RMIM Archive Article "411".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM/C Archives..
# Subject: Raga Basant Mukhari
# (Series on Hindustani ragas inspired by Carnatic ragas)
#
# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar
#
#
Subject: On Raga Basant Mukhari
Namashkar.
The next offering in the series featuring relatively uncommon Hindustani
rAgas, inspired or derived from the Carnatic paramparA, is Raga Basant
Mukhari (basant mukhAri). A brief note follows. The rAga is a janya of the
14th melakartA Vakulabharana (vakulAbharaNa), is scalically sampoorNa, and
employs the following sequence: S r G M(shuddha) P d n.
Subbarao in his "Raganidhi" lists two rAgas deploying this scale,
one of which takes on the melakartA name. The other is the first
(sampoorNa-sampoorNa) of the two types of Basant Mukharis extant. We
invite comments from the Carnatic experts on the distinguishing features
of these two rAgas and suggestions of recordings/compositions.
The circulation of Basant Mukhari in the Hindustani stream follows the
efforts of S.N. Ratanjankar. The A/A set is as follows:
S r G M P d n S"::S" n d P, M, G M (G)r S
It is obvious from the above that the poorvAnga is scalically akin to
Bhairav and the uttarAnga to Bhairavi. It is, in fact, the deft interplay
of these two that the character of Basant Mukhari owes much to. Let us
briefly hint at how that swarUpa might be made manifest.
The signature of Bhairav largely comes from its attack on the komal
rishab, viz., G M (G)r, S and S (G)r (G)r S. These features are retained.
In addition the "Bhairavi rishab", i.e., the rishab as implemented in
Bhairavi, contributes its mite. For instance, S, r n' d' P', d'n'SrS...
The madhyam dominates and the melodic action in Basant Mukhari gravitates
towwards that swara. The importance accorded the pancham is slightly less
than that of the madhyam, but not by much. Once again, the pancham is
approached in either of two ways: the Bhairav-approach and the Bhairavi-
approach. As an example of the former we have: G M (n)d (n)d P; and
for the latter: P d n S", r" n (n)d P. It is this juxtaposition, casual
but definite, of Bhairav now, Bhairavi next, then Bhairav, then Bhairavi -
in formal terminology, the precipitation of AvirbhAva and tirobhAva - that
makes for the sui generis of Basant Mukhari.
A sample chalan may now be inserted:
G M P d [n] d P, r" n d P, G M (n)d P, M G M, P m (G)r, S
The swara in square brackets above indicates a kampita-like gamaka,
which enhances the beauty of that passage.
There are a few good recordings available. Mr Khan of San Rafael and
Mr R. Shankar of Encinitas have both recorded the rAga, although I do
not recall their treatment in detail other than to say they're "good."
I have listened to a marvellous private recording of Basavraj Rajguru (thanks
to his disciple Nachiketa Sharma) that has him rendering a vilambit kHayAl
in roopak. Basavraj's treatment goes a trifle light on the Bhairav angle and
instead the Bhairavi ang preponderates. Mr Ajoy Chakraborty has also recorded
the rAga but you won't catch me recommending this mediocre, listless,
garden-variety bongwit to anybody even on a moonless night. But you might
still want to check it out for the rAga treatment.
The scale of Basant Mukhari falls out of a moorchanna on the scale of
Kirwani and vice-versa. For instance, the madhyam of B-Mukhari treated as the
shadaj yields the latter. For a film composition based on the Basant Mukhari
scale, one that comes to mind is by the recently deceased Talatiya Mahmood
(doyen of the ronA-dhonA brigade, inspiration of the soft, sentimental and
caring nineties man) from the film 'Patita' under Shankar-Jaikishan's baton:
andhe jahAN ke andhe rAste jAye to jAyeiN kahAN...
The composition offered below is the well-known Ratanjankar classic and
speaks of our old friend, the horny Hindustani hag (55 yrs old but looks
not a day under 90), pining for her studmuffin.
Warm regards,
r
*****
Raga: Basant Mukhari
Tala: Teental
Composer: S.N. Ratanjankar
uThata jiyA hooka suni koyala kooka
birahA agan jaRi raina-dinA
nahiN chaina paDe mohe, kAri karuN
lagan lagi milave ko chAhe
jiyA nahiN mAnata
nisdin neera jhaRe nainana soN, kAri karuN
Glossary:
hooka = pang
birahA = pain of separation
Key:
(1) All shuddha notes in caps (M=shuddha madhyam, m=tivra madhyam)
(2) The " and ' following a note denotes its tAr-saptak and mandra-
saptak affiliation, respectively.
(3) The grace note is enclosed in parenthesis of the type () and it
operates on the note immediately following it.
Asthaie:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
(n)d (P)M P (M)G M
u.....THa...ta ji....yA
P - P P P (n)d n S"(n)d - P n d P M P
hoo.......ka su...ni ko...ya...la koo........ka bi....ra....hA..... a
G M (G)r S r" - n S"(n)d n (n)d P Pd nS" n d
ga...na ja...Ri rai.......na di...nA.... na....hiN chai........na pa
P MP(M)G M rG MP MG M (G)r - S
De..... mo...he kA........ri ka...ruN.........
Antara:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
P P (n)d - n
la....ga....na..... la
S" - - P d nS" r S"(n)d P - (G)M (G)r - (M)P M
gi......... mi...la...ve.... ko chA..he..... ji....yA..... na....hiN
r - S S - SS M (M)G P - (n)d (n)d (d)S" - n d
mA........na...ta . nisa.di...na nee........ra jha...Re..... nai....
PM P M G rG MP MG(G)M (G)r - S
na...na soN... kA........ri ka...ruN.........
*****
From the RMIM Article Archive maintained by Satish Subramanian