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 that: “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 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. Compare to other members of the Lalit raganga.

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राग हिन्डोलिता

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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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

See all shadav ragas which omit Re – and also compare to other members of the Lalit raganga

–Swara Geometries–

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• Core form: S–G–mM–P–D–N–S

• Reverse: SrgmMPdS

• Complement: SrRgdnS

• 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

• Transliterations: Hindi (हिन्डोलिता)

—Jitendra Abhisheki (1988)—