S-r-G-mM-P-d-N-S
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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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…
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Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas
#raga #jazzguitar #indianmusic #icm #londonmusic
Sep 30
E8 Boogie (Squarepusher): @sqpusher did I get them right? Tried to work out guitar voicings for this curious chord sequence in E8 Boogie (…originally at the request of a student!)
Original: Squarepusher/Tom Jenkinson (from 1997’s Hard Normal Daddy)
#jungle #jazzguitar #warprecords #idm #dnb @warprecords
Sep 27
Raag Jaiwanti Todi (SrgmPDnS): An Ahiri-prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): the hereditary ruler of Sanand who gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also the creator of Gyankali and other ragas). Sung here by his student Pandit Jasraj – a bandish I’ve always loved, especially the ferocious taan and colourful harmonium accompaniment…
—Original: Pandit Jasraj (khayal); Appa Jalgaonkar (harmonium); Nizamuddin Khan? (tabla)
#raga #khayal #indianmusic #worldmusic #icm
Sep 22
Raag Prabhateshwari (SrgmPDnS): A mysterious raga created by Hariprasad Chaurasia, played here by his nephew Rakesh – resembling a blend of the morning Ahir Bhairav and the late night Bageshri. I was inspired to learn the raga when researching Maa Annapurna Devi’s time teaching Hariprasad (many thanks to my crack team of experts including Rupak Kulkarni, Alam Khan, George Ruckert, Suresh Vyas, Anindya Banerjee, and Gopi Shanker, who all gave valuable assistance in illuminating the raga’s origins)
—Original: Rakesh Chaurasia (bansuri), live at Darbar 2008 @chaurasia_rakesh @darbarfestival
#raga #darbarfestival #indianmusic #bansuri #worldmusic
Sep 15
• 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
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
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–
• Core form: S–r–G–mM–P–d–N–S
• Reverse: SrGmMPdNS (=itself)
• Complement: SRgDnS
• Imperfect: 2 (Pa, dha)
• Detached: none
• Symmetries: mirror (S—M)
• Murchanas: none
• Quirks: ‘palindromic‘ (same intervals forwards & backwards)
–Global Translations–
• 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)
o o • • o o o o o • • o o
• Tanpura: Sa–Pa (+Ni)
• Names: Paraj, Paraji, Paraju, Peraj
• Transliterations: Hindi (परज); Bengali (পরজ)
—Ashwini Bhide-Deshpande (2014)—
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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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