Carnatic to Hindustani: Matching ragas from South to North

 

Carnatic-Hindustani equivalents: profiling 130+ Carnatic forms, as well as all 64 melas – with discussion and transcriptions in Hindustani notation.

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—SUMMARY OF NORTH-SOUTH MATCHES—
Thaats-Melas | Congruent Ragas | Borrowings
• Carnatic 101: How does raga differ in South India? •
• Mela Matches: All 64 scales & their Hindustani prakritis •
• Raga Matches: 130+ ragam & their Northern counterparts •

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• Summary of Matches •
The most useful North-South congruents…
—Notable Congruents—

Thaat-Mela matches (n.b. these are scales, not ragas)

North-South raga matches (i.e. not derived from modern borrowings):

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—Well-established borrowings—
Direct imports/exports which have taken firm root in their new tradition

South-to-North borrowings:

North-to-South borrowings:

—Rare borrowings—
One-off experiments, freshly-imported forms, etc
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—Carnatic raga list—
Abheri | Abhogi | Ahiri | Amrithavarshini | Ananda Bhairavi | Andolika | Arabhi | Asaveri | Atana | Bageshri | Bahudari | Begada | Behag | Bhairavi | Bhupalam | Bilahari | Bowli | Brindavana Saranga | Chakravakam | Chala Nattai | Chandrajyoti | Chandrakauns | Charukesi | Darbar | Darbari Kanada | Desh | Deva Manohari | Devagandhari | Dhanyasi | Dharmavati | Dwijavanti | Gambheera Nattai | Ganamurti | Gowlai | Gourimanohari | Hamir Kalyani | Hamsadhwani | Hamsanadam | Hamsanandi | Harikambhoji | Hemavati | Hindolam | Huseni | Jaganmohini | Janaranjani | Jayanthashri | Kadanakuthuhalam | Kalavati | Kalyana Vasantham | Kalyani | Kamala Manohari | Kambhoji | Kanada | Kannada | Kannada Gowlai | Kapi | Kharaharapriya | Karna Ranjani | Kedara Gowlai | Kedaram | Keeravani | Khamas | Kuntalavarali | Kurinji | Lalitha | Lathangi | Maand | Madhuvanti | Madhyamavati | Malahari | Malayamarutham | Mandari | Manirangu | Mayamalavagowlai | Mohana Kalyani | Mohanam | Mukhari | Nadanamakriya | Nagaswarali | Nalinakanthi | Nasikabhushani | Natabhairavi | Nattai | Nattai Kurinji | Navarasa Kanada | Nayaki | Neelambari | Neethimathi | Pantuvarali | Purnachandrika | Purvikalyani | Punnagavarali | Ramapriya | Ranjani | Rasikapriya | Rathipathipriya | Reethigowlai | Revagupti | Revati | Sahana | Sama | Saramati | Saranga | Sarasangi | Saraswathi | Saveri | Senjurutti | Shankarabharanam | Shanmukhapriya | Shri Ragam | Simhendramadhyamam | Sindhu Bhairavi | Sivaranjani | Saurashtram | Sriranjani | Shubhapantuvarali | Suddha Dhanyasi | Suddha Saveri | Sumanesaranjani | Sunadavinodini | Surutti | Surya | Thilang | Todi | Vachaspati | Valaji | Varali | Varamu | Vasantha | Vasanthi | Vijayanagari | Yadukula Kambhoji | Yamuna Kalyani

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• Carnatic 101 •
How does raga differ from South to North?

South Indian raga has long fascinated Northern musicians. But knowledge of its workings remains patchy – with artists, students, and rasikas typically expressing great enthusiasm before following up with some variant of ‘I wish I knew more about it…’. Often, Hindustani aficionados speak of Carnatic music like some distant cousin; with whom they feel an intuitive familial connection, but still know relatively little about beyond the basics – they love hanging out with them, and want to learn more about the world from their point of view.

 

So, how does the Carnatic raga system differ from its Hindustani counterpart? Naturally, much is shared between the two traditions, given their intertwined historical roots, only diverging in earnest around the 14-15th centuries. Core concepts such as raga (‘ragam’), and tala (‘talam’) retain similar foundations, and many leading instruments derive from overlapping lineages (pakhawaj/mridangam, rudra veena/Saraswati veena, etc), with others being present in much the same form (tanpura, harmonium, violin). *

 

However, the points of difference are probably of greater interest. Notably, the Southern swara-system allows for ‘tivra’ forms of Re/Dha and ‘double-komal’ forms of Ga/Ni, which can overlap with each other: e.g. the Carnatic R3 (‘tivra Re’) is enharmonic to the Hindustani komal ga, and N1 (‘komal-komal Ni’) to the shuddha Dha. Thus, there are 16 possible swara-positions in the octave, with two ways to name each of the R-g-D-n positions (see below). While not too complex to grasp in its own right, this quirk has several highly significant knock-on effects…

 

(Swara positions: Hindustani, Carnatic, Western)

Firstly, the ambiguous positions necessitate a larger set of ‘reference scales’, with the famous Carnatic melakarta wheel listing 72 possibilities (as opposed to the 32 ‘sampurna thaat’ allowable under Hindustani axioms: i.e. all scales which have one each of ‘Sa, Re, Ga, Ma, Pa, Dha, Ni’). Many of these shapes seem alien to Hindustani ears – especially the ‘double-Re/Dha’ melas such as Salagam (S-rR-M-P-dD-S: the ‘S-rR-m’ and ‘P-dD-S’ combinations are vanishingly rare in the North).

 

Vital to grasp is that Carnatic musicians do not conceptualise these curious combinations as ‘double-swaras’: for them, Jalarnavam’s rR is really a ‘Re-Ga’ (R1-G1). Thus, the twin-swara positions (‘rR, gG, dD, nN’) tend to take on a far more independent character, often employed consecutively in both ascent and descent – whereas in the North, these double-swaras tend to be separated in some way (often as ‘shuddha in aroha and komal in avroh’: e.g. Pilu’s Ga, Sarang’s Ni). This is particularly evident when comparing ostensibly similar forms such as Jog and Chalanata, both of which begin with ‘S-gG-m’ – but, while Chalanata invites adjacent-Ga runs of SgGm and mGgS, Jog demands careful separation (‘shuddha in aroha, and via a Gm(S)gS pakad in descent’).

 

Of course, there are other melodic oddities. Several Carnatic ragas use more swaras in ascent than descent, a feature I can’t definitively trace in the North – e.g. Saramati (~’Asavari up, Malkauns down’) – and ornaments, broadly speaking, taking a more ‘brisk’ character (e.g. contrast a Saraswati veena recital with an Imdadkhani sitarist exploring the same scale, and hear a violin vs. violin comparison). There is wider use of distinctive devices such as kampitam (rendering a swara by first rapidly ‘shaking’ between the positions above and below) – and, to my ears, more strength given to the S(DS) space, used more where you might expect a khayaliya to sing S(NS) instead. 

 

Performance structures also differ, as do improvisatory norms – with a greater focus on precise compositional elaboration rather than open-ended melodic exposition, and a more vocal-dominant ethos overall (compared to the concert-leading prominence of instrumental gharanas in the North). Carnatic kriti tend to be much longer than the two-line sthayi of the North, bringing a correspondingly stronger role for detailed written notation (…the comparative lack of which is a major frustration of studying Hindustani history).

 

The dazzling array of unique talam also pull the sounds around them into phrase-patterns not found in the North, with little use for the tihai amidst a baffling range of rhythmic resolutions and jati-jumping tricks. Vocalists visibly lead the tala-counting, often marshalling two or more percussionists in their wake, as opposed to the solo tabla setup of Hindustani concerts – and tanpuras are usually quieter and less numerous (likewise for sympathetic strings: a typical sitar has nearly twice as many of them than a Saraswati veena has total strings: 13 vs 7).

