Asavari & Associates

By Rajan P. Parrikar

Rajan P. Parrikar is a recognized expert on Indian

Classical music and shares his knowledge freely
Rajan P. Parrikar (California, 1989)
with those interested in the subject.
He has written a series of articles on Classical
Indian Music some of which have been archived
on Sawf. Click here to read Rajan's earlier articles.

Namashkar.
Our incurable wanderlust through Ragaspace brings us to the next port of call: Raga Asavari. With
its cachet as an elemental rAga in the Hindustani firmament, Asavari's counsel and influence have
profoundly shaped the Indian musical imagination. This compendium explores that engaging
melody as well as its derivative rAgas, or Asavariants, as I like to call them.

Asavari is a very ancient rAga as is the allied Raga Gandhari; both find mention in Sarangdeva's
treatise Sangeeta Ratnakara. In his great exegesis, Hindustani Sangeet Paddhati, Pandit Vishnu
Narayan Bhatkhande plies his fine-toothed comb through the (often conflicting) major ancient
works, cutting as best as he can the Gordian knots of rAga nomenclature and structure in their
journey through time. The curious reader is referred to his magnum opus for historical minutiae
concerning both the surviving rAga forms as well as those of the ancien regime. We will here train
our sights on contemporary musical practice. Throughout this discussion, M=shuddha madhyam
and m=teevra madhyam.

Group picture with President Rajendra Prasad (c. 1950)

Click on the image to enlarge

Front row, sitting (l-r): Unknown, Nissar Hussain Khan, Ahmad Jan Thirakhwa, Hafiz Ali Khan,
Mushtaq Hussain Khan, Omkarnath Thakur, Rajendra Prasad (First President of India), Kesarbai
Kerkar, Allauddin Khan, Kanthe Maharaj, rest in the row unknown.

Second row (l-r): Ghulam Mustafa Khan, unknown, unknown, Keramatullah Khan, Radhika
Mohan Moitra, Illayaz Khan, Bismillah Khan, Kishan Maharaj, unknown, Ravi Shankar, Ali Akbar
Khan, Vilayat Khan, Narayanrao Vyas, Vinayakrao Patwardhan, D.V. Paluskar.

Third row (l-r): First four not known, Ghulam Sabir Khan, S.N. Ratanjankar, Gyan Prakash Ghosh,
next four unknown.

Fourth row (l-r): Unknown, Vinaychandra Maudgalya, next three unknown.

Raga Asavari
Asavari denotes a thAT, a rAgAnga and a rAga. The Asavari thAT, introduced ad hoc by
Bhatkhande as one of his 10 basic sets, represents the scale corresponding to the 20th Carnatic
melakartA Nata Bhairavi: S R g M P d n. The rAga, Asavari, itself comes in three flavours, each
distinguished by the manner of rishab use. They are, respectively, the shuddha rishab-only (R)
Asavari, the komal rishab-only (r) Asavari, and the third type employing both r and R. The swaras
of the R-only Asavari are aligned with the Asavari thAT proper whereas those of the r-only Asavari
belong to the Bhairavi thAT.

< -- Pandit Vishnu Narayan Bhatkhande

The oldest version, the r-only Asavari, is the preferred choice of the Dhrupadiyas. The switch to the
R-only is relatively recent and has come about through the agency of the Gwalior school.
Bhatkhande alludes to the Khayals by the Gwalior pioneers Haddu Khan, Hassu Khan and Natthu
Khan in support of this claim. The augmented rishab facilitates fast tAns so dear to the Khayaliyas
over the original S r M movement. Bhatkhande writes that the Rampur Dhrupad performers favour
the r-only Asavari. However, he also records, and this will be borne out when we hear Allauddin
Khan later, that he heard Vazir Khan render Asavari with both the rishabs.
The Aroha/avaroha set for the r-only Asavari is:
S r M P (n)d, (n)d S" :: S", r" n d P, d M P (M)g, r S
The shuddha rishab Asavari is obtained by appointing R in lieu of r in the above contour. The
essential features of Raga Asavari and Asavariants such as Jaunpuri, Gandhari and Devgandhar are
contained in Raganga Asavari. In the abstract proposed below the r-only Asavari is used for the
purpose of illustration.
S r P (n)d, d M P (M)g, r S
The key idea here is avarohi movement from P to g with only a hint of M (langhan alpatva).
Neighbourly amity between r and g must be held in check, for a potential tirobhAva (disappearance
of the swaroopa of the rAga under consideration) due to Todi lies in wait (see The Empire of Todi
for details of Raganga Todi).
M P (n)d, (n)d S", r" n d, P, M P n d, P, d M P (M)g, r S

The langhan alpatva of n en route to the shaDaj in Arohi movements is an Asavari signpost. The
dhaivat and pancham are locations of repose (nyAsa bahutva). The gandhAr is also a nyAsa swara
but less so than P and d. Notice the Bilaskhani Todi-esque descending contour. The prescribed pause
on P from d puts paid to any Bilaskhani aspirations.

