Raag Multani
A deeply expressive Hindustani classical raga known for its introspective, serious, and meditative character.
Introduction
Raag Multani is a deeply expressive Hindustani classical raga known for its introspective, serious, and meditative character. It belongs to the Todi family of ragas and is traditionally associated with the afternoon period (3 PM to 6 PM).
Multani has a distinctive sound created by the combination of Komal Re, Komal Ga, Tivra Ma, and Komal Dha, along with characteristic movements that are quite different from simply playing a seven-note scale.
Why Multani is Essential for Bansuri Flute Players
For flute players, Multani is especially valuable for developing:
Note for learners: Multani is generally better suited to intermediate-to-advanced and advanced players because its identity depends heavily on swara treatment and characteristic phrases.
Notes (Swaras)
One of the most crucial structural features of Multani is that Re and Dha are generally treated carefully rather than simply being emphasized as ordinary scale notes.
Aaroh (Ascent)
This movement gives a better introduction to the character of Multani than simply running all seven swaras upward.
Pay special attention to the movement from Ni to Sa and the treatment of Komal Ga and Tivra Ma.
Avaroh (Descent)
Sa – Ni – Komal Dha – Pa – Tivra Ma – Komal Ga – Komal Re – Sa
The descending movement is extremely important for understanding Multani's personality.
Pakad (Catch Phrase)
Connect both phrases smoothly:
Do not try to play these phrases quickly. Their character comes from note treatment.
Time of Performance & Thaat
Time of Performance: Traditionally associated with the afternoon period, generally around 3 PM to 6 PM. Its serious and contemplative character is traditionally connected with this time of day.
Thaat: Associated with Todi Thaat due to the presence of Komal Re, Komal Ga, Tivra Ma, and Komal Dha. However, Multani should not be understood merely as a scale—its specific phrases and melodic movement give it its unique soul.
Jati, Vadi & Samvadi
Jati: Described as Audav-Sampurna in practical treatment. The Aaroh uses a restricted selection of swaras (5 notes), while the Avaroh makes fuller use of all 7 notes.
Vadi & Samvadi: Vadi is Pa and Samvadi is Sa. Pa has an important structural role, while Sa provides the fundamental tonal center. Become comfortable with phrases that approach and leave Pa naturally.
Key Characteristics of Raag Multani
Komal Re requires careful intonation. In Multani, it is generally not treated like an ordinary prominent scale note. Practice its relationship with Ga and Sa: g r S and M^ g r S.
Komal Ga is one of the most recognizable colors of Multani. Practice S g M^ and M^ g r S slowly. The exact pitch and movement of Ga strongly influence the raga's character.
Tivra Ma gives Multani a distinctive brightness within its otherwise serious tonal landscape. Practice g M^ P and P M^ g with careful pitch control.
Komal Dha becomes particularly useful in descending movements. Practice N d P and S' N d P without rushing.
The movement from Ni toward Sa is an important part of the raga's melodic approach. Practice N S g slowly, then N S g M^ to establish Multani's atmosphere.
Multani's descending phrases are particularly important. Practice S' N d P M^ g r S, focusing on musicality rather than mechanical scale playing.
Step-by-Step Practice Exercises
Practice 1 — Basic Swaras
Start slow with a steady breath. Focus on clean tone and stable intonation.
Practice 2 — Ni to Sa
Keep the transition smooth and controlled without jerking the air stream.
Practice 3 — Komal Ga Control
Listen carefully to the exact pitch of Komal Ga.
Practice 4 — Tivra Ma
Make sure Tivra Ma is clearly distinguished from Shuddha Ma.
Practice 5 — Komal Dha
Avoid forcing the upper register notes.
Practice 6 — Pakad Mastery
Connect both phrases cleanly once comfortable.
Aalap Practice
Multani benefits greatly from a slow and spacious Aalap. Do not try to demonstrate the entire raga immediately. Begin with a few important phrases and gradually expand the range.
Play these phrases with plenty of space. The objective is to develop Multani's atmosphere and phrase language, not simply to cover the notes.
Meend Practice (Microtonal Slides)
Meend is particularly useful when learning Multani on the flute. Practice controlled movements such as:
Start with very slow movements. The goal is to maintain a stable pitch throughout the movement rather than making the slide unnecessarily dramatic.
Common Mistakes & Flute Tips
Knowing the notes does not mean the raga will automatically sound like Multani.
Komal Re should not simply be treated like a normal strong scale note.
Multani uses Tivra Ma, not Shuddha Ma in its core framework.
Tivra Ma should not be inserted into every phrase carelessly.
Multani's character benefits from a slow, deliberate approach.
Too much sliding can make the melody unclear.
Ni plays an important role in the approach toward Sa.
FluteSangam Original Learning Piece
The following learning piece is 100% original FluteSangam content, created specifically for this page as a practice composition for Raag Multani. It is not a traditional bandish and should not be presented as one.
Play gently and allow the phrases to breathe.
Focus on the movement of Komal Ga and Tivra Ma.
Keep the upper Sa relaxed.
Finish calmly on Sa.
FluteSangam Original Learning Piece: This composition has been newly created for FluteSangam as an original practice piece for Raag Multani. It is not presented as a traditional composition or bandish.
How to Practice the FluteSangam Original Piece
N S g M^ g r S and N d P M^ g r S until natural.Aalap → Main Phrase → Development → Variation → Ending as one continuous practice piece.Flute Practice Tips for Raag Multani
1. Practice With a Tanpura
A Tanpura drone helps you hear subtle pitch differences, particularly when practicing Komal Re, Komal Ga, and Komal Dha.
2. Spend Extra Time on Komal Ga
Komal Ga has a major role in Multani's character. Practice S g M^ and M^ g r S slowly.
3. Practice Ni-Sa Carefully
Practice N S then N S g until the movement becomes comfortable.
4. Develop the Middle Register First
Before attempting elaborate upper-register phrases, establish a stable tone in the middle register.
5. Don't Chase Speed
Multani rewards accuracy and expression more than fast playing. First develop: pitch → tone → phrase → expression → speed.
6. Record Your Practice
Recording yourself can help identify unstable pitch, weak breath support, unclear Komal notes, or rushed phrases.
Why Learn Raag Multani?
Learning Multani can help an experienced flute player develop:
- Komal swara accuracy
- Tivra Ma control
- Microtonal Meend
- Breath management
- Aalap development
- Raga improvisation
Who Should Learn Raag Multani?
Multani is best approached by players who already have:
- Comfortable fingering
- Stable tone production
- Good breath control
- Experience with Komal notes
- Familiarity with Tivra Ma
- Basic Aalap experience
Raag Multani Daily Practice Routine
Practice Sa, Ga, Ma^, Pa, Ni with a Tanpura drone.
Work through the basic Aaroh and Avaroh slowly.
Practice N S g, g M^ P, N d P, M^ g r S.
Practice characteristic phrases repeatedly.
Create slow phrases using important movements.
Practice the FluteSangam piece section by section.
Close notation and attempt original Multani phrases.
Final Thoughts
Raag Multani is a beautiful and demanding raga that rewards patience, careful listening, and precise swara control. Its combination of Komal Re, Komal Ga, Tivra Ma, and Komal Dha, together with its distinctive melodic movements, gives it a serious and introspective character.
Integrated Metronome
Practice Timer (45 Min)
Frequently Asked Questions on Raag Multani
About the Author
Aplut is the Founder of FluteSangam, a global platform dedicated to the Indian bamboo flute (Bansuri). Through carefully crafted lessons, practice resources, raga guides, songs, and interactive tools, he aims to make flute learning accessible and enjoyable for enthusiasts worldwide.