 

(D. Srinivas & his Saraswati veena)

Despite the translatory nature of this article, I encourage you to listen to Carnatic music on its own terms, without seeking to reduce its complexities to familiar Hindustani frameworks. See below for a more detailed explainer on Southern classical music, drawing from my essay and interview series for Darbar, covering its history, instruments, rhythms, performance formats, classic ‘trinity’ of composers, and modern innovations. But, as ever, the best way is to listen: for stellar recordings, see a pair of playlists on Darbar’s YouTube channel (Carnatic Vocal & Carnatic Instrumental).

 

The past few generations have seen a plethora of South-to-North borrowings (Hansadhwani, Charukeshi, Shivranjani, Vachaspati, Kirwani, etc), with many melodies having migrated the other way too (Dwijavanti, Chandrakauns, Darbarikanada, Brindavana Saranga). This trend seems certain to continue, given the modern ease of cross-cultural sharing – but still, Hindustani musicians often seem frustrated that their Carnatic engagement is stuck near the surface-level, with little idea how to make creative sense of the sonic wealth in front of them.

 

As such, this page aims to open up the joys of Southern raga by presenting detailed summaries of 130+ popular Carnatic forms, translating their ascent-descent patterns into Northern swara terminology and matching them to equivalent Hindustani shapes with more accuracy than ever before. It also seeks to serve as an ‘open call’ to innovative artists: why not try out a fresh melodic combination, or draw from a distinctively Carnatic concept in your own raga experiments (…remind me, why don’t Northern ragas ever seem to have more swaras in ascent than descent?). Send me your reflections!

 

–Simhendramadhyamam (mela #57)–
(Aruna Sairam & Jayanthi Kumaresh)
“Carnatic: A general term for the classical music traditions of South India, based around similar-yet-distinct conceptions of raga and tala (‘ragam/talam’). Carnatic and Hindustani music first began to diverge around the 13th century, and had branched apart markedly by the start of the 17th. Southern raga is performed in small ensembles – typically led by a vocalist, with melodic support from veena or violin, and rhythm from the double-headed mridangam and ghatam clay pot. The music focuses on a long, distinguished history of melodic song composition, with lyrics in Tamil, Telugu, Kannada, or Sanskrit – as well as extended instrumental improvisation and a dazzling variety of rhythmic devices…The origins of the term ‘Carnatic/Karnatak’ – which is also used more generally to refer to Southwestern India’s Karnataka region – remain mysterious, with scholars offering several competing theories (“according to Caldwell, it is derived from ‘kar’ [black], and ‘nadu’ [country], i.e. ‘the black country’, which refers to the black soil of the Southern Deccan…H.N. Rao suggests a derivation from ‘karu’ [elevated], also descriptive of the region’s geography…”) [from my Raga Glossary]

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—Mela Matches—
All 72 janaka (‘parent’) scales on South India’s melakarta (‘lord of the scales’), with listening links and Northern equivalents (see my Melakarta breakdown for more). To browse janya (‘offspring’) ragas, ctrl-F the mela number in this page as ‘#n’ – e.g. searching for ‘#8’ will bring up derivatives of Hanumatodi.
  1. Kanakangi (S-rR-m-P-dD-S): Kanakangi
  2. Ratnangi (S-rR-m-P-d-n-S): [unmatched]
  3. Ganamurti (S-rR-m-P-d-N-S): [unmatched]
  4. Vanaspati (S-rR-m-P-D-n-S): [unmatched]
  5. Manavati (S-rR-m-P-D-N-S): [unmatched]
  6. Tanarupi (S-rR-m-P-nN-S): [unmatched]
  7. Senavati (S-r-g-m-P-dD-S): [unmatched]
  8. Hanumatodi (S-r-g-m-P-d-n-S): Bhairavi thaat
  9. Dhenuka (S-r-g-m-P-d-N-S): Ardhanarishvara
  10. Natakapriya (S-r-g-m-P-D-n-S): Ahiri
  11. Kokilapriya (S-r-g-m-P-D-N-S): Kokilapriya
  12. Rupavati (S-r-g-m-P-nN-S): [unmatched]
  13. Gayakapriya (S-r-G-m-P-dD-S): [unmatched]
  14. Vakulabharanam (S-r-G-m-P-d-n-S): Basant Mukhari
  15. Mayamalavagowlai (S-r-G-m-P-d-N-S): Bhairav thaat
  16. Chakravakam (S-r-G-m-P-D-n-S): Ahir Bhairav
  17. Suryakantam (S-r-G-m-P-D-N-S): Bhatiyari Bhairav
  18. Hatakambari (S-r-G-m-P-nN-S): Ganjama
  19. Jhankaradhvani (S-R-g-m-P-dD-S): [unmatched]
  20. Natabhairavi (S-R-g-m-P-d-n-S): Asavari thaat
  21. Keeravani (S-R-g-m-P-d-N-S): Kirwani
  22. Kharaharapriya (S-R-g-m-P-D-n-S): Kafi thaat
  23. Gourimanohari (S-R-g-m-P-D-N-S): Patdeep
  24. Varunapriya (S-R-g-m-P-nN-S): Chanchalas Malhar
  25. Mararanjani (S-R-G-m-P-dD-S): [unmatched]
  26. Charukesi (S-R-G-m-P-d-n-S): Charukeshi
  27. Sarasangi (S-R-G-m-P-d-N-S): Nat Bhairav
  28. Harikambhoji (S-R-G-m-P-D-n-S): Khamaj thaat
  29. Shankarabharanam (S-R-G-m-P-D-N-S): Bilawal thaat
  30. Naganandini (S-R-G-m-P-nN-S): [unmatched]
  31. Yagapriya (S-gG-m-P-dD-S): [unmatched]
  32. Ragavardhini (S-gG-m-P-d-n-S): Vardhini | Nandkauns
  33. Gangeyabhushani (S-gG-m-P-d-N-S): Gangeyabhushan
  34. Vagadhishvari (S-gG-m-P-D-n-S): Jogeshwari Pancham
  35. Sulini (S-gG-m-P-D-N-S): [unmatched]
  36. Chalanata (S-gG-m-P-nN-S): Jog Tilang
  37. Salagam (S-rR-M-P-dD-S): [unmatched]
  38. Jalarnavam (S-rR-M-P-d-n-S): [unmatched]
  39. Jhalavarali (S-rR-M-P-d-N-S): [unmatched]
  40. Navanitam (S-rR-M-P-D-n-S): [unmatched]
  41. Pavani (S-rR-M-P-D-N-S): [unmatched]
  42. Raghupriya (S-rR-M-P-nN-S): [unmatched]
  43. Gavambhodi (S-r-g-M-P-dD-S): [unmatched]
  44. Bhavapriya (S-r-g-M-P-d-n-S): Komal Ramkali
  45. Shubapantuvarali (S-r-g-M-P-d-N-S): Todi thaat
  46. Shadvidamargini (S-r-g-M-P-D-n-S): Chandni Todi
  47. Suvarnangi (S-r-g-M-P-D-N-S): Madhu Multani
  48. Divyamani (S-r-g-M-P-nN-S): [unmatched]
  49. Dhavalambari (S-r-G-M-P-dD-S): [unmatched]
  50. Namanarayani (S-r-G-M-P-d-n-S): Namanarayani
  51. Kamavardhini (S-r-G-M-P-d-N-S): Poorvi thaat
  52. Ramapriya (S-r-G-M-P-D-n-S): Rampriya
  53. Gamanasrama (S-r-G-M-P-D-N-S): Marwa thaat
  54. Vishvambari (S-r-G-M-P-nN-S): Vishwambari
  55. Shamalangi (S-R-g-M-P-dD-S): [unmatched]
  56. Shanmukhapriya (S-R-g-M-P-d-n-S): Shanmukhpriya
  57. Simhendramadhyamam (S-R-g-M-P-d-N-S): Simhendra Mad.
  58. Hemavati (S-R-g-M-P-D-n-S): Hemavati | Madhukant
  59. Dharmavati (S-R-g-M-P-D-N-S): Madhuvanti
  60. Neethimathi (S-R-g-M-P-nN-S): [unmatched]
  61. Kantamani (S-R-G-M-P-dD-S): Kanthamani
  62. Rishabhapriya (S-R-G-M-P-d-n-S): Rishabhapriya
  63. Latangi (S-R-G-M-P-d-N-S): Latangi
  64. Vachaspati (S-R-G-M-P-D-n-S): Vachaspati
  65. Kalyani (S-R-G-M-P-D-N-S): Kalyan thaat
  66. Chitrambari (S-R-G-M-P-nN-S): [unmatched]
  67. Sucharitra (S-gG-M-P-dD-S): Sucharitra
  68. Jyotiswarupini (S-gG-M-P-d-n-S): [unmatched]
  69. Dhatuvardhani (S-gG-M-P-d-N-S): [unmatched]
  70. Nasikabhushani (S-gG-M-P-D-n-S): Surmanjari
  71. Kosalam (S-gG-M-P-D-N-S): DoGa Kalyan
  72. Rasikapriya (S-gG-M-P-nN-S): Rasikpriya
—Melakarta Wheel: 72 Janaka Scales—

