A captivating audav raga said to symbolise spiritual purity, which essentially runs along the lines of ‘what if all Bhupali‘s chal swaras were set as komal rather than shuddha?’ (SRGPDS > SrgPdS). Most renditions are poorvang-dominant, drawing from the Todi-ang as well as reshaping phrases from Bhupali, Bilaskhani Todi, and other allied forms (given the uniqueness of its swara set, there is little danger of over-trespass). Often presents a major-ish harmonic flavour, in part as the only ascending chromatic resolutions on offer are the S>r and P>d sangati – strengthening both these latter swaras (and thus drawing attention to the dSg maj. triad vs. the SgP min. triad).
—Harjinderpal Matharu (2014)—
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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]
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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