S-G-m-D-nN-S
As per Parrikar, “Durga Khamaj-thaat…is also known [as] ‘Madhuradhwani’…This is not a popular raga, its base eroded by the popularity of Rageshri…[but] is part of the Dagar family repertoire”. While some renditions may skip Ni in ascent, traditional Dhrupad presentation will render it shuddha in aroha and komal in avroh – along with a strong Ga, and a Bageshri-style ma–Dha sangati balanced by phrases such as SmG; mDNS; mmGS. Also proximate to Bhinna Shadja and Kaushik Dhwani (~’Khamaj no Re–Pa‘).
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
Aroha: SGmDNS
Avroh: SnDmGS
Chalan: e.g. SnD; SmG; mDn; D; mG; mDNS; mmGS; SnD; mG; DmG; mS (Gadre)
—Nemai Chand Boral (~1960s)—
[refrain, e.g. 3:24] mG(mS) (S)nD, (S)DNS, mG(mS) (S)nD, (S)DNS…
• 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: (none found)
–Swara Geometries–
• Core form: S–G–m–D–nN–S
• Reverse: SrRgPdS
• Negative: 5-1-1-3-1-1
• Imperfect: 2 (Sa, Ni)
• Detached: none
• Symmetries: mirror (Gm—nN)
• Murchanas: none
–Global Translations–
• Carnatic: (~Begada)
S-G3-M1-D2-N2-N3-S
• Jazz: Daptimic
1-3-4-6-b7-7-8
• Pitch classes (‘fret-jumps’):
0-4-5-9-10-11-0
(4–1–4–1–1–1)
o • • • o o • • • o o o o
• Tanpura: Sa–ma
• Names: Madhuradhwani, Madhura Dhwani, Madhuradvani, ‘Durga Khamaj’ (not Madhuranjani)
—Abhijith Shenoy K ‘Abhirang’ (2020)—
[MORE TO FOLLOW]
Like everything on my site, the Raga Index will always remain 100% open-access and ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into this project as time and finances allow – so, if you like these resources, you can:
• Support the Raga Index! •
…and hasten the project’s expansion…
—Riyaz-focused notations & bandish—
—Resurrecting rare and ancient ragas—
—Further melodic & geometric analysis—
—Engaging with Hindustani performers—
—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—
• Hindustani Raga Index •
An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]
—Megalist (365+ ragas)—
• Search: Find your new favourite •
• Tags: Classifying the ragascape •
• Glossary: Raga jargon demystified •
• Murchanas: Swara-set rotations •
• Thaat: Bhatkhande’s base scales •
• Ragatable: Analytical connections •
• Tanpuras: Divine overtonal drones •
• Quotes: Musings from raga artists •
• Talas: Hindustani rhythm cycles •
Sa | Re | Ga | Ma | Pa | Dha | Ni
[Random Raga]
—Search the Raga Index—
• Feedback / Contact •
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!
• Learn raga on any instrument! •
everything 100% ad-free and open-access