Malhar of a small touch of komal ga, much less than in Jaijaiwanti or any other raga. As in Jai-jaiwanti, the komal ga is used at the end of a phrase, and is always attached to re:
Also, careful touches of other signifiers of the Malhar family may be added.
e.g. chromatic use of both ni-s
e.g. the re-pa connection
This lovely raga is seldom performed, possibly
because of the difficulty in maintaining the distinc-tion between it and several similar, better-known ragas: Desh Malhar, Jhinjhoti, Jaijaiwanti, Kafi. While it has many of the same note-sequences as the other ragas, its phrasing and expression is dis-tinct.
Another of the simplest ragas, Durga as a friend-ly and loving character, as befits a raga named after the Mother goddess.
This raga is made up of elements from two of the main families of late-night ragas, the -kouns and Kanada families.
this chalan is somewhat unusual, in that it shows the entire range, from low to high twice:
Madhuwanti, whose name means 'garden of
honey.' is a relatively recent addition to Hindust-hani music.
Lalit, whose name means 'beautiful', is the first raga of the morning. It is unique among ragas in that the two forms of ma are freely used consec-utively.
Mian-ki-Sarang is the most complex raga of the sarang family. It is one of the only ragas to use bot the Ma-s and Ni-s consecutively. As its name indicates, it was allegedly composed by Mian
Tansen.
This rare and obscure raga uses the same notes as the popular raga Puria Kalyan, but in a more restricted way. It also has similarities to both Marwa and Puriya.
Also called Kedara, this raga is characterized by the dominance of shuddh ma and the interplay between both the forms of ma.
Madhu-Malati can be thought of as an expanded version of Madhuwanti, one which uses both forms of ma and ni.
Logically, one would expect that the higher forms of the notes would be used in ascending and the lower in descending, but the following chalans show a more complex picture:
