Lilting Lalit

Pt. Ravi Shankar

This unique dawn Raga occupies a special place in Indian Classical Music. First it is one of the rare ragas in Hindustani Music which use both the Madhyams side by side.

The Melakarta classification of Carnatic Music is comprehensive enough to include all ragas, but not this, as it is divided into two halves depending on which Madhyam is used, whereas Lalit uses both, so can fit in neither half.

In Hindustani Music, it is classified under Bhairav Thaat. The basic structure is
NrGmMm GmdNS. SNdMmG MGrS.

Creative musicians have developed many variants of Lalit, keeping the consecutive use of both Madhyams as the distinguishing Lalit Ang. 

Pt. Nikhil Banerjee

Pandit Ravi Shankar has developed Ahir Lalit, blending Ahir Bhairav & Lalit, the basic structure being,
nrGmM DnS. SnDMmGrS.
Here Shuddha Dhaivat & Komal Nishad are the Ahir Ang.

Pandit Nikhil Banerjee has developed Hem Lalit by fusing Hemant with Lalit. The structure being,
SRGmMDNS SNDMmGRS.
The Pancham, already weak in Hemant, disappears here entirely, making way for Teevra Madhyam.
(Note: The "Etwah" Gharana Sitarists prefer to call this as "Bhinna Lalit".)

Prof. Debu Chaudhuri

Prof. Debu Chaudhuri, in his textbook, "Sitar & its Music", lists "Ashiqui Lalit" (a raga named after his Guru's guru as one of his own (Prof.'s) creation). The structure being,
NrGmMDNS SNDMmGrS. Here the Poorvanga is pure Lalit & the Uttaranga has replaced the Komal Dhaivat of Lalit with its Shuddha variety.

The Sarodists Ustad Ali Akbar Khan & Ustad Amjad Ali Khan have also recorded a raga called "Lalit Gauri."

Regarding the Ragamala Paintings of this Ragini, the iconography is constant across all schools of painting as a man leaving his sleeping beloved at dawn. Usually many of the presently performed Hindustani Ragas may not have the corresponding Ragamala Paintings, but there are many extant paintings of Ragini Lalit.