This raag originated from Bhairav Thaat OR Parental Scale. Hence it has a second note Re and the sixth note “Dha” as flat or Komal. It’s structure is some what similar to Raag Bhairav. The most important and prominent note called the “Vadi Swar” is Dhaivat OR “Dha” according to one opinion and according to second opinion it is “Pancham” OR “Pa”. The supporting note OR the “Samvadi Swar” is Rishab OR Re agreed unanimously. This is a morning melody and is generally performed in the first period of morning between 4:00 am and 7:00 am. Ramkali has three varities. The first variety omits “Ma” and “Ni” in the Aroha OR ascending order which has theoretical support of the old treatise, but this variety is hardly in vogue. The second type of Ramkali is Septatoxic i.e. it is Sampoorna OR having all the seven notes. But since Bhairav is also a Sampoorna raag, it is but natural that the audience may feel confused about the identity of the raag. In such a condition the learned musicians support their statement to differentiate Bhairav from Ramkali by following a rule that Bhairav has its main identity in the lower and middle Octaves i.e. mandra and madhya sthaans whereas Ramkali is more distinct in the middle and upper Octaves i.e. madhya and Taar sthaans. The third variety of Ramkali has both the madhyams i.e. Shuddha and Teevra and both the Nishads i.e. flat and sharp. This an unique variety having independent features which is more popular than the other two varities, and the Khayal singers mostly sing this variety. In this variety the use of Teevra or sharp Ma and Komal OR flat Ni are executed in a special phrase for example: “Ma Pa Dha Ni Dha Pa, Ga, Ma, Re Sa” which is often displayed while singing Ramkali. In this variety it is advisable to give Vadita to “Pa”. Ramkali has its Re and Dha oscillating, but the oscillation of Re and Dha in Bhairav is comparatively more and differenyt inTechnique. Ramkali has one more variety in which both the Gandhars i.e. flat and sharp are used. But this variety is practically not in vogue. Some learned musicians call this variety as “Komal Ramkali.”

Aaroh : Sa Ga, Ma Pa, Dha, Ni Sa

Aavroh : Sa Ni Dha, Pa, Ma Pa Dha Ni Dha Pa, Ga, Ma, Re Sa

PAKAD OR CATCHY NiPHRASES : Dha Pa, Ma Pa, Dha Ni Dha Pa, Ga, Ma, Re Sa.

Raga RAMKALI

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