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Raag Multani

तीवर मध्यम कोमल रिगध, आरोहन रिध हानि

पस वादी सम्वादी ते, गुन गावत मुलतानी

Brief Description of Raag Multani: 

Raag Multani is believed to have its origin in Todi Thaat. In this Raag, Re, Ga and Dha are Komal and Ma is Teevra. Vaadi is Pancham of Samvaadi Shadja. In Aaroh, Rishabh and Dhaivat are prohibited, yet all the severe Swar are sung in Avaroh. Thus, its genre is a complete Audav. This Raag is sung or played in the 4th Prahar of the day (i.e. in the 12th hour of the day).

Aaroh: नि सा म म प नि सां

Avaroh: सां नि प, म , म रे सा

Pakad: नि सा म म प, म रे सा

Exclusiveness of Raag Multani:

  1. In this Raag, Aalaap generally starts with Mandra Nishad. e.g. Ni Sa Ma Ga Ma Pa
  2. When the singer moves to Madhya Ga from Mandra Nishad, he first of all touches Teevra Ma and then comes to Gandhar with a slur (meend). e.g. Ni Sa Ma Ga Re Sa. Thus, coming to Gandhar from Madhyam is one of the prominent features of Raag Multani.
  3. Chalan of this Raag is similar in Mandra, Madhya and Taar Saptak.
  4. This Raag is considered as Parmel-Praveshak. This is because; it is the last Raag to be sung in the 4th Prahar of the day. In this Raag, with Komal Gandhar, Komal Re and Dha also are sung. As Rishabh is Komal, this Raag falls in the category of twilight Raagas.  This Raag has the specialty of both the 4th Prahar and twilight time. Thus, it takes us from Todi Thaat Raagas to Purvi, Marva and Bhairav Thaat Raagas. Therefor, it is called as Parmel-Praveshak Raag. A Parmel-Praveshak Raag is a type of Raag, which is in between two Thaats and takes us from one Thaat to the second.
  5. In Raag Multani, if Rishabh-Dhaivat are sung as Shuddha, it becomes Raag Madhuvanti.

Also Read about :

Special Swar:

  1. Ni Sa Ma Ga s Re Sa
  2. Ni Sa Ma Ga s Ma Pa
  3. Pa, Ma Ga Ma s Ga, Re Sa,
  4. Ga Ma Pa Ni s Dha Pa

Nyas Swar: Sa, Ga, Pa and Ni

Sama Prakriti Raag: Todi

Multani: Ni Sa Ma Ga s Ma Pa, Ma Ga, Ma Ga Re Sa

Todi: Sa Re Ga Ma Ga, Re Ga Re Sa

Swaras:

Sa : Regular

Re: Modest Langhan in Aaroh and Prominence of Alanghan in Avaroh

Ga: Prominence of both the types

Ma: Prominence of Alanghan

Pa: Prominence of both the types

Dha: Modest Langhan in Aaroh and Prominence of Alanghan in Avaroh

Ni: Prominence of both the types

 

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About Pratik Kashallu

Hey Cassicals , I am Pratik Kashallu and I am steady followers of Indian Classical Music…just like you. I’ve have a passion for collecting antique classical gramophone records and record players. Thousands of antique gramophone records and many record players are available in my collection. With this zeal, I am a Admin of world famous Facebook fan page "Indian Classicl Music Fan Club" which is loaded by more than 22K facebook fans and it's total weekly reach is around 90K

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