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Raag · 3–6 pm · Intense, serious

मुलतानीMultani

Todi's swaras in the late afternoon: Re and Dha left out going up, and a strong Pa at its centre.

This landscape is drawn from the raag: the far mountain rises with its aaroh and falls with its avaroh, and the near hills follow its pakad.

58 madhya
About these soundsMeend makes the harmonium and santoor sounds itself. They aren’t recordings of real instruments, so they sound close, but not quite the same. They are here to let you hear how the swaras go.The tanpura and tabla are recordings of real ones.
SRGMPDNमुलतानी

Tap a swara to hear it

Thaat
Todi
Jati
Audav–Sampurna
Vadi and samvadi
Pa and Sa
Its hour
3–6 pm, 4th prahar of the day
Its mood
Intense, serious

Multani is a raag of the late afternoon, intense and serious. Its swaras are Todi's, komal Re, Ga and Dha, tivra Ma and shuddh Ni, but it uses them differently: it leaves out Re and Dha going up, and where Todi touches Pa lightly, Multani stands on it. It belongs to Todi thaat.

Hear it

Aaroh
NSGMPNS
Avaroh
SNDPMGRS
Pakad
NSGMPMGRS

How it moves

Pa is Multani's vadi, Sa its samvadi. Its climb, from Ni below, skips komal Re:

From Ni below, by Sa and komal Ga, up to Pa
NSGMP
Home, by tivra Ma, komal Ga and Re
MGRS
Up to taar Sa
GMPNS
Coming down
SNDPMG

Its hour

1st prahar of the day, 6–9 am12nd prahar of the day, 9 am – noon23rd prahar of the day, noon – 3 pm34th prahar of the day, 3–6 pm41st prahar of the night, 6–9 pm12nd prahar of the night, 9 pm – midnight23rd prahar of the night, midnight – 3 am34th prahar of the night, 3–6 am4midnight6 amnoon6 pmnightdayMultani3–6 pm
4th prahar of the day, 3–6 pm. Its hour’s other raags: Bhimpalasi, Patdeep, Marwa, Puriya Dhanashri.

Multani belongs to the fourth prahar of the day, from 3 to 6 in the afternoon, the hour before sunset.

On the bansuri

  • S
  • R
  • G
  • M
  • P
  • D
  • N
  • S
Its swaras on the bansuri, from Sa to taar Sa: a dark hole closed, a half-dark one half closed. Every swara’s fingering, in your key →

Look-alikes

SRGMPDNमुलतानीMultaniVadi Pa, samvadi Sa · 3–6 pm
Multani’s pakad
NSGMPMGRS
SRGMPDNतोड़ीTodiVadi komal Dha, samvadi komal Ga · 9 am – noon
Todi’s pakad
DNSRGRSMGRGRS
The same swaras: they differ in where they dwell and how they move.

Puriya Dhanashri, also of the hour before sunset, has a shuddh Ga where Multani's is komal:

SRGMPDNमुलतानीMultaniVadi Pa, samvadi Sa · 3–6 pm
Multani’s pakad
NSGMPMGRS
SRGMPDNपूरिया धनाश्रीPuriya DhanashriVadi Pa, samvadi komal Re · 3–6 pm
Puriya Dhanashri’s pakad
NRGMPDPMGMRGRS
Multani has komal Ga; Puriya Dhanashri has Ga.

Practise it

  1. Long notes on Pa and Sa.
  2. The aaroh and avaroh, slowly.
  3. The pakad and the phrases.
Pa and Sa, held
P–––––––S–––––––
A short aalap
NSG–MP––
MGRS––––
GMPNS–––
NDPMGRS–
A riyaz of Raag Multani

Meend starts it with Aaroh–Avaroh, Pakad, Aalap and Bandish, 27 minutes a day, and listens as you play: each swara of the notation lit as it is played, the time kept, a lotus grown petal by petal.

Make it my riyazor check your playing on the tuner

Questions

How is Multani different from Todi?

The same swaras. Multani leaves out Re and Dha going up, stands on Pa, and belongs to the late afternoon; Todi dwells on Re and Ga, touches Pa lightly, and belongs to the late morning.

When is Multani sung?

In the fourth prahar of the day, the late afternoon.