Ramkali

Older texts mention many names similar to the Raga under discussion. For example, names such as रामकली, रामकेली, रामकृति, रामक्रिया, रामकिरी, रामकरी, रामक्री occur. From the old texts, Sangeet Ratnakara (SharnagDeva), Sangeet SamayaSara (Parshvadeva), SwaraMelaKalanidhi (Ramamatya), SangeetSaramrit (Tulajirao), SadRaagaChandrodaya and Ragamala (Pundrik Vitthal), RagaVibodh (Somnatha), Anoop Sangeet Ratnakara, (Bhavbhatta), Sangeet Darpan (Damadara) mention this Raga.

However, it is to be noted that majority of the older texts indicate use of Shuddha Madhyama note as contrasted with the present vogue of employing two Madhyama - including a prominent role for the note Teevra Madhyama. Induction of the interval of Teevra Madhyama in a major way in Hindustani music is a matter that has exercised many minds and Raga Ramkali also provides food for thought in this respect.

The texts also place ‘Raamakriya’ in Poorvi Thaata. As contemporary musicians do not present Raga-s Raamakriya and Ramakali as independent Raga-s, mention of the Poorvi Thaata in this context is of academic interest. Yet another name mentioned is ‘Shuddha Raamakri’. It may therefore be possible to place Ramkali we present today as Ramakri in Bhairav Thaata and Shuddha Ramakri in Poorvi Thaata - if so desired (and if we have compositions justifying such a placement).