The varieties of Nat on this page fall to two lots. They are either perturbations about the parent Raganga or they are joint projects with other rAgas, i.e. hybrids. Apropos of the perturbed variants, typically a novel swara cluster is injected into the poorvAnga. Or the relative weighting of a swara rejiggered, for instance, by diminishing the M and advancing G instead. Or there may be an uttarAnga marker - a dropped dhaivat or nishAd in ascent and/or descent, or some combination thereof. In the commentary that follows I will touch upon the essentials. Those readers excited about the nitty-gritty are invited to take their own measure.

Raga Shuddha Nat

The prefix "Shuddha" has many connotations. It may mean a "pure," "unadulterated" or "original" version of a rAga. Or it may denote a derived rAga where the vikrit swaras of the parent have been substituted with their shuddha counterparts. In other instances the nomenclature may not have any rational explanation.

Faiyyaz Khan's "Shuddha Nat" has all the classical markers of Nat enumerated earlier (I put that in quotes because I understand that Khansahib may not have called it by this name. But a Nat it certainly is). Additionally a distinct phrase with the dhaivat stands out -

http://www.sawf.org/audio/nat/faiyyaz_shuddhanat.ram

Recall Omkarnath Thakur's Chhayanat rendering of the old Nat composition, E karata ho mose. He treats that composition differently this time under the Shuddha Nat rubric: the Chhaya signature(P-->R) is spirited away leaving behind mostly 'pure' Nat -

http://www.sawf.org/audio/nat/ot_shuddhanat.ram

In the Atrauli-Jaipur dispensation of Shuddha Nat, the accent is shifted from M down to G. The "Shuddha" qualifier here purports to refer to Shuddha Kalyan. However, Mallikarjun Mansur's version, which is presented next, does not make a bold case for Shuddha Kalyan. A recurrent M GRG RSR cluster observed later in another Nat variant does, however, register. The G P S", N DN P (G)R movement may hint at Kalyan but goes no further than that. A marvellous display nonetheless by Mansur -

http://www.sawf.org/audio/nat/mansur_shuddhanat.ram

Kishori Amonkar, on the other hand, decidedly affirms Shuddha Kalyan amid Nat as witness this unpublished mehfil recording -

http://www.sawf.org/audio/nat/kishori_shuddhanat.ram

Finally, the Me too! candidate for Shuddha Nat by Mr. Jasraj, the musician manque. It is an unappetizing sight, Banditji laying an egg -

http://www.sawf.org/audio/nat/banditji_shuddhanat.ram

Raga Bihari-Nat

Notice the congruence with the Atrauli-Jaipur Shuddha Nat (M GRG RSR et al) as well as the likeness of the mukhDA. K. G. Ginde in jA'o ji tuma jA'o langarwA -

http://www.sawf.org/audio/nat/ginde_biharinat.ram

Same rAga, same cheez: Vilayat Hussain Khan "Pranpiya" -

http://www.sawf.org/audio/nat/vhk_biharinat.ram

Raga Sar-Nat

G P (N)D N, D P G M GRG - the distinguishing sentence of this obscure Agra specialty (pronounced "sAr-naT"). Bihari Nat, Atrauli-Jaipur's Shuddha Nat and Agra's Sar-Nat - monuments all to the art of hairsplitting.

Anjanibai Lolienkar of Goa -

http://www.sawf.org/audio/nat/anjanibai_sarnat.ram

Raga Nat-Nagari

It is anchored in Chhayanat but special swara clusters in the poorvAnga impart to it a distinct personality. This is a splendid example of ucchAraNa bheda leading to rAga bheda. Ramrang's composition and delivery are top-notch. The text addresses an event in the life of Bhartrhari. At the conclusion of his sanyAsa he returns to his unfaithful wife and asks for alms, as enjoined by his guru. The penitent woman now responds:

kAhe alakha jagAyo jogi tum mere prANa adhAra
janama sudhAre apno kantA
'rAmrang' humhi chhADi majadhAra

http://www.sawf.org/audio/nat/jha_natanagari_vil.ram

Another Nat variant called Nat Narayan is rarely heard. Bhatkhande has discussed it and there's a composition of S.N. Ratanjankar too. It is not to be confused with a rAga peddled by Maniram and Banditji under the "Nat Narayani" label.

Next, we look up some joD prakArs of Nat.

