• Raag Kaushik Dhwani •

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”). DhrupadCarnatic 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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—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

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• 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 | 32Enclosed | 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.

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• Prakriti: Bhinna Shadja

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–Swara Geometries–

Core form: SGmDNS
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)

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–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


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• Tanpura: Sa–ma (+Dha)
• Names: Kaushik Dhwani, Kausikdwani, Bhukosh, Bhavkosh, Bhavkauns, ‘Audav Bilawal’, Bhinna Shadja

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—Shivkumar Sharma (2007)—

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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