S-r-g-m-D-n-S A mellifluous modern form created by Ravi Shankar in 1968 (…via backseat car-ride boredom in Bengal). While somewhat resembling a ‘komal re Bageshri’, its hexagonal structure summons its own colours and tensions – with early performances exerting hidden influence on countercultural icons including George Harrison. A captivating scale, ripe for open-ended experiments. Also see […]
• Raag Parameshwari •
• Raag Chandranandan •
S-R-g-m-P-d-nN-S Chandranandan (‘moonstruck’) is a modern classic, created by Ali Akbar Khan in a spare studio moment via spontaneously blending concepts from the Kaunsi family. The recording sold wildly – but, when concert audiences called out for the raga, he found that he had forgotten how to play it. The sarod master’s paradox-laden path of […]
• Raag Antardhwani •
S-r-g-m-d-N-S Among the youngest ragas to have found global acclaim, Antardhwani (‘sound of the inner self’) was unveiled by Shivkumar Sharma in the 1990s, who discovered its unique hexatonic shape by chance while retuning his santoor. Drawing from the geometries of Bhairavi, the raga is adored for its calming, meditative flavours, partly inspired by the […]
• Raag Sehera •
S-R-G-M-d-n-S Among the strangest of raga scales, Sehera’s six swaras are all spaced out in two-semitone jumps (akin to the Western Whole-Tone scale and the Carnatic Gopriya). The resulting symmetries summon a curious, centreless mood (also famous as the ‘dream sequence‘ of countless soundtracks) – best explored by sarangiya Sultan Khan, who described Sehera as “the […]
• Raag Salagavarali •
S-r-g-P-D-n-S A rare ‘Ahiri no ma’ scale, combining a Todi-like poorvang with an Ahir Bhairavic uttarang. As per Rajan Parrikar: “S.N. Ratanjankar conceived of this raga…Ma is eliminated to yield the following contour: SrgPDnDS, SnDPg(P)rgrS. Brilliantly exploited by Jitendra Abisheki in a celebrated natyageeta. Watch out for the injection of a vivadi dosha via tivra Ma”. […]
• Raag Rang Malhar •
S-R-g-mM-P-D-nN-S From my 2018 Darbar interview with Rupak Kulkarni: “Rang Malhar happened by chance. It was the rainy season, and I was playing in a monsoon festival. I was the last performer, and by the time my turn came then all types of Malhar family ragas had been played already. I thought I should come […]
• Raag Purba •
S-r-G-mM-P-dD-N-S A rare raga of the Jaipur-Atrauli gharana, described by Rajan Parrikar as “essentially Raag Poorvi adorned with bells and whistles” (namely, the Ma-mixing catchphrases Sm, mGP and M, MP Pd, dNdP). Mewati innovator Pandit Jasraj also recorded his own captivating rendition, seasoned by the liberal inclusion of shuddha Dha. Also hear Vilayat Khan on surbahar. […]
• Raag Malashree •
S-G-P-S Often said to comprise only three swaras (a SGP Major triad), Malashree pushes the bounds of raga definition. Arguably, this challenge is its defining purpose, calling on performers to find expressive freedom within an ultra-limited framework. In practice, this often leads artists to push the raga’s own bounds instead, via including tivra Ma and shuddha Ni […]
• Raag Prabhakali •
S-r-G-m-P-d-n-S A modern Ali Akbar Khan creation, prakriti with Basant Mukhari. As per the liner notes to the raga’s 1964 LP release, “It permits only five notes in aroha, dropping [Ga & Ni]. For avroh, it admits all the seven notes…[re & dha] are flats as in Bhairav, and hence it is essentially a morning melody. […]
• Raag Pancham se Pilu •
S-R-G-mM-P-D-nN-S A murchana rotation of Pilu (literally: ‘Pilu from Pa’) – i.e. if you treat this raga’s Pa as the ‘new Sa’, Pilu is produced (…in its ‘komal dha-less’ form). Pilu’s doubled gG–nN swaras, separated by a Perfect 5th, are thus transformed into Pancham se’s nN–mM (i.e. the murchana’s main effect is to trade Pilu’s […]
• Raag Mudriki Kanada •
S-R-g-m-P-D-n-S Described by Rajan Parrikar as “an uncommon Kanada variety on which there prevails no consensus”. Formed by “introduc[ing] a shuddha Dha into the Adana stream” (e.g. Ramrang’s rendition) – although “the Agra-Atrauli edition comes in a different flavour, involving…a recurring phrase RmRP” (e.g. Sharafat Hussain Khan). Seemingly unrecorded by non-vocalists. • Raga Megalist (365+) • Search […]
• Raag Monomanjari •
S-r-G-M-P-D-nN-S Created by Maihar sitar legend Nikhil Banerjee (“…I’m quite satisfied with one of my Sonodisc LPs: Raag Monomanjari”). From Narendra Datar’s 1989 review of this record: “A jod raga…a remarkable combination [of] Kalavati and Marwa. Kalavati is a very joyful late night melody, whereas Marwa is an early evening melody that portrays pathos. In […]
• Raag Mohankauns •
S-gG-m-d-n-S As recounted in The Hindu, Mohankauns “was spontaneously created by Ravi Shankar in 1949. On hearing of [Mohandas K.] Gandhi’s death, Pandit-ji was asked by All India Radio to play a piece dedicated to the Mahatma. On the spot, he created a variation of…Malkauns”. As well as the occasional use of shuddha Re, his […]
• Raag Malay Marutam •
S-r-G-P-D-n-S ‘Malay Marutam’ translates as ‘fragrant hill-breeze’. Bansuriya Rupak Kulkarni explained to me in a 2018 interview how the raga “is from Carnatic music, which does not give so much attention to the times of day. We have decided to designate it as a morning raag, mainly due to the nature and essence of its […]
• Raag Lalita Gauri •
S-r-G-mM-P-dD-N-S Created by Jaipur-Atrauli vocalist Kesarbai Kerkar, who often employed it as a concert centrepiece. Blending Lalit and Gauri via, respectively, “the close coupling of the two madhyams…[and] appropriate clusters on and in the vicinity of the mandra Ni”, the raga typically takes a shuddha Dha (giving a Poorvi inclination), but can use the komal variant instead […]
• Raag Khem Kalyan •
S-R-G-mM-P-D-N-S A rare-but-charming raga of the Agra gharana, Khem Kalyan is a Kalyan variant with Hansadhwani-like touches. Deepak Raja recounts decoding its phraseology from old recordings, having failed to find a guru who knew it: “This was no ordinary raga…not even just another rare raga. It was a special raga, perhaps beyond reach without a […]