(Interval order: ‘Ma > Ri/Ga > Da/Ni’)
–74 Melakarta Ragas (playlist)–
“The melakarta plays a more ‘generative’ role in Carnatic music than Bhatkhande’s thaat do in the North, providing direct inspiration to performers in their quest for new melodic forms. Every mela has readily-traceable recordings, and many composers have written songs in all 72 of them…Unlike thaat, the melakarta also includes symbolic identifiers, evident in the 12 ‘chakram’ divisions (see red ring above), comprising: 1) Indu (“the moon…of which we have only one”); 2) Netra (“the eyes, of which we have two”); 3) Agni (“the three forms of holy fire”); 4) Veda (“the four Vedas”); 5) Bana (“the five arrows of Manmatha, God of Love”); 6) Rutu (“the six seasons of the Hindu calendar”); 7) Rishi (“the saptarishi [seven great sages]”); 8) Vasu (“the eight ashtavasu [fire deities]”) 9) Brahma (“the nine chosen forms of the deity”); 10) Disi (“the ten directions [N-S-E-W, NE-NW-SE-SW, up-down]”); 11) Rudra (“the eleven deities of the storm winds”); 12) Aditya (“the twelve avatars of Vishnu’s Vamana form”)… [from my article Thaat: Beyond Bhatkhande’s Base Scales]

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—Raga Matches—

Carnatic ragam and their Hindustani prakritis: Arohanam & avarohanam sequences for 130+ Carnatic ragas, translated into Hindustani terminology (taken from the widely trusted Raga Surabhi site unless otherwise indicated, and retranscribed via a straightforward spreadsheeting process). To match them with Hindustani forms, I queried the entirety of this project for nearby swara-sets, ascent-descent patterns, characteristic phrases, etc. I also studied comparative North-South lists from Karnatik, Daksh Chaya, K.S. Shankar, Arvind, Ram Avtar, Srimani/Parimala, and Subbha Rao. While providing generally sensible suggestions, I think that many ragas have more precise Northern matches, especially when it comes to shared phrases and ascending-descending structures (also, the majority of these sources contained numerous Hindustani inaccuracies, and lots of the online lists seem to just copy each other with no further checks). This resource will be continually updated – please critique my choices!

Abheri (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SgmPnS (sequence: SgmPnS)

—Descent: SRgmPDnS (“: SnDPmgRS)

—Recordings: Sudha Ragunathan (vocal); Ganesh & Kumaresh (violin); L Shankar (violin); Kadri Gopalnath (alto sax)

  • Bhimpalasi (prakriti, with very similar ascent-descent structure)

Abhogi (S-R-g-m-D-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmDS (SRgmDS)

—Descent: SRgmDS (SDmgRS)

—Recordings: 

  • Abhogi (borrowed into Hindustani in the early 20th century and adopted into the Kanada raganga, possibly by Kirana gharana founder Abdul Karim Khan)

Ahiri (S-r-G-m-P-d-n-S)

—Mela: Vakulabharanam (#14)

—Ascent: SrGmPdnS (SrSGmPdnS)

—Descent: SrGmPdnS (SndPmGrS)

—Recordings: 

Amrithavarshini (S-G-M-P-N-S)

—Mela: Chitrambari (#66)

—Ascent: SGMPNS (SGMPNS)

—Descent: SGMPNS (SNPMGS)

—Recordings: D Srinivas (veena); Jyotsna Srikanth (violin)

  • Amritvarshini (borrowed into Hindustani in the mid 20th century: also viewable as ‘Malashree with a more explicit role for Ma/Ni’)

Ananda Bhairavi (S-R-g-m-P-D-n-S)

—Mela: Natabhairavi (#20)

—Ascent: SRgmPDS (SgRgmPDPS)

—Descent: SRgmPDnS (SnDPmgRS)

—Recordings: Jayanthi Kumaresh (veena)

Andolika (S-R-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPnS (SRmPnS)

—Descent: SRmDnS (SnDmRS)

—Recordings: 

  • ~’Megh up, Gorakh Kalyan down’ (closest swara-set matches, e.g. SnDm descent motif: also close to Hariprasad Chaurasia’s Durgawati)

Arabhi (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRmPDS (SRmPDS)

—Descent: SRGmPDNS (SNDPmGRS)

—Recordings: 

Asaveri (S-r-g-m-P-d-n-S)

—Mela: Hanumatodi (#8)

—Ascent: SrmPdS (SrmPdS)

—Descent: SrgmPdnS (SnSPdPmgrS)

—Recordings: 

  • Asavari komal re (prakriti, with similar aroha-avroh sequences, e.g. ga and ni sparing or omitted in ascent: also resembles Gunkali in aroha)

Atana (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRmPNS (SRmPNS)

—Descent: SRGmPDNS (SNSDPmRGRS)

—Recordings: 

Bageshri (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SgmDnS (SgmDnS)

—Descent: SRgmPDnS (SnDmPgmRS)

—Recordings: 

  • Bageshri (imported into Carnatic, era unclear: retaining many of the original features)

Bahudari (S-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SGmPDnS (SGmPDnS)

—Descent: SGmPnS (SnPmGS)

—Recordings: Aruna Sairam (vocal); Jyotsna Srikanth (violin)

  • ~‘Khamaj up, Tilang down’ (closest swara-set matches: e.g. Khamaj’s common omission of Re in ascent and Tilang’s descending ni: n.b. the Hindustani ‘Bahaduri Todi’ appears to be unrelated)

Begada (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGmPDS (SGRGmPDPS)

—Descent: SRGmPDNS (SNDPmGRS)

—Recordings: 

Behag (S-R-G-mM-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SGmPDNS (SGmPNDNS)

—Descent: SRGmMPDNS (SNDPMGmGRS)

—Recordings: Jayanthi Kumaresh (veena)

  • Bihag (imported into Carnatic, era uncertain, retaining many of its Northern hallmarks: e.g. NSGm; PMGmG)

Bhairavi (S-R-g-m-P-dD-n-S)

—Mela: Natabhairavi (#20)

—Ascent: SRgmPDnS (SgRgmPDnS)

—Descent: SRgmPdnS (SndPmgRS)

—Recordings: TM Krishna (vocal); Malladi Brothers (vocal)

  • ~’Sindhi Bhairavi shuddha Re’ (similar swara-set and distinctive double-Dha: also somewhat resembles ‘Kafi’s poorvang + Virat Bhairav’s uttarang’)

Bhupalam (S-r-g-P-d-S)

—Mela: Hanumatodi (#8)

—Ascent: SrgPdS (SrgPdS)

—Descent: SrgPdS (SdPgrS)

—Recordings: 

Bilahari (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGPDS (SRGPDS)

—Descent: SRGmPDNS (SNDPmGRS)

—Recordings: 

Bowli (S-r-G-P-d-N-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrGPdS (SrGPdS)

