S-R-G-mM-P-D-nN-S A loosely-organised set of Kedar variations, Chandni Kedar (‘Moonlight Kedar’) is formed via minor modifications to its parent raga. As per Parrikar, who recommends a Kesarbai Kerkar mehfil rendition (Eri Ina Naina), “some suggest strengthening the komal ni and shuddha Ga in standard Kedar…others [suggest] Kedar with an added komal ni” – while Ocean […]
• Raag Chandni Kedar •
• Raag Bihagara •
S-R-G-m-P-D-nN-S A variant of Bihag popular in Kirtan and other Sikh devotional styles, used as the basis for compositions by great Gurus including Ram Das and Tegh Bahadur (some refer to the raga as ‘Punjabi Bihag’). As per Jawaddi Taksal, “Bihagara is very melodious, and brings out pangs of separation which can be removed by…becoming […]
• Raag Bhinna Shadja •
S-G-m-D-N-S Often characterised as the ‘older form’ of today’s Kaushik Dhwani, Bhinna Shadja’s lineage stretches back well over 1000 years. It appears in numerous ancient shastras: notably including Matangamuni’s Brihaddeshi (~8th-century), Abhinavagupta 11th-century writings (“Bhinnashadaja, Kaushiki, and Bhinnapanchama are favoured in Summer”), and Sarangdeva’s 13th-century Sangita Ratnakara – which describes its scale form in remarkably […]
• Raag Suha •
S-R-g-m-P-n-S Suha is an afternoon Kanada raga which draws inspiration from Darbari, Megh, and Sarang, while also sharing significant overlap with the prakriti Nayaki Kanada and Gaudgiri Malhar (also see the overlapping Sughrai, and their hybrid ‘Suha-Sughrai‘). Information regarding the raga’s melodic movements is scant: Ocean of Ragas gives a vadi–samvadi of ma–Sa, noting that […]
• Raag Nagadhwani Kanada •
S-R-gG-m-P-D-nN-S A hazily-codified raga of uncertain origin, Nagadhwani Kanada is seldom performed today – although the term ‘Nagadhwani’ (‘Sound of Serpents’) seemingly appears in ancient lakshanagranthas including the 13th-century Sangita Ratnakara (‘Ocean of Music and Dance’). Joydeep Mukherjee’s Mohanveena rendition lies close to Patdeep, placing particular emphasis on shuddha Dha, while Pandit Jasraj’s Kafi-tilted bandish […]
• Raag Malti Basant •
S-r-G-mM-D-N-S A rare springtime raga, summarised in Narayanrao Patwardhan’s 1964 Raga Vigyan as a fusion of Puriya, Basant, Sohini, & Hindol (see chalan phrases below) – although Deepak Raja recounts a conversation with Ulhas Kashalkar, who states that “there is no Hindol in it…the raga has shades of Puriya and Sohini as well as Basant…Mainly [sung] in […]
• Raag Kambhoji •
S-R-G-m-P-D-n-S Sometimes summarised as ‘Dhrupad Jhinjhoti’, Kambhoji also invites shades of Kalavati via omitting ma in upward motions (Parrikar: GPD; PD; GPDnD; nDS). The raga’s history stretches back to pre-Medieval times: listed as a derivative of Shree in Narada’s 8th-century Sangita Makaranda, and as a spouse of Nat-Narayani in Pundarika Vittala’s 16th-century works (n.b. some speculate […]
• Raag Gandhari •
S-rR-g-m-P-d-n-S Described by Parrikar as “an Asavariant of ancient vintage, [with] no consensus regarding its contemporary swarupa”, the modern Gandhari usually appears in double-Re form – although some variants also employ double-Ga and/or double-Dha. Many renditions follow a ‘Jaunpuri-plus’ framework, seasoning this raga with komal re in concluding phrases (e.g. nPndPmg, grgrS). Sometimes known as […]
• Raag Sakh •
S-R-G-m-P-D-n-S Despite their historic renown, the Sakh family is seldom-heard in the modern era. While nomenclature varies, the ‘main’ Sakh raga is generally held to be a Khamaj–prakriti form, with mood and movements proximate to Rageshri and Gaoti – evident in Patiala pair Amanat & Fateh Ali Khan’s soothing ma-focused rendition, built around characteristic phrases […]
• Raag Sorath •
