The raga emerges from Khamaj That.
The raga is of Audav-sampurna nature, i.e., in its Aroha (ascent) only five notes are used, whereas the Avaroh (descent) uses all the seven notes. Shuddha Ni is used in the arohana, while Komal Ni (represented as ni below) is used in avarohana. All other swaras are shuddha.
Arohana: Sa Re, Ma Pa Ni,Sa.
Avarohana: Sa ,ni Dha Pa,Ma Ga Re, Ga Ni Sa.
Pakad:- Re, Ma Pa Ni, Sa Re ni Dha Pa,ma ga re
The Vadi swara is Pa, and the Samvadi is Re.
The raga is to be sung during the first quarter of the night (ratri pratham prahar).
Re is very prominent, quite a few times the singer rests on Re, making it a centre to the melody. The Meend from Ma to Re via Ga is one of the most vital features of the raga. The arohana via shuddha Ni, and the transition from Re to komal Ni in the avorahana form an important part of the melodies in this raga
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