—Descent: SrGPdNS (SNdPGrS)

—Recordings: 

  • Triveni (most prominent prakriti, at least in its predominant prakar: also viewable as ‘Bibhas add Ni’ or ‘Bhairav minus ma’)

Brindavana Saranga (S-R-g-m-P-nN-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPNS (SRmPNS)

—Descent: SRgmPnS (SnPmRgS)

—Recordings: 

Chakravakam (S-r-G-m-P-D-n-S)

—Mela: =Chakravakam (#16)

—Ascent: SrGmPDnS (SrGmPDnS)

—Descent: SrGmPDnS (SnDPmGrS)

—Recordings: 

Chala Nattai (S-gG-m-P-nN-S)

—Mela: =Chalanata (#36)

—Ascent: SgGmPnNS (SgGmPnNS)

—Descent: SgGmPnNS (SNnPmGgS)

—Recordings: 

  • Jog-Tilang (albeit with a different treatment of the gG/nN positions, which are used more independently in the Carnatic system)

Chandrajyoti (S-rR-M-P-D-S)

—Mela: Pavani (#41)

—Ascent: SrRMPDS (SrRMPDS)

—Descent: SrRMPDS (SDPMRrS)

—Recordings: 

  • ~’Jait Ma-for-Ga‘ (in Jait’s double-Re form, although there are no good Northern matches…as far as I know, no Hindustani raga has a poorvang of ‘SrRM’)

Chandrakauns (S-g-m-d-N-S)

—Mela: Keeravani (#21)

—Ascent: SgmdNS (SgmdNS)

—Descent: SgmdNS (SNdmgS)

—Recordings: Ranjani & Gayatri (vocal)

  • Chandrakauns (imported into Carnatic in the mid-late 20th century, and grouped under the Keeravani mela)

Charukesi (S-R-G-m-P-d-n-S)

—Mela: =Charukesi (#26)

—Ascent: SRGmPdnS (SRGmPdnS)

—Descent: SRGmPdnS (SndPmGRS)

—Recordings: 

  • Charukeshi (borrowed into Hindustani in the mid 20th century by Ravi Shankar & others)

Darbar (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPDnS (SRmPDnS)

—Descent: SRgmPDnS (SnSDPmRggRS)

—Recordings: 

  • ~’Kafi with no aroha ga’ (albeit with limited overlap in character: n.b. the Hindustani Darbari takes a komal dha instead)

Darbari Kanada (S-R-g-m-P-d-n-S)

—Mela: Natabhairavi (#20)

—Ascent: SRgmPdnS (SRgmPdnS)

—Descent: SRgmPdnS (SdnPmPgmRS)

—Recordings: U Srinivas (mandolin)

  • Darbari Kanada (imported to Carnatic, era unclear, retaining many of its core features: e.g. dnP; gmR)

Desh (S-R-G-m-P-D-nN-S)

—Mela: Harikambhoji (#28)

—Ascent: SRmPNS (SRmPNS)

—Descent: SRGmPDnS (SnDPmGRS)

—Recordings: 

  • Desh (imported to Carnatic over the past century or so, retaining similar aroha-avroh sequences and phraseologies)

Deva Manohari (S-R-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPDnS (SRmPDnS)

—Descent: SRmPDnS (SnDnPmRS)

—Recordings: 

Devagandhari (S-R-G-m-P-D-nN-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRmPDS (SRmPDS)

—Descent: SRGmPDnNS (SNDnDPmGRS)

—Recordings: 

Dhanyasi (S-r-g-m-P-d-n-S)

—Mela: Hanumatodi (#8)

—Ascent: SgmPnS (SgmPnS)

—Descent: SrgmPdnS (SndPmgrS)

—Recordings: 

  • ~‘Dhani up, Bhairavi down’ (closest swara-set matches: n.b. the Dhanyasi name refers to the historic ‘Dhanashree’ lineage)

Dharmavati (S-R-g-M-P-D-N-S)

—Mela: =Dharmavati (#59)

—Ascent: SRgMPDNS (SRgMPDNS)

—Descent: SRgMPDNS (SNDPMgRS)

—Recordings: 

  • Anjani Kalyan (a prakriti invention of Ramrang, also sampurna in both directions: also see Madhuvanti, a more famous prakriti which is audav in aroha instead)

Dwijavanti (S-R-gG-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRGmPDS (SRGmPDS)

—Descent: SRgGmPDnS (SnDPmGmRgRS)

—Recordings: 

  • ~Jaijaiwanti (imported into Carnatic, apparently by Muthuswami Dikshitar in the late 18th century: retaining several similar phrases including the signature RgRS conclusion)

Gambheera Nattai (S-G-m-P-N-S)

—Mela: Chalanata (#36)

—Ascent: SGmPNS (SGmPNS)

—Descent: SGmPNS (SNPmGS)

—Recordings: Aruna Sairam (vocal)

Ganamurti (S-rR-m-P-d-N-S)

—Mela: =Ganamurti (#3)

—Ascent: SrRmPdNS (SrRmPdNS)

—Descent: SrRmPdNS (SNdPmRrS)

—Recordings: 

  • ~’Jogiya double Re’ (closest prachalit relation, no closer matches: also viewable as ‘Kanakangi’s poorvang + Kirwani’s uttarang’)

Gowlai (S-r-G-m-P-N-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrmPNS (SrmPNS)

—Descent: SrGmPNS (SNPmGmrGmrS)

—Recordings: 

  • ~’Bhairav no dha’ (closest swara-set match, somewhat similar poorvang focus and motions in descent: alternatively ’Hansa Narayani shuddha ma’)

Gourimanohari (S-R-g-m-P-D-N-S)

—Mela: =Gourimanohari (#23)

—Ascent: SRgmPDNS (SRgmPDNS)

—Descent: SRgmPDNS (SNDPmgRS)

—Recordings: 

  • Patdeep (principal prakriti: although Gowrimanohari is sampurna in both directions)

Hamir Kalyani (S-R-G-mM-P-D-N-S)

—Mela: Kalyani (#65)

—Ascent: SMPDNS (SPMPDNS)

—Descent: SRGmMPDNS (SNDPMmGPmRS)

—Recordings: 

  • ~Hameer (prakriti, with possible historic overlap and vaguely similar melodic motions: also see Chayanat)

Hamsadhwani (S-R-G-P-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGPNS (SRGPNS)

—Descent: SRGPNS (SNPGRS)

—Recordings: U Srinivas (mandolin); Kadri Gopalnath (alto sax); Prasanna (guitar: see my full transcription!)

  • Hansadhwani (borrowed into Hindustani in the early 20th century, possibly by Amir Khan’s guru Aman Ali Khan)

Hamsanadam (S-R-M-P-N-S)

—Mela: Nitimati (#60)

—Ascent: SRMPNS (SRMPNS)

—Descent: SRMPNS (SNPMRS)

—Recordings: Shashank Subramanyam (venu)

  • Hamsanandam (borrowed into Hindustani by Abhirang in 2020, who includes touches of shuddha Dha – with Vaijayanti being a precise prakriti: also viewable as ‘Kalyan thaat no Ga/Dha’)

Hamsanandi (S-r-G-M-D-N-S)

—Mela: Gamanasrama (#53)

—Ascent: SrGMDNS (SrGMDNS)

—Descent: SrGMDNS (SNDMGrS)

—Recordings: 

Harikambhoji (S-R-G-m-P-D-n-S)

—Mela: =Harikambhoji (#28)

—Ascent: SRGmPDnS (SRGmPDnS)

—Descent: SRGmPDnS (SnDPmGRS)

—Recordings: 

Hemavati (S-R-g-M-P-D-n-S)

—Mela: =Hemavati (#58)

—Ascent: SRgMPDnS (SRgMPDnS)

—Descent: SRgMPDnS (SnDPMgRS)

—Recordings: 

  • Hemavati (borrowed into Hindustani in the mid 20th century by multiple artists)