• Raag Jogeshwari Pancham •
S-gG-m-P-D-n-S Created by Gwalior educator and vocalist Vishwanath Rao Ringe ‘Tanarang’, by adding touches of avroh Pa to Ravi Shankar’s Jogeshwari (itself a blend of Jog and Rageshri). Jogeshwari’s basic phraseology is retained, while also allowing further extensions into Jog’s territory (all its swaras are now present). In Tanarang’s own analysis: “while descending from Dha […]
• Raag Jaun Bhairav •
S-rR-gG-m-P-d-nN-S A jod raga fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Swanandi), combining Jaunpuri and Bhairav. Described as having a “crowded swara-space”, with both komal and shuddha variants of Re, Ga, and Ni on display. Abhijith Shenoy ‘Abhirang’ offers catchphrases including SRmP; rNSdP; dmPG; PgRS; GmrS. • Raga Megalist […]
• Raag Hemshri •
S-g-m-P-nN-S A night raga created by Gwalior composer and vocalist Vishwanath Rao Ringe ‘Tanarang’, essentially equivalent to ‘Tilang komal ga’. In his own words: “the mood [is] light…a very sweet melody that manifests readily in the following combinations [e.g. SgmPm, gmPnPNNS; PNSnP; PNSgNS]”. Re is banned entirely, while the raga is distinguished from Dhani by the use […]
• Raag Gagan Vihang •
S-R-G-m-P-D-N-S As per Ocean of Ragas, “composed by Pandit Dinkar Kaikini…in Gagan Vihang we find features of Bihag, Savani, Nand, and Mand, although the raga maintains its independent melody…[via] unique phrases such as: SRPGm, GmRS, NDmP” – while other sources also point to the influence of Shankara. The Agra vocal innovator (also father of tabla […]
• Raag Deen Todi •
S-r-g-m-D-n-S A near-extinct raga of uncertain origin, Deen Todi takes an ‘Ahiri no Pa’ form. Best preserved via an astonishing rendition by Kamalesh Maitra on the tabla tarang (a semicircle of 13 sruti-tuned dayan drums), accompanied by a multiphonic cluster of tanpura drones (tuned DnrS). Parveen Sultana has also sung it live, and seems to have […]
• Raag Darjeeling •
S-r-g-m-P-d-n-S Unveiled by sitarist Niladri Kumar in a 2014 Taj Mahal tea commercial, launching a new Darjeeling-themed range described in marketing materials as “definitely our most premium offering” (Niladri: “I have composed [it] in honour of the superlative flavour”). Status as a ‘real raga’ (rather than just a Mishra Bhairavi) is highly dubious – and […]
• Raag Dagori •
S-R-G-m-P-D-N-S Dagori draws from Bilawal thaat, featuring prominent use of Ni and characteristic slides between ma and Re. Possibly invented by Jaipur-Atrauli founder Alladiya Khan (and still near-exclusively performed by singers of that gharana), some consider the raga to be a Bilawal–ang interpretation of the now-lost Deepak (Tansen’s legendary fire raga). Dagori’s name also resembles that […]
• Raag Bhankari •
S-r-G-mM-P-D-N-S A mega-mix of several ragas, Bhankari originates with Ramashreya Jha ‘Ramrang’, guru of Rajan Parrikar – who describes it as a “tantalizing melody, blend[ing] facets of Bhatiyar, Jait, Bibhas, and Deshkar while retaining an aesthetic coherence in the end product”. To my ears, Bhankari also appears to draw from Marwa (particularly in the weak […]
• Raag Bairagi Todi •
S-r-g-P-n-S Created by Ravi Shankar, Bairagi Todi replaces Bairagi’s ma with a Todi-intoned ati-komal ga, retaining a concise audav structure while presenting an odd mix of narrow and wide intervals. Often set to unusual talas (Shankar’s original is in Sade-Gyarah, an 11.5-matra cycle divided as ‘4-4-2-1.5’), the raga is explorable in all octaves, with most artists […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S An ancient Malhar variant, marked out by a DDnPDGPm pakad. As per Rajan Parrikar, “although it finds a mention in [Bhatkhande], no details are forthcoming. There are a couple of other works where the raga is treated, but again only in the sketchiest of terms”. Described as a mix of Bilawal, Gaud Malhar, and […]
• Raag Anand Bhairav •
S-r-G-m-P-D-nN-S As per Rajan Parrikar, “the komal dha in Bhairav is replaced by its shuddha counterpart. The komal ni is parachuted into the scheme in an [avroh phrase] SDnP, inspired by Bilawal (in Bhairav-ang ragas where either re or dha is rendered shuddha, the ma tends to assume a powerful role, and is often elevated to a […]
• Raag Amiri Todi •
S-rR-g-m-P-dD-n-S Created by sarod maestro Amjad Ali Khan in 1974, inspired by vocalist Amir Khan. As recounted to Indian Express in 2009: “My love and reverence for Khansaheb does not stem only from his music, but for his truly kind and humble nature. When he died, it appeared as if the light had gone out […]
• Raag Ambika Sarang •
S-R-mM-P-D-nN-S According to Rajan Parrikar, Ambika Sarang “was designed by [Agra vocalist] Chidanand Nagarkar…elements of Shuddha Sarang and Kafi are blended together in a delicious cocktail”. Ga is banished, allowing for Saraswati-tinged movements. While Nagarkar’s naming motives are unclear, ‘ambika’ (meaning ‘mother’ in Sanskrit) is closely tied to the goddess Saraswati (in particular, the manifestation of […]
• Raag Adi Basant •
S-rR-G-m-P-D-N-S An alternate form of the far more prevalent Basant (‘Springtime’), named for its intimate connection to the ceremonies of that season. Many see Adi Basant as the latter’s ancestor, highlighting its historic prevalence in Dhrupad and Haveli Sangeet. Usually played before dawn, Adi Basant remains rare outside of the Dagarvani lineages and associated Dhrupad zones. […]
• Raag Rangeshwari •
S-R-g-m-P-N-S Like Parameshwari and Gangeshwari, Rangeshwari (‘Lord of Colours’) was created in 1968 via murchana rotation of Ravi Shankar’s Kameshwari (itself dreamed up during a long car journey through Bengal). Resembles a ‘no Dha’ filtering of either Patdeep or Kirwani, although its swara set seems to be unique – with Shankar’s takes tending towards wide-open, poorvang-dominant […]
