Raag Lalit

Ghazals based on the Raag: 
Raag – Based Ghazals
Also see:
A Raag for each Season

About Raag Lalit [By Dr Sajeev Anand]:

1. Lalit is a very ancient Raga with a significant amount of controversy as to its Jati, and the notes used. However, in the modern times, there are two different types in use;
   • Poorvi Thaat Lalit, which employs Komal Dhaivat, and
   • Marva Thaat Lalit, which employs Shuddh Dhaivat. Most of the North Indian Gharanas use the former, as some think that the serenity and devotion of this Raag might not be fully revealed, due to the presence of Marwa ang.
2. Pancham is omitted; hence its Jati is Shadhav: Shadhav. Rishabh and Dhaivat are Komal (Although Dhaivat can be Shuddh, as said above), both Maddhyams as used. Rest of the notes are Shuddh. The Raag is rendered in the early morning. Shuddh Maddhyam is Vadi; while Shadaj is Samvadi. It is an extremely melodious Raga, that is quite popular in various disciplines of Indian classical music. This is an Maddhyang Pradhan Raag, that has its own identity, and own ang, namely, ‘N r G m, M (m)G, or S m, M (m). The name, Lalit has been thought to have been derived from the word “Lalita”, which means tender, charming, graceful, sweet voiced; the mother Goddess.
3. One of the raag’s peculiarity is the use of both Maddhyams in Avroah, in M->m fashion, which is absolutely necessary for its integrity. Although this use is also noticed in other ragas like Miyan Ki Malhar, Kedar etc. but not employing this would not hamper their chalan; unlike in Lalit, as mentioned above.
4. The Poorvanga of the Raag is: ‘N r G m, M (m)G, r G M G, r G r S
5. The Uttrang is: M d S”, r”N d, M d M m G M d N d S”
6. It is also of note, that Tivra Maddhyam is never skipped in either direction. For example, in Aroah, ‘N r G m, M m G, M d r G, M d M m, is used. This Aroahi approach is important to keep of Ahirbhaav of Raag Todi. Say for example, if G M d N d M m, is repeated continuously, shadow of Todi will become apparent. Hence, Aroahi approach should be ‘N r G m, m G M d way. Similarly, in Avroah, Shuddh Maddhyam is allowed to skip as d M G r S fashion, at times. In the same context, Dhaivat should be kept short, and partial Nyas on Gandhar be allowed; to keep the shadow of Todi away. Same approach should be kept in Shuddh Dhaivat Lalit, to keep away Ahirbhaav of Pooriya Dhanashree.
7. Chalan:
8. ‘N r G m, M m G m, d N S”N d N r”G”, r”S”N r”S”N d N G”G”, r”S”N d N N, S N d N d N d M, d M m G r S ‘N S
9. Shadaj is an important and Samvadi note, where Nyas is allowed; although, it is often skipped as N r G; witch is the signpost of the two respected thaats, to which these two different types of Lalits belong to.
10. Rishabh is often used as N r G, as a passing note, and is generally never skipped, except during high notes as N G”G”
11. Gandhar is generally not skipped, and an occasional Nyas is allowed.
12. Maddhyam is the Vadi and another Nyas note. N r G m, m G M d, M(m)G, S”N d M d M m G M(m), S m, M(m)
13. Tivra Maddhyam is never to be skipped, although Nyas is not allowed on it. As above
14. On Dhaivat, partial Nyas is allowed as M d S”N d, r”N d, N r”G”r S”N d. In Aroah, it is used as a passing note. M d S”, or M d N d S”
15. Nishad is used often to skip Shadaj in N r G, or r N d way. It can also be skipped as M d S fashion, or used as M d N d S, in a Vakra way.
16. Aroah: ‘N r G m, M m G, M d N d S”
17. Avroah: S”N d, M d M m G, M G r S
18. Chief notes: ‘N r G m M (m)G, M d M m G, M G r S.
19. Source: Raag Shashtra, by Dr. Gita Banerjee, Vol. 1, pages 20-28)

Listen to some Classical Vocal Renditions:

1. Raga Lalit – Smt. Kishori Amonkar
2. Raga Lalit – Begum Parveen Sultana
3. Pandit Ajoy Chakraborty || Raag Lalit ||
4. Raga Lalit- Rashid Khan ( Album: Tansen ) | Rashid Khan | Music Today
5. Mesmerising Raag Lalit | Indrani Mukherjee | Kirana-Rampur Khayal | Music of India
6. Pandit uday bhawalkar…dhrupad…raag lalit
7. How to sing Raag Lalit. Bandish lyrics explained.

Listen to some Classical Instrumental Renditions:

1. Raga Lalit | Hariprasad Chaurasia (Album: Sur Saaz Aur Taal) | Music Today | Music Today

Songs From Films – Based On or Inspired by Raag Lalit

1. Badi Dheere Jali Raina: Rekha and Vishal Bhardwaj offering from Ishqiya (2010). Class has its fair share of loyal patronage even today.
2. Ik Shahenshah Ne Banwa Ke Haseen Leader – Mohd Rafi – Lata Mangeshkar very romantic raag. sounds like Todi but moves far far away from Todi when played in depth.
3. Preetam daras dikhao_Chacha Zindabad_Kishore Kumar& Anita Guha_Manna Dey_Lata_Rajinder_ MM_a tribute
4. Raina Beeti Jaye | Amar Prem (1972) | Lata Mangeshkar | Sharmila Tagore, Rajesh Khanna | 70’s Hits
5. Tu hai mera prem devta_Kalpana 1960_Padmini, Ragini& AshokKumar _Manna Dey_Rafi_Q J _OP Nayyar_a tri: Rare Male duet!
6. Tum Nahi To Jaise Mere – Tum Yaad Aaye (1997)

More Raag-based Songs here:
Raagmalas in Film Music
Raag-based Film Songs
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More on Indian Classical Music:

The Alchemy of Indian Classical Music

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