Was there a time that this raga did not exist?. Once you listen to Maru Kalyan, it is difficult to believe that this isn't a primordial melody. Ustad Amir Khan has discovered a gambhir raga that surely could become as indispensable to the musician as Shree, Malkauns or Darbari -- if only there were commercial recordings of it.together Yaman, Maru and Hindol. The result is a raga of searching quality, that constantly contrasts Yaman's solidity with Maru's uncertainty. Khansahib develops it as a uttarang raga, staying mainly in the mandra and madhya range, reinforcing its deep, introspective spirituality. I am convinced that he must have found it so, since his lyrics recall the restlessness of a world-weary Meera Baiishad are also dear to him. Vilambit bandish: "Hari naam rata re maname Karo janam safal" (Repeat the name of Hari in your mind, make your life replete) Drut bandish: (nothing chota about this!): Kahe karat abhimaan, murakh Hoon Jogan ban chaar dinana ko. (Why let Pride/Self have importance in life O Fool, After all one is here, a Jogan, for four days only) The recording quality has blurred the words, and I may have the lyrics wrong in places. Aroha: S R G M D N S> Avaroha: S> N D M G R S Mukhya Angae: D--MG-'R<S, NDNS, NRM-G-R-S Jati: 6-6 Vadi/Samvadi: It is hard to say. D and R are important notes. The twisting of Maru into Yaman is accomplished from the pivotal M and G. Maru's mukhya ang is D-MG-'RS (according to Ustad Yunus Husain Khan while describing Maru Bihag). The 'R is a kana note from G. D is a meend coming up from the mandra S. I have not heard Shuddha Maru, but here is a description according to Pandit Manikbua Thakurdas in "Raga Darshan" also contained within a sketch of Maru Bihag: Raga Maru: Aroha: NSG, DMPN, S> Avaroha: S> NDP, MGRS. Chalan: NSGMP, MPG, MGRS, RNDP, <M<P<NSRS, GMGRS Maru Kalyan leaves out the pancham but uses the rishabh. Khansahib's main purpose in creating Maru Kalyan seems to have been a desire to explore and enjoy the shrutis of rishabh. With the result, Maru Kalyan becomes to Yaman, what Marwa is to Pooriya. From time to time, the ear is teased into thinking: "Ah, this is Pooriya," then in the next phrase the rishabhs bring Maru and Kalyan back to the top. On a scale of 1 to 4 in which 1 is lowest, the Pooriya rishabh is 1, Marwa is 2, Yaman is 3, and Maru is 4. The relationship of 4 to 3 recalls that of 2 to 1. Every time MDND, MDN suggests Pooriya, NR quickly establishes Yaman. The Chalan in the madhya saptak: NSDNS, SGM-G'RS, (Maru) DNS, (S) N, MDNRS, NDSNR, M-G-R-S, (Yaman) D--MG-'RS, DNS. SGM, NDM- GS, DNS (Maru) M-G-R-S, NDSNR, DNS, MDN, MDND, NRS (Yaman) Maru's R is preceded by MG-. It aspires to be G, but fails and falls to S. Yaman's R is protected by an even distribution of M-G-R-S. The former gives the raga its searching character, the latter returns it to safety. The two Rs are constantly contrasted, the phrases overlapping one another like two strands that are apparent in a braid. The surprise comes when the raga moves towards the taar saptak. As soon as the upper Shadja is even remembered, another strand begins to emerge: NRGMND, MG-'R<S Once the raga soars to S>, the perspective changes and Hindol's chaya dominates until it swings back to the lower 'RS: S>NDMG-'R<S Hindol was there all the time, but since it is a pendulum raga that needs a boost to the taar Sa to establish its force, it was hidden. One didn't suspect it even though NDM-GS occured in the Maru phrase. Now with taar Sa established, Hindol's strand is brought up like a golden thread that ornaments the end of a braid. I apologize for extending the braid metaphor, but I can't help but think of it every time I listen to Maru Kalyan. Khansahib does not use just a catchy phrase to to convey a second or a third raga: he alternates the shrutis and the short phrases every inch of the way. With Maru Kalyan, Amir Khansahib shows that ragas that have tivra madhyam but not komal rishabh are also dear to him. They must be, since he sings this with such feeling.