Shree Kalyan | SrGMPDNS | Hindustani Raga Index

S-r-G-M-P-D-N-S

Congruent with the seven swaras of Puriya Kalyan (=Marwa thaat), Shree Kalyan is an enchanting product of Kumar Gandharva’s prolific imagination (also see Madhusurja, Lagan Gandhar, Saheli Todi, Rati Bhairav, Bihad Bhairav, and Bhavmat Bhairav). The movements of his main rendition (Dekho Re Rut Phoolan Lagi) place Shree’s tritonal re–Pa sangati on stark display, with the bandish rendering Pa in curiously ‘clipped’ fashion (rSP), in contrast to the ornament-laden shuddha Dha above. Refer to renditions by Bhuvanesh Komkali, Madhup Mudgal, Abhirang (at a 2017 Gandharva memorial concert), and Ajay Dixit (dedicated to his guru Vijay Sadrdeshmukh) – as well as sitarists Balaram Pathak & Ashok Pathak. Also compare to other ‘Shree + Kalyan‘ compounds such as Jaitashree and Dhavalshree (said by some to be the ‘Maihar Shree Kalyan’). Also prakriti with Baradi.

—Bhuvanesh Komkali (2016)—

[refrain, e.g. 5:04] rG r(S), SP, rG r(S), S(rS)P, PP D(ND) P(D) PG\r, rG r(S), SP…

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• Recent Raga Index Updates (Jan 2026): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

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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.

• Prakriti: Marwa thaat, Puriya Kalyan, Purva, Baradi

–Proximate Forms–

Marwa = ‘Shree Kalyan no Pa‘

Shree = ‘Shree Kalyan komal dha‘

Yaman = ‘Shree Kalyan shuddha Re‘

Rampriya = ‘Shree Kalyan komal ni‘

Hansa Narayani = ‘Shree Kalyan no Dha‘

Bhatiyari Bhairav = ‘Shree Kalyan shuddha ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

• Core form: S–r–G–M–P–D–N–S

• Reverse: SrgmMdNS

• Negative: 4-1-2-3-2 (e.g. Sundarkauns)

• Murchanas: Deepavali (on Pa)

–Global Translations–

• Carnatic: ~Gamanasrama (mela #53)

S-R₁-G₃-M₂-P-D₂-N₃-S

1-b2-3-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-9-11-0

(1–3–2–1–2–2–1)

o o • • o • o o • o • o o

• Names: Shree Kalyan, Shri Kalyan

• Transliterations: Hindi (श्री कल्याण); Bengali (শ্রী কল্যাণ)

—Kumar Gandharva (1980s)—

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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!