Raga Savani-Nat

The constituent Savani is a variation of Bihag with definitive identifiers such as the P-S" and S"-P pair, the downward slide P to G bypassing M, the cluster G MP MP G and so on. The nishAd, indispensible in Bihag, is rendered alpa in Savani. A sample chalan is as follows:

S, S P', P' N, S, S P G, (R)S, S R N', P ' S

S G, GMD, P, P G MPMP G (R)S

GMPS", S" P, MP G (R)S

The motivated reader is referred to the unforgettable renditions of Savani by Mallikarjun Mansur (deva deva satsanga).

The SR, RG, GM, MP stock of Nat is grafted on Savani to advance Savani-Nat. Additional artifacts are introduced - such as the approach to and nyAsa on the mandra nishAd via R S N', and a special sanchAri or two.

Jha-sahab warms up to his vilambit composition: Ana paRo maharAj -

http://www.sawf.org/audio/nat/jha_savaninat.ram

A composition of S.N. Ratanjankar, set to the unusual Sujan Shikhara tAla of 17 beats, is sketched by K.G. Ginde: suno ho gunidAs niki sAchi tAna -

http://www.sawf.org/audio/nat/ginde_savaninat.ram

Vilayat Hussain Khan "Pranpiya" presents his own bandish -

http://www.sawf.org/audio/nat/vhk_savaninat.ram

Another eminent Agra figure, Khadim Hussain Khan -

http://www.sawf.org/audio/nat/khk_savaninat.ram

The most engaging conception of Savani-Nat comes from Atrauli-Jaipur, a product of Alladiya Khan's vast imagination. Catch the beautiful mukhDA and the special prayoga involving a leap from M to N in Mallikarjun Mansur's selection: anAhata nAda -

http://www.sawf.org/audio/nat/mansur_savaninat.ram

Salve to the soul is how one may characterize Kishori Amonkar's gAyaki -

http://www.sawf.org/audio/nat/kishori_savaninat.ram

In the earlier article on Hem Kalyan was featured Altaf Hussain Khan's clip in Hem. His composition has an uncanny resemblance to features of Savani-Nat and one wonders if it is indeed a case of mis-labelling.

Raga Kalyani-Nat

Lalith Rao -

http://www.sawf.org/audio/nat/lalithrao_kalyaninat.ram

Raga Nat-Bihag

This perennial Agra favorite has developed a personality all its own. Bihag, typically with the teevra madhyam eliminated or greatly diminished, supplies the building blocks: S G M P; G M P N; P N S" G; S" N (D) P; P M G, R S and so on. But there are some no-no's in Bihag that are permissible in Nat-Bihag. For instance, straight runs of the P D N S" or P D N D P kind are not unusual. The cluster - M n D, P - is a distinguishing feature; the canonical Agra compositions recruit it for their facade. Finally, Nat weighs in with its usual baggage: SR, RG, GM, MP and S, RGMP.

Faiyyaz Hussain Khan's nom-tom AlAp -

http://www.sawf.org/audio/nat/faiyyaz_natbihag_alap.ram

The movie BUZDIL (1951) carried an adaptation of a famous Nat-Bihag cheez assigned to Lata Mangeshkar by composer S.D. Burman: jhan jhan jhan jhan pAyala bAje re -

http://www.sawf.org/audio/nat/buzdil.ram

The inspiration behind that tune, immortalized by the 'Aftab-e-Mausiqui' -

http://www.sawf.org/audio/nat/faiyyaz_natbihag.ram

Mallikarjun Mansur puts his spin on the cheez in this live recording -

http://www.sawf.org/audio/nat/mansur_natbihag.ram

And we hear it again, played on the Sarod by Biswajit Roy Chowdhury -

http://www.sawf.org/audio/nat/brc_natbihag.ram

Ramkrishnabuwa Vaze interrupts the Agra monopoly -

http://www.sawf.org/audio/nat/vazebuwa_natbihag.ram

The final Nat-Bihag item is standard Agra issue of the aforementioned Rangile's vilambit kHayAl elaborated by Asad Ali Khan: kaise kaise bolata -

http://www.sawf.org/audio/nat/asadalikhan_natbihag.ram

Raga Nat-Malhar

The potential for a fruitful union of the Nat and Malhar Ragangas was recognised long ago. The earliest versions have the Malhar kernel M (M)R R P planted in Nat's orchard. Ramashreya Jha "Ramrang," with his large collection of traditional compositions in Nat Malhar, is in fine feather as he rains down with gagana garaja garaja -