• Raag Kameshwari •
S-R-M-P-D-n-S Dreamed up by Ravi Shankar during a long car journey in Chengali, sometime in March 1968. As explained by his widow Sukanya: “While riding in the car, he conceived the nucleus of a melodic form that he later developed and called Kameshwari (‘Lordess of Love’). By using the old murchana and swara bheda system, […]
• Raag Gangeshwari •
S-G-m-P-d-n-S Like Parameshwari and Rangeshwari, Gangeshwari (‘Lord of the Ganges River’) was created in 1968 via murchana rotation of Ravi Shankar’s Kameshwari (itself dreamed up during a car ride through Bengal). Its unique swara set, lacking in reflective symmetries, most closely resembles a ‘no Re’ version of either Charukeshi or Basant Mukhari (or alternatively, ‘Gopika Basant shuddha […]
• Raag Devshri •
S-R-M-P-n-S An intriguing-but-uncommon audav raga resembling ‘Megh tivra Ma’ (or ‘Vachaspati no Ga/Dha’). Its unique swara set is distinguished by a disbalance in how Sa and Pa are ‘enclosed’ by the swaras above and below (nSR: ‘2-2’, MPn: ‘1-3’) – offering curious contrast with the symmetry of the R–M–n ‘equilateral triangle’ (a ‘4-4-4’ aug. triad). Described by […]
• Raag Zeelaf •
S-G-m-P-d-S A rare audav raga fabled to have been created by 13th-century qawwali pioneer Amir Khusrau, somewhat resembling ‘Charukeshi minus Re & ni’. As per Rajan Parrikar, “this haunting pentatonic melody is composed of the following swaras: SGmPd: Jitendra Abhisheki gives a superb account with his own composition. Notice the strong ma…[and] the subtle Gm/S meend”. […]
• Raag Sundarkauns •
S-g-m-D-n-S Taking the shape of ‘Malkauns shuddha Dha’ (or ‘Harikauns shuddha ma’), Sundarkauns’ swara set has, as per Tanarang, been unjustly sidelined by previous generations as a ‘Bageshri-ang Chandrakauns’ (“A misnomer…this raag has [neither] a shuddha Ni indicating Chandrakauns, nor [an] avroh like Bageshri…[so] it couldn’t gain much popularity”). He describes his revival of this intriguing audav […]
• Raag Sonakshi •
S-r-G-mM-P-dD-N-S From my 2018 Darbar interview with Maihar bansuri maestro Rupak Kulkarni: “I created Sonakshi [‘Golden-Eyed‘] so I could experience a raga which was suitable for any time of day. I believe we have different mindsets depending on the hour: in the morning our mood is spiritual and fresh, and in the evening it is […]
• Raag Shivmat Bhairav •
S-r-gG-m-P-d-nN-S Shivmat Bhairav can be described as a blend of Bhairav, Bhairavi, and Todi, with the former being the most dominant over the sound (‘Bhairav double Ga/Ni’). Relatively rare in modern times, the raga brings out Bhairav via GmrS phrases and oscillations on the komal re – while also incorporating komal ga and ni in […]
• Raag Viyogavarali •
S-r-g-m-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —K.G. Ginde (~1980s)— https://www.parrikar.org/music/todi/ginde_viyogavarali.mp3 [bandish, e.g. 0:02] dmg\r (g)rS, md(SN)S N\d, gr (g)r r\S; (S)r r(gr) Srm md(NSrS)g rS, (g)r (g)r (r)S; dmg\r (g)rS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Vijayanagari •
S-R-g-M-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Malini Rajurkar (~1980s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Vihang •
S-r-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Nivrutibuwa Sarnaik (~1970s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Tulsikauns •
S-g-m-d-nN-S A barely-recorded creation of Maihar sitarist Kartik Kumar, matching the swara-set of ‘Malkauns double-Ni’ (or ‘Malkauns + Chandrakauns’). A consistently strong ma–murchana summons unmistakable flavours of the famous Western ‘Blues Scale’ (SgmMPnS), further accentuated by extended meend between the consecutive Ni positions (…I’ve used the exact same scale as a ‘modal sitar hack’ to […]
• Raag Triveni •
S-r-G-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shounak Abhisheki (2000)— [bandish, e.g. 3:27] rr, rGrSS r, GrSS rr, GrSS(N)rr, GrSS, rrr rGPG(r), rrr, rGPG(rS), S(NS)P, PPPd P(rS), SP PPPd P, P/S(P) P(GP)d PPGS(N)r, GrSS(N) r, GrSS(N) r… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, […]
• Raag Tilang Bahar •
S-R-gG-m-P-D-nN-S A sparsely-recorded form which uses all the swaras of both Tilang and Bahar, appraised by Tanarang as “a fine blend of the two melodies…both [ragas] provide sweet tonal embellishment” (who gives characteristic phrases of GmPm; GmRS; mDNS; DNSRS; SnPmG; mPm; DNSnP; GmRS). Kirana singer R.D. Jadhav’s performance (described on the cover as a “bright […]
• Raag Tilak Bhairav •
S-rR-G-m-P-dD-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Dhruv Tara Joshi (~1960s)— [alap, e.g. 0:30] N(RSN) (P)S, SGR, Rm(P)G, G(RSG)R G, (S)G, (Pm)G\r S; S(m)R m(G)P(G), P(GmG)d P, Pd(mPm), PD mP(mG), S(G)RG\r S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Tanseni Madhuvanti •
S-R-g-M-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhimsen Joshi (1980)— [refrain, e.g. 3:04] (M)DP M\g (gR)S M, MPP, (M)DP M\g (R)S M(g), (MPM)DP M\g (gR)S M(g), MP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Tankeshree •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Omkarnath Thakur (~1960s)— [refrain, e.g. 0:09] rS(rS)N SG(Gr), (P)G/P(MG), (P)G G(Gr) (S)PGP(G), G(Gr), (S)PGP, GrS, NNd, (N)dNd SN(Sr), S(d) dP(GPG), SGP, GrS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Swanandi •
S-R-G-m-P-D-N-S Fashioned by Agra vocalist Jagannathbuwa Purohit ‘Gunidas’ (also the creator of Jogkauns and Jaun Bhairav), fusing material from Bhatiyar, Bihag, and Bhinna Shadja into an engrossing new whole. Bhatiyar forms the main base, with its phrases being reworked to match the swaras of Bilawal thaat (e.g. PGRS; SD NDP, PDPm), with Bhinna Shadja contributing […]
• Raag Suha Todi •
S-r-g-m-P-dD-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ali Akbar Khan (1978)— [drut gat, e.g. 14:14] nnPmP, S Sn\P, mP, (m\)g/mrS; nnPmP, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | […]
