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


Nand is a popular rag today. Some musicians also refer to it as Nand kalyan or Anandi. It has shades of several rag-s: Bihag, Hamir, Kamod & Gaud sarang, yet has a distinct character of its own (Patki [Aprakashit rag I] 1971: 28)

Tone material: S R G m M P D N

The rag is characterised by zigzag movements, especially in the descent. Whereas Re is omitted in the ascent, in the descent it is emphasised with a characteristic glide – D P \R. Ga and Ni can be sustained. Natural Ma is prominent while the sharp Ma is used only in descent in conjunction with Pa like D P M P.

Some characteristic phrases:
S G m – G /P
D P \R – S
G m P D N P D M P
R \N D P

Rag Bihag (vide) and Rag Maru bihag (vide) have the same tonal material, but the melodic movements are quite different. Moreover, in Maru bihag there is a dominance of sharp Ma and Re.

Time: late night (ibid)

Further listening:
Recording by Mallikarjun Mansur
Recording by Kesarbai Kerkar
Recording by Shujaat Khan

Performance by Ajoy Chakrabarty

Composition: chhota khayal

चलो अावो सब गावो
जगके पालक मंगल विधायक
अानंदमय के जय गान

नंद के नंदन सब दुख भंजन
अलख निरंजन को
वंदन कर सब फूल हार
अौर सुगंध चंदन सो
अौर कंठमें लिये
नव नव गान

Let us all sing together in praise of the guardian of this world. Let us offer the sandal paste and flowers at the feet of the son of Nand (Krishna), who is our ultimate protector.

Tal: Addha (medium tempo)

4-7: Performance opens with a phrase in which lower No is sustained
10-18: Next phrase unambiguously announces the rag with a characteristic movement- S G- m D P \R
26-32: Another typical phrase – R \N D P
45-48: Another characteristic phrase – P D N P D M P (lower octave)
63-68- Yet again, G- m D P \R S
72-81: Approaching Pa with S G m – G /P. Note slight oscillations (andol) on Ma
90-93: Another typical movement – G m P D N P D M P (middle octave)
95-113: Next few phrases are quite typical to this rag, followed by the most characteristic phrase -S G m D P \R (114-124)
131: Composition starts. Note the refrain including typical phrase D P \R with the accentuated beat (sam) of the 16-beat rhythmic cycle coinciding with Re
148: Second line
159: Concluding line of the first section (sthayi)
180-215: Variations of the first line
219: Elaborations using words of the composition (bol alap)
281: Second part of the composition (antara)
290: Next line
300: Concluding line of the composition

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