S-R-G-P-D-N-S

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Long fabled as a favourite of Lord Shiva, Shankara (‘Auspicious‘) takes its name from a famous epithet of the deity (Rajan Parrikar: “the musical embodiment of [Shiva’s] personality, comporting with all its attributes: raudra, veera, irascible, volatile, capricious…”). Often considered a pre-midnight raga, it ascends with SGPDNS, often in vakra patterns, before adding subtle touches of shuddha Re in avroh (thus allowing for hints of Hansadhwani). In Tanarang‘s vivid description, “You wake up from a stupor or disturbed state of mind upon hearing Shankara, a surge of life force…Veera rasa is the best expression of this raga, with raudra roop for the tandav [destruction dance] of Lord Shankara”. Also refer to an AUTRIM pitch-graph, mapping the swirling movements of a Dagarvani vocal rendition by Uday Bhawalkar. Associated with a trio of seldom-heard variants: Shankara Aran (SGMPDNS), Shankara Bharan (SRGmMPDNS), and Shankara Karan (SRGMPDnNS) – however Parrikar notes that “all of them have gone out of fashion, and…no consensus prevails on their movements”. Compare to other members of the Bilawal raganga.

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• Raga Masterlist (1000+) •

राग शंकरा

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SGPNDSN

Avroh: SNDP, GPRGRS

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Pakad: variable, e.g. GPNPG; GPNDNS

Chalan: e.g. PNSG; GPRGRS; GPNDSNPG; GPNDNS; RNSNDSN; DPG; GPNPG; GPRGRS (Bor/Vyas)

—Purbayan Chatterjee (2019)—

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[motif, e.g. 5:37] SNRS N, (N)D D(S), D(SNS), DDPGP, (D)NND/S N(DP)…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Shankara, putra of Megha: The epithet ‘Shankara’ [‘auspicious’, ‘joy-bringing’] is usually associated with Shiva, Chief of the Storm Gods. However in this case he is represented as Vishnu, the Preserver, being praised by fellow deities, including Shiva as a five-headed, ash-covered ascetic, with tiger skin dhoti, garland of skulls, and cobra necklace – with the four-faced Brahma, elephant-headed Ganesha, and Indra, Vedic King of the Gods. Interestingly, the verse does not describe him as Vishnu, but merely mentions his appearance: his splendid garment, crown, ornaments, and lotus-like eyes…” (Mughal, c.1620)

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• Classifiers •

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

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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

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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: Kesari Kalyan

See all shadav ragas which omit Ma – and also compare to other members of the Bilawal raganga

–Swara Geometries–

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• Core form: S–R–G–P–D–N–S

• Reverse: SrgmdnS

• Complement: SrgmMdnS (=Meladalan)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Shankara set

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• Quirks: ‘self-shadowing‘ (negative form=core form) • ‘atritonal‘ (no available tritones)

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–Global Translations–

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• Carnatic: ~Shankaramohana

S-R₂-G₃-P-D₂-N₃-S

• Jazz: Major/Ionian (no 5th)

1-2-3-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-7-9-11-0

(2–2–3–2–2–1)

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o • o • o • • o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Shankara, Sankara

• Transliterations: Hindi (शंकरा); Bengali (শঙ্করা); Kannada (ಶಂಕರ)

—Bhimsen Joshi (1993)—