• Raag Simhendra Madhyamam •
S-R-g-M-P-d-N-S Borrowed from a South Indian ragam (melakarta scale #57), Simhendra Madhyamam takes the form of a ‘Kirwani tivra Ma’, ‘Todi shuddha Re’, or ‘Madhuvanti komal Dha’. Despite the popularity of its Carnatic congruent (hailed by Charulatha Mani as “regal, meditative, bold, and striking”), the raga remains relatively rare in the North – with its […]
• Raag Shuddha Malhar •
S-R-m-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Lalith J. Rao (1994)— [refrain, e.g. 0:36] m\RR PP S\DD (D)SRS, SDP, m\RR PP S\DD (D)SRS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 […]
• Raag Shobhawari •
S-R-m-P-d-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Aslam Khan (~2000s)— [bandish, e.g. 1:18] RSd(Pd) SR, (RSR)S, d/S S(dSd)R, m\R m\R (RSR)S S; SRm(Pm) (m)P P, mPS(dSd)S S, (dSdS)R R(SR)S, (dS)d, (Pd)P, (mP)m, (RS)R S; RSd(Pd) SR, (RSR)S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, […]
• Raag Shivawanti •
S-R-g-M-P-D-S A barely-documented modern creation of sitar and surbahar legend Imrat Khan – kindly brought to my attention by his former student Chris Stephens via the Chandrakantha forum: “In regard to the ‘idiosyncratic’ Etawah ragas, here’s a video of [Khan] playing Shivawanti, which he described as a combination of Madhuvanti and Shivranjani. I captured this […]
• Raag Sazgiri •
S-r-G-mM-P-dD-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Fateh Ali Khan (~1980s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: […]
• Raag Saurashtra (Bhairav) •
S-r-G-m-P-dD-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Abhijith Shenoy ‘Abhirang’ (2021)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: […]
• Raag Saraswati Sarang •
S-R-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Gopal Krishna (~1970s)— https://www.parrikar.org/music/sarang/gopalkrishnan_saraswatisarang.mp3 [refrain, e.g. 0:08] RM(PD) P(MP), mRm R, SS, (S)nD MPDS, S, S, S\DS R, m\RR M, P M(D)P mRm, R, S, RM(P)DP mRm RS, nD MPDS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, […]
• Raag Saraswati Kedar •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Prakash Vishwanath Ringe (2000)— http://www.tanarang.com/Bandishen/Saraswati-Kedar/Sadra%20-%20Chatur%20Balma%20aayo%20mandirwa%20-%20Jhaptl%20%20Vilambit%20-%20PVR.mp3 [bandish, e.g. 0:25] (G)RMP, D(N)R S(NnDn), DPDP, PM(DP)m, SRRS, m\R RP(MP) MP, N\D D/R S\n, DP, (M)RMP, D(N)R S(NnDn)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Sanjh Saravali •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Vilayat Khan (2000)— [gat, e.g. 0:34] (G)P, (P)G, (G)R G, G(m)G, (RN)S, N R G M, M(DP) G, S, N, NS, N(Sn)DP, DP, PD(NS), (G)P, (P)G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & […]
• Raag Saheli Todi •
S-r-g-P-d-n-S An invention of vocalist Kumar Gandharva, lying between Bhupali Todi and Bilaskhani Todi via the addition of an avroh komal ni to the former (or the subtraction of ma from the latter). His original renditions linger patiently on the komal re (intoned with a noticeably higher sruti than usual), and often avoid rising more […]
• Raag Roopkali •
S-rR-G-mM-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Khadim Hussain Khan (1970s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: […]
• Raag Reva •
S-r-G-P-d-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Joydeep Mukherjee (2021)— [sanchari, e.g.1:05] r/m m, m\r r, S S(d) d/S, S d/r r, r(S) (S)d, P P, r/m m, m\r r, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Rati Bhairav •
S-r-G-m-P-dD-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kumar Gandharva (~1980s)— [refrain, e.g. 18:18] m, (G)m (G)r\S, G, m, PD(N)S, S(nDnPm), m(PDnDnP) G(mG)G\r(G)S, S\d, N S, m, m(P)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Rasaranjani •
S-R-m-D-N-S A rare, oddly-shaped audav raga formed by omitting Ga and Pa from Bilawal thaat – essentially, ‘removing the major triad from the major scale’ (it can also be seen as ‘Chatuswari Bhavani plus Ni’, Rajeshwari Re-for-ga’, or ‘Durga Ni-for-Pa’). Vocalist Sakuntala Narasimhan, introducing a brief drut khayal, cites Rasaranjani as an invention of her […]
• Raag Rampriya •
S-r-G-M-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Amir Khan (~1960s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Ramdasi Malhar •
S-R-gG-m-P-D-nN-S A diverse sankirna raga, fabled as a creation of Guru Ram Das – a 16th-century Sikh saint said to have opened Emperor Akbar’s eyes to the unity of the divine (“these jagirs [feudal land grants] are sources of evil passions, pride, and ego…it is by the name of God that all creatures, continents, worlds, […]
• Raag Raj Kalyan •
S-R-G-M-D-N-S A ‘Kalyan no Pa’ melody devised by Gwalior vocal innovator Vasantrao Deshpande (although he may well have seen it more like a ‘Marwa shuddha Re’). Parrikar describes how “the relief-inducing nyas on Pa is missing, giving a ‘restive’ persona”, while Ocean of Ragas gives a pakad of GmD, DmGR, NRS (also noting its congruence […]
• Raag Rageshri Kanada •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Rahimuddin Khan Dagar (1990)— [alap, e.g. 0:05] (n)S, (D)S, n(SnSnS)S, (S)GR(GR) SS, SR(Gg)G, G(g)R S, DR (Sn)DnS(nD), G, S(n)S G, (nSn)S S, n(Sn) S(nSDP), mmGG, GmP (S)n S(n), S(nD) (nR)S, (R)S R(nSPn) n(DP), PmmG, GmP (PS)n, (SnSn)n S… • Classifiers • […]
• Raag Rageshri Bahar •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —V.R. Athavale (1988)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Prabhateshwari •
S-r-g-m-P-D-n-S A seldom-heard raga created by bansuriya Hariprasad Chaurasia, which (to my ears) resembles a blend of the morning Ahir Bhairav and the late night Bageshri. His student Rajendra Teredesai describes it as having “all the hues…beautiful, complex, yet spiritually uplifting…full of pathos and bhakti ras…a state of perpetual divine bliss”. Prakriti with Ahiri, the raga […]
• Raag Prabhat (Bhairav) •
