S-r-G-mM-P-D-N-S
A dawn raga fabled to have been created by Raja Bhartruhari, a mythical King of Ujjain said to have abdicated from his life of material wealth and romantic pleasure to pursue a path of ascetic devotion. Somewhat resembling a ‘vakra Marwa with Pa’, Bhatiyar limits the use of re and Ni in aroha – with, as per Deepak Raja, “a centre of melodic gravity in the mid-octave region, but tilting towards the upper tetrachord”. Some perceive an anxious, foreboding character, but the raga’s subtleties can produce many moods.
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—Mita Nag (2014)—
[Swaras]
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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: Exact | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
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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]
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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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