Raga Suha: Khyal in Madhya Lay Teental

Raga Suha: Khyal in Madhya Lay Teental is a 1970s recording by Hindustani classical vocalist Kishori Amonkar. The performance spans 15 minutes and 27 seconds and exemplifies the khyal genre in madhya lay (medium tempo) within the 16-beat teental rhythmic cycle. Amonkar renders the composition in Raga Suha, a melodic framework associated with the Kafi thaat and characterized by its use of komal gandhar (flattened third) and komal nishad (flattened seventh).

The recording captures Amonkar’s signature approach to raga alapa, bol-banao (melodic phrase development), and taan (fast melodic passages). The accompaniment includes a tanpura for drone support and a tabla for percussion, though specific accompanying artists remain undocumented in widely available sources. The performance adheres to the traditional gayaki (vocal style) of the Jaipur-Atrauli gharana, of which Amonkar was a leading exponent.

The track was likely released as part of a live concert recording or a studio album under a major Indian classical music label, though the exact release year, label, and album title are not definitively confirmed in public records. Notable segments include the gradual unfolding of the raga through vilambit (slow) and madhya lay sections, culminating in intricate taan patterns that demonstrate Amonkar’s control over pitch and rhythm. The composition’s lyrical content follows conventional khyal themes, often abstract or devotional in nature.

Amonkar’s interpretation of Raga Suha is recognized for its emotional depth and technical precision, reflecting her contributions to 20th-century Hindustani classical music. The recording serves as a reference for students and performers studying the Jaipur-Atrauli tradition and the expressive possibilities of madhya lay khyal.