Pandit Ramashreya Jha "Ramrang" -- >

That was the gist of the Asavari Raganga, according to Hoyle. Not every subtlety and nuance can be
conveyed or put down in words. While we do not wish to make light of the details, our guiding
spirit is that espoused by Einstein: "I want to know God's thoughts; the rest are mere details."
Obiter dicta: An oft-heard phrase, P M P S" (n)d P, serves as a conduit for uttarAnga forays. The M
P (n)d swara ucchAraNa (enunciation) above radically differs from that in Darbari (see The Kanada
Constellation). The motivated reader is encouraged to think up possible tirobhAvAs due to Bhairavi.
Although a kosher Asavari omits the nishad in Arohi runs, it is sometimes solicited in clusters
around the shaDaj, the tAra shaDaj in particular. To wit, n S" or n S" r".
Ramashreya Jha "Ramrang" takes us through a running tour of Asavari. In him are joined the twin
virtues of clarity of thought and gift of expression. The exposition was taped off a telephone line
and reins in all the points made above and more:
http://www.sawf.org/audio/asavari/jha_asavarispeak.ram
Jha-sahab's fifth volume of Abhinava Gitanjali, long overdue, will be off the press within the next 2-
3 weeks. A complete discourse on Asavari is among the contents. (Note added later: The fifth
volume is now out)
A superb cast of clips awaits us as we ring up the curtain in the classical theatre. The r-only Asavari
is presented first and we set the ball rolling with a druta rendition by D.V. Paluskar. Both the old
bandish and Paluskar's elaboration sign up to a canonical Asavari: baDhaiyyA lAvo -
http://www.sawf.org/audio/asavari/dvpaluskar_asavari.ram

Renditions of komal rishab Asavari abound. Several of the well-known conceptions are seduced by
Bilaskhani, leading to a violation of at least one standard Asavari clause, namely, the skipping of P
in descent. Recall that r" n d M g is a vital Bilaskhani gesture. When it is introduced into the
Asavari stream, quick measures are (or must be) implemented to stem any incipient Bilaskhani tide.
One strategy is to first assert Asavari by, say, M P (n)d M P, before the slide down d M g, then
reinstate Asavari through r M P, d M P. Although the specifics will vary the reflective musician will
signal his intent to stave off Bilaskhani and advance Asavari. Let us now examine the prevailing
mores in light of this point and the various imperatives adopted.
An excerpt of an AlAp by Rahimuddin and Fahimuddin Dagar reveals their cards. Later, they pick
up on a traditional Dhrupad: Ayo re jeet hi Raja Ramachandra -
http://www.sawf.org/audio/asavari/dagars_asavari.ram

Sawai Gandharva charms with delicate touches: preeta na keeje -

http://www.sawf.org/audio/asavari/sawai_asavari.ram

Following in his guru footsteps, Bhimsen Joshi:

http://www.sawf.org/audio/asavari/bhimsen_asavari.ram

< -- Gangubai Hangal

Same lineage, similar mannerisms, a different bandish. Gangubai Hangal: mAta Bhavani -
http://www.sawf.org/audio/asavari/gangubai_asavari.ram

A vigorous Agra rendition by Younus Hussain Khan is somewhat tainted by his stepping once too
often into Bilaskhani's circle of influence -
http://www.sawf.org/audio/asavari/younus_asavari.ram

Amir Khan's mehfil recording was first offered in the Todi feature under "Asavari Todi." Komal
Rishab Asavari and Asavari Todi are names of the same rAga although some posit a distinction by
prescribing an explicit Todi-anga for the latter. This masterly statement by one of the greatest
musicians of all time shows Asavari at its most sAtvic -
http://www.sawf.org/audio/asavari/amirkhan_asavari.ram

Bade Gulam Ali Khan -->

Bade Ghulam Ali Khan sounds crisp and fresh in this 1950s mehfil recording. An excerpt of the
druta portion -
http://www.sawf.org/audio/asavari/bgak_asavari.ram

