Dr. Radhika Joshi

A primer to ragas of Jaipur-Atrauli Gharana

This webpage provides an introduction to the specialties of the Jaipur-Atrauli gharana using archival recordings from the Saptak Archive. The ten ragas selected for this presentation are ragas that are most often sung by vocalists of the Jaipur Atrauli Gharana, although some of these are also sung by vocalists of other gharanas. We present a brief analysis of the tenets of each raga and details of the various compositions sung using books and audio recordings available at the archives.

Sangeet Ke Jawarahat is a compilation of compositions released by Ustad Muhammad Saeed Khan, who is the son of Abdul Majeed Khan. Abdul Majeed Khan was a reputed Sarangiya and had received taleem from the founder of the Jaipur Atrauli Gharana, Ustad Alladiya Khan. He had also accompanied Surashree Kesarbai Kerkar in several concerts. In the foreword of this book, Ustad Muhammad Saeed Khan writes that the intent of this book is merely to allow the compositions of this gharana to reach the musicians of the coming generations.

For each of the ten ragas presented, we begin our analysis of each raga with an audio clip and text of compositions sung in the raga as presented in this book. Subsequently, we use recordings from Saptak Archives and present the same composition sung by artists in live concerts. For ragas that are also sung in other gharanas, we also present recordings of maestros outside the Jaipur Atrauli Lineage. In cases where the text of the compositions vary considerably, we also present the lyrics as sung in the archival recordings. These lyrics have been made available to us by many contemporary artists of the gharana including Dr. Milind Malshe, Dr. Arun Dravid, Pt. Raghunandan Panshikar, Smt. Pratima Tilak and Rutuja Lad.We are extremely grateful to for their help. This website is just a beginning of an ongoing effort to document the music of this gharana. Any comments or suggestions are most welcome.

A brief history of the Jaipur Atrauli Gharana
The Jaipur-Atrauli gharana is said to have emerged from Ustad Alladiya Khan's family which originated from Atrauli, Rajasthan. It is believed that Alladiya Khan named his style of singing as Jaipur-Atrauli as it was in the royal court of Jaipur where his music received the most praise and adulation. While none of Khansaheb's family members were able to carry the legacy forward, eminent disciples like Smt. Kesarbai Kerkar, Smt. Mogubai Kurdikar, Pt. Nivruttibua Sarnaik, Pt. Mallikarjun Mansur and contemporary artists such as Dr. Shruti Sadolikar, Pt. Raghunandan Panshikar, Dr. Ashwini Bhide Deshpande, Dr. Arun Dravid, Smt. Manjiri Asnare have ensured that the music of the Gharana continues to grow and flourish.
Click here to view the complete lineage of the gharana: Gharana Tree

Gayaki of the Jaipur Atrauli Gharana
The Jaipur Atrauli gayaki is known for maintaining a fine balance between emotion and intellect by placing equal emphasis on laya and sur. The gharana is also credited for reviving several jod-ragas and rare ragas that had otherwise gone into oblivion in the early twentieth century. Dr. Alka Deo Marulkar explains there are three types of Jod Ragas

1. One raga in the purvang (first half of the octave) and the other in the uttarang (second half of the octave)
2. One prominent raga, and the other simply adds flavour
3. Two ragas mixed in equal proportion

We now present a brief introduction to ten Ragas that are commonly sung by vocalists of this gharana

1. Bihari
2. Lalita Gauri
3. Basant Bahar
4. Basanti Kedar
5. Shuddha Nat
6. Sampurna Malkauns
7. Bhoop Nat
8. Nayaki Kanada
9. Bihagda
10. Kukubh Bilawal

Bihari
Raga Bihari is a rarely heard evening raga that resembles the more popular Raga Tilak Kamod. Although the origins of this raga are unknown it is today performed only by vocalists of the Jaipur-Atrauli Gharana. Further, there is only one vilambit composition that is sung in this raga.

