S-R-G-mM-P-D-nN-S
A loosely-organised set of Kedar variations, Chandni Kedar (‘Moonlight Kedar’) is formed via minor modifications to its parent raga. As per Parrikar, who recommends a Kesarbai Kerkar mehfil rendition (Eri Ina Naina), “some suggest strengthening the komal ni and shuddha Ga in standard Kedar…others [suggest] Kedar with an added komal ni” – while Ocean of Ragas offers that “shuddha Ni is used in aroha, and komal ni is used [in avroh] as DnDP”. Refer to recordings by Shruti Sadolikar, Basavraj Rajguru, and Amir Khan (“a live performance at Imrat Khan‘s house in Kolkata…this incredible audience [were] animated throughout…”) – as well as a magical 1967 sitar–surbahar jugalbandi from Imrat & Vilayat Khan, live from the Taj Mahal. Also see Jaldhar Kedar and Saraswati Kedar.
• Raga Masterlist (1000+) •
राग चाँदनी केदार
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—Budhaditya Mukherjee (2016)—
[gat, e.g. 10:06] M(P)M DDP, m(G)m m, M(P)M P(M)P, (S)D D/RS(N)S (D)NDP, M(P)M DDP…
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• Recent Raga Index Updates (Sep 2026): Melodic ‘snapshots’ of prachalit ragas • Up to 365 raga pages! Some highlights: Bayati, Basant Mukhari, Bilaskhani Todi, Chandranandan, DoGa Kalyan, Jog, Kalavati, Kaushiki, Malkauns, Maru, Meladalan, Parameshwari, Sarangkauns, Vachaspati (+ try out ‘Audav Meladalan‘) • What does ‘Kauns’ mean? Analysing 60+ Kauns ragas • ‘Bifurcations‘: ‘poorvang vs. uttarang’ splits • Amir Khan’s ‘168 merukhands’ • Experiments (e.g. overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)
Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas
#raga #jazzguitar #indianmusic #icm #londonmusic
Sep 30
E8 Boogie (Squarepusher): @sqpusher did I get them right? Tried to work out guitar voicings for this curious chord sequence in E8 Boogie (…originally at the request of a student!)
Original: Squarepusher/Tom Jenkinson (from 1997’s Hard Normal Daddy)
#jungle #jazzguitar #warprecords #idm #dnb @warprecords
Sep 27
Raag Jaiwanti Todi (SrgmPDnS): An Ahiri-prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): the hereditary ruler of Sanand who gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also the creator of Gyankali and other ragas). Sung here by his student Pandit Jasraj – a bandish I’ve always loved, especially the ferocious taan and colourful harmonium accompaniment…
—Original: Pandit Jasraj (khayal); Appa Jalgaonkar (harmonium); Nizamuddin Khan? (tabla)
#raga #khayal #indianmusic #worldmusic #icm
Sep 22
Raag Prabhateshwari (SrgmPDnS): A mysterious raga created by Hariprasad Chaurasia, played here by his nephew Rakesh – resembling a blend of the morning Ahir Bhairav and the late night Bageshri. I was inspired to learn the raga when researching Maa Annapurna Devi’s time teaching Hariprasad (many thanks to my crack team of experts including Rupak Kulkarni, Alam Khan, George Ruckert, Suresh Vyas, Anindya Banerjee, and Gopi Shanker, who all gave valuable assistance in illuminating the raga’s origins)
—Original: Rakesh Chaurasia (bansuri), live at Darbar 2008 @chaurasia_rakesh @darbarfestival
#raga #darbarfestival #indianmusic #bansuri #worldmusic
Sep 15
• 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
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
• Prakriti: Nat Bihag, Saraswati Kedar, Manj Khamaj, Pancham se Gara, Shuddha Chaya, Medhavi
–Swara Geometries–
• Core form: S–R–G–mM–P–D–nN–S
• Reverse: SrRgmMPdnS
• Complement: SrgdS
• Imperfect: 1 (Ma)
• Detached: none
• Symmetries: mirror (R—d)
• Murchanas: Jaijaiwanti set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Hamir Kalyani
S-R2-G3-M1-M2-P-D2-N2-N3-S
• Jazz: Lydian-Mixolydian
1-2-3-4-#4-5-6-b7-7-8
• Pitch classes (‘fret-jumps’):
0-2-4-5-6-7-9-10-11-0
(2–2–1–1–1–2–1–1–1)
o • o • o o o o • o o o o
• Tanpura: Sa–Pa
• Names: Chandni Kedar, Chandani Kedara
• Transliterations: Hindi (चाँदनी केदार)
—Vilayat & Imrat Khan (1967)—
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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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