Now, for the sole R-only Asavari exhibit, by the Gwalior duo of Akhtar Ali Khan and Zakir Ali
Khan. It is a textbook Asavari mediated by the traditional Gwalior bandish, nAvariyA jhAnjari -
http://www.sawf.org/audio/asavari/aak_zak_asavari.ram

The third flavour of Asavari embraces both the rishabs. Typically, the higher shade prevails in Arohi
sanchAris (S R M P d etc).
Faiyyaz Khan's stately AlAp makes it abundantly clear why the old bean was called "Aftab-e-
Mausiqui." Marvel at the swara lagAv and his delectable meeND work -

< -- Faiyyaz Khan

http://www.sawf.org/audio/asavari/faiyyaz_asavari.ram

Allauddin Khan Maiharwale plays Asavari with both the rishabs as did his guru Vazir Khan (vide
Bhatkhande's HSP). The proportion of r is calibrated, the Asavari lakshaNAs are beautifully
cultivated and nourished -
http://www.sawf.org/audio/asavari/allauddin_asavari.ram

Allauddin Khan's boy, Ali Akbar Khan San Rafaelwale, surpassed him in performance. At his peak
(pre-1970) Mr. Alubhai was without doubt the most complete instrumentalist of his generation. Ah,
what a lovely Asavari!

Allauddin Khan -- >

http://www.sawf.org/audio/asavari/aak_asavari.ram

Raga Jaunpuri
This rAga is very close in spirit and substance to the R-only Asavari so much so that some
musicians (for instance, Omkarnath Thakur) do not acknowledge any difference between the two. In
recent times Jaunpuri's dominance on the concert stage has virtually extinguished the shuddha
rishab Asavari. A widely accepted point of departure in Jaunpuri concerns the komal nishad in
Arohi sanchAris. Whereas in Asavari n is langhan alpatva (skipped) en route to the shaDaj that
stipulation is relaxed in Jaunpuri. Still other minor areas of independence from Asavari are
suggested, such as a higher value for P over d. As in the shuddha rishab Asavari, R receives a
pronounced grace of S. All said and done, Jaunpuri (and the rAgas to follow) deeply embodies the
Asavari-anga. A sample chalan is formulated:

< -- Ramkrishnabuwa Vaze

P M P S" (n)d, P... PdnS", d g" R" g" R" S" R" n d, P, D M P (M)g, (S)R S, (M)R M P n d, P
Madan Mohan's enduring composition from MADHOSH (1951) is among the myriad Jaunpuri-
inspired melodies. It is delivered by that doyen of the maudlin brigade, the quivering palindromic
lallu, Talat: meri yAd meN tum nA -
http://www.sawf.org/audio/asavari/talat.ram

Jaunpuri is often rendered with a lightness of touch in contrast to the solemn Asavari. An energetic
Dhamar by Younus Hussain Khan spreads the spirit: mArata pichakAri -
http://www.sawf.org/audio/asavari/younus_jaunpuri.ram

Kesarbai Kerkar -- >

The Atrauli-Jaipur musicians relish Jaunpuri and Kesarbai's is a breathtaking performance: huN to
jaiyyo -
http://www.sawf.org/audio/asavari/kesarbai_jaunpuri.ram

The same bandish from her Gharana confrere, Mallikarjun Mansur -

http://www.sawf.org/audio/asavari/mansur_jaunpuri.ram

Kishori Amonkar's old masterpiece is well-known. Here we have her in an unpublished mehfil. The
traditional vilambit bAje jhanana and the druta chestnut, chhom chhananana bichuvA bAje -
http://www.sawf.org/audio/asavari/kishori_jaunpuri.ram

From Roshanara Begum, a traditional Khayal: so aba ranga dhuliyA -

http://www.sawf.org/audio/asavari/roshanara_jaunpuri.ram CD Selections - Asavari

Faiyyaz Khan imparts deft graces to a well-worn Jaunpuri staple: phulavana ki gendana -
http://www.sawf.org/audio/asavari/faiyyaz_jaunpuri.ram

Kumar Gandharva's Jaunpuri marches to the beat of a different drum, as is to be expected from a
man who was no liege to any existing style or ideology. The bandish is his own: ari yeri jAgari -
http://www.sawf.org/audio/asavari/kumar_jaunpuri.ram

Ramkrishnabuwa Vaze breezes through as only he could -

http://www.sawf.org/audio/asavari/vazebuwa_jaunpuri.ram

Bismillah's piece will evoke nostalgic memories of festive occasions back home -
http://www.sawf.org/audio/asavari/bismillah_jaunpuri.ram

