S-G-mM-P-D-N-S

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A blend of Hindol and Lalit, seemingly introduced by Kirana master Bhimsen Joshi – who recorded it a handful of times over the years, including at the 1992 Sawai Gandharva Festival with Zakir Hussain, and for his 1997 Rarely-Heard Ragas album, also featuring Jaijaiwanti Nat and Bageshri Bahar). Given the sparsity of its recorded history, it remains a ‘composition-centred’ raga: offering little to interpret besides Joshi’s specific bandish of choice. Nani Wadekar adds further context: “Bhimsen set his Todi cheez [Airi Mayi Aaj Shubh Mangal] in a totally different raga, which he used to sing a lot in the late 1980s…called ‘Hindolita’ in a newspaper concert review”. Also superbly recorded by Jitendra Abhisheki, who maps an even more radical path through Lalit’s adjacent Ma positions and Hindol’s ‘swinging’ ornaments.

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—Bhimsen Joshi (2003)—

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[refrain, e.g. 1:13] S\DD D\M(D) D\MM(m) m(Gm); m(M)G, (M)G, S…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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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.

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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–

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• Core form: S–G–mM–P–D–N–S

• Reverse: SrgmMPdS

• Negative: 3-1-1-5-2

• Imperfect: 2 (Ma, Pa)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: (~Kannadamaruva)

S-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Ionian (no 2nd, dbl. 4th)

1-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-4-5-6-7-9-11-0

(4–1–1–1–2–2–1)

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o • • • o o o o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Hindolita, Hindol Lalit, Hindoli Lalat

—Jitendra Abhisheki (1988)—