Hindolam (S-g-m-d-n-S)

—Mela: Natabhairavi (#20)

—Ascent: SgmdnS (SgmdnS)

—Descent: SgmdnS (SndmgS)

—Recordings: 

  • Malkauns (the only prakriti: also thought to share historical overlap with the archaic ‘Hindol’ lineage)

Huseni (S-R-g-m-P-dD-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmPDnS (SRgmPnDnS)

—Descent: SRgmPdnS (SndPmgRS)

—Recordings: 

Jaganmohini (S-r-G-m-P-N-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SGmPNS (SGmPNS)

—Descent: SrGmPNS (SNPmGrS)

—Recordings: Sudha Ragunathan (vocal)

  • ~’Tilang up, Bhairav no dha down’ (closest swara-set matches: n.b. Rao’s Raga Nidhi Vol.2, published in 1964, states that “Jaganmohini has been introduced [to the North] in recent years” – however I can’t trace any Hindustani recordings)

Janaranjani (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGmPDNS (SRGmPDPNS)

—Descent: SRmPDS (SDPmRS)

—Recordings: 

  • ~’Tilak Kamod up, Durga down’ (closest swara-set matches, also see other Bilawal-thaat forms: n.b. I know of no Northern ragas which are sampurna in ascent and audav in descent)

Jayanthashri (S-g-m-P-d-n-S)

—Mela: Natabhairavi (#20)

—Ascent: SgmdnS (SgmdnS)

—Descent: SgmPdnS (SndmPmgS)

—Recordings: 

Kadanakuthuhalam (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGmPDNS (SRmDNGPS)

—Descent: SRGmPDNS (SNDPmGRS)

—Recordings: Aruna Sairam (vocal); Kadri Gopalnath (alto sax)

Kalavati (S-r-G-m-P-D-S)

—Mela: Chakravakam (#16)

—Ascent: SrmPDS (SrmPDS)

—Descent: SrGmPDS (SDPmGSrDS)

—Recordings: 

  • ~‘Bhairav’s poorvang + Durga’s uttarang’ (also hear the exact prakriti as Durga Bhairav: n.b. the Northern Kalavati is unconnected, being derived from the Southern Valaji and taking swaras SGPDnS)

Kalyana Vasantham (S-R-g-m-P-d-N-S)

—Mela: Keeravani (#21)

—Ascent: SgmdNS (SgmdNS)

—Descent: SRgmPdNS (SNdPmgRS)

—Recordings: U Srinivas (mandolin); Kadri Gopalnath (alto sax)

  • ~‘Chandrakauns up, Kirwani down’ (closest swara-set matches: also viewable as ‘Kirwani with no Re/Pa in aroha’)

Kalyani (S-R-G-M-P-D-N-S)

—Mela: =Kalyani (#65)

—Ascent: SRGMPDNS (SRGMPDNS)

—Descent: SRGMPDNS (SNDPMGRS)

—Recordings: 

  • Yaman (most prominent prakriti, with overlapping Kalyan heritage: although the Carnatic form is sampurna in both directions)

Kamala Manohari (S-G-m-P-d-N-S)

—Mela: Sarasangi (#27)

—Ascent: SGmPNS (SGmPNS)

—Descent: SGmPdNS (SNdPmGS)

—Recordings: 

Kambhoji (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRGmPDS (SRGmPDS)

—Descent: SRGmPDnS (SnDPmGRS)

—Recordings: Malladi Brothers (vocal)

  • ~Kambhoji (prakriti, and possibly of shared historic lineage, with vaguely similar melodic motions: also see other Khamaj-thaat forms)

Kanada (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmPDnS (SRPgmDnS)

—Descent: SRgmPnS (SnPmgmRS)

—Recordings: 

  • ~’Bageshri with a different role for Pa’ (similar gmDnS; mgm motions, but Pa used in a different manner to Bageshri’s mPDmg – also resembles ’Kafi up, Nayaki Kanada down’: e.g. Kafi’s Pg and Nayaki Kanada’s mgmRS signature)

Kannada (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SGmPDNS (SGmPmDNS)

—Descent: SRGmPDS (SDPmGmRS)

—Recordings: 

  • ~Hameer (near-prakriti, with shared PGmDNS and PmGmRS motions, albeit with different uses for Ni and tivra Ma: also see other Bilawal-thaat forms)

Kannada Gowlai (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmPnS (SRgmPnS)

—Descent: SgmPDnS (SnDPmgS)

—Recordings: 

  • ~‘Bhimpalasi with the directionality of Re swapped’ (i.e. shuddha Re used in aroha but not in avroh: also see other Kafi-thaat forms)

Kapi (S-R-g-m-P-D-nN-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPNS (SRmPNS)

—Descent: SRgmPDnS (SnDnPmgRS)

—Recordings: Jayanthi Kumaresh (veena); Ramana Balachandhran (veena)

Kharaharapriya (S-R-g-m-P-D-n-S)

—Mela: =Kharaharapriya (#22)

—Ascent: SRgmPDnS (SRgmPDnS)

—Descent: SRgmPDnS (SnDPmgRS)

—Recordings: Ranjani & Gayatri (vocal)

Karna Ranjani (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmPDS (SRgmgPDS)

—Descent: SRgmPDnS (SnDPmgRS)

—Recordings: 

  • ~Kafi (prakriti, with similarly prominent ga but limited phraseological overlap beyond this: see other Kafi-thaat forms)

Kedara Gowlai (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRmPnS (SRmPnS)

—Descent: SRGmPDnS (SnDPmGRS)

—Recordings: 

Kedaram (S-R-G-m-P-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SGmPNS (SmGmPNS)

—Descent: SRGmPNS (SNPmGRS)

—Recordings: 

  • ~Hem Bihag (prakriti, with similarly strong Ni and weak Dha – also see the rare exact prakriti Salang Sarang: n.b. the Northern ‘Kedar’ is a distinct lineage, with the term kedar likely referring to a holy Himalayan shrine in both cases)

Keeravani (S-R-g-m-P-d-N-S)

—Mela: =Keeravani (#21)

—Ascent: SRgmPdNS (SRgmPdNS)

—Descent: SRgmPdNS (SNdPmgRS)

—Recordings: Aruna Sairam (vocal)

  • Kirwani (borrowed into Hindustani in the mid 20th century by Ravi Shankar and others)

Khamas (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SGmPDnS (SmGmPDnS)

—Descent: SRGmPDnS (SnDPmGRS)

—Recordings: 

  • ~Khamaj (prakriti, with presumed shared lineage: although their melodic characters appear to have drifted apart)

Kuntalavarali (S-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SmPDnS (SmPDnDS)

—Descent: SmPDnS (SnDPmS)

—Recordings: 

  • Kuntalavarali (borrowed into Hindustani by Kaushiki Chakraborty circa 2020: also viewable as ‘Gorakh Kalyan no Re’ – and see Devranjani, the only known Northern form which limits its poorvang to ‘S-m’, also derived from its Carnatic counterpart)

Kurinji (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGmPDNS (SNRGmPD) [1]

—Descent: SRGmPDNS (DPmGRSNS)

—Recordings: 

  • ~Tilak Kamod (no clear Northern matches: as Kurinji is a ‘dhaivatantya’ raga, meaning it must remain in the one-octave space below the shuddha Dha of madhya saptak – and is commonly performed in madhyama sruti to compensate)

Lalitha (S-r-G-m-d-N-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrGmdNS (SrGmdNS)

—Descent: SrGmdNS (SNdmGrS)

—Recordings: Aruna Sairam (vocal)

  • ~Lalit (however the modern Hindustani Lalit is marked out by the use of double-Ma: the Carnatic Lalitha scale is also viewable as ‘Bhairav no Pa’, with Lalit and Lalitha both thought to have arisen from the historic Bhairav raganga)

Lathangi (S-R-G-M-P-d-N-S)

—Mela: =Lathangi (#63)

—Ascent: SRGMPdNS (SRGMPdNS)