1. Lyrics and composition from Sangeet ke Jawarahat :
   

   Clip 1:

   राग – बिहारी
   स्थाई - ए हो नींद न आवे
   नैनन में पीया के देखबे को मुख
   अंतरा - दिन बीत जात तुमरे सोच में
   सजीले आ वो अब ही होवे सुख
   

2. Smt. Jyoti Kale, disciple of Smt. Manik Bhide sings the same composition and provides a brief explanation of the challan of Bihari
   

   Clip 2 Sthayi:
   Clip 3 Antara:
   Clip 4 vistaar:

   Lyrics as sung by Smt. Jyoti Kale

   स्थाई - ये हो निंद न आई
   नैनन मै पियाके देखे बेको मुख
   अंतरा - उमर सारी बित गई
   तुमरे सोच में सजीले
   अब तो आओ तब ही होवे सुख

3. Smt. Pratima Tilak, disciple of Smt. Kausalya Manjeshwar and Smt. Kamal Tambe sings the same lyrics as that of Smt. Jyoti Kale but the tune varies slightly. In the second clip, listen to Pratima Tai spins intricate taans in Raga Bihari.
   

   Clip 5 Bandish:
   Clip 6 Badhat:

4. This last recording by Pt. Mallikarjun Mansur beautifully summarizes this Raga in merely 7 minutes.
   

   Clip 7:

   Although Raga Bihari is rarely performed today, there is a rendition by UstadAmjad Ali Khan.

List of compositions sung in this raga by artists of the Jaipur- Atrauli Gharana

	Title	Tala	Laya	Composer
1	Ye ho neend na aaye	Rupak	Vilambit	Alladiya Khansaheb
2	Mor Mukut	Teentaal	Drut	Ashwini Bhide
3	Lage na jiya mora	Teentaal	Drut	Kishori Amonkar
4	Balama Ab Aao Gale Lag Jao	Teentaal	Drut	Arun Dravid

Lalita Gauri
There exist several varieties of this Raga which have been said to come either from Bhairava, Purvi or Marva Thata. As the name suggests, this raga is a jod raga that combines Lalit and Gauri.While Lalit is a common morning melody, Gauri is an evening raga that is popular amongst vocalists from this Gharana.

Three types of Lalita Gauri described are

1. Lalita Gauri (Marva Thaat): In this version both Dhaivats are used with the predominance of Shuddha Dhaivat. The raga is said to resemble the more popular raga Bhatiyar. This form of Lalita Gauri was demonstrated to V.N.Bhatkhande by Ashik Ali Khan of Jaipur. However, this type is now obsolete.
2. Lalita Gauri (Bhairav Anga): This raga consists of komal Rishabh, Dhaivat and both Madhyam with shuddha Ma Prominent. It is said to be a mixture of Kalingada and lalit.
3. Lalita Gauri (Purvi Anga): This is the version that is elaborated in the section below. Here like in Gauri (Purvi Anga), Puriya Dhanashri is the base and therefore, Tivra Madhyam is prominent. Halt on nishad. Gauri employs the same notes as puriya dhanashree (Re and Dha komal and Ma teevra) but the phrasing used is so different that it gives the raga a distinct identity. While the phrase Mrg is very characteristic of Puriya Dhanashree, nsrns ndn is said to be the defining phrase for Raga Gauri. Lalita Gauri falls in the second category of Jod-Raga classification where Gauri is the prominent raga and the notes of Lalit are used to bring in a surprise element.
   • Lyrics and composition from Sangeet ke Jawarahat (traditional composition by Sadarang).
     

     Clip 1:

     स्थाई – प्रीतम सैया दरस दिखाजा मोरा जीया चाहे
     अंतरा - बिन कंथ कछु न सुहाए ए रही लोना जाए
     सदारंग डारुं गरबैंयां |

   • Listen to Smt. Kesarbai Kerkar sing the same bandish in her powerful voice in

     Clip 2:

     and then elaborate on the raga in

     Clip 3:

     Notice the concentrated lalit phrases using both Madham, in an otherwise Gauri plane.
   • Smt. Kesarbai Kerkar’s only disciple, Smt. Dhondutai Kulkarni sings the same raga but a presents a bandish rarely heard. The sthayi of this composition is said to have been composed by Ustad Alladiya Khan, but since there was no antara, the latter half was composed by his younger brother Ustad Haider Khan.

