Very close to raga Bhimpalasi, this delicately beautiful raga demands careful handling due to rare note combinations.
Thhaat (parent scale)
Kafi
Jaati:
Audav-Shadav (5-notes in ascent and 6-notes in descent)
Vaadi:
Pancham (P)
Samvaadi:
Shadja (S)
Swaras:
Omits Rishabh and Dhaivat (R and D ) in ascent, employs both forms of
Gandhar (G and g) and Nishad (N and n), rest Shuddh Swaras
Aaroh (ascent):
N.S G, M P N S’ (Western notation: B C E, F G B C )
Avaroh (descent)
S’n D P M g R S (Western notation: C A# A G F D# D C )
Key phrases:
G, G M P, g R S, n., S G, M, M P G, M P N S’, S’N S’, M P N S’g’R’S’, n D P, P n D P D, M P G , M, n.S, G M, P M P G, M P g R S
Time:
Afternoon, early evening
The rare blend of Tilang in the ascent and Bhimpalasi in the descent makes the gait of this raga rather curious.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
Links
1. Pandit D V Paluskar (vocal)
2. Vidushi Kishori Amonkar (vocal)
Ustad Amjad Ali Khan presents Raag Hanskinkini as part of his Library Sessions series.
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