In this video, the composition, ‘Koyaliya Kook Sunave,’ is a popular ‘bandish ki thumri’ set to Sitarkhani taal. The poetry in a bandish ki thumri is set according to the exact metre of the beats in the tala. This special feature gives the singer, the opportunity to indulge in dynamic improvisations within the premises of the rhythmic cycle.
Pandit Ulhas Kashalkar gives an authentic rendition of this bandish ki thumri in Raag Khamaj with pulsating improvisations. He follows up this song a tarana in the same raga in Teentaal.
Pandit Suresh Talwalkar’s extraordinary fillers and compositions make this piece doubly rewarding. Sameehan Kashalkar, who is the son and disciple of Pandit Kashalkar, proves his worth with his vocal support. Chinmay Kolhatkar provides a commendable accompaniment on the harmonium.
Raag Khamaj is derived from the Khamaj thaat and omits Re (2nd) in its ascent. It is a shadav-sampurna raga, which means it uses 6 notes in its ascent and all 7 in its descent. Ni or 7th is komal (flat) in its descent and pure in its ascent. Since the use of Re is minimal, the defining characteristic of this raga comes with the strategic use of the komal Ni. Although Khamaj is a major raga, composers throughout ages have used it mainly for lighter compositions like thumris and tappas because of its sweet and evocative temperament. The dominant note in Khamaj is Ga (3rd) and sub-dominant is pure Ni (7th).
Pandit Ulhas Kashalkar (khayal)
Pandit Suresh Talwalkar (tabla)
Sameehan Kashalkar (supporting vocals)
Chinmay Kolhatkar (harmonium)
Priya Prakash (tanpura)
Raag Khamaj, Thaat: Khamaj, Samay: second quarter of the night (9pm-12am)