S-r-G-mM-P-d-N-S A morning form summarised by Bose as “a combination of three or four ragas dominated by the Bhairav-ang…with a touch of Lalit-ang only in the avroh (where both Ma come together)…The vadi Ma separates Prabhat Bhairav from Bhairav, while Pa keeps it away from Lalit” (also see the congruent-but-distinct Lalit Pancham). Pakad include GmG; rSrS; […]
• Raag Pat Bihag •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Yunus Hussain Khan (1998)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: […]
• Raag Noor Sarang •
S-R-M-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bahauddin Dagar (2020)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav | […]
• Raag Niranjani Todi •
S-r-g-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Raghunandan Panshikar (2010)— [bandish, e.g. 0:47] S(g)rm, P(DP) D(P), (m)D Pm, Sm(gPmgm) g\r(gr) g(rg)S, D(nDS) (nD)n D, (S)n (S)n/S S, SS (Sg)r (g)r (r)g\r r\SS, S(g)r r/m, (S)mm m(PmDPnDnP)m, g\r rS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic […]
• Raag Neelambari •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Omkarnath Thakur (~1960s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Nagadhwani Kanada •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (1977)— [bandish, e.g. 0:58] P(nPn) m(Pm) m(Pmn) n(Pm) g(mgSn) nS, m\g m m(gm)P (m)gm, n(P)P; n(Pm)g g(Pm) m(g)m, m(g) n(S), mmm m(n)P m(g)m; P P/RR, S N(SN)S, D(nDnSnSR) R(SNSnDnDPD)G, (G)P D n S… • Classifiers • Explore hidden inter-raga […]
• Raag Miyan ki Sarang •
S-R-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Apoorva Gokhale (2018)— [refrains, e.g. 2:05] RSn\P(nP), n\DNS (NSRN); NS mR/P Pm\R mR; NSS (m)Rm, PPn\DNS, RNSn\P(nP), P(nPS)nP; RSn\P(nP), n\DNS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Milan Gandhar •
S-gG-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Nazakat & Salamat Ali Khan (1965)— [refrain, e.g. 1:38] SGPDnD PG, (S)n/gS, (S)nS n/g(S), (n)D nDP, DnDn/S, SG n(DnD)PGS, (S)n… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Meghranjani •
S-r-G-mM-N-S As per Abhirang’s performance notes (on his recording of the Pyaari Pyaari Batiyaan bandish), Meghranjani’s swara set is formed by removing the komal dha from Lalit. This produces an even stranger scale form, with two consecutive generic swaras – Pa & Dha – being omitted (a truly rare feature: as far as I can discern, […]
• Raag Medhavi •
S-R-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ali Akbar Khan (1967)— [motifs, e.g. 6:14] (N)SN/S D/NP D/N, D, D, (G)mP, D(NSRS)N, RG(m)m, GR RG G(RS), N(SNSND), D… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Manjari Bihag •
S-R-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Aslam Khan (1989)— [refrain, e.g. 26:36] PNS G\R\S, N(S)N(D)N(S) NDP, PNS G\R\S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 […]
• Raag Malayalam •
S-R-G-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ali Akbar Khan (1977)— [refrain, e.g. 20:15] G G, n\dPmP, (G)m, (mPG)m, G, GG G\R, S n\d… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | […]
• Raag Madhurkauns •
S-gG-m-d-n-S A fascinating yet sparsely-recorded creation of Kirana vocalist Prabha Atre, matching the swaras of ‘Malkauns double-Ga’ (or ‘Nandkauns no Pa’). The addition of shuddha Ga maintains the original Ga–ni symmetry axis of Malkauns, while also giving more gravity to shuddha ma via upward resolutions of G/m – a feature which forms the basis of […]
• Raag Madhuranjani •
S-g-m-P-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sawani Shende (2021)— [bandish, e.g. 4:13] (m)P gmPS N P, PmP (m)gmP; gSg mg Pm NP S(NSNSNPN) P(NPNmP) gm(S)P; (m)P gmPS N… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Madhuradhwani •
S-G-m-D-nN-S As per Parrikar, “Durga Khamaj-thaat…is also known [as] ‘Madhuradhwani’…This is not a popular raga, its base eroded by the popularity of Rageshri…[but] is part of the Dagar family repertoire”. While some renditions may skip Ni in ascent, traditional Dhrupad presentation will render it shuddha in aroha and komal in avroh – along with a strong […]
• Raag Madhukauns •
S-g-M-P-n-S A curious ‘Dhani tivra Ma’ scale introduced by vocalist Amir Khan via a ‘ma-murchana’ of Chandrakauns (listen to his sargam-demo of the process below). Full of inescapable tension, with 3 of the 5 swaras being imperfect, and the disbalancing Ma–ni sangati on stark display. Sometimes considered identical to Khan’s Chandramadhu, created as part of […]
• Raag Madhukant •
S-R-g-M-P-D-n-S An oddly-shaped and thinly-analysed sampurna raga, taking the shape of ‘Madhuvanti’s poorvang + Kafi’s uttarang’ (or ‘Kafi tivra Ma’). Analysed by Jairazbhoy in 1971: “Ragas in which the Pa has a leading note [MP], while the Sa does not [nS]…Madhukauns and Madhukant are both modern ragas which appear to be evolving rapidly…Madhukant [is] unstable […]
• Raag Lilavati •
S-r-G-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Dilshad Khan (1995)— [refrain, e.g. 0:56] Sn(S)r, (r)nS/m, m(PGmG), Sn(S)r, (r)nS/m m(GmrG), Sn(S)r… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | […]
• Raag Lankeshwari •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Chand Khan (~1960s)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Lalita Sohini •
S-r-G-mM-D-N-S A blend of the early-morning Lalit and late-night Sohini, with the melodies of the latter dominating the aural impression, reportedly created by Agra vocalist Yunus Ahmed Khan in the mid-20th century. Raja notes that “while Sohini is a resident of the upper tetrachord, Lalit is a resident of the lower tetrachord. Thus, the resulting melodic entity […]
• Raag Lakshmi Todi •
S-rR-gG-m-P-dD-n-S A complex multi-melodic blend named after the Hindu goddess of power, beauty, prosperity, and good fortune (Lakshmi: ‘she who leads to the goal’) – which imports the movements of several other ragas into a general Todi framework. Abhirang’s breakdown discusses “shades of Jaunpuri (RmPSdP; nSRndP), Dev Gandhar (RnSRGm), Gaud (SRGmGm; mGRGm), Kafi (RmPDnS), Gandhari […]
