As its name suggests, Lalita sohini is an appealing mixture of two rag-s: Lalit in the lower tetrachord and Sohini (vide) in the upper tetrachord. Yunus Hussain alias ‘Darpan’, of the Agra gharana, is credited with the creation of this rag (http://www.itcsra.org/celebrated_masters.asp?id=17)
Tone material: S r G m M D N
Most movements in this rag are similar to Sohini. However, natural Ma is included in the descent, whereby it follows the sharp Ma, thus offering a shade of Lalit. The natural Ma is an important note that helps maintain the character of this rag.
The rag has limited scope for improvisation as it is challenging to maintain a unified image including two distinct rag-s.
Sohini is a late night melody while Lalit is an early morning rag. However, based on the performance practice of this rare rag it seems that it is to be performed during the late evening.
Some characteristic phrases:
D N S r S-N D M m G
S r S – N D M m, G m M G m G
Time: late evening
Recording by Yunus Hussain Khan
Performance by Aslam Khan
मोपे तो रंग डारे
अौर अाप ना भिजे
एरी सखी अब कहा किजे
गुलाल मले अौर
कछु मुख मेदत
कहोरी सखी अब कहा किजे
The song depicts the colourful festival of holi.
Oh my friend, he (the beloved) splashes coloured water on me but himself remains dry. He also smears the red powder (gulal) on my face. Please tell me what can I do.
4-8: The very first phrase reaches high Sa, indicating the Sohini base
13-19: After a very brief melodic introduction (auchar) the first part of the composition is presented. Note that the ascending phrase includes sharp Ma, whereas, the descending phrase has natural Ma just after the sharp Ma, indicating the Lalit element. The accentuated beat of the 7-beat rhythmic cycle coincids on natural Ma, an important note in this rag
21-25: Another typical phrase pointing to its allusion to Lalit, where both Ma are in succession – G m M G m M G m M m G. Similar phrase repeats (43-46)
57: Second part of the composition (antara)