The final two items in Jaunpuri are among the earliest recordings made in India. First, Gauhar Jan's
1902 release of the famous bandish...
http://www.sawf.org/audio/asavari/gauharjan_jaunpuri.ram

... and a 1905 Tarana by Abdul Karim Khan -

http://www.sawf.org/audio/asavari/akk_jaunpuri.ram

Raga Gandhari
Although Gandhari is of ancient vintage there is no consensus regarding its contemporary
swaroopa. The Gandhari in common currency takes in both the rishabs, the shuddha in Aroha and
the komal in avaroha. This puts it in proximity of the bi-rishab Asavari discussed earlier. Then
there's the Gandhari that likes both the dhaivats. And yet another one that could be mistaken for
Jaunpuri. Precise rAga bheda within a specific school must, therefore, be established empirically by
examining their entire suite of Asavariants.
The Gandhari of two rishabs, purveyed by Ramashreya Jha "Ramrang," has Bhatkhande's sanction.
The Chaturpandit, in turn, holds out the Dhrupad taught to him by Vazir Khan - kahiyo Udho tuma -
as the touchstone for this rAga. The contours of Gandhari take after Asavari/Jaunpuri and the komal
rishab typically enters the frame in conclusion of a melodic idea. For instance:
R M P d M P (M)g, (S)R M P n d P (M)g, (g)r (g)r S
Ramrang suggests that there is a increased presence of Todi here. Hence the rAga also goes by
Gandhari Todi. Both the compositions of Ramrang lay bare the rAga -
http://www.sawf.org/audio/asavari/jha_gandhari.ram

S.N. Ratanjankar takes a similar view of Gandhari in two marvelous compositions one of which is a
Tarana. K.G. Ginde supplies the voice:
http://www.sawf.org/audio/asavari/ginde_gandhari.ram

Mushtaq Hussain Khan's Gandhari is for all intents and purposes a standard issue R-only Asavari.
There was clearly more than one version circulating in Rampur-Sahaswan -
http://www.sawf.org/audio/asavari/mhk_gandhari.ram

Gwalior, too, is ambivalent on the issue. There's the bi-rishab Gandhari, recorded in this splendid
performance of D.V. Paluskar: beeravA manuvA saguna bichAro -
http://www.sawf.org/audio/asavari/dvpaluskar_gandhari.ram

And there's this breakaway version with just one rishab (shuddha) and both the dhaivats, as witness
this rendition by Hameed Ali and Fateh Ali Khan -
http://www.sawf.org/audio/asavari/hak_fak_gandhari.ram

< -- Mallikarjun Mansur

Atrauli-Jaipur gets to have the last word. True to form, Alladiya Khan has conceived his Gandhari
with a twist. There's just one rishab (shuddha), the avaroha traces out a peculiar trajectory bypassing
the pancham (R" n d M g R). The cameo role of the shuddha dhaivat is masterful and will be left to
the reader to ferret out. Mallikarjun Mansur, kara mana tero -
http://www.sawf.org/audio/asavari/mansur_gandhari.ram

Raga Devgandhar
The recipe for Devgandhar: Take shuddha rishab Asavari, add shuddha gandhAr as in R n' S R G,
M. Shake well (but don't stir). This proviso of G adds a most beautiful touch to the proceedings if
executed judiciously. The rAga is popular with the Gwalior musicians. A sample chalan assumes the
following form:
R M P n d P, d M P (M)g, (S)R S, R n S R G, M, P (M)g (S)R S

K. L. Saigal -- >
K. L. Saigal's very first recording in 1932 went on to become a national chant. He was initially paid
25 rupees for the song. The recording company later offered him much more in response to the
massive sales but Saigal-sahab refused the largesse. The song in question was based in Raga
Devgandhar: jhulanA jhulA'o -
http://www.sawf.org/audio/asavari/klsaigal.ram

From SARGAM (1950) comes a nugget conceived by C. Ramchandra. Lata Mangeshkar and
Saraswati Rane: jab dil ko satAve gHam -
http://www.sawf.org/audio/asavari/lata_saraswatirane.ram

< -- Ramashreya Jha "Ramrang"

Ramrang's composition, samajhata nAhiN, formally introduces Devgandhar -
http://www.sawf.org/audio/asavari/jha_devgandhar.ram

S.N. Ratanjankar: first the traditional composition, raina ke jAge, and then his own composition,
Aja sunA'o -
http://www.sawf.org/audio/asavari/snr_devgandhar.ram