• Raag Lakshmi Kalyan •
S-R-G-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Deepak Kshirsagar (2019)— [alap phrases, e.g. 4:56] G\R(GR) P\M(PM), (P)MP/N N(DP), R(MR)P (M)P/S\N, S(NSN)S, (M)P/N\S, S S, S(NS), P/S(NSN)R, R R, P/S(NSN)R S(NS) N, P(MPM)D M(PMPM)m(G), G(mGmG)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, […]
• Raag Lachari Kanada •
S-R-gG-m-P-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Latafat Hussain Khan (~1960s)— [refrain, e.g. 0:16] G, Gm(G), S S(mRPmD)P, (P)SNS, (N)S nPn\PP, mPnPm\G, (Gm)P P(G)mR, SRG(mG), m/n(Pn)P, m/n(mPGmS)g (S)g(RgR)S(NS), S(mGPmnP)N S(NS)P n(PmPmg) (P)Gmg(S), G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & […]
• Raag Khokar •
S-G-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Mallikarjun Mansur (~1980s)— [alap, e.g. 0:08] N, N/S, N(SN) N, (P)N S; SG, mPmP(GP)G\S, (PS)N S, S(NS)G m P, GmPD n(DnDn)P D(Pmm), GmP, GmPD(PD)P D(SnSDnD) n(DnDn)PP; (SGmG)P (S)mP G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana […]
• Raag Khat Todi •
S-r-g-mM-P-d-nN-S In Parrikar’s summary, Khat Todi is described as an “uncommon [double-Ma] prakar…mostly sung by Jaipur-Atrauli and Agra musicians. In the main body of Todi, a small phrase of Khat is introduced” (i.e. the raga is more like ‘Todi seasoned with Khat’ rather than a more evenly-weighted combo). He cites two different Khat strains used by […]
• Raag Khat •
S-rR-gG-m-P-dD-n-S Often described as one of the most complex Hindustani forms, Khat (Sanskrit: ‘six’) is said to combine six different ragas – although it remains unclear precisely which they may be (Subbha Rao’s Raga Nidhi cites either “Suha, Kanada, Sarang, Desi, Gandhari, & Sughrai” or “Ramkali, Asavari, Todi, Gujiri, Baradi, & Gandhari“). Often, Asavari is […]
• Raag Khambavati •
S-R-G-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kesarbai Kerkar (~1950s)— [swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Kalashri •
S-R-G-m-P-D-n-S Introduced by Kirana legend Bhimsen Joshi by combining Kalavati and Rageshri to span the full seven swaras of Khamaj thaat. His renditions draw mostly from the former raga, setting a strong Pa and recurring GPD movements in an audav aroha, with Rageshri’s imprint mainly evident in the vakra avroh phrase GmRnS (which helps to […]
• Raag Jaitashree •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2015)— [bandish, e.g. 1:13] SG (M)G/P, P(MPM)d PMG r, SrN\d P; S(M)G (P)G/P, P(MP), P(MPM)d dM MG Gr, S(NSMGMG)P P(MdPMG) M(GM), GrS G… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Jaijaiwanti Nat •
S-R-gG-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhimsen Joshi (1997)— [refrain, e.g. 2:07] (S)G mGR, (GR)G RS, PNR(NP), (S)G\R (GR)S, S/G, G(mG)G/m GR (GR)S, (S)G\R, R… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• Raag Imratkauns •
S-R-G-m-d-n-S Devised by Imdadkhani sitar and surbahar virtuoso Imrat Khan, with a swara set resembling ‘Charukeshi no Pa’. This mid-scale space gives a strong poorvang–uttarang separation, amidst the strange geometric regularity of the consecutive ‘2-2-2-2’ run (dnSRG: just a ma-to-Ma nudge from matching the whole-tone scale, a.k.a. Sehera). Ga is strong throughout, often setting up […]
• Raag Hussaini Todi •
S-R-g-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Vinayak Athavale (~1990s)— [refrain, e.g. 0:42] NS, S, (SN)RS S\n D(P)D PDNS, S, D (n)PDNS, (SRN)S, (SNSR)S S\nD PDNS, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Hussaini Kanada •
S-R-g-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (~1990s)— [bandish, e.g. 1:11] (P)mP P(DnD)S, n\PP P(mPmn)m\g m, m(nDn)P PP; mPDnSS, S S(nS)D, (nR)S S(RnS)S, P m(Pmgm), mPDnSS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• Raag Hem Bihag •
S-R-G-m-P-D-N-S Often cited as an invention of Ravi Shankar, Hem Bihag was in fact devised by his teacher Allauddin Khan – as noted by Shankar & Ali Akbar Khan when they chose it to open a tribute concert just a few weeks on from their guru’s 1972 death, at the reputed age of 110 (below: […]
• Raag Harikauns •
S-g-M-D-n-S Among the strangest of pentatonic scales, Harikauns resembles ‘Madhukant no Re/Pa’ or ‘Madhukauns with Dha-for-Pa’ (or ‘Malkauns with the middle two swaras raised’) – forming a ‘diminished square’ of 3-semitone jumps (SgMD) plus a (symmetry-destroying) komal ni. Aside from a natural uttarang focus, the raga allows for near-complete freedom of motion – but presents inherent […]
• Raag Hanskinkini •
S-R-gG-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Soumik Datta (2018)— [gat, e.g. 12:04] PPnn D(n)PP, SGmP, (m)g RR(S)nS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | […]
• Raag Gunkali •
S-r-m-P-d-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kedar Bodas (2015)— [bandish, e.g. 7:43] d P m, (P)m\r, rS(rS) PP, (S)dd P(d)P m(P)m\r(m)r S, Pm r(m)r S(r)S d(S)dS, rrS S(PmP)m m\rr rS S\dd rS (S)PmmP, dPdmPdd, Pdd, Pdd P m… • Classifiers • Explore hidden inter-raga connections: swara geometries, […]
• Raag Gunjikauns •
S-R-G-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sarahang (?)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav | […]
• Raag Gunji Kanada •
S-R-gG-m-P-d-n-S A Gwalior gharana favourite which blends Malgunji and Kaunsi Kanada, principally via inserting the former’s RnSRG, Gm phrase into the broader framework of the latter – although some sources also cite the vital influences of Adana and Bahar (e.g. mDnS). Modern renditions tend to take the komal dha, although a shuddha-Dha variant has also […]
• Raag Gunakri •
S-r-m-P-d-S Taking the swaras of ‘Bhairav no Ga/Ni’, Gunakri – described by AUTRIM as “serious and peaceful” – brings out the character of its parent raga via an oscillating komal re, and movements patterns including Sd, dP and SdSr, rS (although Jairazbhoy prefers to analyse it via the geometries of Basant Mukhari). Bose gives a […]
