• Raag Paraj •


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…the uttarang has a superficial resemblance to Basantelongation 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; NSrSrNSNdSN. Aneesh Pradhan recommends “a well-known composition sung by Vilayat Hussain Khan, the scholar-musician and revered [Agra] guru…he uses the [lyrics] to play with the rhythmic cycle, a device called ‘bol bant’…”.

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Aroha: NSGMdNS
Avroh: SNdSN, PdMP, MGrS

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


—Ulhas Kashalkar (2011)—

[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…


• 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 | 32Enclosed | 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: Paraj Kalingada, Poorvi, Prabhat Bhairav


–Swara Geometries–

Core form: SrGmMPdNS
Reverse: SrGmMPdNS (=itself)
Negative: 4-1-6-1
Imperfect: 2 (Pa, dha)
Detached: none
Symmetries: mirror (S—M)
Murchanas: none

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


–Global Translations–

Carnatic: ~Paras
Jazz: Double Harmonic (dbl. 4th)
Pitch classes (‘fret-jumps’):

o o • • o o o o o • • o o


• Tanpura: Sa–Pa (+Ni)
• Names: Paraj, Paraji, Paraju, Peraj


—Ashwini Bhide-Deshpande (2014)—



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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]

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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!

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