RAGA LALIT - Tonal geometry and melodic mischief

Tonal geometry and melodic mischief Lalit is amongst the older and more popular ragas of the Hindustani system. It bears a close resemblance to raga Lalita of Carnatic music. The two ragas are considered manifestations of the same traditional melodic idea.

Lalit (also called Lalat) is a hexatonic raga prescribed for performance in the pre-sunrise hours. In the contemporary context, it has found a niche for itself in the three-hour period after sunrise. Some musicological texts approve of this timing. The melodic contours of the raga have also changed during this century. Its older form is still in occasional practice. Its popular contemporary form is, however, most relevant for present day listeners. (swara material: S r G M M d N).

The melodic personality of Lalit is dominated by the rare, probably unique, manner in which it deploys the two Ma swaras (suddha and teevra). In such cases of twin-swara usage, the general rule is that the raga is permitted to use only one of the two in the ascent, the other being used in the descent. Their sequential use in either direction is generally considered improper. Lalit however permits, and even encourages, the use of the two madhyamas sequentially in the ascent as well as the descent. The importance of this feature of Lalit is enhanced by the fact that the suddha (natural) Ma is considered the vadi swara – the pivotal around which the raga revolves. The two Ma swaras, almost inseparably linked in phrasing, thus define the raga’s melodic personality.