• Raag Din ki Puriya •


Din ki Puriya (‘Daytime Puriya’) sets its six swaras to the general phrase patterns of the Puriyaang, 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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—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


• 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 | 32Enclosed | 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)


–Swara Geometries–

Core form: SrGMdNS
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
Jazz: Lydian b2 b6 (no 5th)
Pitch classes (‘fret-jumps’):

o o • • o • o • o • • o o


• Tanpura: Sa–Ga (+dha)
• Names: Din ki Puriya, Dinki Puria, Dinkapuriya


—Jitendra Abhisheki (1991)—




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Hindustani Raga Index

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! [out 2023-24]

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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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