S-r-g-m-P-D-N-S
The Carnatic Kokilapriya scale (mela #11) is still barely known in the North (‘kokilapriya’: ‘the one who is dear to the koel bird‘). Its unique shape, resembling ‘Bhairavi–Yaman’, has several curious properties: with an ‘all-komal’ poorvang (Srgm) and ‘all-shuddha’ uttarang (PDNS), it is ‘palindromic’ (=symmetric from Sa) – but 5 of its swaras are ‘imperfect’ (=with no swara 7 semitones above them) and 4 of them are ‘detached’ (=no swaras 7 semitones above or below), in both cases the theoretical maximum for a 7-note scale. Abhirang’s 2025 alap showcases a balanced yet bipolar mood, with each side of the scale presenting contrasting colours, and Sa acting as a natural ‘pivot’ between them. Composer Mahesh Mahadev entitled his own imagining of same scale ‘Bhimsen’ (named for Bhimsen Joshi and Miyan Tansen), specifying the omission of Re and Dha in ascent – so far, Jayateerth Mevundi’s intriguing 2023 rendition is the only recording available (“Giridhar Gopal Shyam: the first ever bandish in Hindi about Lord Venkateshwara…”). And Moumita Mitra’s intriguing 2026 ‘Bhatiyari Todi‘ also matches the SrgmPDNS set, via blending the Todi-ang rgrS with Bhatiyar‘s mPDNSr. Depending on which scale-segment is emphasised, the scale form can hint at many other ragas, including Bhairavi (SrgmP), Bilawal (mPDNS), Patdeep (gmPDNS), and Ahiri (SrgmPD), while also offering a multitude of further interpretations (e.g. borrowed phrasings from other palindromic ragas such as Bhairav, or from audav subsets such as Rajeshwari or Madhuranjani). Compare to the rest of the ‘32 thaat’ (=all possible 7-note sampurna scales), and to other ‘fragmented’ ragas (=where over half the swaras are detached) including its murchana partner Rishabhapriya – and listen to the original Carnatic incarnation via renditions from Sukha Vaazhvu, Abhishek Raghuram, and Palghat Ramprasad. I hope that further Hindustani recordings will follow!
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राग कोकिलाप्रिया
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• Hindustani Raga Index •
Aroha: SrgmPDNS
Avroh: SNDPmgrS
Pakad: variable, e.g. gmPDSNS; gmPmgr
Chalan: (open-form)
—Abhirang (2025)—
[alap, e.g. 0:00] P(N)DN Srg, SrgmPD(Pm), gmPD(S)NS, DNSrgm(g), gmP(mP)mgr, S(rgr) g(rS), S(rSrgrN), N(SNSND), D(NSNDP), PD(Pm), mP(mg), gm rg, SrgmP (N)DNS…
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• Carnatic Origins •
—Ragam Kokilapriya (mela #11)—
(Abhishek Raghuram)
–All ragas of Carnatic origin–
• Recent Raga Index Updates (Oct 2026): Melodic ‘snapshots’ of prachalit ragas • Up to 365 raga pages! Some highlights: Bayati, Basant Mukhari, Bilaskhani Todi, Chandranandan, DoGa Kalyan, Jog, Kalavati, Kaushiki, Malkauns, Maru, Meladalan, Parameshwari, Sarangkauns, Vachaspati (+ try out ‘Audav Meladalan‘) • What does ‘Kauns’ mean? Analysing 60+ Kauns ragas • ‘Bifurcations‘: ‘poorvang vs. uttarang’ splits • Amir Khan’s ‘168 merukhands’ • Experiments (e.g. overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)
Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas
#raga #jazzguitar #indianmusic #icm #londonmusic
Sep 30
E8 Boogie (Squarepusher): @sqpusher did I get them right? Tried to work out guitar voicings for this curious chord sequence in E8 Boogie (…originally at the request of a student!)
Original: Squarepusher/Tom Jenkinson (from 1997’s Hard Normal Daddy)
#jungle #jazzguitar #warprecords #idm #dnb @warprecords
Sep 27
Raag Jaiwanti Todi (SrgmPDnS): An Ahiri-prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): the hereditary ruler of Sanand who gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also the creator of Gyankali and other ragas). Sung here by his student Pandit Jasraj – a bandish I’ve always loved, especially the ferocious taan and colourful harmonium accompaniment…
—Original: Pandit Jasraj (khayal); Appa Jalgaonkar (harmonium); Nizamuddin Khan? (tabla)
#raga #khayal #indianmusic #worldmusic #icm
Sep 22
Raag Prabhateshwari (SrgmPDnS): A mysterious raga created by Hariprasad Chaurasia, played here by his nephew Rakesh – resembling a blend of the morning Ahir Bhairav and the late night Bageshri. I was inspired to learn the raga when researching Maa Annapurna Devi’s time teaching Hariprasad (many thanks to my crack team of experts including Rupak Kulkarni, Alam Khan, George Ruckert, Suresh Vyas, Anindya Banerjee, and Gopi Shanker, who all gave valuable assistance in illuminating the raga’s origins)
—Original: Rakesh Chaurasia (bansuri), live at Darbar 2008 @chaurasia_rakesh @darbarfestival
#raga #darbarfestival #indianmusic #bansuri #worldmusic
Sep 15
• 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
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
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: Thaat #22
–Swara Geometries–
• Core form: S–r–g–m–P–D–N–S
• Reverse: SrgmPDNS (=itself)
• Complement: SRGMdnS (=Sehera)
• Imperfect: 5 (re, ga, Pa, Dha, Ni)
• Detached: 4 (re, ga, Dha, Ni)
• Symmetries: mirror (S—M)
• Murchanas: Rishabhapriya (on ma)
• Quirks: ‘palindromic‘ (same intervals forwards & backwards) • ‘fragmented‘ (at least half the swaras are detached) • 5 ‘imperfect’ and 4 ‘detached’ swaras (in both cases the theoretical maximum for a 7-note scale)
–Global Translations–
• Carnatic: Kokilapriya (mela #11)
S-R1-G2-M1-P-D2-N3-S
• Jazz: Neapolitan Major
1-b2-b3-4-5-6-7-8
• Pitch classes (‘fret-jumps’):
0-1-3-5-7-9-11-0
(1–2–2–2–2–2–1)
o o • o • o • o • o • o o
• Tanpura: Sa–Pa
• Names: Kokilapriya, Kokilpriya (n.b. Mahesh Mahadev titled his own import of the scale ‘Bhimsen’: see above)
• Transliterations: Hindi (कोकिलाप्रिया); Punjabi (ਕੋਕਿਲਾਪ੍ਰਿਆ); Kannada (ಕೋಕಿಲಪ್ರಿಯ); Malayalam (കോകിലപ്രിയ); Tamil (கோகிலப்பிரியா); Telugu (కోకిలప్రియ)
—Jayateerth Mevundi (as ‘Bhimsen’)—
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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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