This is a blend of two ragas – Lalit and Gauri. There are two versions of this raga but the one under Marwa Thhaat is more popular than the one under Bhairav as its parent scale.
Thhaat (parent scale)
Bhairav
Jaati:
Audav Sampoorna (five notes in ascent, seven in descent)
Vaadi:
Madhyam (M)
Samvaadi:
Shadja (S)
Swaras:
Employs both Madhyams (M and m) along with komal Rishabh and Dhaivat; rest shuddh swaras
Aaroh (ascent):
N. r G M d N S’ (Western notation: B C# E F G# B C )
Avaroh (descent):
S’ N d P m M G r S (Western notation: C B G# G F# F E C# C )
Key phrases:
N. r G M d P, m G M G r S, r S G r S, r N.S P G r S, N. r G M m M G r, P d m M G, G m G r S, r G m d N S’, r’ G’r’S’, r’ N S’d N r’ N S’, N d P m G, P m M G, m G r S
Time:
Evening
Raga Lalit is a morning raga while Gauri is an evening raga. Regarding the time of this raga there are several opinions, but most musicians prefer to perform in the evening. Pandit V N Bhatkhande accepts the version with Marwa parent scale only while there are others who do not assign the raga to any thhaat or anga. However, the raga’s poignant character makes it quite interesting.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
Links
1. Ustad Ali Akbar Khan (sarod)
2. Pandit Nikhil Banerjee (sitar)
Ustad Amjad Ali Khan plays Raag Lalita Gauri for his album 'Immortal Series - Ustad Amjad Ali Khan' in 1991.
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