     Clip 4 (sthayi- Bandish starts after 4 mins) :
     Clip 5 (and antara in ) :

     स्थाई – खेलन आए राधा माधो
     प्रेम रंग घोरी
     अंतरा - नेह गुलाल सेन पिचकारी
     मन मल बेको होरी

     She concludes with her own composition in drut teentaal

     Clip 6:

     स्थाई – ते मोरी बात मानले सैंया, पैया पडु तोरी
     अंतरा - सोच समझ मैन मित पिहरवा मोरी बात मानले

   • Pt. Raghunandan Panshikar presents his own drut composition in the same raga.

     Clip 7:

     स्थाई - मंदर बाजे झांज मृदंग
     प्रभु गुन गावत सूर ग्यानी
     अंतरा - निसदिन ध्यान करत सब सूरमुनि
     प्रभु गुन गावत सब ग्यानी

   • We end this raga with a slight departure from the aakar- pradhan gayaki of the Jaipur Atrauli Gharana and present a rendition of Raga Lalita Gauri by Pt. Ulhas Kashalkar, who has had taleem in the Jaipur, Agra and Gwalior Gharana.

     Clip 8:

	Title	Tala	Laya	Composer
1	Preetam Saiyan	Teentaal	Vilambit	Traditional
2	Khelan Aayi	Jhaptaal	Madhyalaya	Alladiya Khan (Sthayi),Haider Khan (antara)
3	Te Mori Baat	Teentaal	Drut	Dhondutai Kulkarni
4	Mandar Baaje Jhanjh Mrudanga	Teentaal	Drut	Raghunandan Panshikar
5	Piharva aayi saanjh ki bela	Teentaal	Drut	Arun Dravid

Basant Bahar
An interesting combination of two uttarang Pradhan (sung mainly in the latter half of the octave) ragas, Basant Bahar is a jod-raga that has been a favorite of the olden maestros of the Jaipur Atrauli gharana, but is commonly sung by vocalists from other gharanas as well.

Since both Basant and Bahar are equally prominent, this raga would fall under the third category of the jod-raga classification. The notes on which vocalists typically switch from one raga to another are Sa, Ma (sudhha) and Pa.

1. Lyrics and composition from Sangeet ke Jawarahat :
   

   Clip 1:

   स्थाई –ए बरजो न माने नहीं रे
   बैरन कोयलीया कूँक सुनावे ऐसो रे पपीया पिहू पिहू करे
   अंतरा - ऋत बसंत आई अमूवा मोरे
   चहूं देस फूली कलीया
   पिया बिन धीरज ना धराई

2. In this rare clip, we hear Smt. Mogubai Kurdikar singing the same composition in a live concert at Sydenham College, Mumbai on 4th March 1967. She was accompanied by D.R. Nerurkar on the Tabla and Shri Dattaram on the Sarangi (notice that there is no harmonium in the accompaniment).

   Clip 2:

   Lyrics sung by Mai:

   स्थाई - ए बरजो न माने री
   बैरन कोयलीया कूँक सुनावे ऐसो ही पपीहा पिहू पिहू रटे रे

   In the earlier days, vocalists from the Jaipur Atrauli Gharana typically sang only vilambit or madhyalaya compositions and in many ragas of this gharana, drut compositions simply did not exist. Mogubai is credited to have composed several compositions in rare ragas. Let us listen to her own drut bandish in Basant Bahar - Maan Re Maan re

   Clip 3:

   स्थाई :- मान रे मान रे पिया मोरी
   बिनती करत तोसे हारी हारी
   अंतरा :- दरस पिया बिन तरस रही है
   एहमद पिया तोपे वारी वारी

3. In this rendition, Smt.Kishori Amonkar sings the paramparik Barajo Na Mane, but oftentimes she places the shruti of the dhaivat somewhere in between Shuddha dhaivat and komal dhaivat, unlike most other vocalists who typically choose one of the two.

