S-r-G-mM-P-d-N-S

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A playful sonic form which matches the swara set of Poorvi, with movements roughly akin to a ‘double-Ma Kalingada’ (also see their combination: Paraj Kalingada). Described by Parrikar as “an uttarang-pradhan raga with tonal activity clustered around taar Sa…elongation of Ni in SNdSN is a Paraj signpost, and dha is rendered durbal throughout”, with re often being skipped in aroha amidst characteristic phrases such as SNdP; PdPdMP; GMdSN. And, while Parrikar characterises the PdNS uttarang‘s resemblance to Basant as “superficial”, some Paraj interpretations do encroach much further into Basant’s territory – for example the classic Paraj composition Manmohan Brij ko Rasiya (Ulhas Kashalkar rendition transcribed below) is remarkably similar to a prominent Basant bandish: dNS(rNS), S(NS…N)d (dP)P vs. PdS(rSNS), (S)N\d, P(dPM)P. Aneesh Pradhan recommends the original compositions of Agra pioneer Vilayat Hussain Khan (“a scholar-musician…who uses the lyrics to play with the rhythmic cycle [‘bol bant’]…”).

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राग परज

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• Hindustani Raga Index •

Aroha: NSGMdNS

Avroh: SNdSN, PdMP, MGrS

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Chalan: pakad e.g. PdPdMP; (M)GmG; MGrS; GmPmG; Md; MdN; NSNdSN (Parrikar)

—Ulhas Kashalkar (2011)—

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[bandish, e.g. 1:52] dNS, S(rN) S(N) N(SN) (N)d (dP)P (Pd), P(MP)M, d (NSNr)S, S(NS), (rSN) dNS; S(rN)S, PdP, GmG, dNS…

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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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Paraj Kalingada, Poorvi, Prabhat Bhairav

–Proximate Forms–

Bhatiyar = ‘Paraj shuddha Dha‘

Roopkali = ‘Paraj double Re‘

Lalita Gauri = ‘Paraj double Dha‘

Ramkali = ‘Paraj double Ni‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–r–G–mM–P–d–N–S

• Reverse: SrGmMPdNS (=itself)

• Negative: 4-1-6-1

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: mirror (S—M)

• Murchanas: none

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• Quirks: ‘palindromic‘ (same intervals forwards & backwards)

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–Global Translations–

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• Carnatic: ~Paras

S-R₁-G₃-M₁-M₂-P-D₁-N₃-S

• Jazz: Double Harmonic (dbl. 4th)

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

• Pitch classes (‘fret-jumps’):

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

(1–3–1–1–1–1–3–1)

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o o • • o o o o o • • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Paraj, Paraji, Paraju, Peraj

• Transliterations: Hindi (परज); Bengali (পরজ)

—Ashwini Bhide-Deshpande (2014)—