S-R-G-P-D-S
Typically summarised as the ‘other raga with Bhupali’s swaras’, Deshkar shuffles the same five tones to produce a mood suited more to the morning than evening hours. Taking a vadi-samvadi of Dha–Ga (as opposed to Bhupali’s Ga-Dha), the raga is uttarang-dominant, with a melodic focus on vakra movements in madhya and taar saptaks. Pa exerts gravity as the predominant nyas, and Re (prominent in Bhupali) is often rendered weakly or skipped in ascent. Parrikar provides definitive tonal sentences of P, PGPD, DP, PDGP and PDGPGRS, RSDS, SGPD, DP.
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[Swaras]
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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: Exact | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
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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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