Shuddh kalyan

Some musicians suggest that the real name of this rag should be Bhup kalyan since it has ascent like rag Bhupali and a descent like rag Kalyan (Thakur [Sangitanjali I-2] 1975: 104).

Tone material: S R G M P D N

Ga is an important note and G P \R is a characteristic glide. Re is a resting note. In the slow movements Ma and Ni usually only occur as suggested intermediate notes in the slow descending glides from Pa to Ga and Sa to Dha respectively. However, in fast passages, they are either played distinctly or altogether omitted (Bhatkhande [KPM IV] 1976: 61).

Some characteristic movements:

S \ND P/S
G P \R
G R /P \MG

Rag-s Bhupali (vide) and Deshkar (vide) have a similar ascent as Shuddh kalyan. However, as the descent is different, Shuddh kalyan remains distinct. Moreover as compared to Bhupali, in Shuddh kalyan the movements are more in the lower octave (ibid).

Time : early night (ibid)

Further Listening:
Recording by Amir Khan
Recording by Abdul Karim Khan
Recording by Kishori Amonkar

Perfromance by Mashkoor Ali Khan

Composition: chhota khayal

मंदर बाजो रे बाजो रे
अौर गने रे

महमद शा पिया मन के दरस हो
सदारंग घर काजो रे काजो रे
The composition is attributed to Sadarang, the legendary composer, who preferred to include in his composition the name of his patron, Mohamad Shah. The poet appeals the beloved to return home.

Tal: Tintal (medium tempo)

Performance:
2-5: Performance opens with a typical movement- a glide S \D including Ni. Note a small oscillation (andol) on the lower Dha
15-21: Similar movement, ending with P /S
25-38: Sustained Re, followed by movements ending on Re, emphasising the note
43-45: Again, S ND P /S. Note a touch of Sa between two Dha-s (just before 44)
60-84: Ga is in focus. Note the sustained Ga returning to Re for a brief moment (just before 67). Also note a typical movement G /PR (68-72)
89-93: A clear touch of Ga for sustaining Re, followed by a glide R \D /G
113-124: Movements from Pa to Ga with Ma in between
136: descent from Sa to Dha with Ni in between
140: Composition begins. Note the accentuated beat (sam) of the 16-beat rhythmic cycle coinciding on a glide from Sa to lower Dha, with a touch of Ni in between
181: Second line
212: Second part of the composition (antara)
232: Concluding line of the composition
252: Elaborations using the words of the composition (bol alap)
252-280: Middle Sa is in focus. Note the phrase with lower Ga (265-266)
284: Now the phrases emphasise the middle Re
367: Slowly the focus shifts to the middle Ga
411-415: A characteristic phrase -G R /P \MG
432: Movements including and sustaining Pa. Note the recurrence of a typical phrase P \G with Ma in between
473: Gradually the high Sa and notes beyond are also included