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

Gorakh kalyan

The name given to this rag seems to be a misnomer since it does not have any element of Kalyan, which is a scale-type including natural notes with sharp fourth. Hence some musicians also prefer to refer it as Gorakh.

Tone material:  S R m P D n
Some musicians prefer to avoid Pa completely. If used, it is weak and generally occurs briefly either in ascending or descending phrases as R m PD n or n – DP m.  The composition presented here clearly includes Pa. However, it is quite common to omit Pa during the fast passages. Sa and Ma are the important notes, and flat Ni in the lower octave is a important resting note creating consonance with Ma. Use of ornaments like mind (glide) & gamak (shake) is advised to maintain the serious character of this rag (Patki [Aprakashit rag II] 1975: 54).

Some characteristic phrases:
R m- RSn- D/ S
R m D n D
m D/ S

It is possible to get shades of rag Durga and Bageshri in Gorakh kalyan. However inclusion of flat Ni and restricted use of Pa in Gorakh kalyan helps to keep its identity distinct from both these rag-s.

Time: early night (Thakurdas [Rag-darshan II] 1988: 196

Further listening:
Pandit Jasraj ECSD 2715
Salamat and Nazakat Ali Khan 7EPE 1235
Parrikar on Gorakh kalyan
Recording by Rajan & Sajan Mishra

Performance by Aslam Khan

Composition: bada khayal

पार उतारो मोरी नैया
हजरत अली के लाड लडैया

बीच भँवरमें अान पडी है
तुम ही हो याके खिवैया

It is a plea to the lord, the ultimate protector, to take across the boat (metaphor for life) that is stuck in a whirlpool.

Tal: Jhumra (slow tempo)

4-11: Performance opens with the lower flat Ni, an important resting point in this rag
13-18:The melody descends to lower Dha. Note the ornament (murki) at the beginning of the phrase and the oscillations on Ni, recurring also at (20-21)
33-39: Phrase ascending to Ma in the middle octave and then descending to the lower Ni, which is characteristic for this rag
47-59: Similar motifs recur juxtaposing Ma and the lower Ni
69-70: From lower Dha to the middle Dha including Pa in between
91-96: Oscillations on Ni, and a phrase from the middle Dha to lower Dha and back to the middle Dha
116: The composition too has the characteristic phrase juxtaposing Ma and the lower Ni. Since the tempo is slow, the refrain has a duration of only half a beat and the accentuated beat (sam) of the rhythmic cycle of 14 beats coincides with lower Ni
132-140: Again the same motif with little variation
164-211 The same line is repeated with variations. Note the ornamentation (murki) with Dha and Ni, finally settling on Ni, which is oscillated (185-188)
214: Elaborations suing the words of the composition (bol alap)
288: In this cycle the high Sa is held. Note a beautiful finish with a phrase descending down from the high Sa to lower Ni
334: Elaborations continue and are replete with various ornaments (murki & mind)
345-400: The high Sa is in focus again with phrases including the notes beyond the Sa. The typical phrase with Ma and Ni recurs, this time with high Ma and middle Ni (383-386)
407: The second half of the composition (antara)

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