Dakshinatya Basant | SrGmPDNS | Hindustani Raga Index

S-r-G-m-P-D-N-S

A springtime raga described by sarodiya Joydeep Mukherjee as “very rare…adapted from Carnatic music” (hear him play it on “a very rare instrument, the Radhika Mohanveena”, created by Radhika Mohan Maitra in 1948 – accompanied by Subhasish Sabyasachi, “the first ambidextrous percussionist of India“). The name translates as ‘Southern Basant’ (to distinguish it from the main Basant) – while also sharing historical overlap with the more archaic Adi Basant and Shuddha Basant, alongside a close relationship to the archaic Shuddha Sohini (…many consider the two ragas to be one and the same). Enjoys an occasional presence on the modern concert stage – see renditions by Anuradha Kuber and Ashwini Bhide-Deshpande, as well as a bandish breakdown by Ashok Da Ranade.

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राग दक्षिणात्य बसंत

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—Anuradha Kuber (2009)—

[refrain, e.g. 0:29] (D)S N(D)D N(S)D, m(Gm) G(r) r(Sr)SS…

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• Recent Raga Index Updates (Dec 2025): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

• 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

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Thaat #18, Bhatiyari Bhairav, Mangal Bhairav

–Swara Geometries–

• Core form: S–r–G–m–P–D–N–S

• Reverse: SrgmPdNS (=’thaat #24‘)

• Negative: 4-1-3-2-2 (e.g. Devshri)

• Imperfect: 3 (re, Pa, Ni)

• Detached: 1 (re)

• Symmetries: none

• Murchanas: Latangi (on ma)

–Global Translations–

• Carnatic: ~Suryakantam (mela #17)

S-R₁-G₃-M₁-P-D₂-N₃-S

• Jazz: Ionian b2

1-b2-3-4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-7-9-11-0

(1–3–1–2–2–2–1)

o o • • o o • o • o • o o

• Tanpura: Sa–Pa

• Names: Dakshinatya Basant, Dakshinataya Vasantha

• Transliterations: Hindi (दक्षिणात्य बसंत)

—Jaydeep Vaidya (~2010s)—

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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 besides!

–Megalist (365+ ragas)–

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Sa | Re | Ga | Ma | Pa | Dha | Ni

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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!