by David Courtney working tools


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.


Ascending structure for Khammaj
(general discussion of arohana) - (general discussion of notation)


Descending structure of khammaj
(general discussion of avarohana)


Shadav - Sampurna - (general discussion of jati)


Second Part of Night - (general discussion of time and rag)


Khammaj That - (general discussion of that)


Pakad for Khammaj
(general discussion of pakad)


Sa - Pa - (general discussion of drone)


For more information check out "Elementary North Indian Vocal"



Selected Video











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For comments, corrections, and suggestions, kindly contact David Courtney at david@chandrakantha.com