This rag is one of the most common in Indian music. Although it is used in the classical styles, its romantic character makes it much more appropriate to the semi-classical and lighter styles. It is traditionally ascribed to the second part of the night. "Kuch To Log Lahenge" and "Nazar Lagi Raja Tore Bungal Par", are two well known examples of common songs in this rag. There are many other popular film songs in Khammaj as well.
Rag Khammaj has a clear musical structure. It is a shadav-sampurna rag due to the ommission of the Re in the arohana. Even in the avarohana, the Re is durbal (weak). The vadi is Ga and the samvadi is Ni. Undoubtedly its method of using Nishad is one of its most defining characteristics; it is shuddha (i.e., natural 7th) in the arohana but it is komal (i.e., minor 7th) in the avarohana.
Shadav - Sampurna - (general discussion of jati)
Second Part of Night - (general discussion of time and rag)
Sa - Pa - (general discussion of drone)
For more information check out "Elementary North Indian Vocal"
SMF 2006 - Chaitanya Kunte - Khamaj Tappa
Raag Khamaj - Ustad Bismillah Khan's tune
Rohan Dasgupta, Raag Mishra Khamaj Dhun, Keharva Taal
SMF 2005 - Saniya Patankar - Khamaj Tappa & Des
Sitar Recital :Ramprapanna Bhattacharya, Raag Khamaj
DHUN IN 6 BEATS IN KHAMAJ -SITAR- SAMEEP KULKARNI-PART1 OF 2
DHUN IN 6 BEATS IN KHAMAJ -SITAR- SAMEEP KULKARNI-PART2 OF 2
Esha Bandyopadhyay - Thumri - Raga Khamaj
Thumri in raag khamaj : Kaun gali gayo shyam
This page last updated
© 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012 David and Chandrakantha Courtney
For comments, corrections, and suggestions, kindly contact David Courtney at firstname.lastname@example.org