S-R-g-m-P-D-nN-S

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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 name is assumed to have derived from the Sindh region of Pakistan (also see Sindhi Bhairavi), with the ancestral ‘Saindhavi’ finding mention in Sarngadeva’s 13th-century Sangita Ratnakara as a ‘desi’ form. Also hear an astonishing 1930s violin rendition by Allauddin Khan (later reworked by Ravi Shankar, and then by Mehdi Hasan in a celebrated ghazal) – and compare to other members of the Kafi raganga, as well as the numerous prakritis listed below.

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• Raga Masterlist (1000+) •

राग सिन्धुरा

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• Hindustani Raga Index •

Aroha: SRmPDS

Avroh: RNSnDP, mgRS

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Pakad: variable, e.g. RnDS; mP; mgR

Chalan: e.g. SRmG; RnDS; RmPDmP; D(S)nDP; DmPDS; mPNSRg; (S)RS; RnDP; mPDSnDP; mPDmg; Rm(m)gRS (Bor/Dasgupta)

—Ravi Shankar (1991)—

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[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…

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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: Miyan ki Malhar, Charju ki Malhar, Barwa, Bahar, Bageshri Bahar, Sughrai, Hussaini Todi, Lanka Dahan Sarang

Also compare to other members of the Kafi raganga

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Complement: SrGMdS

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• 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)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Sindhura, Saindhavi, Singhora, Sindora

• Transliterations: Hindi (सिन्धुरा); Bengali (সিন্ধুরা)

—Sayeduddin Dagar (2016)—