—Descent: SRGMPdNS (SNdPMGRS)

—Recordings: 

  • Latangi (borrowed into Hindustani in the 1960s by multiple artists including Abdul Halim Jaffer Khan, although the same scale was previously known as ‘Dhanashree Kalyan‘)

Maand (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SGmDNS (SGmDNS)

—Descent: SRGmPDNS (SNDPmGRS)

—Recordings: 

  • ~Hem Bihag (prakriti, with similar omission of Re in ascent: also resembles Savani or ’Kaushik Dhwani up, Bilawal down’ – n.b. the Northern ‘Mand’ is also prakriti, but I can’t establish any direct connection)

Madhuvanti (S-R-g-M-P-D-N-S)

—Mela: Dharmavati (#59)

—Ascent: SgMPNS (SgMPNS)

—Descent: SRgMPDNS (SNDPMgRS)

—Recordings: 

  • Madhuvanti (imported into Carnatic over the past half-century, retaining its ascending-descending structure: with Re and Dha banished in aroha)

Madhyamavati (S-R-m-P-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPnS (SRmPnS)

—Descent: SRmPnS (SnPmRS)

—Recordings: Sudha Ragunathan (vocal)

  • Madhumad Sarang (prakriti, with similar melodic character: although any shared lineage is uncertain)

Malahari (S-r-G-m-P-d-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrmPdS (SrmPdS)

—Descent: SrGmPdS (SdPmGrS)

—Recordings: 

  • ~‘Gunkali plus Ga in avroh’ (also close to Jogiya, e.g. SrmPdS ascent with shades of shuddha Ga added in descent – as well as resembling ‘Bhairav no Ni’)

Malayamarutham (S-r-G-P-D-n-S)

—Mela: Chakravakam (#16)

—Ascent: SrGPDnS (SrGPDnS)

—Descent: SrGPDnS (SnDPGrS)

—Recordings: Harikumar Sivan (violin)

  • Malay Marutam (borrowed into Hindustani by Ravi Shankar in the mid 20th century: also viewable as ‘Jansammohini komal re’)

Mandari (S-r-G-M-P-N-S)

—Mela: Kamavardhini (#51)

—Ascent: SrGMPNS (SrGMPNS)

—Descent: SrGMPNS (SNPMGrS)

—Recordings: 

Manirangu (S-R-g-m-P-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPnS (SRmPnS)

—Descent: SRgmPnS (SnPmgRS)

—Recordings: 

  • Nayaki Kanada (prakriti, with similar aroha-avroh structure: e.g. ga only included in descent)

Mayamalavagowlai (S-r-G-m-P-d-N-S)

—Mela: =Mayamalavagowlai (#15)

—Ascent: SrGmPdNS (SrGmPdNS)

—Descent: SrGmPdNS (SNdPmGrS)

—Recordings: P. Unnikrishnan (vocal)

Mohana Kalyani (S-R-G-M-P-D-N-S)

—Mela: Kalyani (#65)

—Ascent: SRGPDS (SRGPDS)

—Descent: SRGMPDNS (SNDPMGRS)

—Recordings: 

  • Shuddha Kalyan (prakriti, and both of shared Kalyan lineage, with the same aroha-avroh concept too: SRGPDS in ascent and Ni/Ma added in descent)

Mohanam (S-R-G-P-D-S)

—Mela: Harikambhoji (#28)

—Ascent: SRGPDS (SRGPDS)

—Descent: SRGPDS (SDPGRS)

—Recordings: Aruna Sairam (vocal)

  • Bhupali (most prominent prakriti, with some similar phraseologies: also see Deshkar)

Mukhari (S-R-g-m-P-dD-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPDnS (SRmPnDS)

—Descent: SRgmPdnS (SndPmgRS)

—Recordings: 

Nadanamakriya (S-r-G-m-P-d-N-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrGmPdNS (SrGmPdNS) [1]

—Descent: SrGmPdNS (NdPmGrSN)

—Recordings: 

  • ~Bhairav (prakriti, albeit of very different character: as Nadanamakriya is a ‘nishandantya’ raga, meaning it must remain in the one-octave space below the shuddha Ni of madhya saptak – and is commonly performed in madhyama sruti to compensate)

Nagaswarali (S-G-m-P-D-S)

—Mela: Harikambhoji (#28)

—Ascent: SGmPDS (SGmPDS)

—Descent: SGmPDS (SDPmGS)

—Recordings: 

  • Nagaswaravali (borrowed into Hindustani in recent years by Abhirang and others: also viewable as ‘Khamaj thaat minus Re/Ni’)

Nalinakanthi (S-R-G-m-P-N-S)

—Mela: Sarasangi (#27)

—Ascent: SRGmPNS (SGRmPNS)

—Descent: SRGmPNS (SNPmGRS)

—Recordings: 

  • ~’Hansadhwani plus ma’ (closest swara-set match, along with distinctive SGR; PN sangatis: alternatively somewhat resembles ‘Tilak Kamod no Dha’)

Nasikabhushani (S-gG-M-P-D-n-S)

—Mela: =Nasikabhushani (#70)

—Ascent: SgGMPDnS (SgGMPDnS)

—Descent: SgGMPDnS (SnDPMGgS)

—Recordings: 

  • Surmanjari (only known prakriti, rare raga created by Deepak Chatterjee – also viewable as ‘DoGa Vachaspati’, i.e. ‘Vachaspati with shuddha Re raised to komal ga’)

Natabhairavi (S-R-g-m-P-d-n-S)

—Mela: =Natabhairavi (#20)

—Ascent: SRgmPdnS (SRgmPdnS)

—Descent: SRgmPdnS (SndPmgRS)

—Recordings: 

Nattai (S-gG-m-P-nN-S)

—Mela: Chalanata (#36)

—Ascent: SgGmPnNS (SgGmPnNS)

—Descent: SgGmPNS (SNPmGmgS)

—Recordings: Ranjani & Gayatri (vocal)

  • Jog-Tilang (prakriti: albeit with a more independent treatment of the double-Ga and double-Ni positions in both directions)

Nattai Kurinji (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRGmPDnS (SRGmnDnPDnS)

—Descent: SRGmPDnS (SnDmGmPGRS)

—Recordings: Sanjay Subrahmanyan (vocal)

  • ~Rageshri (suggested by Nattai Kurinji’s weak or absent Pa, with some shared motions e.g. GmnD; DnS; SnDm; mGm: also see other Khamaj-thaat forms)

Navarasa Kanada (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SGmPS (SGmPS)

—Descent: SRGmDnS (SnDmGRS)

—Recordings: 

Nayaki (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPDnS (SRmPDnDPS)

—Descent: SRgmPDnS (SnSPDnDPmRgRS)

—Recordings: 

  • Nayaki Kanada (imported from Hindustani, era unclear: retaining its basic aroha-avroh structure, with ga omitted in ascent)

Neelambari (S-R-G-m-P-D-nN-S)

—Mela: Shankarabharanam (#29)

—Ascent: SGmPNS (SGmPNS)

—Descent: SRGmPDnNS (SNPDnPmGRmGS)

—Recordings: 

  • ~Desh (prakriti, with vaguely similar motions e.g. mPNS ascent line and double-ni in descent: n.b. the Hindustani Neelambari, invented by Omkarnath Thakur in the early 20th century, takes swaras SRgGmPDnS)

Neethimathi (S-R-g-M-P-nN-S)

—Mela: =Nitimati (#60)

—Ascent: SRgMPnNS (SRgMPnNS)

—Descent: SRgMPnNS (SNnPMgRS)

—Recordings: 

Pantuvarali (Kamavardhini) (S-r-G-M-P-d-N-S)

—Mela: =Kamavardhini (#51)

—Ascent: SrGMPdNS (SrGMPdNS)

—Descent: SrGMPdNS (SNdPMGrS)

—Recordings: Jayanthi Kumaresh (veena)

Purnachandrika (S-R-G-m-P-D-N-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRGmPDS (SRGmPDPS)

