This idea of the blogpost on two sets of raags is divided in two parts. The common feature of these two parts is that the two raags in the group claim same set of swar (notes) but differ in their gait and invocation of notes, giving them a different personality.
In the first part I begin with the group of notes that form Kamod, Shyam Kalyan canvas.
Kamod : Shyam Kalyan
These two raags have the same set of notes but the way they are presented makes a huge difference. Something similar to Todi and Multani, Bhoop and Deskar, Puriya-Marwa and Sohoni. In my opinion these groups of raags highlight the most distinguishing part of Hindustani Classical Music; Same notes sound different when approached and presented differently, produce different emotions and have distinct "Bhaav" and "Ras"
As Parrikar has rightly put about the "intellectual artistic" nature of Hindustani Classical Music
"It is hard to convey Kamod’s spirit through the written medium. The gestalt is best imbibed through study and by listening to classic renditions of the past masters. Such ragas have very little basis in scales. Among the deleterious habits to have come to nest in the realm of Hindustani pedagogy is the urge to pigeonhole ragas into an aroha-avaroha set, then tack on the vadi-samvadi pair, a pakkad phrase, and then presume that one has successfully described the raga. The aroha-avaroha set is an ex post facto construct that ought not to be the starting point of inquiry."
Kamod and Shyam Kalyan clearly seem to be having strands of Hameer, Kedar, Shuddha-Malhar (Durga) and Kalyan woven together. While having both the "Madhyams", Pancham is the most important note (swar) of raag Kamod and all the slides and glides rotate around it. That distinguishes it from the Shyam Kalyan where teevra Madhyam overshadows the Pancham.
Kamod is a favorite of Patiala gharana. Here are some renditions of the great Ut Bade Gulam Ali Khan, Pt D V Paluskar.
Chand de moraa : Ut Bade Gulam Ali Khan of Kasur Patiala Gharana
Pt D V Paluskar of Gwalior gharana presents Kamod (1960 AIR)
Shyam Kalyan has both the "Madhyams", teevra Madhyam occupies the center around which raag Shyam Kalyan rotates (Hence Kalyan), making the Pancham play a second fiddle. This is the most distinguishing factor of Shyam Kalyan. In addition, the character of Shyam Kalyan lies in the slide from teevra Madhyam to Rishabh. (M-->R)
Here are two renditions of Shyam Kalyan by two stars and torch bearers. Savani Shende of Gwalior gharana and "Princess of Patiala Gharana" .. Kaushiki Chakravarty.
Savani Shende of Gwalior presents Shyam Kalyan in Gwalior style with Tarana
The Princess of Patiala gharana Kaushiki Chakravarty presents Shyam Kalyan in Patiala style with Sargams
The duo of Banaras, Pt Rajan-Sajan Mishra provides a classic rendition of both Shyam Kalyan and Kamod! That would summarize the differences between the two raags.
Pt Rajan Sajan Mishra : Kamod - Ritu Basant sakhee moh man bhaavat !
Shyam Kalyan by the Banaras Duo: Un sang laagi lagan mori !
Here is my (continuously updated) playlist of Kamod and Shyam Kalyan
If I had to choose one raag to represent North-Indian classical music that could be labeled as grandiose and truly represents "big raag league" , I would name Raag Multani. The longing, the dry summer of Multan (North India,now part of Pakistan) and the scorching heat of late afternoon, bringing out the soft side of human heart, the wait for the twilight breeze, the surrender through musical notes that pours out a "Karun ras" is what Multaani represents.
For the seekers (mumukshu) Multani brightens the path. For the philosophers it illuminates the thought. For the audience and performers, it opens minds showering the eternal happiness and hope, "Sat-Chit-Anand"(सत-चित-आनंद ) . A true entertainment to mind and soul. रञ्जयति इति रागः
Multani is close to my heart.It has the power to touch minds and souls instantly in its rendering, taking the listener to deep thinking, the true strength of Hindustani Classical Music in real sense. Multani has done the magic on me many a times and has brought me in touch with my inner self. Most connoisseurs have experienced the intense power of Multani,eliciting various "Bhaav and Ras" from Bhakti - Love - Separation-Longing- Karuna- Surrender to deep thought, reflexively turning their eyes wet (including yours truly) !!
Here is a starter by Kumar Mardur to get the Multani party started ! Shear power and intensity of Multani demonstrated by a talented vocalist.
The notes of Todi and Multani are same in terms of theory hence it is part of Thaat Todi, but Multani is no way near Todi in rendering. The Rishabh and Dhaivat in avaroha (descend), that is sharper, the attack on Rishabh is also from the sharper side of Gandhar. This also gives a "aabhas" of sharper Madhyam is what makes this raag unique. It is believed that Multani is a raag that can be learned only through "Guru-mukh" .. in truly aural tradition. It cannot really be "taught", it has to be "learned" by the disciple. Hence, in my view, rendering of Multani demonstrates the real character and talent of a disciple.
