Unveiling the Harmonious Journey of Raga Asavari | Oshurer Suralok Jatra Series

When the lazy morning sunlight spills into the corner of the room, there can be no greater luxury than sipping a cup of tea while listening to Raga Asavari. This Asavari, mind you, is a morning raga—the foundational (mel) raga of the Asavari thaat (parent scale). In its ascent (Arohana), the notes ‘Ni’ and ‘Ga’ are omitted (making it an Audav-Sampurna classification), while all seven notes are used in its descent (Avarohana). But the true magic of this raga lies hidden in its flat (Komal) notes. The interplay of Komal Gandhar (Ga), Komal Dhaivat (Dha), and Komal Nishad (Ni)—these three flat notes—creates a profound sense of melancholy and yearning within the mind. When the Komal Dhaivat rests upon the Madhyam (Ma), it brings a sudden, inexplicable ache to the heart. It feels as though a left-behind old romance or an unfulfilled dream is quietly beckoning from just outside the window.

According to the scriptures, the nature of Raga Asavari is somber, imbued with a subtle tone of renunciation. But when I listen to it, it doesn’t feel like mere asceticism to me. It carries a strange, romantic melancholy. Waking up from a fresh morning slumber and diving into the Alap (introductory improvisation) or Vistar (expansion) of this raga makes it feel as if all the world’s clamor has been silenced in an instant. The Vadi (dominant) note of this raga is Dhaivat (Dha), and the Samavadi (consonant) note is Gandhar (Ga). This synthesis of Vadi and Samavadi elevates the entire raga to unique heights. When classical maestros render this raga with pure empathy, even a stone-hearted demon seems to embark on a momentary journey to the musical realm. The movement of this raga is much like a poem by Jibanananda Das—slow, somber, and deeply meaningful.

We often find the shadow of Asavari in Bengali songs and film music. Whenever a song blends a touch of separation, the ache of unfulfillment, and a sliver of morning light, know that the goddess of Asavari has manifested there. If one can truly internalize Asavari, it transforms not just the vocal tone, but the very depth of human thought. At least to a humble music apprentice like me, Asavari is not merely the grammar of a few notes; Asavari is a cup of tea, the morning sunshine, and a silent sigh for a life left behind. Ah, ensnared in this magical web of melody, even a demon becomes a god for a fleeting moment!

In this raga of the Asavari thaat, Gandhar, Dhaivat, and Nishad are flat (Komal). Since ‘Ga’ and ‘Ni’ are omitted in the ascent, it belongs to the Audav classification (Jati), and because all seven notes are used in the descent, it takes on the Sampurna classification.

Many of Nazrul’s songs are raga-based. In the songs composed under the umbrella of a specific raga, there has been a conscious effort to maintain the raga’s structural integrity throughout the melody; they do not deviate much from the raga. Therefore, I find Nazrul’s songs highly effective for ear-training.

Although Tagore took refuge in conventional ragas for many of his compositions, he often did not wish to remain confined within their strict frameworks. The path of his melodies frequently wandered beyond the boundaries of the raga. From what my untrained ear tells me, in many cases, his songs are not the best examples of pure raga-based music.

The movement of the Asavari Anga (particularly Jaunpuri-Asavari) is very distinct in this famous song by Sachin Karta. Sachin Dev Burman was highly proficient in classical music, and in this song, he beautifully portrayed the melancholy of the Asavari thaat.

There is intense debate surrounding this song. Many call it a traditional Asavari, but according to music researchers, it is essentially a romantic melody built upon a mixed Jaunpuri or Asavari thaat. It is not a purely classical Asavari, but the shadow of the Asavari Anga is highly prominent within it.

Khayal:

1. Asavari rendered by Ustad Amir Khan Sahib.
2. Asavari rendered by Ustad Bade Ghulam Ali Khan of the Patiala Gharana.
3. Asavari rendered by Pandit D. V. Paluskar.

Note on learning: To understand the movement of notes in any raga, it is essential to listen to 2 to 5 Swar-Malikas or Sargam-Geets. Alongside Swar-Malikas, listening to a couple of Lakshan Geets (or Chhota Khayals) can make it easier. Lakshan Geets are primarily taught to help students easily grasp the defining characteristics of a raga.

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