The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA


Abhogi (also called Abhogi kanada) is a relatively recent rag which has been borrowed from the classical music of south India (Bhatkhande [KPM VI] 1978: 331). While some musicians consider rag Abhogi as a type of Kanada, others regard Abhogi and Abhogi kanada as two distinct rag-s (Shah [Kanada ke prakar] 1972: 97).

Tone material: S R g m D

Both Pa and Ni are omitted in this rag, and flat Ga is often approached from Ma in ascent and has a light oscillation to show the typical Kanada feature. The ascent and descent can be direct except for g m R S, the distinctive Kanada phrase in the descent. However, many musicians tend to return directly to the tonic as m g R S. Ma and Sa are the important notes, but Dha and Re are also frequently sustained. In fact several movements often begin and also end with Dha which is also oscillated, when held.

Some characteristic phrases:
S R \D S
R g~m R S
g m D~S

There are some similarities with rag Bageshri (vide). However, Bageshri also includes flat Ni and limited use of Pa, which give it a different flavour.

Time: before midnight (Bhatkhande [KPM VI] 1978:331)

Further listening:
Abdul Karim Khan 33ECX 3304
Amir Khan ECLP 2765
Gangubai Hangal ECLP 2855
Nazakat and Salamat Ali Khan EALP 308

ITCSRA’s recording by Mashkoor Ali Khan

Performance by Padma Talwalkar

Composition: chhota khayal

सपनेमेँ आये श्याम
सुन्दर बनवारी
मेरो मन हर लिनो
का करू सखी री

मोर मुकुट सिस
मुरली अधर धर
एेसो रुप देखे
सुध बुध मोरी बिसरायी

The lady narrates to her friend how her heart has been stolen by the charming Krishna whom she saw in her dream. He is wearing a crown of peacock feathers and holds a bamboo flute at his lips. Watching such countenance has made her bereft of her conscious self.

Tal: Ektal (medium tempo)

To the background of tanpura which is tuned in m S S S (lower), the performance starts on lower Dha which is oscillated at the end of the phrase (11-13, 33- 36). Note how many movements commence and also end on the lower Dha, typical to this rag
54-61 & 65-67: Re is also held juxtaposing with the Dha
91-98: Ga is held with andol (oscillation), typical to Kanada family of rag, phrase ending on the lower Dha. The intonation of Ga almost covers the space between the Re and the flat Ga and also shoots beyond
102-119: Phrases including Ma are introduced
128-135: Ma is held and the phrase includes lower Dha
139-146 In the next phrase Ma is held again and this time the phrase includes middle Dha
172-173: Oscillations on the Ga
174-186: Middle Dha is held and the phrase ends on the lower Dha
205: High Sa is introduced
225-228: Oscillations on Ga, almost covering the space between Re and the flat Ga and also shooting beyond
248: The first part of the composition (sthayi) is presented. The refrain (mukhda) starts on the first beat (sam) itself and has the characteristic phrase g~M R S with oscillations on Ga
278: The second line of the composition is introduced
289: The third line of the composition is introduced
300: The fourth line concludes the first part of the composition
316-348: The second part of the composition (antara) is presented
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