S-R-m-d-N-S
A magical audav raga matching the scale of ‘Chandrakauns with Re instead of ga’ (or ‘Kirwani no ga/Pa‘, thus allowing for poorvang shades of Sarang. Benares bansuriya Ajay Prasanna cites the raga as a creation of his father Bhola Nath Prasanna, adding that Chandraprabha “celebrates the light and glow of the moon…its serene calmness and mystery, hiding behind the clouds and occasionally glowing from behind them”. The best full-length instrumental renditions I can find are by Bismillah Khan (shehnai: see transcription below) and Happu Khan (violin) – with stellar vocal efforts coming from Akbar Ali (live at the 2015 Lahore Music Forum), Faiyaz & Niyaz Ahmed Khan (a masterful 1971 duet), Inayat Kaur Bajaj (in her words: “this raga feels like a forgotten dream”), and Zeeshan Khan (“he renders the full-speed aakar taans and sargams of the Rampur-Sahaswan gayaki”). Also see other ragas ‘enclosed’ by Kirwani and other ‘fragmented‘ ragas (=where over half the swaras are ‘detached‘) – and compare to Sarangkauns (which takes komal ni instead) and Rasaranjani (shuddha Dha instead).
• Raga Masterlist (1000+) •
राग चन्द्रप्रभा
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• Hindustani Raga Index •
Aroha: SRm, dNS
Avroh: SNdm, RS
Chalan: e.g. S, Sdm, mdNS, mdNRS, dSNRS, SRRm, mR NSRS, SRm, Rmdm, mdN Nd, NS, dNSRS, RNSdm, RmdNdm, mdmNdm, RmR, dSNRS (OOR)
—Bismillah Khan (~1980s)—
[taans & gat, e.g. 8:20] S(R)S R(m)R m(d)m d(N)S S(N)d d(R), RmdNS dNS SNdmR mdNSR SNdm mdNS(dmR); RmdNS N\d, d\m, m\R mdm, R R(S)S; RmdNS N\d…
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• Recent Raga Index Updates (May 2026): Up to 365 Megalist pages! Recent adds include Asa, Bayati, Deepavali, Chanchalas Malhar, DoGa Kalyan, Gaud, Japaniya, Kaushiki, Latangi, Loom, Maru, Meerabai Malhar, Palas, Sarangkauns, Shankh Dhwani, Shivanjali, Sohini Bahar (+ try out ‘Audav Meladalan‘) • What does ‘Kauns’ mean? Analysing 60+ Kauns ragas • ‘Bifurcations‘: ‘poorvang vs. uttarang’ splits • Amir Khan’s ‘168 merukhands’ • Introduced the ‘complements‘ concept • Experiments (e.g. overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)
Raag Jog: exploring different ways the electric guitar can support a Dhrupad-ang nomtom (syllabic improvisation)…
(From ‘Around the World in Eight Ragas’: my show with Ashwin Baliga & Marc Clayton at Mehfil Space on 11 Jun 2026) @ashwinbaligaofficial @marc_plays_tabla @mehfilspace
#dhrupad #raga #indianmusic #icm #worldmusic
Jun 28
Raag Kafi: Electric guitar improv around the adha bandish ‘Aaj Khel Shaam Sang Hori’
(From ‘Around the World in Eight Ragas’: my show with Ashwin Baliga & Marc Clayton at Mehfil Space on 11 Jun 2026) @ashwinbaligaofficial @marc_plays_tabla @mehfilspace
#raga #indianmusic #icm #worldmusic #ragaguitar
Jun 22
Raag Jog: some sawal-jawab (‘question-answer’) fun with Marc Clayton on tabla
(From ‘Around the World in Eight Ragas’: my show with Ashwin Baliga & Marc Clayton at Mehfil Space on 11 Jun 2026) @ashwinbaligaofficial @marc_plays_tabla @mehfilspace
#raga #indianmusic #icm #worldmusic #ragaguitar
Jun 15
Some tintal improv around a wonderful Durga bandish I’ll be playing at @mehfilspace @the_rose_hill in Brighton on Thu 11th June! with vocalist @ashwinbaligaofficial and @marc_plays_tabla
https://therosehill.co.uk/event/the-mehfil-space-presents-around-the-world-in-8-ragas/
‘Around the World in 8 Ragas’: exploring cross-cultural melodic forms (e.g. scales that turn up independently in Japan, India, Mali, etc)
#indianmusic #raga #icm #brightonmusic #ragaguitar
Jun 10
Come see me play some bendy raga-guitar at @mehfilspace @the_rose_hill in Brighton on Thu 11th June! with vocalist @ashwinbaligaofficial and @marc_plays_tabla
https://therosehill.co.uk/event/the-mehfil-space-presents-around-the-world-in-8-ragas/
‘Around the World in 8 Ragas’: exploring cross-cultural melodic forms (e.g. scales that turn up independently in Japan, India, Mali, etc) – including this piece, a famous Bhairavi bhajan by Pt. Bhimsen Joshi (Jo Bhaje Hari Ko Sada)
#bhajan #raga #indianmusic #brightonmusic #ragaguitar
Jun 5
tomato can jungle/DnB (distracted while cooking)
#drumming #percussion #dnb #jungle
May 23
A great Jaunpuri gat from Senia-Shahjahanpur sarod legend Pt Buddhadev DasGupta, full of fast bends and slides (originally released for Joep Bor’s 1997 Raga Guide, in many ways a precursor to my own raga index)
Raag Jaunpuri: a late morning raga, likely originating in the Sultanate-era music of Jaunpur in Uttar Pradesh (as per Subodh Agrawal: “The rulers of Jaunpur were keen patrons of the arts, and the last one – Sultan Hussain Sharqi – was himself a distinguished musician; it is probable that the Jaunpuri flavor of Asavari was developed by him, or under his patronage“). Rajan Parrikar elaborates on its “Asavariant” status, noting that some (including Omkarnath Thakur) see it as essentially indistinguishable from Shuddha Re Asavari, while others consider Jaunpuri to follow more ‘rounded’ melodic motions…
#sarod #ragaguitar #stratocaster #worldmusic #jaunpur
May 6
just for fun…I had to defend the honour of my main instrument against my second instrument (many thanks to @mountainhead for the original video, as well as some tasty bends) – still no match for the surbahar’s meend range though!
#sitar #guitar #raga #bends #ragaguitar
May 4
• 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: (none found)
Also see other audav ragas which omit Ga and Pa
–Swara Geometries–
• Core form: S–R–m–d–N–S
• Reverse: SrGPnS (=Sundarkali)
• Complement: SrgGMPDnS
• Imperfect: 4 (Sa, Re, dha, Ni)
• Detached: 3 (Re, dha, Ni)
• Symmetries: none
• Murchanas: Harikauns (on Re)
• Quirks: ‘fragmented‘ (at least half the swaras are detached)
–Global Translations–
• Carnatic: Priyadarshini
S-R2-M1-D1-N3-S
• Jazz: Harmonic Minor (no 3rd/5th)
1-2-4-b6-7-8
• Pitch classes (‘fret-jumps’):
0-2-5-8-11-0
(2–3–3–3–1)
o • o • • o • • o • • o o
• Tanpura: Sa–ma
• Names: Chandraprabha, Chandra Prabha, Chandraphrapbha
• Transliterations: Hindi (चन्द्रप्रभा)
—Faiyaz & Niyaz Ahmed Khan (1971)—
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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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