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 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.

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• Raga Megalist (365+) •

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SRmPDS

Avroh: RNSnDP, mgRS

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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

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.

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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–

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• 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

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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

—Sayeduddin Dagar (2016)—