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

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An afternoon raga of the Kanada family, Sughrai shares significant historic and melodic overlap with Suha (the two are sometimes fused as ‘Suha-Sughrai’) – with Mewati vocalist Aarshin Karande describing it as “a ‘higher-shruti‘ version of the more popular Suha” and “an ancient compound of Sarang and Malhar, featured prominently in Haveli Sangeet“. Shuddha Dha is optional, and Pa is a prominent nyas, set amidst other ideas drawn from Adana and beyond. Rajan Parrikar – who considers the raga’s definitive phrase to be nnP, mRS, Rmg – recommends a trio of classic bandish by Bhatkhande, Pranpriya and Rasrang (the latter of which is marked by “free-wheeling linear sorties of NSRmP, NSRS, NPmRSRg”). For more detail on the Jaipur-Atrauli interpretation, see Manjiri Asanare-Kelkar’s melodic breakdown (transcribed in full below). Also see the related Nayaki Kanada, as well as the numerous prakritis listed below.

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• Raga Megalist (365+) •

राग सुघराई

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• Hindustani Raga Index •

Aroha: SRmgm, PNS

Avroh: SnDnP, mP, gmRS

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Chalan: e.g. SRS; nSRg; mPg; m; RRgm; D; Pg; mRS; mPNS; NS; gmRS; PNSRS; nDnP; nnPmP; Pg; mRS (OoR)

—Arun Kashalkar (2016)—

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[refrain, e.g. 0:59] P/S(SP) (P)nP P, P(nPn) PmP, Pm(g) mgm, (mgm)n PP P(m) (m)nP P, P(nPn) PmP, Pm(g) m(g), (g)m RSR(gS) S, nSR m(g) mg m(gm)RP, m(Pm)n PP, P/S(SP) (P)nP P…

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• More •

Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I have come with another complex raga, Sughrai (or Sughrai Kanada). I will begin with a particular madhya-laya bandish, as I feel it clearly shows the image of Sughrai: SnP n(PmPnSRmRSn) n(nPmRS)R, Rmg(m)gm RSR, SR(m)gmP, PnP nPmPS, n(SnSRmRSnPm) n(Pn)PmRSR SR(m)gm mnP, n(PmRmPnSRmRSn) (PmRS)Rm (m)gm, mP PnP, PSn nS, nS(nS)R RSn(Pn)P, mPnSRS, n(P)P, mP(m)gm, RS R(nS)nS R(m)g, mP n(nPm)P m(PnP)S, P(nPnSRmRSn) n(PmRS)R, SR(m)gm mnP, n(nPmPnSRmRSn) n(nPmRS)R RP(m)gm RSR.

 

Sughrai combines Kanada elements with Sarang elements. I will demonstrate the structure of this combination. Kanada elements: m mnP, nnPmP(m)gm, mmP, nnPmP RSR(m)gm…SR(m)gm mnP, n(Sn)S. And Sarang elements: mmP, nnPmP(m)gm nP, mPnPS, mPnSRS RnnS, nPnP, mPnS RRSnPmRSR (m)gmnP.

 

The overall structure is like this: SR(m)gm mnP, mPnPS, nSRS, RRSnS PnP, nnPmP RSR(m)gm nP, mPnSR S, nSRmRS nSRSnPn P, mPnSRmRS nnPmRSR (m)gm nnP.

 

This is a clear picture of the Sarang + Kanada combination – the overall Sughrai structure [with extended ornaments]: m(PnSRmRSn)P mPnnP mPmRSRSnSR (m)gmnP, PS, mPnP mPS(n)S, n(SnSRSnP)n P, m(PnSRmRSnPm) P(nPmRmRSnS) R(SnSRmPnPm) m(g)m, mnP. I will conclude with a bandish in madhya tintal…”

 

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—Sughrai (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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, Charju ki Malhar, Barwa, Bahar, Bageshri Bahar, Sindhura, Hussaini Todi, Lanka Dahan Sarang

–Proximate Forms–

Kafi = ‘Sughrai only ni‘

Patdeep = ‘Sughrai only Ni‘

Desh = ‘Sughrai shuddha Ga‘

Chandrakaushiki = ‘Sughrai komal dha‘

Tanseni Madhuvanti = ‘Sughrai tivra Ma‘

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

–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: (~Kapi/Kannada)

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: Sughrai, Sugharai, Sugharyee, Sugrai Kanada

• Transliterations: Hindi (सुघराई)

—Rashid Khan (1994)—