C.R. Vyas: raina ke jAge and then the Gwalior favourite lADili banA bana -
http://www.sawf.org/audio/asavari/crvyas_devgandhar.ram

The lADili banA composition is reprised in vilambit Tilwada by the grand doyen of Gwalior,
Krishnarao Shankar Pandit -
http://www.sawf.org/audio/asavari/krsp_devgandhar.ram

Jitendra Abhisheki -- >

The concluding piece by Jitendra Abhisheki is the much-loved cheez of "Manrang," distinguished
by its staccato-like design: barajori na karo re KanhAie -
http://www.sawf.org/audio/asavari/abhisheki_devgandhar.ram
An extension of Devgandhar with an additional komal rishab has been developed by S.N.
Ratanjankar and it goes by "Devgandhari Todi."
Abdul Karim Khan's recording of chandrika hi jaNu mistakenly carries the "Devgandhar" label. It
is the Carnatic Raga Devgandhari (not Devgandhar) that has swara contours closely allied to the
song, a clue to the origin of the labeling error.
Raga Khat
Most vidwAns are of the opinion that the word "Khat" is an apabhransha of "Shat" (meaning six in
Sanskrit); the reference is to the six rAgas said to constitute Raga Khat. However, even among
those who work with this premise, there is no consensus on just what those six rAgas are.
Consequently, a wide variety of opinion is encountered concerning the swaroopa of this sankeerNa
rAga. The curious reader is referred to Pandit Bhatkhande's detailed discussion of the several
prevalent flavours of Khat. Here we shall take the empirical approach and briefly nibble at
snapshots from available recordings.
Although Raga Khat does not lend itself to a generalized shAstraic capture, a few observations
usually hold up: Most current versions take Asavari for their base and then co-opt material from
other rAgas. The Andolita nature of the komal dhaivat stands out as a defining characteristic. None
of the versions finds use for the teevra madhyam. The adjunct rAgas are drawn from a pool with
members as varied as, but not limited to, Bhairavi, Desi, Sarang, Suha Kanada, Sughrai and
Khamaj. With its inscrutable twists and turns, Raga Khat has traditionally shown a bias for
Dhrupad-oriented treatment. The Sadra in Jhaptala, vidyAdhara guniyana soN, has been the vehicle
of choice for a number of performers as witness the next four expositions.
The Andolita nature of d and the recurring n P sangati find expression in K.G. Ginde's excerpt. Also
take measure of the avarohi D in the asthAi and the Arohi M P D n S" prayoga in the antarA.
K. G. Ginde -
http://www.sawf.org/audio/asavari/ginde_khat.ram

Vazebuwa's treatment of the Andolita komal dhaivat occasions delight -

http://www.sawf.org/audio/asavari/vazebuwa_khat.ram

The influence of Raga Desi in the poorvAnga is conspicuous in the Atrauli-Jaipur panorama flashed
by Kesarbai Kerkar -
http://www.sawf.org/audio/asavari/kesarbai_khat.ram

Mallikarjun Mansur injects an occasional P D n S" sangati in the antarA (for instance at around 3:29
into the clip) -
http://www.sawf.org/audio/asavari/mansur_khat.ram

The final item in the Khat parade markedly deviates from its predecessors. Whereas the earlier
flavours all employed the shuddha rishab, Bade Ghulam Ali Khan builds on matériel furnished by
komal rishab Asavari -
http://www.sawf.org/audio/asavari/bgak_khat.ram

Raga Audav Asavari

This uncommon auDav-jAti (pentatonic) rAga advanced by Amarnath, a pupil of Amir Khan, has
the following swara set: S R M P d. The absence of the gandhAr prevents formation of the Asavari
anga. Some sing this melody under the name "Shobhavari." After listening to Amarnath's rendition
a friend perceptively remarked that he aspires for the heights of an Amir Khan but ends up being
waylaid by Banditji -
http://www.sawf.org/audio/asavari/amarnath_audavasavari.ram
Other variants of Asavari, mainly hybrids such as Jogiya-Asavari, Sindhura-Asavari etc., are also
heard in the lighter genres. They are not considered to be 'big' rAgas.

Acknowledgements:
My deepest thanks to Romesh Aeri, Ashok Ambardar, Ajay Nerurkar and an India-based collector
(who wishes to remain anonymous) for fulfilling some of my requests for published and
unpublished recordings. Anita Thakur of SAWF supplies the kindness and the cheer to keep this
going.
The contents of the article are Copyright © of the author and may not be reproduced in any form
without prior written permission from the author.

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