Named after Multaan (North-West region of undivided India), this raga is known for its vast expanses that keeps yearning for the unattainable – as observed by Gurudev Rabindranath Tagore, who felt that the raga represented the oppressive heat of the deserts during summer afternoons.
Thhaat (parent scale)
Todi
Jaati:
Audav-Sampoorn (5-notes in ascent and 7-notes in descent)
Vaadi:
Pancham (P)
Samvaadi:
Shadja (S)
Swaras:
Omits Rishabh and Dhaivat in the ascent but includes them in the descending order albeit in a delicate manner, employs Komal Rishabh, Gandhaar and Dhaivat (r, g, d) and Teevra Madhyam (m), rest shuddh swaras
Aaroh (ascent):
N. S g, m P, N S’ (Western Notes: B C D#, F# G, B C)
Avaroh (descent)
S’N, d P, m g, m g r S (Western Notes: C B, G# G, F# D#, F# D# C# C)
Key phrases:
P g r S, N.S, m g P, m P d P, m g, g m P, g r S, N.S N.d P.m.P.N.,P.N.S, N.S m g, M p d P, N d P, N S’g’r’S’, N d P, g m P N d P, m g, m g r S
Time:
Afternoon
To avoid the shadows of a similar raga Todi, the treatment of Multani’s Komal Rishabh and Dhaivat play a vital role. Both are fleetingly touched. The Ati-Komal Rishabh (r )invariably touches the Shadja while its Komal Gandhaar (g) touches the Teevra Madhyam (m). This heavy raga evokes deep pathos.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
3. Ustad Amir Khan, Pioneer of Indore Gharana by Pandit Tejpal Singh
4. The Raga-ness of the Ragas by Deepak Raja
5. Rajan Parrikar Music Archive (Short Takes: Multani)
Links
1. Ustad Amir Khan (vocal)
2. Ustad Vilayat Khan (sitar)
3. Pandit Gajananbuwa Joshi (vocal)
4. Ustad Asad Ali Khan (Rudra veena)
5. Pandit Ulhas Kashalkar (vocal)
6. Pandit Uday Bhawalkar (vocal)
Indrani Mukherjee (khayal vocalist) presents Raag Multani, recorded at the Rajbari Bawali, Kolkata, West Bengal.
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