S-R-g-m-P-D-nN-S
A Kafi ally with corresponding light-classical popularity, marked out by the explicit use of double-Ni and the frequent omission of ga in aroha. Described by Tanarang as “a light flittering melody…best suited for thumri, tappa, and hori” – while Parrikar notes that “the approach to Sa takes two pathways: one drops Ni as in mPDS, the other adopts the shuddha Ni-laden strip mPN, NS. The ga becomes deergha on occasion…[and] a judicious elongation of Dha can be put to good effect” (which, along with a mgRS resolution, can suggest shades of Bageshri). The raga’s roots (presumably linked to Pakistan’s Sindh province) are ancient, with the ancestral ‘Saindhavi’ finding mention in Sarngadeva’s 13th-century Sangita Ratnakara (‘Ocean of Music and Dance’) as a ‘desi’ form. Also hear an astonishing 1930s violin rendition by Allauddin Khan (later reworked by Ravi Shankar, and also by Mehdi Hasan in a celebrated ghazal) – as well as the numerous prakritis listed below.
• Raga Megalist (365+) •
Search | Glossary | Tags
• Hindustani Raga Index •
Aroha: SRmPDS
Avroh: RNSnDP, mgRS
Chalan: e.g. SRmG; RnDS; RmPDmP; D(S)nDP; DmPDS; mPNSRg; (S)RS; RnDP; mPDSnDP; mPDmg; Rm(m)gRS (Bor/Dasgupta)
—Ravi Shankar (1991)—
[refrain, e.g. 8:35] R(mgm)R, SS, m\R(mR), mm, PDP(D)S, S, n/R(S) S(nSD), DD DPm, mPD m\g(m) R(mgm)RS, mR(mR), mm, PP DP(D)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.
• Prakriti: Miyan ki Malhar, Ahiri Todi, Bageshri Bahar, Bahar, Barwa, Hussaini Todi, Lanka Dahan Sarang, Sughrai
–Swara Geometries–
• Core form: S–R–g–m–P–D–nN–S
• Reverse: SrRgmPDnS
• Negative: 5-3-2-2
• Imperfect: 2 (Dha, Ni)
• Detached: 1 (Ni)
• Symmetries: none
• Murchanas: Miyan ki Malhar set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Salagabhairavi
S-R2-G2-M1-P-D2-N2-N3-S
• Jazz: Dorian double 7th
1-2-b3-4-5-6-b7-7-8
• Pitch classes (‘fret-jumps’):
0-2-3-5-7-9-10-11-0
(2–1–2–2–2–1–1–1)
o • o o • o • o • o o o o
• Tanpura: Sa–Pa
• Names: Sindhura, Saindhavi, Singhora, Sindora
—Sayeduddin Dagar (2016)—