RMIM Archive Article "411".


From the RMIM Article Archive maintained by Satish Subramanian

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# RMIM/C Archives..
# Subject: Raga Basant Mukhari
#	(Series on Hindustani ragas inspired by Carnatic ragas)
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# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar 
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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