• Raag Gopika Basant •


A hexatonic raga of bewitching beauty, Gopika Basant matches the swaras of ‘Asavari no Re’ (or ‘Malkauns add Pa’) – while also inviting shades of Bhairavi from ga upwards. The Sama sangati is strong, and, as noted by Jairazbhoy, descents can mirror the Malkauns scheme of “parallel conjunct tetrachords by oblique use of the Pa” (e.g. in ndm, Pg, mgS: where Pa separates two phrases of identical intervallic shape). While its origins lie in the Carnatic Gopikavasantham, renditions now match more closely to the allied Hindolavasantham via the absence of Re – although the raga’s Hindustani incarnation remains rare (to my ears, a bewildering state of affairs…).

Raga Megalist (365+) •
Search | Glossary | Tags
Hindustani Raga Index •


—Acharya Jayanta Bose (1990)—

[refrain, e.g. 0:53] (gm)P, P(mg)g, gmg\S, SgmP(m)d, d(m)m, (gm)P, P(mg)g, g(P)mg\S…


• 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.


–Swara Geometries–

Core form: S-g-m-P-d-n-S
Reverse: SRGmPDS (=none)
Inverse: Ni; SRgmPnS (=Suha Kanada)
Imperfect: 1 (Pa)
Detached: none
Symmetries: mirror (rR—Pd)
Murchanas: Shankara set


–Global Translations–

Carnatic: Gopikavasantam
Jazz: Aeolian (no 2nd)
Pitch classes (‘fret-jumps’):

o • • o • o • o o • o • o


• Tanpura: Sa–Pa
• Names: Gopika Basant, Gopi Basant, Gopikavasant


—Sunder Lal Gandharv (~1980s)—




Like everything on my site, the Raga Index will always remain 100% open-access and ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into this project as time and finances allow – so, if you like these resources, you can:

Support the Raga Index! •

…and hasten the project’s expansion…
—Riyaz-focused notations & bandish—
—Resurrecting rare and ancient ragas—
—Further melodic & geometric analysis—
—Engaging with Hindustani performers—
—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—


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]

Megalist (365+ ragas)
Search: Find your new favourite •
Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Ragatable: Analytical connections •
Thaat: Bhatkhande’s base scales •
Murchanas: Swara-set rotations •
Quotes: Musings from raga artists •
Tanpuras: Divine overtonal drones •
Talas: Hindustani rhythm cycles •
[Random Raga]

—Search the Raga Index—

Feedback / Contact •

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!

Learn raga on any instrument! •

everything 100% ad-free and open-access