Raag Multaniमुलतानी
Sourced · not yet reviewed by a musician
Todi thaat · Audav-Sampurna · Afternoon
- Morning
- Afternoon
- Sunset
Swaras and phrases
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 Ni Sa'
Source: Artium Academy +4
- Artium Academy, Raag Multani page, aroha
- Raagist, Arohi
- Riyaz, Public glossary / Aaroh
- Darbar, Aaroh (ascent):
- Raga Junglism, Melodic summary / Aroha:
- 5 of 6 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: Artium Academy +3
- Artium Academy, Raag Multani page, avaroha
- Raagist, Avrohi
- Online Sangeet, Description / Avaroh
- Riyaz, Public glossary / Avaroh
- 4 of 6 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
- Ni Sa / ga re Sa; Ma♯ ga ~ Pa Ma♯ Pa / Ni - dha Pa
Source: AUTRIM
- AUTRIM, Multani page, characteristic phrases
- 3 versions in 3 sources
About Multani
Multani usually begins on lower Ni and leaves weak Re and Dha out of the ascent. Sa and Pa are resting notes, and oscillating 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 with 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 is characteristic.
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Visharad I (as Multaani
).
Source: PKK
- PKK, printed p.9, list of prescribed raags
How it moves
Pakad: Darbar's key-phrase list prints “M p d P”, a 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 Ma that conflicts with its own Multani swarasSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary; that apparent typo is left out of this vote. Raga Junglism prints an uppercase G (shuddha Ga) in its Multani 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, against its own 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 scale; that apparent typo is left out of this vote.
AUTRIM says most phrases begin on lower Ni, 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 Re 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 Dha are left out of the ascent.
Source: AUTRIM
- AUTRIM, Multani page, opening description
Learner focus
Start phrases on lower Ni, oscillate 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 with 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, and rest on Sa or Pa.
Source: AUTRIM
- AUTRIM, Multani page, opening description
Caution
Miyan Ki Todi uses the same notes but different melodic patterns.
Source: AUTRIM
- AUTRIM, Multani page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Ni Sa, glide up to 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, then sing re Sa.
- Sing Ma(tivra) ga with an oscillation, then Pa.
- Sing an ascent from lower Ni that leaves out 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 Re 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 Dha.
Based on: AUTRIM +5
- AUTRIM, Multani page, characteristic phrases
- Artium Academy, Raag Multani page, aroha
- Raagist, Arohi
- Riyaz, Public glossary / Aaroh
- Darbar, Aaroh (ascent):
- Raga Junglism, Melodic summary / Aroha:
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 6 sources agree
- JatiAll 5 sources agree
- Time6 of 8 sources agree
- Aroha5 of 6 sources agree
- Avaroha4 of 6 sources agree
- Pakad3 versions in 3 sources
- Vadi4 of 5 sources agree
- SamvadiAll 5 sources agree
Sources differ
Notes where the cited sources describe 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 differently. Field-by-field versions and their sources are under How the sources vote.
- Mood. The sources state this differently. The value at the top of the page follows the source cited beside it.
- ITC Sangeet Research Academy, Samay Raga page, Multani, ‘About this raga’
- Introspective and quietly yearning
- Divya Music, raag notes, Multani profile, Nature of Rag
- deep
Similar raags named by the sources
- Miyan Ki Todi: Same tone material but different melodic patterns.
Source: AUTRIM
- AUTRIM, Multani page, description
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 Multani. 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-211 · CD
Nikhil Banerjee — Rotterdam, 1970
Nikhil Banerjee (sitar);Kanai Dutta (tabla)
Multani
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.
Multani in Rotterdam
Raga Records documents Nikhil Banerjee playing Multani with Kanai Dutta on tabla in Rotterdam on 17 May 1970. Its track list starts with 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 and continues through medium and fast tintal to jhalla.
Documented · Source: Raga-211: musician credits, MULTANI track list and final recording credits
A possible link to Multan
AUTRIM suggests that the name Multani may point to a connection with the region of Multan. Its wording leaves that connection uncertain.
Uncertain · Source: Opening suggestion about the name and the region of Multan
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.
- Multani: 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.
- Raag MultaniArtium 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.
- Multaani - DarbarDarbar Arts Culture Heritage Trust · cited as DarbarRobots permits public raga pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
- Raagist -Raag MultaniRaagist · cited as RaagistPublic page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raag/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
- Multani Raag Bandish 16 Matras Allap Taan Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Multani | SrgMPdNS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Raag Multani — Aaroh, Avaroh, Pakar & Samay | RiyazRiyaz / myriyaz.com · cited as RiyazRobots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. 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: 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.