Madhuvanti

This is a modern rag, also known by other names: Ambika and Madhumalati (Rao [Raga nidhi III] 1965: 99). Wamanrao Padhye, a disciple of V. D. Paluskar, is credited with the creation of this rag (Patwardhan [Rag vidnyan VI] 1964: 40). It  is popular among musicians, especially instrumentalists. It cannot be classified in any of the known scale-types of North Indian music.

Tone material: S R g M P D (n) N

Ga and NI are important notes while Pa is a resting point. Re and Dha could be sustained as well. There could be slight oscillations (andol) on Ga. Some musicians also use flat Ni along with natural Ni, as the case with Aslam Khan’s recording. In this case, it is used in the descent as n D P or M P n D P.

Some characteristic phrases:
N S Mg M P-
g ~ M P \g – SR -S
M P N – D

Rag Multani (vide) has similar melodic movements as Madhuvanti, except that it has flat Re and Dha while in Madhuvanti these notes are natural. Also, there can be some impressions of rags Patdip and Bhimpalasi (vide) in Madhuvanti. However, with a strong sharp Ma, Madhuvanti can be kept distinct.

Time: late evening (Patki [Aprakashit rag II) 1975: 89)

Further listening:
Nazakat and Salamat Ali Khan 1264
Ravi Shankar EALP 1276
Recording by Kaushiki Chakrabarty

Performance by Ashwini Bhide

Composition: chhota khayal

मैं अावूँ तोरे मंदरवा
पैंया गररे हो मोरा मन बसिया

अरे मेरो मढैया तोरा ही
काहे धरो चरन मेरो मन बसिया

Oh my love, I will come to your abode. I plead with you to let go off my feet.

Tal: Sitarkhani (medium fast tempo)

Performance:
4-8: Performance begins on lower Ni, an important note in this rag
20-28: There is oscillation (andol) on Ga, leading to sharp Ma which is sustained and returns to Ga
30-51: In the next phrases first Pa is held, followed by sustained middle Ni. Note the phrase returning to Pa via Dha
52-57: The melody further descends sown to Ga after holding the sharp Ma. Note an ornament (murki) including Ga, Ma, Pa and Dha (52-53)
73-105: First line of the composition presented and repeated with some variations. Note the accentuated beat (sam) of the 16-beat rhythmic cycle coinciding with a glide S /M
106: Second line
142: Second part of the composition (antara) leading to high Sa and notes beyond
163: Concluding line of the composition
188-255: Elaborations around lower Ni and middle Ga using vowel “aa”. Note oscillations  on Ga (238-239)
256-291: Elaborations include Ma. Note glides from lower Ni and middle Sa to Ma and back (275-284)
294: Movements also include middle Pa, an important resting note. Mark how the phrases end on Ga after sustaining Pa

Performance by Aslam Khan

Composition: bada khayal

ए हो मोरे साई
कवन नगरिया बसाये
तरप रही दिन रैन

रोम रोम मे तेरत तुमीको
नित बरसत हैं नैन

Oh my lord, where have you been? Day and night I long to be with you. Every part of my body pines for you and tears flow down ceaselessly.

Tal: Ektal (slow tempo)

Performance:
4-10: Performance opens on lower Ni. Note a touch of Ra for Ni, which is clearly heard
13-14: Oscillations (andol) on Ga
21-24: Lower Pa sustained, an important resting note
25-27: Oscillations also on lower Ni, followed by sustained Ma in the next phrase (32-41). Note a touch of Sa for Re (36-37)
43-49: Pa is sustained. Note again a touch of Sa for Re (59)
67: Composition begins. Note that the refrain includes flat Ni – S n D P (67-68) & P n D P (73-74). Mark a heavily ornamented movement (70-71)
99-102: Oscillations on Ma, phrase returning to Ga
108-114: Again flat Ni – P n D P, followed by D M P g M g
115: Again a heavily ornamented movement
127-165: Elaborations around middle Pa using words of the composition (bol alap)
170-202: Movements reaching Pa first, followed by natural Ni in the succeeding phrase
205: Second part of the composition including high Sa and the notes beyond. Note a peculiar movement with middle Ni and the adjacent Sa (218-220)
235-236: Similar intonation with natural Ni and Dha below
256: Elaborations using words of the composition, albeit in a faster pace as if playing with the rhythm (layakari)