Raag Khamajखमाज
Sourced · not yet reviewed by a musician
Khamaj thaat · Shadav-Sampurna · Night
- Early night
- Night
- Midnight
Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ga · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ni
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Ga Ma Pa Dha Ni Sa'
Source: IGNOU OMU-001 +3
- IGNOU OMU-001, §1.3 i) Khamaj, Aroh; printed p.8
- Artium Academy, Raag Khamaj page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Swaranjali Music School, PDF page 15, labelled aroha; raw custom-font extraction decoded against page image
- 4 of 5 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Pa Ma Ga Re Sa
Source: IGNOU OMU-001 +2
- IGNOU OMU-001, §1.3 i) Khamaj, Avroh; printed p.8
- Krsna Kirtana Songs, Raga facts, Avaroha
- Swaranjali Music School, PDF page 15, labelled avaroha; raw custom-font extraction decoded against page image
- 3 of 5 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ga Ma Pa Dha Ni; Sa ni Dha Pa Dha Ma \ Ga
Source: AUTRIM
- AUTRIM, Khamaj page, characteristic phrases
- 4 versions in 4 sources
About Khamaj
Khamaj is especially common in thumri, dadra and hori-dhamarDhamarA vocal form associated with Holi themes and the fourteen-matra Dhamar taal, traditionally accompanied by pakhawaj.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary. The ascent normally leaves out Re and uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni, and the descent uses komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni. Ga and Ni are important and Pa is a resting note.
Source: AUTRIM
- AUTRIM, Khamaj page, opening description
How it moves
AUTRIM says the ascent normally leaves out Re and uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni.
Source: AUTRIM
- AUTRIM, Khamaj page, opening description
AUTRIM says the descent uses komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni.
Source: AUTRIM
- AUTRIM, Khamaj page, opening description
Learner focus
Use shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni going up and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni coming down. Bring out Ga and Ni, and rest on Pa.
Source: AUTRIM
- AUTRIM, Khamaj page, opening description
Caution
Lighter performances of Khamaj may add komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary.
Source: AUTRIM
- AUTRIM, Khamaj page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Ga Ma Pa Dha Ni with shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni.
- Sing Sa ni Dha Pa Dha Ma, then glide down to Ga, using komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni.
- Sing an ascent that leaves out Re.
Based on: AUTRIM +4
- AUTRIM, Khamaj page, characteristic phrases
- IGNOU OMU-001, §1.3 i) Khamaj, Aroh; printed p.8
- Artium Academy, Raag Khamaj page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Swaranjali Music School, PDF page 15, labelled aroha; raw custom-font extraction decoded against page image
Variants
- Lighter genres may include komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary.
Source: AUTRIM
- AUTRIM, Khamaj page, opening description
- Manj Khamaj mixes Manj elements; Ma takes dominance and acts as tonic.
Source: AUTRIM
- AUTRIM, Khamaj page, description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 5 sources agree
- JatiAll 4 sources agree
- Time4 of 6 sources agree
- Aroha4 of 5 sources agree
- Avaroha3 of 5 sources agree
- Pakad4 versions in 4 sources
- VadiAll 4 sources agree
- SamvadiAll 4 sources agree
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Khamaj. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-103 · Cassette
Manilal Nag — Japan, 1985
Manilal Nag (sitar);Mahapurush Misra (tabla)
Khamaj
Sitarkhani and tintal
Study KhamajTaalTaalA recurring cycle of counted units that organises rhythm. The cycle gives a framework for compositions and rhythmic elaboration.Source: N3 §§3.1–3.3.1, pp. 21–22.More in the glossary: SitarkhaniTaal: Teentaal
RAGA-201 · CD
Nikhil Banerjee — Berkeley, 1967
Nikhil Banerjee (sitar);Mahapurush Misra (tabla)
Khamaj
Short alap and gats
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Khamaj after the interval
Raga Records says Nikhil Banerjee often chose Khamaj after the interval in his concerts. In the performance described in its Raga-201 notes, a short alapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary leads to tabla accompaniment in rupak, followed by a faster gat in tintal.
Documented · Source: Raga-201 booklet: Khamaj performance paragraph
Mahadevan names Mitwa
Shankar Mahadevan named Khamaj as the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary of Mitwa in a statement published by Priyaankaa Mathur in 2018. The local register records this as composer testimony from a published quotation; the original event recording was not inspected.
As told by Shankar Mahadevan, quoted by Priyaankaa Mathur in Loudest, 5 November 2018 · Source: Answer to the question about blending classical music; register A02, inspected published quotation and its limit
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Khamaj: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- OMU-001 Introduction to Hindustani Music, Block 3 Applied Theory, Unit 1 RagaIndira Gandhi National Open University (eGyanKosh) · cited as IGNOU OMU-001University self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Raag KhamajArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raga KhamajaKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Khamaj | SRGmPDnS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. Accessed 17 October 2026.
- Praveshika Pratham: Syllabus and Theory / Raag IntroductionsSwaranjali Music School · cited as Swaranjali Music SchoolOpen school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.
- Vocal Music syllabus: VisharadPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.