S-R-g-m-P-N-S
Like Parameshwari and Gangeshwari, Rangeshwari (‘Lord of Colours’) was created in 1968 via murchana rotation of Ravi Shankar’s Kameshwari (itself dreamed up during a long car journey through Bengal). Resembles a ‘no Dha’ filtering of either Patdeep or Kirwani, although its swara set seems to be unique – with Shankar’s takes tending towards wide-open, poorvang-dominant movements. Ni, as a leading-tone to Sa with a wide gap beneath, assumes prominence (also allowing the outline of a PNR Major triad).
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
—Ravi Shankar (1972)—
[themes, e.g. 0:10] gmP, P(SN)S, S(N)P, (m)gm(P), m(gm)g, R, S, NNS, RR(mg), mmP, P(SN)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 | 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.
–Swara Geometries–
• Core form: S-R-g-m-P-N-S
• Reverse: SrmPDnS (=none)
• Inverse: ni; SgMdnNS (=none)
• Imperfect: 3 (Re, ga, Ni)
• Detached: 2 (ga, Ni)
• Symmetries: none
• Murchanas: Kameshwari set
–Global Translations–
• Carnatic: (~Keeravani)
S-R2-G2-M1-P-N3-S
• Jazz: Harmonic Minor (no 6th)
1-2-b3-4-5-7-8
• Pitch classes (‘fret-jumps’):
0-2-3-5-7-11-0
(2–1–2–2–4–1)
o • o o • o • o • • • o o
• Tanpura: Sa–Pa
• Names: Rangeshwari, Rangeshwaree
—Keyur Kurulkar (2021)—
[MORE TO FOLLOW]
Like everything on my site, the Raga Index will always remain 100% open-access and ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into this project as time and finances allow – so, if you like these resources, you can:
• Support the Raga Index! •
…and hasten the project’s expansion…
—Riyaz-focused notations & bandish—
—Resurrecting rare and ancient ragas—
—Further melodic & geometric analysis—
—Engaging with Hindustani performers—
—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—
• Hindustani Raga Index •
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]
—Megalist (365+ ragas)—
• Search: Find your new favourite •
• Tags: Classifying the ragascape •
• Glossary: Raga jargon demystified •
• Ragatable: Analytical connections •
• Thaat: Bhatkhande’s base scales •
• Murchanas: Swara-set rotations •
• Quotes: Musings from raga artists •
• Tanpuras: Divine overtonal drones •
• Talas: Hindustani rhythm cycles •
[Random Raga]
—Search the Raga Index—
• Feedback / Contact •
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!
• Learn raga on any instrument! •
everything 100% ad-free and open-access