S-r-G-mM-P-dD-N-S

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Created by Jaipur-Atrauli vocalist Kesarbai Kerkar, who often employed it as a concert centrepiece (although the raga is also popular in the Agra gharana). Blending Lalit and Gauri via, respectively, “the close coupling of the two madhyams…[and] appropriate clusters on and in the vicinity of the mandra Ni”, the raga typically takes a shuddha Dha (giving a Poorvi inclination) – but can sometimes use the komal dha instead (e.g. Vinayakrao Patwardhan’s Bhairav-tilted take). Enchanting in its intricacy, Parrikar notes that “there can be no straight up-and-down sapat taans…they zigzag and keep bouncing off Ni, as in PNNdN; NmdNN“. Also see the prakriti Purba and Sazgiri.

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—Manjiri Asnare-Kelkar (1997)—

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[bandish, e.g. 1:15] GrS S(N)S, rNS, S(rN)S N, (N)dSrG, GmG GmMG(mM)Gr, S/P P\G rS(NS), r(d)Sr(Gr)G, rG(rGPM)P, PG rGM(GrSNS), GrS S(N)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

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: Purba, Sazgiri, Sonakshi

–Swara Geometries–

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• Core form: S–r–G–mM–P–dD–N–S

• Reverse: SrgGmMPdNS

• Negative: 4-1-7

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Kashiramakriya

S-R₁-G₃-M₁-M₂-P-D₁-D₂-N₃-S

• Jazz: Double Harmonic (dbl. 4th/6th)

1-b2-3-4-#4-5-b6-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-6-7-8-9-11-0

(1–3–1–1–1–1–1–2–1)

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o o • • o o o o o o • o o

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• Tanpura: Sa–Pa

• Names: Lalita Gauri, Lalit-Gauri

—Kesarbai Kerkar (1947)—