• Raag Gopika Basant •
S-g-m-P-d-n-S A hexatonic raga of bewitching beauty, Gopika Basant matches the swaras of ‘Asavari no Re’ (or ‘Malkauns add Pa’) – while also inviting shades of Bhairavi from ga upwards. The Sa–ma sangati is strong, and, as noted by Jairazbhoy, descents can mirror the Malkauns scheme of “parallel conjunct tetrachords by oblique use of the […]
• Raag Gaurimanjari •
S-rR-G-mM-P-d-nN-S An intricate ten-toned raga created by Ali Akbar Khan via blending ideas from across the Lalit–Gauri spectrum (Gaurimanjari: ‘Bouquet of Gauris’) – notable for its winding melodic motions and dense, crowded swara-space (some renditions employ all specific positions except komal ga). Its core form also possesses the ultra-rare property of rotational symmetry (i.e. the […]
• Raag Gauri Basant •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kumar Gandharva (1974)— [refrain, e.g. 2:27] PP(GP) Gr, G rS, PP(GP) Gr, G; PP(GP) Gr, G; GP(d) (d)P P(MPG)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): […]
• Raag Gaudgiri Malhar •
S-R-g-m-P-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Pandit Jasraj (~1980s)— [refrain, e.g. 0:56] m(R)R (S)n n(m), mmm P (PmP) m\g(mgm); m(RSnS)R R(S)n n(m), mmm P (PnP) m\g(mgm); RRR(Sn) n(m), mmm P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also […]
• Raag Gandhari Todi •
S-rR-g-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —V.R. Athavale (1988)— [Swaras] • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+ Sapta: Audav […]
• Raag Enayetkhani Kanada •
S-R-gG-m-P-d-nN-S Invented by sitarist Vilayat Khan as a tribute to his father, legendary Imdadkhani innovator Enayet Khan (although when the raga first surfaced, circa 1981, he was instead calling it ‘Vilayat Khani Kanada’…). As per fellow Imdadkhani sitarist-scholar Deepak Raja’s ever-excellent analysis, the raga runs along the lines of “Darbari with the addition of two […]
• Raag Durgawati •
S-R-m-P-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Hariprasad Chaurasia (1997)— [refrain, e.g. 18:59] D(nDP) mPD, S, nDPm R(n)S, D(nDP) mPD, S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 […]
• Raag Devranjani •
S-m-P-d-N-S Stretched by the emptiness of a vast S-m poorvang jump, Devranjani is formed by removing the Re and Ga from Bhairav. Abhirang offers up both ‘shuddha Ni’ and ‘double Ni’ variants, with the former appearing to be predominant – while Bhatkhande’s early 20th-century works discuss the importance of the ascending phrase Sm, mP as a […]
• Raag Devgandhari Todi •
S-rR-gG-m-P-d-n-S A modification of Dev Gandhar, devised by Agra vocalist S.N. Ratanjankar via the addition of a Todi-like komal re – thus filling the entire Sa-to-ma swara space. Also recorded by his student K.G. Ginde, who extends this hemitonic run (and leans further into Todi’s geometries) by including touches of shuddha Ni, also reworking some […]
• Raag Devata Bhairav •
S-r-gG-m-P-d-N-S A double-Ga Bhairav derivative, introduced by Agra gharana pioneer Azmat Hussain Khan ‘Dilrang’. As per Parrikar, the raga is distinguished from its parent with “the introduction of [an] avroh pragoya via the komal ga [mgrS]”. Some artists include subtle touches of komal ni, including Jitendra Abhisheki – who sings a madhyang-focused bandish (to me, somewhat reminiscent […]
• Raag Deepak •
(S-R-G-m-P-D-nN-S) Strictly speaking, Deepak is a ‘lost raga’, known to us through its status as Tansen’s fabled fire-bringing melody – said to have set off uncontrollable blazes when he sung it with full force at Emperor Akbar’s royal palace (…and requiring Megh to extinguish it). But, while its original swaras have been lost to the […]
• Raag Dakshinatya Basant •
S-r-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Anuradha Kuber (2009)— [refrain, e.g. 0:29] (D)S N(D)D N(S)D, m(Gm) G(r) r(Sr)SS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | 7 […]
• Raag Chaya Malhar •
S-R-G-m-P-D-N-S Profiled by Parrikar as “a compound melody formed by joining elements of Chaya [particularly its characteristic P\R swoop] to…the Malhar raganga signature [mRm\RP]…The nyas on Pa is important…[whereas] an inapposite nyas on Re or undue brightening of ma may tilt the development towards Nat Malhar”. Listen to his guru Ramrang’s rendition, seasoned with a […]
• Raag Chatuswari Bhavani •
S-R-m-D-S Distinguished by allowing only four swaras (‘chatu’=four, ‘swara’=tones), Bhavani’s symmetrical shape is akin to a ‘Durga no Pa’. Its intriguing surtar sparsity necessitates a multipolar approach to melodic resolution, tempting a murchana-like refocus towards the triads available from Re (RmD: minor) and ma (mDS: major). Associated with the 20th-century experiments of Gwalior vocalist Narayanrao […]
• Raag Chandramadhu •
S-g-M-P-n-S An angular pentatonic form conjured up by vocalist Amir Khan only a short time before his untimely death in a 1974 car accident – indeed, it is unclear if he ever formally named his new creation (I’ve seen it referred to as ‘Bhushwati’ and ‘Amarpriya’, and at least two posthumous releases just list it […]
• Raag Chandrakaushiki •
S-R-g-m-d-nN-S An invention of sitarist Nikhil Banerjee, seemingly combining Chandrakauns and Kaushik. Expanding on a Malkauns base, the Kaunsi Kanada-like shuddha Re opens up a broader array of intervals to and from the twin-Ni positions – with the komal dha playing a similarly vital role below. (n.b. While some online sources refer to the raga […]
• Raag Chandni Bihag •
S-G-mM-P-D-nN-S A speciality of the Rampur khayal gharana, which introduces the tense Ma–ni sangati to the basic framework of Bihag, further accentuated by a weak or absent Re – leaving two ‘4-row’ clusters (GmMP & DnNS), arranged symmetrically. Parrikar recounts the “enchanting tonal formulations” of his guru Ramrang’s rendition (passed down by his own guru Bholanath […]
• Raag Champak •