S-R-G-m-P-D-nN-S A Khamaj-flavoured night raga which enjoys perennial popularity in Sikh traditions: as per Jawaddi Taksal, Sorath is “a simple and sweet raga: but it will be appealing only when the soul seeks the Lord’s name. By singing glorious praises, lifelessness does not come” – and, in the words of another Sikh writer: “Sorath conveys […]
• Raag Shukla Bilawal •
S-R-G-m-P-D-nN-S A traditional Bilawal prakar, marked out by phrase patterns such as SGGm, GmPm and a general focus on shuddha ma, also integrating movements from the Malhar, Kedar, and Khamaj families. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s detailed demo breakdown (transcribed in full below) describes it as “a complex raga, with major phrases of Gaud Malhar and Bihagda […]
• Raag Malavi •
S-r-G-M-P-D-S An enchanting sandhiprakash raga, which has different melodic characteristics depending on the time of day. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson describes its ‘morning form’ as “a complex raga combining Hindol and shuddha Dha Bibhas…you might also find a glimpse of Deshkar” – whereas she places the ‘evening form’ closer to Shree (“There are several […]
• Raag Khokar •
S-G-m-P-D-nN-S A captivating raga with disparate modern strands. In its predominant Jaipur-Atrauli incarnation, Khokar is, according to some, essentially identical to Bihagda, itself a fusion of Bihag and Khamaj (Deepak Raja: “A melodic analysis of the so-called Khokar confirms its identity with Bihagda…[any] distinction remains unsupported by either logic or evidence”). On the other hand, […]
• Raag Hussaini Kanada •
S-R-g-m-P-D-n-S Cited by Aarshin Karande as a creation of Hussain Shah, the last Emperor of Jaipur’s Sharqi Dynasty (1458-1505) – who found time for musical innovation amidst a perpetually violent, invasion-laden reign (also see Jungala). Karande considers Hussaini Kanada to be a blend of Nayaki Kanada and Shuddha Bahar (“this raga uniquely extracts a mood […]
• Raag Mangal Todi •
S-r-g-mM-P-d-nN-S A variant of Todi, seemingly of ancient origin, involving the addition of shuddha ma via phrases such as Smmd and MdndPmmd. Ram Marathe’s rendition, built around energetic mixing of both Ma and Ni positions, is probably the most prominent interpretation – with Shounak Abhisheki’s 2021 lockdown take building superbly on these ideas, setting bewildering […]
• Raag Adarangi Todi •
S-r-g-mM-P-d-nN-S A double-ma, double-ni Todi variant linked to 18th-century composer Naimat Khan ‘Sadarang’ and his nephew Feroze Khan ‘Adarang’, who served at the court of Mughal Emperor and prolific arts patron Muhammad Shah. While the raga’s historical lineage remains half-sketched, Ali Akbar Khan took to performing it later in his career. Sometimes given the alternate title […]
• Raag Loom •
S-R-G-m-P-D-N-S A rare but charming all-shuddha raga, said by some to be an older form of the Bilawal lineage. Most commonly associated with Ali Akbar Khan, who performed several variants over the course of his long career: including the ‘pure’ Loom, as well as Loom Nat and Loom Mand (all SRGmPDNS). During one concert, Khan […]
• Raag Gaud •
S-R-G-m-P-D-N-S Now lying dormant, Gaud – assumed to have been named for its origins in the archaic Gaudadesha region – is best-known via its parental role in compounds such as Gaud Malhar, Gaud Sarang, and Gaud Bahar. In spite of its modern scarcity, the raga played a vital role in Hindustani history, turning up in numerous […]
• Raag Asa •
S-R-G-m-P-D-N-S Asa (‘Hope’) is a historically influential raga which still enjoys widespread fame in Sikh musical traditions. Long popular in the Punjab, it is mentioned over a hundred times in the Guru Granth Sahib (1604), connected to the Kafi and Asavari lineages of that era. Most major Gurus have composed shabads in it – as […]