   Clip 4:

4. A rarely heard musician, Smt. Sardarbai Karadgekar was a disciple of Nathhan Khan (Alladiya Khansaheb’s nephew). Here she sings a bandish in drut ektaal. Notice the lightning fast intricate taans towards the end of the clip!

   Clip 5:

5. Interestingly, Pt. Bhimsen Joshi a doyenne of the Kirana sings the tranditional vilambit composition (barajo na maan) as a drut bandish.

   Clip 6:

	Title	Tala	Laya	Composer
1	Barajo Na Maan	Teentaal	Vilambit / Madhyalaya	Traditional
2	Maan Re Maan Re	Teentaal	Drut	Mogubai Kurdikar
3	Bagiya chale gulabi	Ektaal	Drut	Unknown

Basanti Kedar
As the name suggests, this raga is a combination of two very contrasting night melodies Basant and Kedar. It is believed that traditionally the raga was sung only with shuddha dhaivat, but later artists included the komal dhaivat to bring in the Basant flavor more impactfully.

1. Lyrics and composition from Sangeet ke Jawarahat :

   Clip 1:

   स्थाई :- अतर सुगंध गुलाब नवेलरिया
   चौ देस फुल रही कलिया ऐ डालरिया मा
   अंतरा:- फुलवन के पात पात भवरूं लूभाईया
   रूत आई चौ देस फुल रही कलिया
   ऐ डालरिया मा

2. We can hear Smt. Kesarbai Kerkar ask her audience whether they would like to hear Raga Basant and Kedar separately or together! She responds with a rendition of Atar Sugandh (full bandish at 6:12) and intermittently points to the two ragas.

   Clip 2:

   स्थाई :- अतर सुगंध गुलाब नवेलरिया
   चहू देस फुल रही
   कलिया मा डालरिया
   अंतरा:- फुल बन की शेजी भवरु लहराये
   ऋत बसंत आई फुल रही
   कलिया मा डालरिया

3. Pt. Mallikarjun Mansur who learnt from Ustad Bhurji Khan (Alladiya Khansaheb’s son) sings Basanti Kedar at a much faster pace. His intricate taan patterns and stunning ease in boltaans leaves you wondering whether Basanti Kedar is really a combination of two ragas.

   Clip 3:

4. Smt. Kishori Amonkar sings a drut bandish composed by Ustad Azizuddin Khan (Ustad Alladiya Khan’s grandson) and frequently sung by her mother Smt. Mogubai Kurdikar.

   Clip 4:

   स्थाई – खेलन आई (आवोरी) नवेली नार
   ऋत बसंत की धूम मची है
   अंतरा – छांड दे मान मना
   मन भावन को ऋत बसंत की धूम मची है

	Title	Tala	Laya	Composer
1	Atar Sugandh	Teentaal	Vilambit / Madhyalaya	Traditional
2	Khelan Aayi	Teentaal	Drut	Azizuddin Khan

Shuddha Nat
This seemingly simple, yet deceivingly difficult melody is sung mainly by vocalists of this gharana. Further there is only one vilambit composition that is typically sung.

1. Lyrics and composition from Sangeet ke Jawarahat :

   Clip 1:

   स्थाई :- ऑख न मोरी लागी री
   भवरु पिहरवा मोरे
   देखे बिन चैन ना लेने देत
   ओैर लागे बरसन
   अंतरा:- वो तो काहू की न सुनत
   न दोहरावत न पीतम को डरे नित लागी बरसन

2. We begin with a rendition by Shri. Gajananrao Joshi who had taleem in Agra, Gwalior as well Jaipur Gharana.

   Clip 2:

3. Smt Mogubai Kurdikarsings Shuddha Nat in a live concert in Sardeshmukh Maharaj’s residence in Pune. She was accompanied by Shri Suryakant Gokhale on the Tabla and Shri Appasaheb Jalgaonkar on the Harmonium.

