S-r-m-P-n-S

---

A pentatonic form introduced to the ragascape by Ravi Shankar in the 1940s, although the basic scale shape has likely been used in many guises throughout the ages. Its swara set – which concisely scatters interval jumps of 1, 2, 3, and 4 semitones – is describable as ‘Megh komal re’, while its melodies generally draw from the Bhairav–ang (e.g. sustained oscillations on komal re). Generally favoured by instrumentalists rather than vocalists, although audav specialist Amir Khan‘s renditions are ever-sublime. The nSr grouping is reminiscent of Vedic-era chant refrains (in Anoushka Shankar’s words, “Bairagi has this deep, spiritual, internal quality”), while the overall swara-set resembles the Carnatic Revathi – and also the ‘Insen Scale’ of Japanese court music (as highlighted in Aishik Bandyopadhyay’s intriguing Comparative Study between Indian Ragas and Japanese Scales). Also see Shankar’s derived Bairagi Todi – as well as Parameshwari, Gangeshwari, Kameshwari, Rangeshwari, Jogeshwari, Mohankauns, Ahir Lalit, and Pancham se Gara.

---

• Raga Megalist (365+) •

राग बैरागी

Search | Glossary | Tags

• Hindustani Raga Index •

—Shahid Parvez Khan (2021)—

---

[refrain, e.g. 5:01] P/n\P, n S r, r/m g/m, (m)rS, P/n\P, n(Sn) S r…

---

• 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 | 32 | Enclosed | 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: (none found)

–Swara Geometries–

---

• Core form: S–r–m–P–n–S

• Reverse: SRmPNS

• Negative: 3-1-1-2-2-1-2 (e.g. Jogeshwari Panch.

• Imperfect: 2 (re, Pa)

• Detached: 1 (re)

• Symmetries: none

• Murchanas: Shivranjani set

–Global Translations–

---

• Carnatic: ~Revathi

S-R₁-M₁-P-N₂-S

• Jazz: Phrygian Dominant (no 3rd/6th)

1-b2-4-5-b7-8

• Pitch classes (‘fret-jumps’):

0-1-5-7-10-0

(1–4–2–3–2)

---

o o • • • o • o • • o • o

---

• Tanpura: Sa–Pa (+ni)

• Names: Bairagi, Bairaga, Bairgi Bhairav, Bairagi Bhairon, ~Kshanika

—Rashid Khan (1997)—