—Descent: SRGmPNS (SNPmRGmRS)

—Recordings: 

  • ~Nat (prakriti, with somewhat similar aroha-avroh concepts: e.g. PDPS; GmRS)

Purvikalyani (S-r-G-M-P-D-N-S)

—Mela: Gamanasrama (#53)

—Ascent: SrGMPDS (SrGMPDPS)

—Descent: SrGMPDNS (SNDPMGrS)

—Recordings: 

  • Puriya Kalyan (prakriti, and of shared historic lineage: although Poorvikalyani is sampurna in aroha too)

Punnagavarali (S-r-g-m-P-d-n-S)

—Mela: Hanumatodi (#8)

—Ascent: SrgmPdnS (nSrgmPdn) [1]

—Descent: SrgmPdnS (ndPmgrSn)

—Recordings: 

  • ~Bhairavi (no clear matches, due to Punnagavarali being a ‘nishadantya’ raga, meaning it must remain in the one-octave space below the komal ni of madhya saptak – and is commonly performed in madhyama sruti to compensate)

Ramapriya (S-r-G-M-P-D-n-S)

—Mela: =Ramapriya (#52)

—Ascent: SrGMPDnS (SrGMPDnS)

—Descent: SrGMPDnS (SnDPMGrS)

—Recordings: 

  • Rampriya (borrowed into Hindustani sometime prior to the 1970s by Amir Khan)

Ranjani (S-R-g-M-D-N-S)

—Mela: Dharmavati (#59)

—Ascent: SRgMDS (SRgMDS)

—Descent: SRgMDNS (SNDMgSRgS)

—Recordings: 

Rasikapriya (S-gG-M-P-nN-S)

—Mela: =Rasikapriya (#72)

—Ascent: SgGMPnNS (SgGMPnNS)

—Descent: SgGMPnNS (SNnPMGgS)

—Recordings: 

  • Rasikpriya (borrowed into Hindustani by Shivkumar Sharma in the 1990s: also resembling ‘Jog-Tilang tivra Ma’)

Rathipathipriya (S-R-g-P-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgPnS (SRgPnS)

—Descent: SRgPnS (SnPgRS)

—Recordings: 

Reethigowlai (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmnS (SgRgmnnS)

—Descent: SRgmPDnS (SnDmgmPmgRS)

—Recordings: 

  • ~‘Nayaki Kanada no Pa up, Bageshri down’ (closest swara-set matches, somewhat similar melodic concepts: e.g. Rgmn; SnDm; mgRS)

Revagupti (S-r-G-P-d-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrGPdS (SrGPdS)

—Descent: SrGPdS (SdPGrS)

—Recordings: 

  • Reva (prakriti: Northern origins unclear, but presumed to have been named after its Carnatic counterpart – also matches Bibhas‘ komal dha incarnation)

Revati (S-r-m-P-n-S)

—Mela: Ratnangi (#2)

—Ascent: SrmPnS (SrmPnS)

—Descent: SrmPnS (SnPmrS)

—Recordings: 

Sahana (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRGmPDnS (SRGmPmDnS)

—Descent: SRGmPDnS (SnDPmGmRGRS)

—Recordings: Abhishek Raghuram (vocal)

Sama (S-R-G-m-P-D-S)

—Mela: Harikambhoji (#28)

—Ascent: SRmPDS (SRmPDS)

—Descent: SRGmPDS (SDPmGRS)

—Recordings: 

  • ~’Durga plus avroh Ga’ (also prakriti with the ultra-rare Pratapavarali: and see the nearby Sameshwari, named for its inspiration in Vedic Sama chant)

Saramati (S-R-g-m-P-d-n-S)

—Mela: Natabhairavi (#20)

—Ascent: SRgmPdnS (SRgmPdnS)

—Descent: SgmdnS (SndmgS)

—Recordings: 

  • ~‘Asavari up, Malkauns down’ (closest swara-set matches: n.b. I don’t yet know of any Hindustani ragas which are sampurna in ascent and audav in descent)

Saranga (S-R-G-mM-P-D-N-S)

—Mela: Kalyani (#65)

—Ascent: SMPDNS (SPMPDNS)

—Descent: SRGmMPDS (SDPMRGmRS)

—Recordings: 

Sarasangi (S-R-G-m-P-d-N-S)

—Mela: =Sarasangi (#27)

—Ascent: SRGmPdNS (SRGmPdNS)

—Descent: SRGmPdNS (SNdPmGRS)

—Recordings: 

Saraswathi (S-R-M-P-D-n-S)

—Mela: Vachaspati (#64)

—Ascent: SRMPDS (SRMPDS)

—Descent: SRMPDnS (SnDPMRS)

—Recordings: Jyotsna Srikanth (violin)

  • Saraswati (borrowed into Hindustani in the mid 20th century, seemingly by Rampur-Sahaswan vocalist Ghulam Mustafa Khan)

Saveri (S-r-G-m-P-d-N-S)

—Mela: Mayamalavagowlai (#15)

—Ascent: SrmPdS (SrmPdS)

—Descent: SrGmPdNS (SNdPmGrS)

—Recordings: Mysore A Chandran (venu)

  • ~‘Gunkali up, Bhairav down’ (closest swara-set matches: also overlaps significantly with Jogiya, e.g. SrmPdS ascent with Ga/Ni allowable in descent)

Senjurutti (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRGmPDnS (DSRGmPDn) [1]

—Descent: SRGmPDnS (nDPmGRSnDPDS)

—Recordings: 

  • ~Khamaj (prakriti with prominent nDP phrase, although there are no precise matches from the North: as Senjurutti is a ‘nishadantya’ raga, meaning it must remain in the one-octave space below the komal ni of madhya saptak – and is commonly performed in madhyama sruti to compensate)

Shankarabharanam (S-R-G-m-P-D-N-S)

—Mela: =Shankarabharanam (#29)

—Ascent: SRGmPDNS (SRGmPDNS)

—Descent: SRGmPDNS (SNDPmGRS)

—Recordings: 

Shanmukhapriya (S-R-g-M-P-d-n-S)

—Mela: =Shanmukhapriya (#56)

—Ascent: SRgMPdnS (SRgMPdnS)

—Descent: SRgMPdnS (SndPMgRS)

—Recordings: Abhishek Raghuram (vocal); U Srinivas (mandolin)

  • Shanmukhpriya (borrowed into Hindustani in the mid 20th century by multiple artists)

Shri Ragam (S-R-g-m-P-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRmPnS (SRmPnS)

—Descent: SRgmPDnS (SnPDnPmRgRS)

—Recordings: 

  • ~’Madhumad Sarang up, Kafi down’ (closest aroha-avroh matches, with vaguely similar concepts: e.g. RgRS conclusion: contrast with the Northern ‘Shree/Sri-raga’ lineage)

Simhendramadhyamam (S-R-g-M-P-d-N-S)

—Mela: =Simhendramadhyamam (#57)

—Ascent: SRgMPdNS (SRgMPdNS)

—Descent: SRgMPdNS (SNdPMgRS)

—Recordings: Aruna Sairam (vocal)

Sindhu Bhairavi (S-r-g-m-P-d-n-S)

—Mela: Hanumatodi (#8)

—Ascent: SrgmPdnS (SrgmPdnS)

—Descent: SrgmPdnS (SndPmgrS)

—Recordings: U Srinivas (mandolin)

  • Bhairavi (prakriti, with presumed shared lineage: although the Northern ‘Sindhi Bhairavi’ is a distinct form)

Sivaranjani (S-R-g-P-D-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgPDS (SRgPDS)

—Descent: SRgPDS (SDPgRS)

—Recordings: 

  • Shivranjani (borrowed into Hindustani, era unclear: scale form also viewable as ‘Bhupali komal ga’)

Saurashtram (S-r-G-m-P-D-nN-S)

—Mela: =Suryakantam (#17)

—Ascent: SrGmPDNS (SrGmPmDNS)

