Raga Lalita Gauri
As the name indicates, it is a combination of two ragas Gauri and Lalat. It is a raga favored mainly by the vocalists of Jaipur Atrauli gharana.
This heptatonic raga includes both varieties of Ma, natural & sharp, as well as Pa. The use of natural Ma is restricted to phrases indicative of Lalit, where both Ma-s can be included one after the other as – G m M G m G -. Whereas the sharp Ma is used in the ascending as well as descending melody. Ga and Ni (especially in the lower octave) are the important notes while Pa is a resting note. The ascent normally begins with lower Ni and Pa is avoided in the direct ascent. The main movements of this raga is in the lower tetrachord.
Some characteristic phrases:
N S r N S N d N –
P d P d M P M G M – G r G
G m M G m G – r G M P
There is a variety of this raga, which additionally includes natural Dha. This raga is then also called by other names – Lalita mangal and Sampurna bibhas. However, some musicians dissuade from using the natural Dha in this raga.
Lalita Gauri brings together phrases of Lalit, a raga prescribed for the early hours of the morning, and those of Gauri. It uses the characteristic phrases of Gauri, such as those that highlight the mandra saptak Nishad or lower octave or seventh, and the peculiar twists involved in the avroha or descending movement from the upper tonic or the madhya saptak Pancham or the middle octave fifth back to the middle octave tonic. But the use of the natural and sharp fourth or Madhyam in a sequential manner, as is done in Lalit, lends special character to this raga. The natural fourth has a luminous presence, but is immediately shaded with the sharp fourth.