   Clip 3:

   Lyrics as sung by Mai:

   स्थाई :-ऑखन मोरी लागी री
   भवरु पिहरवा मोहे
   देखे बिन चैन ना लेने देत
   ओैर लागे बरसन
   अंतरा:- हू तो काहू की ना सुनत
   ना दुरावत ना
   प्रीतम के डर सो, नित लागे फरकन

4. Smt. Kishori Amonkar sings a drut composed by her mother.

   Clip 4:

   स्थाई :- अब कैसे कर आऊ रे
   पिया कलना परत मोहे
   अंतरा:- तुमरे दरस को जियरा तरसे
   अहमद पिया तुम देवो दरस मोहे

	Title	Tala	Laya	Composer
1	Aankh na mori laagi	Teentaal	Vilambit	Traditional
2	Ab Kaise Kar Aau	Teentaal	Drut	Mogubai Kurdikar

Sampurna Malkauns
This is a controversial raga even amongst the Jaipur Gharana singers. The composition that is popularly sung in this raga ‘Baraj Rahi Wahu’ has been included in Bhatkhande’s Kramik Pustak Malika as a vilambit Ada-chautaal bandish in Raga Sampurna Bageshree. It is said that Alladiya Khansaheb used these lyrics and composed a bandish in Sampurna Malkauns. Even though the words of the antara are different, the mukhda of this bandish in Bageshree is similar to Khansaheb’s bandish. However, there is a disagreement on whether the Dhaivat is komal or shuddha. Some even say that Khansaheb would teach the same composition differently to different students, in which case both must be considered as versions of Sampurna Malkauns.

However, since the raga is titled Sampurna Malkauns, we present four artists who sing the raga with a base of Malkauns (Ga, Dha and Ni Komal) with an occasional and selective use of Rishabh and Pancham (artists who sing this raga with a shuddha dhaivat include Smt. Kesarbai Kerkar and Smt. Shruti Sadolikar).

1. We begin with the original bandish in Bageshree reproduced from Pt. Indudhar Nirody’s book titled 'Samarpan'.

   Clip 1:

   राग - संपूर्ण बागेश्री आडा चौताल (विलंबित)
   स्थाई :- बरज रही रे वाहू अरि ऐसो ढीट लंगरवा छैल चिकनिया
   अंतरा:- बरज रही बरजोन मानत बरजत ननंद जेठनीयां

2. Alladiya Khansaheb’s disciple Smt. Mogubai Kurdikar sings Baraj Rahi with a malkauns flavor. The words of the bandish in Sampurna Malkauns are given below.

   Clip 1:

   स्थाई- बरज रही वाहू,
   येरी वो तो धीट लंगर छैल चिकारो
   अंतरा- ग्यान सरस ऐंसो नटखट,
   आलि री वो तो नंद दुलारो

3. Veteran vocalist Pt. Mallikarjun Mansur sings the same composition at a faster pace.

   Clip 3:

4. Smt. Kishori Amonkar adds a drut bandish composed by her mother Smt. Mogubai Kurdikar

   Clip 4:

   स्थाई - बनवारी श्याम मोरे
   आज की रैन यही रहिये
   अंतरा - बादल गरजे मोहे डर लागे
   अहमद पिया की बिनती सुनीये

5. We end with another drut bandish sung by Alka Deo Marulkar sung in a live concert in Ahmedabad in 1996.

   Clip 5:

   स्थाई- प्रीतम प्यारे तुम बिन कलना परे दिन रैन
   अंतरा-जबसे गए मोरी सुधहू न लीनी
   किन सौतन के घर जात

	Title	Tala	Laya	Composer
1	Baraj Rahi	Teentaal	Vilambit / Madhyalaya	Alladiya Khan
2	Banwari Shyam	Teentaal	Drut	Mogubai Kurdikar
3	Preetam Pyaare	Teentaal	Drut	Unknown

Bhoop Nat
A combination of Bhoop and Nat, Bhoopnat is a jod raga that one does not often hear this outside of the Jaipur Atrauli Gharana. This raga belongs to the second classification of jod-ragas, where the main scale of the raga is that of Bhoop and phrases of Nat bring in the surprise element.

