S-R-G-mM-P-D-N-S

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Associated with Lord Krishna, Nand (also known as Anandi or Anandi Kalyan) rose to prominence around the turn of the 20th century – initially gaining renown through a pair of bandish by Mehboob Khan ‘Daraspiya’ (Dhundu Bare Saiyan) and Vilayat Hussain Khan ‘Pranpiya’ (Ajahun Na Aye). Tanarang links the raga to Bihag, Hameer, Kamod, and Gaud Sarang, while recommending a differentiation sequence of GmPDNP; DMP; GmDPRS (“soothing and full of karuna…can be expanded in madhya and taar saptak”). Refer to melodic breakdowns from r/ICM and Rajan Parrikar (“a masterful synthesis of melodic calculation and aesthetic imperatives: the contours of Nand do not obtain from simple, linear tonal ribbons…”).

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—Budhaditya Mukherjee (2019)—

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[gat, e.g. 1:29] SGm/D D(PMP), (G)RR S, (N)S, G, G (P)mG (G)P, P(GP) P(MP) D(PMP), GmP D(NPDN) N(DP) D(M) P(MP), P(G)Gm/D(PMP), (G)RR S, S G…

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Histories, melodies, mythologies, etc…

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—Imagery: Krishna carving—

“Be fearless and pure; never waver in your determination or your spiritual dedication. Give freely; be self-controlled, sincere, truthful, loving, and full of the desire to serve. Learn to be detached, and to take joy in renunciation. Do not get angry, or harm any living creature, but be compassionate and gentle. Cultivate vigor, patience, will, purity; avoid malice and pride. Then, you will achieve your destiny…” (Lord Krishna in the Bhagavad Gita)

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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: Bihag, Hameer, Kamod, Maru Bihag, Pat Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Negative: 3-2-5-2

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Behag

S-R₂-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydionian

1-2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-11-0

(2–2–1–1–1–2–2–1)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Nand, Naand, Anand, Anandi, Ananda Kalyan

—Vilayat Khan/Bismillah Khan (~2000s)—