—Descent: SrGmPDnNS (SNDnDPmGrS)

—Recordings: 

  • Anand Bhairav (prakriti, with very similar concept of ‘shuddha Ni in ascent, komal ni as nDP in descent’: also see the nearby Saurashtra Bhairav, of unclear relation)

Sriranjani (S-R-g-m-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SRgmDnS (SRgmDnS)

—Descent: SRgmDnS (SnDmgRS)

—Recordings: D Srinivas (veena); U Srinivas (mandolin)

  • ~‘Bageshri no Pa’ (a.k.a. ‘Shadav Bageshri’, or, depending on interpretation, ‘Bageshri’s aroha swaras in both directions’ – also resembles ‘Abhogi plus ni’)

Shubhapantuvarali (S-r-g-M-P-d-N-S)

—Mela: =Shubhapantuvarali (#45)

—Ascent: SrgMPdNS (SrgMPdNS)

—Descent: SrgMPdNS (SNdPMgrS)

—Recordings: Ranjani & Gayatri (vocal)

Suddha Dhanyasi (S-g-m-P-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SgmPnS (SgmPnS)

—Descent: SgmPnS (SnPmgS)

—Recordings: Malladi Brothers (vocal)

  • Dhani (most prominent prakriti, with both ragas also sharing historic Dhanashree roots: also see Madhuranjani, which resembles an older ‘raised Ni’ form of Suddha Dhanyasi)

Suddha Saveri (S-R-m-P-D-S)

—Mela: Shankarabharanam (#29)

—Ascent: SRmPDS (SRmPDS)

—Descent: SRmPDS (SDPmRS)

—Recordings: 

Sumanesaranjani (S-g-M-P-n-S)

—Mela: Shanmukhapriya (#56)

—Ascent: SgMPnS (SgMPnS)

—Descent: SgMPnS (SnPMgS)

—Recordings: 

Sunadavinodini (S-G-M-D-N-S)

—Mela: Kalyani (#65)

—Ascent: SGMDNS (SGMDNS)

—Descent: SGMDNS (SNDMGS)

—Recordings: 

  • Hindol (most prominent prakriti: n.b. Hindol is considered to share historic overlap with the Southern Hindolam)

Surutti (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRmPDnS (SRmPnDnS)

—Descent: SRGmPDnS (SnDPmGPmRS)

—Recordings: 

  • ~‘Khamaj with no aroha Ga’ (closest swara-set match, vaguely similar melodic concepts, e.g. PmRS: also close to ‘Gorakh Kalyan plus avroh Ga’)

Surya (S-G-m-d-n-S)

—Mela: Vakulabharanam (#14)

—Ascent: SGmdnS (SGmdnS)

—Descent: SGmdnS (SndmGS)

—Recordings: 

  • Suryakauns (introduced to Hindustani by Prabha Atre in the 1940s, presumably named after the Carnatic Surya: although the ‘Malkauns shuddha Ga’ scale has also been recorded under other names, e.g. Siddharanjani)

Thilang (S-G-m-P-nN-S)

—Mela: Harikambhoji (#28)

—Ascent: SGmPNS (SGmPNS)

—Descent: SGmPnS (SnPmGS)

—Recordings: 

  • Tilang (borrowed into Hindustani, possibly as early as the 15th-16th century according to Bor: although their melodic concepts still seem seem similar, built around the principle of ‘Ni up, ni down’)

Todi (Hanumatodi) (S-r-g-m-P-d-n-S)

—Mela: =Hanumatodi (#8)

—Ascent: SrgmPdnS (SrgmPdnS)

—Descent: SrgmPdnS (SndPmgrS)

—Recordings: TM Krishna (vocal); Bharat Sunder (vocal)

  • Bhairavi (most prominent prakriti, with similarly broad phraseologies, although their melodic characters differ: n.b. the Northern Todi takes swaras SrgMPdNS)

Vachaspati (S-R-G-M-P-D-n-S)

—Mela: =Vachaspati (#64)

—Ascent: SRGMPDnS (SRGMPDnS)

—Descent: SRGMPDnS (SnDPMGRS)

—Recordings: 

  • Vachaspati (borrowed into Hindustani in the mid 20th century by various artists)

Valaji (S-G-P-D-n-S)

—Mela: Chakravakam (#16)

—Ascent: SGPDnS (SGPDnS)

—Descent: SGPDnS (SnDPGS)

—Recordings: 

  • Kalavati (adapted into Hindustani in the mid 20th century, seemingly by Abdul Karim Khan and other Kirana singers: unrelated to the ‘Carnatic Kalavati’)

Varali (S-rR-M-P-d-N-S)

—Mela: Jhalavarali (#39)

—Ascent: SrRMPdNS (SRrRMPdNS)

—Descent: SrRMPdNS (SNdPMRrS)

—Recordings: 

  • ~’Todi Re-for-ga’ (i.e. lower Todi’s komal ga to shuddha Re…there are no Northern matches for the ‘SrRM’ poorvang shape – also see the Northern ‘Baradi/Varali’, of unclear connection)

Varamu (S-g-m-D-n-S)

—Mela: Kharaharapriya (#22)

—Ascent: SgmDnS (SgmDnS)

—Descent: SgmDnS (SnDmgS)

—Recordings: 

Vasantha (S-r-G-m-D-N-S)

—Mela: =Suryakantam (#17)

—Ascent: SGmDNS (SmGmDNS)

—Descent: SrGmDNS (SNDmGrS)

—Recordings: 

Vasanthi (S-R-G-P-d-S)

—Mela: Sarasangi (#27)

—Ascent: SRGPdS (SRGPdS)

—Descent: SRGPdS (SdPGRS)

—Recordings: 

  • ~’Bhupali komal dha’ (also occasionally recorded under the name Bhupeshwari: the swara-set is also viewable as ‘Bibhas shuddha Re’, or ‘Charukeshi no ma/ni’)

Vijayanagari (S-R-g-M-P-D-S)

—Mela: Dharmavati (#59)

—Ascent: SRgMPDS (SRgMPDS)

—Descent: SRgMPDS (SDPMgRS)

—Recordings: 

  • Vijayanagari (borrowed into Hindustani by Balabhau Umdekar in the early 20th century: also somewhat resembles ‘Madhuvanti minus Ni’)

Yadukula Kambhoji (S-R-G-m-P-D-n-S)

—Mela: Harikambhoji (#28)

—Ascent: SRmPDS (SRmPDS)

—Descent: SRGmPDnS (SnDPmGRS)

—Recordings: 

  • Jhinjhoti (prakriti, with same aroha-avroh swaras: n.b. the Northern Kambhoji is sometimes referred to as the ‘Dhrupad Jhinjhoti’)

Yamuna Kalyani (S-R-G-mM-P-D-N-S)

—Mela: Kalyani (#65)

—Ascent: SRGMPDNS (SRGPMGPDNDS) [1]

—Descent: SRGmMPDNS (SNDPMGmRS)

—Recordings: 

  • Yaman Kalyan (prakriti of presumed shared derivation, built from a similarly sparing use of shuddha ma within the Kalyan framework: n.b. Yamuna Kalyani is generally interpreted as a ‘dhaivatantya’ raga, meaning it must remain in the one-octave space below the shuddha Dha of madhya saptak – and is commonly performed in madhyama sruti to compensate)

BlackLineNARROWER

—Carnatic Primer—
Explaining the foundations of South Indian classical music. Jump to *.
[coming soon]
–Kalinga Nartana Thillana–
(Aruna Sairam & group)
Aruna Sairam leads an all-star five-piece group through ‘Kalinga Nartana Thillana’, live at Darbar 2016 (I was there!). The lyrics, based on 6th-century poetry, recount Krishna’s famous battle with Kaliya, a fearsome five-headed snake whose fury boiled the waters of the Yamuna River as they fought. Aruna uses rhythmic vocalisations to depict Krishna’s battle dance, matching her syllables to the mridangam and hissing to imitate the serpent…

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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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