Lalita Sohini | SrGmMDNS | Hindustani Raga Index

S-r-G-mM-D-N-S

A blend of the early-morning Lalit and late-night Sohini, with the melodies of the latter dominating the aural impression, reportedly created by Agra vocalist Yunus Ahmed Khan in the mid-20th century. Raja notes that “while Sohini is a resident of the upper tetrachord, Lalit is a resident of the lower tetrachord. Thus, the resulting melodic entity opens up the entire scale for exploration, and exposes it to dilution with elements of Puriya [and] Marwa” – also discussing the broader definitional challenges posed by sarodiya Bahadur Khan’s more loosely-bounded interpretations (“because of his decision to restrict the Lalit fragrance [mM] to the descending expression, the melodic form [is] dominated by the unified and undifferentiated melodic field of the Marwa parent scale”). Also prakriti with Malti Basant.

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राग ललित सोहनी

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—Bahadur Khan (1986)—

[alap phrases, e.g. 0:22] D(NDr) S(NS) N, N, N, N(SN), N(SND), DN N(SN)D, N(SN)D, (N)S, S, S, S, (N)S S, S(rS) S(rS) S(rS), S(rS) N(SN), N, N, N(S) N(SND), D/N N(SNSND), D/N N(SND), D(NS)S, N(Sr)r r(S), S, S…

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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: Malti Basant

Also see other shadav ragas which omit Pa

–Swara Geometries–

• Core form: S–r–G–mM–D–N–S

• Reverse: SrgMPdNS (=Todi)

• Negative: 4-1-4-1-2 (e.g. Bhupali Todi)

• Imperfect: 2 (Sa, re)

• Detached: none

• Symmetries: none

• Murchanas: Basant set

• Quirks: ‘komal Pa‘ (=mMP)

–Global Translations–

• Carnatic: (~Kashiramakriya)

S-R₁-G₃-M₁-M₂-D₂-N₃-S

• Jazz: Lydian Chromatic

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

• Pitch classes (‘fret-jumps’):

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

(1–3–1–1–3–2–1)

o o • • o o o • • o • o o

• Tanpura: Sa–ma (+Dha)

• Names: Lalita Sohini, Lalit Sohani, Sohini-Lalit

• Transliterations: Hindi (ललित सोहनी); Bengali (ললিত সোহিণী)

—Yunus Ahmed Khan (1963)—

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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!