Din ki Puriya | SrGMdNS | Hindustani Raga Index

S-r-G-M-d-N-S

Din ki Puriya (‘Daytime Puriya’) sets its six swaras to the general phrase patterns of the Puriya–ang, avoiding Pa throughout. The scale’s ‘palindromic hexagon’ places a tight hemitonic cluster (NSr) opposite a wider tone-trio (GMd), also providing an augmented ‘equilateral triangle’ (SGd). Melodic motions remain fairly free, given the lack of any prakriti ragas – with Sa standing out as the only ‘detached’ swara. Comparatively rare in khayal, and near-untouched by instrumentalists (aside from Kala Ramnath) – although Jitendra Abhisheki’s recordings have gained renown (Kovid Rathee also recounts the tale of a 1997 Jasraj rendition: “Apparently, someone in the audience was smoking a bidi…and Jasraj-ji modified the lyrics of the bandish to ask the culprit to stop, as it interfered with his singing”).

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राग दिन की पुरिया

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—Sanjeev Abhyankar (2002)—

[refrain, e.g. 0:03] SS SS(NS) d d(MGMdM), M(G)G (S)rS S; SS SS(NSd) d d(MGMdM), (dMG)M (M)G (G)rS; SS SS(NSd) d…

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My attempts to capture the raga on electric guitar (see more of these clips)

—Din ki Puriya (electric guitar)—

My brief electric guitar cover of the Sanjeev Abhyankar bandish above…

• 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: (none found)

Also see other shadav ragas which omit Pa

–Swara Geometries–

• Core form: S–r–G–M–d–N–S

• Reverse: SrGMdNS (=itself)

• Negative: 4-1-2-2-2-1 (e.g. Rageshri)

• Imperfect: 2 (Sa, dha)

• Detached: 1 (Sa)

• Symmetries: mirror (S—M)

• Murchanas: Hemshri set

• Quirks: ‘detached Sa‘ • ‘palindromic‘ (same intervals forwards & backwards)

–Global Translations–

• Carnatic: ~Bhogavasantha

S-R₁-G₃-M₂-D₁-N₃-S

• Jazz: Lydian b2 b6 (no 5th)

1-b2-3-#4-b6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-8-11-0

(1–3–2–2–3–1)

o o • • o • o • o • • o o

• Tanpura: Sa–Ga (+dha)

• Names: Din ki Puriya, Dinki Puria, Dinkapuriya

• Transliterations: Hindi (दिन की पुरिया)

—Jitendra Abhisheki (1991)—

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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!