Vocalists from Kirana gharana, perform it as their trade mark. Patiala gharana Multani is something that connoisseurs long for, especially from a veteran vocalists. The bandishes of Multani are truly classical, they are NO songs for consumption of "popular" music. Philosophy and deep thought flows through each of these classic bandishes be it of Bhakti ras, Virah or romance.
Sawai Gandharva Music festival of Pune typically starts around 3pm every day during December. One gets to hear lots of Multanis and Bhimpalases by young upcoming artists, as they open the day's concert every day for 5 days of festival. I have heard many such live Multanis but the one live Multani rendition I treasure the most is that of Ut Mubarak Ali Khan of Kirana gharana along with this shagird Arshad Ali on Sunday, Jan 4th , 2015. A thing that I can say about that performance is that, it had that truly classical feel of listening to Ut Bade Gulam Ali Khan saheb, Ut Amir Khan Saheb mixed with the classical Kirana style of badhat with each note. A mix of Patiala, Indore and Kirana in one of the divine mix. Unfortunately I do not have this recording but here is my blog post from that day !
My playlist of Multani on youtube is huge. Here is the link to it... Posting some of my favorite renderings from the Multani playlist for this "Multani Party"
First , my favorite young upcoming classical vocalist ,Kumar Mardur Sings "Nainan mein aan baan" , a classic Kirana Gharana bandish
नैनन में आनबान,कौन सी परी रे
निसदिन सोवत पलक न खोलत
जब देखो मुख श्याम सी पारी रे
Kaushiki sings Multani in the tradition of Patiala-Kasur
कवन देस गये
दूरगा के संग रितु मानी रे
और न जानू अब लुग गई
प्रीत कदर ना जानी रे
Indrani Mukherjee sings Multani in a Kirana-Rampur Sahaswan style
Sanhita Nandi gives an intense rendering set to Jhumra taal ,in a style that has mix of Indore and Kirana style
Anuradha Kuber Sings Multani in Bhendi Bazar Gharana style
तुम बिन मानत नाही जियरा मोरा
नैना नीर झरत
दरस की आस कासे कहूँ अब
Pt Ajay Chakravarti sings Multani in truly Patiala-Kasur style
जीवन नैय्या डोले
Pt Venkatesh Kumar sings Multani in a Kirana+Gwaliar+Patiala style
सुन्दर सुरजनवा साईं रे
निसदिन तुम्हारो ध्यान धरत है
आन मिलो रब साईं रे
Veena Sahastrabuddhe , traditional Multani bandishes in Gwaliar style
गोकुल गाँव का छोरा
नैनन में आनबान
Ut Amir Khan saheb sings Multani in Jhumra taal
हे सुरजनवा
बलमा मोरे तुमसो लागली प्रीत
Pt Jayteerth Mevundi sings traditional bandishes of Kirana Gharana
गोकुल गाँव का छोरा
कंगन मुन्दरिया मोरी
नैनन में आनबान
Pt Prabhakar Karekar sings Multani Agra Style
तुम बिन मनात नाही जियरा मोरा
कौन देस गवन किन्हो चीत जाये बसे
Ut Bade Gulam Ali Khan saheb sings his trade mark Multani
( old recording hence poor recording quality is regretted but still one can experience those sparks of brilliance )
कवन देस गये
दूर गा के संग रितु मानी रे
और जन दुर्जन लोग बसत है
सुन री मोरी आली
और न जानू अब लुग गई
प्रीत कदर ना जानी रे
इतनी अरज मोरी उन से कहियो
तू दुर्गा मैं दुर्गानी रे
Kaushiki , the darling of Patiala gharana sings the classic patiala bandishes along with the traditional bandishes in Multani .. दुर्गा के संग .. ( one of my favorites )
One of the Multanis from playlist is of Ut Mashkor Ali Khan recorded in a private mehfil in California.
---------------------------------------------------------------------------- Note
about Multan,Pakistan: The Moolasthana (Multan) is now in Pakistan and
has been famous since ages,for Saints and Shrines. The Aditya Surya
Temple was one of the four Sun Temples build by Hindu King in 7th
Century, was repeatedly attacked by Muslims and then rebuilt by Hindus
for nearly 500 years. It finally lost its original identity when the
Ismaili ruler replaced the Sun Temple with a mosque.
One of the temples in these set of temples was of the Mool sthaan of an avatar of Shri Vishnu, known as Nrusinha. A brick from this temple is now preserved at Shri Laxmi-Nrusinha temple in Pune.
Here is a link about the details of the temple (in Marathi) ..updated and added on Nrusinha Jayanti , April 30th, 2026.
