The name Multani might suggest a possible association of this rag with the region of Multan (Thakur [Sangitanjali VI-3] 1962 : 32). It is one of the prominent rag-s of North Indian music.
Tone material: S r g M P d N
Re and Dha are weak and omitted in ascent. Sa and Pa are the resting points. There is a characteristic oscillation on Ga in conjunction with Ma. Most movements commence on the lower Ni (Thakurdas [Rag darshan II] 1988: 129)
Some characteristic phrases:
N S /g r S
Mg ~ PM P /N- d P
Rag Miya ki todi (vide) has the same tonal material as this rag. However, the two can be very well differentiated on account of different melodic patterns.
Time: late afternoon (Bhatkhande [KPM III] 1999: 891)
Hirabai Barodekar ECLP 2275
Recording by Bade Ghulam Ali Khan
Performance by Padma Talwalkar
Composition: chhota khayal
नैननमें अान बान
कौनसी परी रे
बार बार जोवत (सोवत)
जित देखू उत
श्याम सी परी
What is the image that appears before my eyes? Again and again I try to sleep but my eyes won’t close. Wherever I look, the image of the dark one (Shyama) comes into view.
Tal: Ektal (medium tempo)
The composition presented here is a very traditional and commonly heard composition.
16: The typical phrase N S /g r S, which recurs around 32 & 61
43 -49: The sharp Ma is held and the phrase ends on Ga. The next phrase brings in focus the lower Ni (56-59), juxtaposing the Ma, held earlier and also recurring in the next phrase (74-81)
86: In the next phrases Pa is introduced elaborated upon with notes including the Dha and the middle Ni which is held (113-118 & 126-129)
159: The high Sa is approached with the typical phrase: N S /g r S
188: The compositions begins on the first beat of the rhythmic cycle (sam). The first part (sthayi) has two lines.
281: The second part of the composition (antara) also begins on the first beat of the rhythmic cycle
305: Elaborations herewith include mainly phrases in the upper part of the middle octave
Performance by Uday Bhawalkar
बन्सीधर (बंसीधर) पिनाकधर
हो श्री हरिहर
नरहर शिव शंकर
The song comprises of numerous epithets of Harihara, a combined deity form of both Vishnu (Hari) and Shankara (Hara). Note the rhyming effect created by repeating the word ‘dhara’ (one who holds) throughout the composition.
Tal: Dhrupad (medium tempo)
Being an exposition in dhrupad style, there is an extended melodic introduction (alap) for about four and half minutes, after which the composition is presented. Note the use of meaningless syllables such as te, ta, ra, ri, na, num and so on.
5-16: After sustaining the lower Ni, a typical phrase -M\ g R NS, which recurs many times in the performance
26: Lower Ni is approached again, this time from the lower Pa. Note a typical movement –
N S /g r S (36-37)
48-50: Melody reaches very low -up to lower Ga, typical in dhrupad tradition
67-71: Another characteristic phrase – N S Mg PM P Mg R NS
102-134: Middle Pa is in focus, note phrases returning to Ga after being sustained on Pa
163-205: Movements rise towards the middle NI
207: Phrases leading to high Sa. Note several long phrases in a single breath
243-280: Movements slowly descend down and return to the base Sa
284-318: First line of the composition repeated
319: Second line
336: Next line
353: Concluding line of the first part of the composition
403: Second part of the composition, first line repeated
437: Next line
454: Following line
470: Concluding line of the second part