Locked down with the notes: Khamas

#Ragaoftheday

From one of the most 'performable' pieces eager beginners learn ("Saamba shivaya nave") to the controlled mastery of a pada varna like "Mate malaya dhvaja pandya sanjate'', the splendid notes of Khamas dance their way through several kritis known to the average Carnatic connoisseur.

Preferred particularly by Thumri singers, Khamaj as it is known in the Hindustani tradition has also attracted many music directors in Indian cinema.

With its characteristic inclusion of two Nishads, its sparing use of the Rishabh and some unmistakable phrases, the raga has not surprisingly often inspired the image of a dancing Krishna or Nataraja in familiar compositions that are as appealing for their poetry as they are for the melodious music they encapsulate.


I never tire of listening to the delightful swara kalpana in Sanjay Subramanian's concise rendition of ''Santana gopalakrishnam".

And as a refreshing contrast, here is a sprig from the evergreen bouquet of songs in the classic Hindi film, Amar Prem.

And of course, the Hindu's archives give us Charulatha Mani's quick sketch of the raga and its riches.