• Raag Rasikpriya •


A direct borrowing of Carnatic music’s 72nd melakarta scale: which, as the final position on the wheel, has all its swaras set to their highest available positions. In Hindustani music, the equivalent principle would produce Yaman (SRGMPDNS), but the South Indian system allows three variants for each of Re, Ga, Dha, & Ni, with the highest Re/Dha positions overlapping with the lower Ga/Ni options. Thus, Rasikpriya’s ‘double-Ga, double-Ni’ is just a Hindustani ‘translation’ of the original Carnatic ‘tivra Re, tivra Dha’ (actually referred to as ‘Ru/Du’ or ‘R3/D3‘). Seemingly introduced to the Northern ragascape by Shivkumar Sharma, who recorded several spellbinding renditions (notably the 1991 take below, from an all-night concert in Stuttgart with Zakir Hussain) – and taken up by his son Rahul and student Valmik Dhande in more recent years. Also see my melakarta breakdown.

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Aroha: e.g. SGMPNS
Avroh: e.g. SNnPMGgS

Chalan: (uncodified)


—Shivkumar Sharma (1991)—

[gat, e.g. 30:13] NNS, GgG, Pn(NS) S, (Pn)P P(MG)G, nPP, nP(MG)P G, PgG P, S, NN(S)S, PMP, GMPNS, (GMP)nPP, (nPM)PP, (nPM)MP, PgG


• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 78 | 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.


• Prakriti: (none found)


–Swara Geometries–

Core form: SgGMPnNS
Reverse: SrRmMdDS
Negative: 4-1-3-3-1 (e.g. Bibhas)
Imperfect: 3 (Ma, Pa, ni
Detached: none
Symmetries: mirror (m—N)
Murchanas: Bhairav set

Quirks: centred‘ (constellation balances at the wheel’s centrepoint)


–Global Translations–

Carnatic: Rasikpriya
Jazz: Minor Pent. #4 (dbl. 3rd/7th)
Pitch classes (‘fret-jumps’):

o • • o o • o o • • o o o


• Tanpura: Sa–Pa
• Names: Rasikpriya, Rasikapriya, Rasik Priya


—Rahul Sharma (2008)—




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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 2023-24]

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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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