1. Lyrics and composition from Sangeet ke Jawarahat

   Clip 1:

   स्थाई - मालनीया लाये,
   शेरा गुंद चुन चुन कलीया
   अंतरा - बेल चमेली चंपा गुंद,
   मालनीया माथे ढली,
   और ढलीया मालनीया.

2. Smt. Mogubai Kurdikar sings the same bandish in a live concert for the Sangeet Natak Academy in New Delhi in 1969. Characteristic of the Jaipur Atrauli tradition, Mogubai sings the antara immediately after the stayi in the vilambit and then begins with the badhat. She was accompanied on the Tabla by Ghulam Ahmed Khan and on the Sarangi by Ghulam Jaffer Khan.

   Clip 2:

3. Smt. Mogubai Kurdikar’s disciple Smt. Kausalya Manjeshwar sings a drut composed by her Guru. It is said that Ustad Alladiya Khansaheb referred to himself as Ahmed Piya. Thus all of Mogubai’s compositions contain the words Ahmed Piya in the Antara as a dedication to her Guru. However, there are some compositions composed by Khansaheb himself which contain the pen name Ahmed Piya, so not all texts with Ahmed Piya were composed by Mogubai!

   Clip 3:

   स्थाई - सजनवा आ मोरे घर, तुम बिन सोहे ना सिंगार।।
   अंतरा - अरज सुनो अहमद पिया ,मोरे नैनन बरसे नीर।।

4. Ratnakar Pai presents another traditional drut composition in this raga.

   Clip 4:

   स्थाई - सरस्वती प्रसाद दीजे
   अपनी दया सो महाभाग बानी |
   अंतरा - तेहार करनी सुधबुध हरनी
   दीजे मोहे अंछर सुधबानी||

5. Amongst contemporary musicians, Smt. Ashwini Bhide Deshpande presents an interesting rendition of Bhoopnat.

   Clip 5:

	Title	Tala	Laya	Composer
1	Maalaniya Laayi	Teentaal	Vilambit	Traditional
2	Saraswati prasad dije	Ektaal	Drut	Traditional
3	Sajanawa aa more ghar	Teentaal	Drut	Mogubai Kurdikar
4	Ja re ja re	Teentaal	Drut	Kishori Amonkar

Nayaki Kanada
This ancient raga is said to have been created by Gopal Nayak (court musician in the durbar of Allaudin Khilji with Amir Khusro). Nayaki kanada originates from Kafi Thata and is said to be the backbone of the Kanada Group, along with raga Darbari.

It is sung by vocalists of many gharanas, but has also been a favorite amongst musicians of the Jaipur- Atrauli Gharana. Kalpana Sangeet by Govindrao Tembe provides detailed information about this Raga. Nayaki Kanada is said to be a mixture of Sarang (SNP) and Suha Kanada (GMSRS). The aaroh avaroh in this book are described as follows:
Aaroh: S R M P N P, S.
Avaroh: S N P, MP G, M R S R S
Vadi swar – Madhyam but Rishabh and Pancham are just as important
Gayan Samay: Since it is a uttarang Pradhan raga it is sung mostly at night
Jati: shadav-shadav raga, with Dhaivat missing

Nayaki Kanada is very similar to another Kanada variety, known as Suha Kanada. The subtle difference in these two ragas is that while the R-P sangati is emphasized in Suha, Nayaki's identity is GMGMPM RS R S. Suha is also known as the 'lighter' version of the more ‘sombre’ Nayaki Kanada.

