Lalita gauri

Lalita gauri is regarded as a variety of rag Gauri (Patwardhan [Rag vidnyan V] 1962: 183). As its name suggests it is a mixture of two rag-s; Lait (vide) in the lower tetrachord and Gauri In the upper tetrachord (ibid). It is a rag favoured mainly by the vocalists of Jaipur Atrauli gharana.

Tone material:  S r G m M P d N

This heptatonic rag includes both varieties of Ma, natural & sharp, as well as Pa. The use of natural Ma is restricted to phrases indicative of Lalit, where both Ma-s can be included one after the other as – G m M G m G -. Whereas the sharp Ma is used in the ascending as well as descending melody. Ga and Ni (especially in the lower octave) are the important notes while Pa is a resting note. The ascent normally begins with lower Ni and Pa is avoided in the direct ascent. The main movements of this rag is in the lower tetrachord.

Some characteristic phrases:
N S r N S N d N –
P d P d M P M G M – G r G
G m M G m G – r G M P

There is a variety of this rag, which additionally includes natural Dha. This rag is then also called by other names – Lalita mangal and Sampurna bibhas (Rao [Raga nidhi III] 1965: 83). However, some musicians dissuade from using the natural Dha in this rag (Patwardhan [Rag vidnyan V] 1962: 183).

Time: around sunset (ibid)

Further listening:
Recording by Kesarbai Kerkar
Recording by Mallikarjun Mansoor
Recording by Nikhil Banerjee

Performance by Padma Talwalkar

Composition: chhota khayal

काहू कोवू जानत नाही
मोरे मन ही बिथा

कहत गुनीदास
सुन गुनीजन
तरपत हूँ दिन रैन

The composition is by Jagannathbua Purohit alias ‘Gunidas’ (of Agra gharana), whose name appears in the second part of the composition.
No one is able to understand my pain. Oh wise one, I am suffering day and night.

Tal: Tintal (medium tempo)

Performance:
5-22: The performance opens on the lower Ni, an important note in this rag. Note the touch of Ni which is clearly heard for sustaining the Sa (19-21)
26-33: A characteristic phrase N S r N S N d N –
46-60: Ga, another important note in this rag is sustained, followed by Pa
65-75: Another characteristic phrase, which is symmetrical to the above phrase – P d P d M P M G M- G r G. Note the following movement returning to lower Ni (84-86)
95-106: Again Ga is approached, followed by the Pa
119-124: Phrase indicative of the Lalit association, including both natural and sharp Ma in succession. Note the movement returning to Ga
149-168: Pa is in focus and the phrases ascend to the middle Ni. Note again the inclusion of the movement with both Ma-s (166-168)
184-194: Middle Ni is approached and movements include the high Re
204-209: This is followed by P d P d M P M G M- G r G
221: First section of the composition (sthayi). Note the accentuated beat of the 16 beat rhythmic cycle coinciding with the lower Ni, an important note in this rag
238-253: Second line presented and repeated
268: The second part of the composition (antara)
284: Following line
291: The concluding line of the composition
316: Having completed rendering the composition, improvisation begins in the middle octave. Note the recurrence of phrase with two Ma-s (296-298 & 420-423)