MUSIC IN MOTION

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

Kalashri

Rag Kalashri is attributed to late Bhimsen Joshi, the eminent vocalist of Kirana gharana and often performed by his followers, as the case is with the recording presented here. Being a very recent creation, not much documentation is available and the following description is purely based on the analysis of performances of this rag.

It has a pentatonic scale ascent omitting Re and Ma. However Re is an important note and is included in the descent while Ma is included in a typical concluding phrase -G m R S. Sa and Pa are the important notes and Ga and Ni can be sustained and the latter has typical oscillations (andol).

Tone material:  S R G m P D n

Some characteristic phrases:
G P D n~ /R
G P D P G m \ R
G m R \n S

The ascent is very similar to rag Kalavati (vide), and hence perhaps the particular nomenclature. Presence of Re and Ma in Kalashri however helps to maintain its distinct identity. Rag Janasammohini is also similar to Kalashri, except that the former doesn’t include Ma.

Time: No information available

Further listening:
Recording by Bhimsen Joshi

Performance by Jayateerth Mevundi

Composition: khayal

धन धन मंगल गावो
गोरी तोरी (तोरे) गरवा लगावो

मंगल गावो चौक पुरावो
दिन दिन बढत सुहाग

A lovely young maiden enchants the beloved. Her charm seem to enhance by the day. To rejoice this joyous occasion sing auspicious melodies and decorate the place.

Tal: Jhaptal (medium tempo)

Performance:
4-11: The opening phrases unambiguously announces the rag. Note the ending G m R S
18-26: Note the oscillations (andol) on the lower Ni followed by Re in the middle octave
40-50: Ga is first approached from Sa and in the next phrase it is reached again through the middle Pa
51-57: Now Pa is sustained
62-64 & 74-75: Oscillations on middle Ni continue throughout the performance
93-98: A phrase that can give impression of rag Kalavati. However the very next phrase dispels this impression with G m\R. Musicians refer to this strategy as avirbhav
98-107: Melody descending with a typical phrase -G P D P G m \ R, followed by R \n, finally ending on Sa
110: First line of the composition
132: The same line is repeated with small variations
147-181: Second line
187-203: Second line with more variations. Note the concluding phrase – G m \R (201-203)
212-343: Elaborations with words of the composition (bol alap) in the higher middle octave
355: Second part of the composition (antara)
368: The concluding line
386: More elaborations with words around the high Sa and beyond. Note G m \R S in the high octave (408-411), followed by S /m \R S (410-412) and then m \R \D

 
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