1. Lyrics and composition from Sangeet ke Jawarahat

   Clip 1:

   स्थाई - मेरो पिया रसिया, पिया रसिया रे
   अंतरा - सुन री सखी तेरो दोस कहा
   संचारी- नवल लाल को कोहू कबहू ये ना जाने
   कौन कौन येरी मन बसिया

2. Drut from Sangeet ke Jawarahat

   Clip 2:

   स्थाई - नैना नाही माने बरजो
   आली री अदक चितवत पिया आओ
   अंतरा - जो जो नेत्र देखत हो रंगीले
   तो तो जियरा लरजे

3. Smt. Manik Bhide, Kishoritai’s senior-most disciple sings Mero Piya with ease. Notice that this composition has a sthayi, antara and a sanchari.

   Clip 3:

4. What can be a better way to celebrate one’s birthday than listening to Smt. Mogubai Kurdikar at her best in Raga Nayaki Kanada? The occasion for this rendition is Pt. Wamanrao Deshpande’s 61st Birthday, celebrated at Sydemham college on 24th September 1967. On the tabla is D. R. Nerurkar and on the Sarangi is Dattaram Parvatkar.

   Clip 4:

5. Smt. Shruti Sadolikar, daughter and disciple of Pt. Wamanrao Sadolikar sings a lively drut bandish.

   Clip 5:

   स्थाई - रे चली नार पिया के घर मिल बेको सजके सात श्रूंगार
   अंतरा – प्रीत की बात भूल न जैयो
   इतनी अरज मोरी सुनो एक बार
   पिया के घर मिल बेको सजके सात श्रूंगार

	Title	Tala	Laya	Composer
1	Mero Piya	Rupak	Vilambit	Alladiya Khansaheb
2	Naina Nahi Mane	Teentaal	Madhyalaya	unknown
3	Eri Ma Piya	Teentaal	Drut	Kishori Amonkar
4	Chali Naar	Ektaal	Drut	unknown

Bihagda
Bihagda may be considered as a variant of Bihag, with a strand of Raga Khamaj. There are three popular versions of this raga, one with both Nishads and the other with just the shuddha nishad known as Ek Nishad Bihagda. A third version known as Khamaj Ang Bihagda is also known as Khokar by some. See eminent musicologist Deepak Raja’s details on the difference between the two ragas Bihagda and Khokar.

1. Lyrics and composition from Sangeet ke Jawarahat. A few vocalists sing this composition as Raga Khokar
   

   Clip 1:

   स्थाई - आज आनंद मुख चंद्र ऐसी त्रीया नेह करे करे बैन
   पीया bina ghar गर लागन को
   अंतरा - बलपन balpan जोबन की भरी मधु भरी अंखीयां
   मोतीयन मांग सूहात सूहागन को

2. Another popular composition in Bihagda, ‘Pyaari Paga Hole’ is said to be inspired from a folk song. Once Ustad Alladiya Khansaheb overheard a folk song being sung during a wedding where the women were singing a song. At that point Khansaheb was in a mood to sing Bihadga, and he used the words from the folk songs to create a vilambit bandish. While versions of this composition vary slightly, the description of a bride during her wedding has been retained in the bandish

   Clip 2:

   स्थाई - ए प्यारी पग होले धर
   हा री हटीली मत कर इतनो गुमान
   अंतरा - जेसी पग उपर पायल बाजे
   हां री नवेली ने कहु मेरो क्यो मान

3. Smt. Vijaya Jadhav Ghatlevar, disciple of Pt. Nivruttibua Sarnaik renders Pyaari Paga Hole

   Clip 3:

   and a traditional drut in Bihagda.

   Clip 4:

4. Shruti Sadolikar presents two different compositions

   Clip 5:
   Clip 6:

   in a live concert in Ahmedabad. She is accompanied on the by Tabla Shri Vishvanath Shirodkar and Harmonium by Smt. Seema Shirodkar.
   Due to the limited use of komal Nishad in this composition, a few musicians sing this composition in Raga Khokar.

