S-G-m-D-N-S

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A modern-era descendent of the ancient Bhinna Shadja, essentially indistinguishable from its parent. Ma is a strong vadi, and a S\D glide is common in descending motions – but aside from this, artists are essentially free to roam at will within the scale, with all swaras employable as nyas across all three saptak (Tanarang: “deep and soothing, with large space for elaboration…gamak and meend help in its beautification”). Dhrupad–Carnatic chandraveena player S. Balachander describes the raga as “giving a feeling of Springtime, with leaves rustling and birds chirping” (listen to the wind and cuckoos in the background of his own interpretation). Typically classified as a night raga – and sometimes referred to as ‘Audav Bilawal’.

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• Raga Megalist (365+) •

राग कौशिक ध्वनि

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• Hindustani Raga Index •

—Rashid Khan (2012)—

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[bandish, e.g. 2:34] S(GmDNS) S(ND), D(ND)m, mG, (G)S D(SnS), S(GmDNS) S(ND), DNDm, mG…

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• Experiments •

Novel interpretations of the raga’s essence…

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—Amjad Ali Khan (orchestral)—

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“At age 65, Khan has performed for nearly 60 years. He’s a longtime fan of European classical music (‘Bach, Beethoven, Mozart, Tchaikovsky; the works!’) and finally the time seemed right to compose his first concerto. He was asked to write a piece for the Scottish Chamber Orchestra…With conductor David Murphy, they debuted the concerto in 2008. The piece’s full title is ‘Samaagam: A Concerto for Sarod, Concertante Group, and String Orchestra‘. In Sanskrit, ‘samaagam’ refers to a confluence, or flowing together…” (NPR)

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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: Bhinna Shadja

Also compare to other ragas matching the generic swaras ‘Sa-Ga-Ma-Dha-Ni‘: including Malkauns (S-g-m-d-n-S); Chandrakauns (S-g-m-d-N-S); Sundarkauns (S-g-m-D-n-S); Rajeshwari (S-g-m-D-N-S); Tivrakauns (S-g-M-d-n-S); Harikauns (S-g-M-D-n-S); Hindol (S-G-M-D-N-S); Tulsikauns (S-g-m-d-nN-S); Madhuradhwani (S-G-m-D-nN-S); Amrut Ranjani (S-gG-m-dD-n-S); Jogeshwari (S-gG-m-D-n-S); Madhurkauns, Mohankauns (S-gG-m-d-n-S); & Ek Prakar ki Kauns (S-gG-m-d-nN-S).

–Swara Geometries–

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• Core form: S–G–m–D–N–S

• Reverse: SrgPdS (=Bhupali Todi)

• Negative: 3-1-1-3-1-1-2 (e.g. Amrut Ranjani)

• Imperfect: 2 (Sa, Ni)

• Detached: none

• Symmetries: none

• Murchanas: Kaushik Dhwani set

–Global Translations–

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• Carnatic: (~Hindolavasantham)

S-G₃-M₁-D₂-N₃-S

• Jazz: Major (no 2nd/5th)

1-3-4-6-7-8

• Pitch classes (‘fret-jumps’):

0-4-5-9-11-0

(4–1–4–2–1)

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o • • • o o • • • o • o o

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• Tanpura: Sa–ma (+Dha)

• Names: Kaushik Dhwani, Kausikdwani, Bhukosh, Bhavkosh, Bhavkauns, ‘Audav Bilawal’, Bhinna Shadja

• Transliterations: Hindi (कौशिक ध्वनि); Kannada (ಕೌಶಿಕಿ ಧ್ವನಿ)

—Shivkumar Sharma (2007)—