S-R-G-m-P-D-nN-S A seldom-heard neighbour of Khambavati, distinguished (often very subtly) by stronger use of shuddha ma, and sometimes involving a Gm\S catchphrase. Both ni swaras are used, with the komal introduced via vakra avroh motions (e.g. SRn). Named after a huge evergreen tree species with fragrant yellow-orange flowers, used in perfumery and featured in many […]
• Raag Bihad Bhairav •
S-r-gG-m-P-d-nN-S A ‘double-Ga, double-Ni’ creation of Bhairav-loving vocalist Kumar Gandharva (also see Bhavmat Bhairav & Rati Bhairav). Bose describes how “the projection of the raga is done mainly around Sa…the aroha is similar to Jogiya [SrmdPdS: also Gunakri], and it has a small portion of Shivmat Bhairav” [e.g. rgrS], giving pakad such as Srm; GrS rrS; […]
• Raag Bhairav Bahar •
S-rR-gG-m-P-D-nN-S A ten-toned multi-jod raga, Bhairav Bahar’s descent blends the melodic signatures of several disparate ragas – although, as per Darbhanga Dhrupad vocalist Premkumar Mallick, flavours of Bhairav should dominate. Bose gives a vadi–samvadi of ma–Sa, while also mentioning the existence of an alternate ‘double-Dha’ version (thus allowing for the use of every swara position […]
• Raag Basanti Kanada •
S-r-G-mM-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Arun Dravid (1984)— [refrain, e.g. 1:23] D m G, G GM(d)M\G, (M)G rS, (S)G rS, S(NR)S, Sm, m m\G, P m\G, G(m)D DP, DPDND, PDnDP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more […]
• Raag Baradi •
S-r-G-M-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Anandrao Limaye (~1980s)— [motifs, e.g. 6:42] P P(DPMP) S, S(P) P(SPrS)G r, r\S S; (Nr)S\D D\P P\G G(SGMPM)P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 […]
• Raag Bangal Bhairav •
S-r-G-m-P-d-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Priyanshu Ghosh (2022)— [refrain, e.g. 1:13] G(PmP) m(Gm) G\r, GmP (n)d, d/S (n)d (d)P, G(mGm)P, G(PmP) m(Gm) G\r, GmP (n)d, d/S… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full […]
• Raag Bahaduri Todi •
S-rR-g-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Mallikarjun Mansur (~1990s)— [bandish, e.g. 0:01] R, nS Rg(gRgm), m m, m\gP Pmgg, g\r(g)SS, SR/g\rr, r r(g)SS, (S)r nS, S(r)SR(g)rr, S\n\d(nd), n(dnd), d mm, m\gP, m(d) P(nd)d, d(P)P, mP, mPm(g)g, gm mP, Rg SR, nSRg (gRg)m m\gP… • Classifiers • Explore […]
• Raag Bageshri Bahar •
S-R-g-m-P-D-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhimsen Joshi (1997)— [refrain, e.g. 2:25] Sn(S)D (S)Dm, nSS, Dn(D)S, nD(Pm) m(D) (nD)S; S(nSnS)R R(S) S(nDn) D, (n)S n\P P(DP)m\g, g(m) mP(Pm)P… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• Raag Anjani Kalyan •
S-R-g-M-P-D-N-S A creation of vocalist Ramashreya Jha ‘Ramrang’, named in honour of Lord Hanuman. As per his student Rajan Parrikar, “the basic idea involves rendering the aroha of Madhuvanti sampurna, by taking in both [shuddha] Re and Dha. The aroha contour thus…permits the advance of Kalyan-like clusters”. Abhirang’s rendition of Ramrang’s bandish (below: Hanana Hanumana […]
• Raag Amirkhani Kauns •
S-G-M-P-n-S A ‘pentatonic Vachaspati’ created (as the name implies) by Indore vocal master Amir Khan, which omits Re and Dha (thus, Amirkhani Kauns is to Vachaspati as Dhani is to Kafi). All swaras except Sa are imperfect – with the unusual Ma–ni sangati exerting inevitable gravity and drawing melodies away from clear resolution. Few of […]
• Raag Ahiri Todi •
S-R-g-m-P-D-nN-S While the title ‘Ahiri Todi’ is often used interchangeably with Ahiri, the former raga has a more complex historical lineage: comprising both an Ahiri–congruent form which many consider indistinct from the main raga (SrgmPDnS) – and an older, near-extinct version which approximates the shape of Asavari thaat (SRgmPDnNS). Agra vocalist Khadim Hussain Khan’s intriguing […]
• Raag Ahir Lalit •
S-r-G-mM-D-n-S Introduced by Ravi Shankar, drawing from the swara material of three morning ragas: Ahiri, Ahir Bhairav, and Lalit. As per Deepak Raja, “for most listeners, Ahir Lalit will be unable to escape the shadow of Ahir Bhairav over the Lalit facet of the raga…since Ahiri is heard mainly as a Bhairav / Ahir Bhairav […]
• Raag Adbhut Kalyan •
S-R-G-D-N-S An uncommon Kalyan variety, named Adbhut (‘of wonder’) for omitting two of Kalyan’s most vital swaras (Ma & Pa). Remains popular among artists of the Dagarvani Dhrupad, but few others have risen to the centreless challenges of losing both mid-saptak swaras. Aminuddin Dagar reportedly considered the raga to be an offshoot of Khem Kalyan – […]
• 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 […]
• Raag Abheri Todi •
S-rR-gG-m-P-d-n-S Described by musicologist and critic Rajan Parrikar as “another obscure [Todi] variant, in which strands of Asavari and Khamaj are tied to the Todi-anga”. His guru Ramrang’s rendition of the raga revolves around phrases such as PmPm\g; mPn\d; SRnS; rnSRG – while the name presumably derives from the mostly-congruent Carnatic Abheri. Remains rare on […]
• Raag Ahiri •
S-r-g-m-P-D-n-S Somewhat resembling a ‘Bageshri komal re’, ‘Ahir Bhairav komal ga’, or ‘Bhairavi shuddha Dha’, Ahiri favours long, kaleidoscopic melodies, laden with shapes from proximate ragas. Artists may seek to accentuate the ‘equilateral triangle’ of nyas (r–m–D: an augmented triad), also drawing from its murchana-set neighbours Patdeep, Charukeshi, and Vachaspati. Matches the Carnatic Natakapriya, although origins remain […]
• Raag Amrut Ranjani •
S-gG-m-dD-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Bapat (2003)— [refrain, e.g. 7:44] GmnD, (m)dmGm gSnS GmnD, (m)dmGm gSnS GmnD… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | 6 | […]
• Raag Patmanjari •
(S-rR-gG-mM-P-dD-nN-S) Said by some to be more of a ‘performance concept’ than a single raga, ‘Patmanjari’ translates as ‘Bouquet of Five Ragas’. Debate persists over whether the form should be interpreted as an open challenge to blend five ragas of an artist’s own choosing, or whether it entails five specific ragas – and, if so, […]
