S-G-m-D-N-S
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’.
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
—Rashid Khan (2012)—
[bandish, e.g. 2:34] S(GmDNS) S(ND), D(ND)m, mG, (G)S D(SnS), S(GmDNS) S(ND), DNDm, mG…
• 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: Bhinna Shadja
–Swara Geometries–
• 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: Gunkali (on Ga)
–Global Translations–
• 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)
o • • • o o • • • o • o o
• Tanpura: Sa–ma (+Dha)
• Names: Kaushik Dhwani, Kausikdwani, Bhukosh, Bhavkosh, Bhavkauns, ‘Audav Bilawal’, Bhinna Shadja
—Shivkumar Sharma (2007)—