Raag Desh

1. Basic Identity

Raga Name: Desh (देश)

Thaat: Khamaj (खमाज)

Samay (Time of Performance): Second prahar of the night (9 PM – midnight)

Rasa (Mood):

• Romantic (श्रृंगार) – gentle, expressive

• Joyful (हर्ष) – bright, uplifting

• Patriotic (देशभक्ति) – inspiring, proud

• Devotional sweetness (भक्ति) – humble, tender

Vadi (Vādi): R (Re – ऋषभ)

Samvadi (Samvādi): P (Pa – पंचम)

Seasonal Association: Monsoon (वर्षा ऋतु)

Special Lakshan (Features):

• Shuddha Ni in aroha, komal ni in avaroha

• Vakra (zigzag) descent: G R G S

• Kan-swar (grace note) on R and M

• Emotional contrast between bright ascent and tender descent

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2. Swara Structure

Aroha (आरोह): S R M P N S’

Avaroha (अवरोह): S’ n D P M G R G S

Pakad (पकड़): M P N S’, R’ n D P, M G R G S

3. Representative Alaap

(Each phrase given in Hindustani + Roman + Pitch-Class + Western Note)

Alaap Phrase 1 – S R M P N S’

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

Alaap Phrase 2 – S’ n D P M G R G S

सा’ – Sa’ – 0 – C (octave)

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Alaap Phrase 3 – M P N S’ R’ n D P

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

Alaap Phrase 4 – M G R G S

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Alaap Phrase 5 – R M P, M G R S

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

सा – Sa – 0 – C

Alaap Phrase 6 – N S’ R’ n D P, M G R G S

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

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4. Representative Taans

Taan 1 – S R M P | N S’ R’ n | D P M G | R G S

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Taan 2 – M P N S’ | R’ n D P | M G R G | S

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Taan 3 – S R M P N S’ | n D P M G R S

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

सा – Sa – 0 – C

Taan 4 – M G R S | R M P N | S’ R’ n D | P M G S

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

सा – Sa – 0 – C

5. Performance & Theory Integration

• Carnatic Mapping: Similar to Carnatic Desh / Mishra Khamas (S R2 M1 P N3 S | S N2 D2 P M1 G3 R2 G3 S)

• Western Approximation: Asymmetrical scale similar to Mixolydian ♭7 with altered motion (upward: C–D–F–G–B–C; downward: C–Bb–A–G–F–E–D–E–C)

• Chords by phrase:

• M P N S’ → F major → G major → C major

• R’ n D P → D minor → Bb major → G minor

• M G R G S → F major → C major

Raag Desh – Extended Performance Alaap

(Sa = C = 0)

Alaap 1 – Simple Swara Unfolding (Vilambit)

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

Alaap 2 – Gentle Descent

सा’ – Sa’ – 0 – C (octave)

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Alaap 3 – First Vakra Turn

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

Alaap 4 – Pakad Statement

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Alaap 5 – Kan-Swar Emphasis

रे – Re – 2 – D

(ग as kan) – Ga – 4 – E – (grace note)

म – Ma – 5 – F

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

सा – Sa – 0 – C

Alaap 6 – Extended Upper Play

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Alaap 7 – Gentle Murki

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

Alaap 8 – Gradual Build

म – Ma – 5 – F

प – Pa – 7 – G

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

सा – Sa – 0 – C

Alaap 9 – Mid-tempo Play (Madhya Laya Entry)

सा – Sa – 0 – C

रे – Re – 2 – D

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

सा – Sa – 0 – C

प – Pa – 7 – G

ध – Dha – 9 – A

नि (shuddha) – Ni – 11 – B

सा’ – Sa’ – 0 – C (octave)

Alaap 10 – Ending Cadence

रे’ – Re’ – 2 – D

नि (komal) – ni – 10 – Bb

ध – Dha – 9 – A

प – Pa – 7 – G

म – Ma – 5 – F

ग – Ga – 4 – E

रे – Re – 2 – D

ग – Ga – 4 – E

सा – Sa – 0 – C

Performance Tips

• Start alap in Vilambit laya, stretching each note, especially M and R.

• Use meend from N (shuddha) to S’ in ascent, and from n (komal) to D in descent.

• Keep R as a nyas swar in mid phrases, and P for stable resting points.

• Avoid using shuddha Ni in descent.

• Always include G R G S in descent to firmly establish Desh.