• Raag Adana •


Though congruent with the swaras of Darbari, Adana favours a “lighter, flittering” treatment: skipping ga in aroha, limiting ornaments on dha, and focusing more on madhya/taar saptak (although the gmRS Kanada signature may reappear in avroh), while some may assign a higher sruti to the komal ni. The raga appears in several 17th-century ragmala paintings, with recurring imagery of ascetics lost in meditative pose.

Raga Megalist (365+) •
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Hindustani Raga Index •


Aroha: SRmPnP, mPnS
Avroh: SdnP, gmRS

Chalan: e.g. PnmP; PSdnP; nmPgmRS; nSRmPnP; mPnSRS; RnSdnP; mPS (Bor/Dasgupta)


—Buddhadev Dasgupta (1999)—

[gat, e.g. 1:27] Sn\dn, PmP, ggmP, gmRS, nS(m\)R, mP(S\)n, ngR, SgR, nSPnmP, Sn\dn, P…


• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.


• Prakriti: Asavari thaat, Asavari (shuddha Re), Darbari, Kaunsi Kanada, Jaunpuri, Sampurna Malkauns


–Swara Geometries–

Core form: SRgmPdnS
Reverse: SRGmPDnS (=Khamaj)
Negative: 2-3-2-3-2 (e.g. Megh)
Imperfect: 1 (Re)
Detached: none
Symmetries: mirror (m—N)
Murchanas: Bilawal set

Quirks: maximal‘ (swaras are optimally ‘spread out’)


–Global Translations–

Carnatic: ~Natabhairavi
Jazz: Natural Minor / Aeolian
Pitch classes (‘fret-jumps’):

o • o o • o • o o • o • o


• Tanpura: Sa–Pa (+Pa)
• Names: Adana (Kanada), Adaana, Adhana


—Shubha Mudgal (2002)—




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Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

Megalist (365+ ragas)
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Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Murchanas: Swara-set rotations •
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Ragatable: Analytical connections •
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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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