http://www.sawf.org/audio/nat/jha_natmalhar_druta.ram

K.G. Ginde takes a similar view of Nat Malhar via Ratanjankar's composition, shubha saguna -

http://www.sawf.org/audio/nat/ginde_natmalhar.ram

Kishori Amonkar introduces a second Malhar artifact - the two consecutive nishAds found in Miyan Malhar. The Nat anga is beautifully expressed: barkhA rtu Aye -

http://www.sawf.org/audio/nat/kishori_natmalhar.ram

Sawai Gandharva: banarA byAhana -

http://www.sawf.org/audio/nat/sawai_natmalhar.ram

Bhimsen Joshi drops subtle hints of the komal gandhAr into the proceedings -

http://www.sawf.org/audio/nat/bhimsen_natmalhar.ram

Raga Nat-Kamod

The Atrauli-Jaipur vocalists have a virtual lock on this joD-rAga. Kamod contributes the M R P and GMP G M R S clusters. And you know what to expect from Nat. Atrauli-Jaipur founder Alladiya Khan's remarkable talent for designing attractive yet substantial mukhDAs for his compositions has left its impress on most of that Gharana's repertoire. Nat-Kamod is a case in point and in Kesarbai Kerkar is found the personification of Khansahib's acuity: nevara bAjo re -

http://www.sawf.org/audio/nat/kesarbai_natkamod.ram

Ulhas Kashalkar dons the Atrauli-Jaipur hat in this private recording -

http://www.sawf.org/audio/nat/kashalkar_natkamod.ram

Nat Kamod is a busy melody affording no pause for think-time. In short, Mallikarjun Mansur's cup of tea -

http://www.sawf.org/audio/nat/mansur_natkamod.ram

Raga Bhoop-Nat

Yet another favourite of the Atrauli-Jaipur musicians whose propensity for Nat should be evident by now. Upon reflection on the internal constitution of these rAgas one comes away humbled by Alladiya Khan's Promethean genius. Take stock, for instance, of the gamaka cluster G M, R SS R. That melodic gesture represents 'le mot juste' to lead into or exit Bhoop. Ashwini Bhide delivers beautifully: mAlaniyAN lAya -

http://www.sawf.org/audio/nat/ashwinibhide_bhoopnat.ram

Raga Nat-Hamsa

This fetching blend of Hamsadhwani and Nat issues from Vijay Raghav Rao's Bansuri -

http://www.sawf.org/audio/nat/vrr_nathamsa.ram

Raga Nat-Chandra

Nat and Chandrakauns come together in this delicious cocktail. But there's a gotcha! here since the scale is identical to that of Nat-Bhairav. Govindprasad Jaipurwale assuredly tilts the melody away from BhairavAnga and towards Chandrakauns from the get-go -

http://www.sawf.org/audio/nat/gpj_natchandra.ram

Raga Nat-Bhairav

See Bhairav - The Primordial Sound

Raga Nat-Bilawal

This rAga has been treated in an earlier feature, On the Bilawal Trail. To that selection is now added an unpublished excerpt of Kesarbai Kerkar's 1950 concert at Shantiniketan -

http://www.sawf.org/audio/nat/kesarbai_natbilawal.ram

Raga Nat-Kedar

Nat-Kedar has been addressed in On the Variants of Kedar. The recently deceased Mogubai Kurdikar had withdrawn from the active performance circuit several years ago, ceding that department to her daughter Kishori Amonkar. Commercially available recordings of Mogubai's profound artistry are extremely few in number and her private holdings are jealously guarded. We are fortunate to have on capture one of her prized mehfil performances; vocal support is provided by her daughter Kishori: Aja manAwana -

http://www.sawf.org/audio/nat/mogubai_natkedar.ram

Raga Hem-Nat

See Uncommon Ragas: Hem Kalyan and Khem Kalyan

Raga Nat-Megh

Available with cafe-au-lait at your nearest Starbucks.

Acknowledgements

My deepest thanks to Romesh Aeri, Ashok Ambardar and Ajay Nerurkar. And to Anita Thakur for her patience, kindness and imagination in bringing these web pages to life. Finally, to the readers who write in to thank me, may I say, "Mention Nat" (heheheheh).