   स्थाई - आज को दिन शुभ दिन महूरत
   चल ये सुघर नार
   पिया घरे लागण को |
   हअंतरा - मत कर मान गुमान
   मान मनमान
   मनामन भावन को ||

5. Smt. Shalmalee Joshi a disciple of Pt. Ratnakar Pai sings a madhyalaya composition in Rupak Taal.

   Clip 7:

   स्थाई - कहाँ से तुम मद पी आये हो साँवरे धरत पग डगमग गैना|
   अंतरा - पीत पिछोरी लटकी भूल गयी
   और बनावत बैना|

	Title	Tala	Laya	Composer
1	Aaj anand mukh chandra	Jhaptaal	Madhyalaya	Traditional
2	E pyaari Paga hole	Teentaal	Vilambit	Alladiya Khansaheb
3	Aaj ko din shubh din	Jhaptaal	Madhyalaya	Unknown
4	Shubh din aaj	Ektaal	Drut	Unknown
5	Kahan se tum madh pee aye ho sanware	Rupak	Madhyalaya	Unknown

Kukubh Bilawal
This raga has been sung by musicians from various gharanas, however, the treatment of each gharana varies. In the Jaipur Atrauli gharana, this is thought as being a combination of Alhaiya Bilawal and Jaijaivanti. The Rishabh is stressed upon in this raga. In an online forum, Shri Aneesh Pradhan brings to notice Kukubh Bilawal sung by vocalists from Gharanas.

1. Smt. Kishori Amonkar performs Alladiya Khansaheb’s bandish during his death anniversary concert in 1989. This composition is said to have been composed by Ustad Alladiya Khan during his patron’s (Shahu Maharaj of Kolhapur) son’s wedding.
   

   Clip 1:

   स्थाई - धन आज दुल्हा धन ये मोहोरत |
   धन धन सजिन लगन धरो माई ||
   अंतरा - शाहे छत्रपती घर ब्याह रचो है |
   धन धन अहमद मंगल आयो माई ||

2. Mallikarjun Mansur performs another composition also composed by Ustad Alladiya Khan

   Clip 2:

   स्थाई - री देवता आदी सब जीव जल थल
   रही ब्रम्हा और विष्णू शीव शरण तेरे री
   अंतरा - जीव और जंत को देत आशीश
   का मेरी ओर बेर की द्रूष्टी फेरी

3. Let us listen to a rare clip by Smt. Lakshmibai Jadhav a disciple of Ustad Haider Khan (Alladiya Khansaheb’s younger brother)

   Clip 3:

	Title	Tala	Laya	Composer
1	Ri Devata	Rupak	Vilambit	Alladiya Khansaheb
2	Dhan aaj dulha	Jhaptaal	Vilambit	Alladiya Khansaheb

About the author
Dr. Radhika Joshi Ray is a vocalist of the Jaipur-Atrauli Gharana. She has received taleem in this gharana from her Guru Pt. Raghunandan Panshikar. This webpage has been an outcome of a fellowship awarded to Radhika by the India Foundation for the Arts in conjunction with Saptak Archives. To know more about the author, click here. To get in touch with her please write to radhikajoshiray@gmail.com

References: Books accessed at Saptak Archives

• Sangeet Ke Jawaharat’ by Mohammad Sayeed Khan; Vani Prakashan; 2nd edition (2009), ISBN-13: 978-8181438690
• ‘Kalpana- Sangeet’ by Govind S. Tembe;2nd edition, Published by Smt Jyotsna Tembe-Khandekar and Shri Sudhir Pote
• ‘Comparative Study of Hindustani ragas’ by Patrick Moutal; Publisher: South Asia Books; 2 edition (August 1, 1997) ISBN-13: 978-8121505260

This work was done as part of the Archival Museum Fellowship supported by the India Foundation for the Arts in conjunction with Saptak Archives, Ahmedabad.

During a lecture demonstration on ragas of the Jaipur Atrauli Gharana, Anand Parv, Kolhapur, 17th & 18th September 2018.