• Raag Patdeepaki •


A Kafiang double-Ga, double-Ni raga which grafts the komal variants of these swaras onto a Patdeepprakriti foundation, allowing for shades of proximate forms such as Barwa (mgRnD), Desi (RgSRnS), and Maluha Kalyan. Ashwini Bhide-Deshpande’s recital preface (transcribed below) describes it as “a cousin of Patdeep…it will give you shades of several ragas which are characteristic of this particular [afternoon] time: but I request that you do not try and find these shades”. Also performed by Kirana maestro Bhimsen Joshi and Agra exponent Sharafat Hussain Khan, as well as Aman Ali Khan of the Bhendibazar gharana (Ho Mora Re Pritam Sai: one of his only two surviving recordings). Deepak Raja, who gives a shuddha Ga vadi and a pakad of PmPG; SRS, notes that “according to Purnima Sen, Sharafat’s student, Patdeepaki is a combination of five ragas, with [Bilawal-ang] Deepak being the main component…[plus] Hameer, Bangal, Savani, and Chaya (also see Patmanjari). Compare to various congruents including Jaijaiwanti, Hanskinkini, and Ramdasi Malhar.

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Aroha: SGmP; GmDNS
Avroh: SnDP; mPG; SRS

Chalan: uncodified – e.g. SNDNS; NSmG; SGmP; PmPG; mDnSNS; SDnP; DmPG; GPmPG; SRS (Raja)


—Ashwini Bhide-Deshpande (2020)—

[bandish, e.g. 4:23] S(NS)mg (RS)R NS, S, (N)SS (N)SS, NS(gRgRSRSNS)N (D)NS (NS), PN(N)S S; SS G(m)m, mm(GmG) P(GmGmRmG)G, GGm(G)g/m (R)S, NRSN(SPNS), PN(N)S…


• 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: Jaijaiwanti, Jaijaiwanti Nat, Gara, Zila Kafi, Hanskinkini, Jayant Malhar, Ramdasi Malhar, Rageshri Bahar, Tilang Bahar, Nagadhwani Kanada


–Swara Geometries–

Core form: SRgGmPDnNS
Reverse: SrRgmPdDnS (=Amiri Todi)
Negative: 5-5-2
Imperfect: 1 (Ni)
Detached: none
Symmetries: mirror (r—P)
Murchanas: Jaijaiwanti set

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


–Global Translations–

Carnatic: ~Kapi
Jazz: Dorian-Ionian
Pitch classes (‘fret-jumps’):

o • o o o o • o • o o o o


• Tanpura: Sa–Pa
• Names: Patdeepaki, Patdeepak, Pradeepaki, Pratdipaki, Pardeepaki (not Patdeep, although the ragas are related)


—Sharafat Hussain Khan (1974)—



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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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