Ramkali

Ramkali is quite similar to rag Bhairav (vide). However, unlike Bhairav, it also includes flat Ni and sharp Ma.

Tone material:  S r G m M P d n N
General movements are in the middle and high octaves. The oscillation on Re and Dha are not as pronounced as in Bhairav. Sa and Pa are important notes. Sharp Ma occurs in association with Pa and Dha as P d M P or M d P. Flat Ni is also used, but only sparingly and always between two Dha-s. M P d n d P is a characteristic phrase which includes sharp Ma and flat Ni.

Some characteristic phrases:
P M d ~ P
M P d n d P \G m
d M P G m

Although akin to Bhairav, Ramkali has a distinct character due to the presence of sharp Ma and flat Ni.

Time: early morning (Bhatkhande [KPM IV] 1976: 310)

Further listening:
Faiyaz Khan EALP 1292
Recording by Bhimsen Joshi
Recording by Ravi Shankar 

Performance by Ulhas Kashalkar

Composition: chhota khayal

तू ही करतार जगत अाधार
लेत अवतार भूमी पर
हरन सकल दुख
सुख निधान भगवान

घडी घडी पल पल सुमीरन कर ले
जित तित भूयी रहे भरपूर
सब घट व्यापक चराचर निराकार

My Lord, you are the protector of this world. All sorrows vanish with you.
Oh my mind, spend every moment meditating upon his formless omnipresence.

Tal: Tintal (medium tempo)

Performance:
4-18: Performance opens on Ga and Pa is sustained. Note the sharp Ma between to Pa -s (16)
20-25: Bhairav-like movement including m \r ~
33-36: Pa is emphasised again
41-47: G m d ~ P, as in Bhairav
48-58: Typical movement – d M P \G, occurs twice
85-91: Oscillated Dha, sustained Pa, followed by a typical movement – dPM
93-107: Movements with sharp Ma and flat Ni
111: Composition starts. Note the accentuated beat (sam) of the refrain coinciding with middle Dha and the typical movement – M P d n d P d M P
129: The first line is repeated with some variation
143: Second line
171-182: Elaborations with middle Pa in focus, using words of the composition (bol alap). Note a movement including sharp Ma and flat Ni at the end of the phrase
184: Elaborations continue and gradually reach the high Sa (246)
275: Second part of the composition (antara)
306: Concluding line of the composition