S-R-G-m-P-D-N-S

---

Described by Parrikar as “singular for its unabashed promiscuity”, Nat is perennially popular as a jod ingredient (see Nat Bihag, Nat Bhairav, Nat Kamod, Chayanat, and Jaijaiwanti Nat). The raga has likely origins in the age before Hindustani and Carnatic music’s bifurcation (while seemingly being unrelated to the Southern ‘Nata’), although renditions of its ‘pure’ form are comparatively rare in the modern era. Performers usually centre their movements on shuddha ma (although Jaipur-Atrauli singers may prefer to accentuate Ga), with Re and Pa used as nyas, and uttarang motions often remaining markedly sparse (PS; SP). Many interpretations include komal ni (e.g. SDnP), and some feature mishra flourishes (below: Ulhas Kashalkar uses ornamental touches of tivra Ma, e.g. P(MDPM)P; P(M)PG). Also used distinctively by Omkarnath Thakur as a canvas for reworking Carnatic compositions – and typically classed as a night raga.

---

• Raga Megalist (365+) •

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SRGmP, DPS

Avroh: SRS, SNDPm, GmRS

---

Chalan: e.g. SR; RG; Gm; mP; S(G)R; RGmP; GGm; P; SG(R)Gm; m; mP; Pm; GmRS; PDPPS; SP; PS; SRS; S(N)DPm (Parrikar)

—Ulhas Kashalkar (2015)—

---

[bandish, e.g. 3:16] S(N)S S(GR)R, (G)R, (R)G(R) Gm G (RS), (SN)S/S (DS)D (n)DP, P(MDPM)P (PM)P\G R, (G)R G(R), (GR)G mG mGR, (G)R (GR)G RS, S(NS)R, S(NS), (G)R (RGR)G RS(NR)S, S\D…

---

• Ragmalas •

Historic miniature paintings (learn more)

---

“Nat Ragini on horseback, holding a sword above a decapitated body, about to attack a second enemy…” (Penn, c.1800)

---

“Nata Ragini, opaque watercolor and gold on paper” (Malwa, c.1650) / “Nata Ragini, second wife of Bhairava: a heroic melody evoking a martial spirit. Here, a Rajput warrior in chain-mail armour on a chestnut stallion decapitates his opponent with a sword. Behind him, attendants bear standards and an honorific fly-whisk made of the white tail-hairs of a yak…” (Bikaner, c.1762)

---

• 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: Bilawal thaat, Bilawal, Tilak Kamod, Hem Bihag, Bihari, Savani, Swanandi, Gagan Vihang, Maluha, Mand, Chaya Malhar, Hemant, Manjari Bihag

–Swara Geometries–

---

• Core form: S–R–G–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Negative: 3-2-3-2-2 (e.g. Malkauns)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

---

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

---

–Global Translations–

---

• Carnatic: ~Sankarabharanam

S-R₂-G₃-M₁-P-D₂-N₃-S

• Jazz: Major / Ionian

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

• Pitch classes (‘fret-jumps’):

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

(2–2–1–2–2–2–1)

---

o • o • o o • o • o • o o

---

• Tanpura: Sa–Pa

• Names: Nat, Nata, Nut, Shuddha Nat, Suddha Nat

—Mallikarjun Mansur (1980s)—