S-R-gG-P-dD-S

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A charming late-evening audav raga which features both forms of Ga and Dha, recently introduced by Dagarvani vocalist Ashish Dha. As per the summary he sent me, “Trishna – meaning ‘thirst’ in Hindi – creates a plaintive, slightly melancholic mood…Dha is shuddha in aroha, and komal in avroh. Komal ga is used in both directions; and shuddha Ga is generally placed inbetween Re as RGRS, very similar to the manner in which komal ga is used in Jaijaiwanti.” He provides a Pa–Sa vadi–samvadi and a pakad of SdPDS; RgPg; RGRS – also highlighting the impression of Bhupali via phrases such as SD, DSRG, PDSRG, with this illusion broken via gPDSRG and other Ga-mixing motions. Although Dha has recorded it himself, his recommended rendition is by bansuriya Keshav Ginde, who supports his alap with stable SD, DS movements and teases the twin-Ga by shading the komal slightly higher during some ornaments. For more melodic detail, see the structures and transcriptions below, and also Dha’s provided notation of a tintal bandish. Compare to proximate swara-sets such as Shivranjani (SRgPDS), Japaniya (SRgPdS), Bhupeshwari (SRGPdS), Lagan Gandhar (SRgg̃GPDS, with a ‘triple Ga’), and Kanakangi (the only other raga in the Index to have an uttarang of PdDS) – and also listen to other Ashish Dha innovations including Ardhanarishvara and Chandni Todi.

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• Raga Masterlist (1000+) •

राग तृष्णा

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• Hindustani Raga Index •

Aroha: SRgPDS

Avroh: SdPgR; RGRS

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Pakad: e.g. SdPDS; RgPg; RGRS

Chalan: SRgPgR; RGgRS; PDSdP; SDdPgR; SRGRS, SRg; RS, SRG; gRgRgRS; SRgPDS, RgPDS, gPDS, PDS, PDSdP; PgR, GRSDSDS; SRgPDSdPgRGS; SRG, DSRG, PDSRG, gPDSRG; gRgRgRGRS, RSD, SDSDSDdP; RGSRDSPdgPRGSRD, SPDSRgPDS; RgPSdPgRSdPgRGS; RRDSDS, RRDSDSSdP; PGR, PRGS, PSRD, PdP; gPDSGRS; SdPgRGS (Dha: provided via email)

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—Keshav Ginde (2013)—

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[alap, e.g. 9:27] PG(gGgG), R(GR)G, G(gGgGg), R, GR, gR, g P(G)g RSR, RS, SSSS…; S(G)R (GR)G, S(R)g…

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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: (none found)

Also see other ragas matching the generic swaras ‘Sa-Re-Ga-Pa-Dha‘

–Swara Geometries–

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• Core form: S–R–gG–P–dD–S

• Reverse: SgGmdDnS (=Amrut Ranjani)

• Complement: SrmMnNS

• Imperfect: 2 (ga, Ga)

• Detached: none

• Symmetries: none

• Murchanas: Basant set

–Global Translations–

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• Carnatic: (~Dvigandharabushini?)

S-R₂-G₂-G₃-P-D₁-N₁-S

• Jazz: Aeolian b4 bb7

1-2-b3-b4-5-b6-bb7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-7-8-9-0

(2–1–1–3–1–1–3)

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o • o o o • • o o o • • o

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• Tanpura: Sa–Pa

• Names: Trishnaa, TrishNaa, Trishna

• Transliterations: Hindi (तृष्णा); Punjabi (ਤ੍ਰਿਸ਼ਨਾ)

—Ashish Dha (2012)—

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—Tintal bandish: notation—

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