S-G-M-D-N-S
A captivating, challenging audav raga with all swaras appearing in their highest specific positions (i.e. no komals, and Ma, if present, is tivra: also see Bhupali, Hansadhwani, & Adbhut Kalyan). The name translates as ‘swinging’: indicative of the raga’s melodic character, which is built around ‘swaying’ motions between a trio of nyas (Sa, Ga, Dha) – with Ni played weakly and often omitted in ascent (rendering it ‘surtar’). Portrayed in classical ragmala paintings with imagery of Krishna sitting on a swing in seductive pose, Hindol also has mythic links to Kamadeva, Hindu deity of erotic love and romantic desire (“a handsome young man decked with ornaments, armed with a sugarcane bow and shooting arrows of flowers”). Intriguingly, the similarly-named Carnatic ‘Hindolam’ matches the swaras of the Hindustani Malkauns: leading Jairazbhoy to speculate that Hindol’s swara set may have arisen via a “semitonal shift of the ground note” (i.e. SGMDNS = ‘SgmdnS with Sa raised a semitone’ – loosely akin to the idea of ‘altered chords’ in jazz).
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
Aroha: DSGMDS
Avroh: SNDMGS
Chalan: e.g. SD; MDS; SDSGMG; SGMD; D(N)MDS; DSGS; SDMG; MGSDS (Bor/Vyas)
—Pandit Jasraj (2002)—
[refrain, e.g. 0:48] SM G, MGS, S(NS)D (N)SS; S(D) S(D)S (N)S, (S)G (G)SS; (S)MGGMD (M)SDDMG, MGS; SM(GM) G, MGS…
• 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)
–Swara Geometries–
• Core form: S–G–M–D–N–S
• Reverse: SrgMdS
• Negative: 3-1-1-2-2-1-2 (e.g. Jogeshwari Pancham)
• Imperfect: 2 (Sa, Ma)
• Detached: 1 (Sa)
• Symmetries: none
• Murchanas: Shivranjani set
• Quirks: ‘detached Sa‘
–Global Translations–
• Carnatic: ~Sunadavinodini
S-G3-M2-D2-N3-S
• Jazz: Lydian (no 2nd/5th)
1-3-#4-6-7-8
• Pitch classes (‘fret-jumps’):
0-4-6-9-11-0
(4–2–3–2–1)
o • • • o • o • • o • o o
• Tanpura: Sa–Ni (+Dha)
• Names: Hindol, Hindoli (not the Carnatic ‘Hindolam‘ – although the ragas likely share historic overlap: see above)
—Pournima Dhumale (2020)—