S-r-G-M-P-D-N-S Congruent with the seven swaras of Puriya Kalyan (=Marwa thaat), Shree Kalyan is an enchanting product of Kumar Gandharva’s prolific imagination (also see Madhusurja, Lagan Gandhar, Saheli Todi, Rati Bhairav, Bihad Bhairav, and Bhavmat Bhairav). The movements of his main rendition (Dekho Re Rut Phoolan Lagi) place Shree’s tritonal re–Pa sangati on stark display, […]
• Raag Shree Kalyan •
• Raag Savani •
S-R-G-m-P-D-N-S An evening raga, which, despite its regular titling of ‘Savani Kalyan’, usually lies closer to Bihag than the Kalyan family – chiefly via avoiding tivra Ma, and giving greater strength to the Sa–Pa sangati. In the raga’s main incarnation, Dha and Ni are often rendered durbal, and may be skipped via PSP turnarounds (although […]
• Raag Rageshri Kanada •
S-R-gG-m-P-D-n-S A seldom-heard Rageshri variant which incorporates Kanada-flavoured poorvang phrases. The only full-length recording I was able to find is a fascinating 1960 album rendition by Dhrupad vocal legend Rahimuddin Khan Dagar (Ganga Jata Shiv: transcribed below), which incorporates shuddha Re and komal ga in curious adjacent movements such as SR(Gg)G, G(g)R. Intriguingly, the komal […]
• Raag Noor Sarang •
S-R-mM-P-D-N-S A rare raga of the Sarang family, around which there exists limited melodic consensus. As per Abhirang’s account, “when we only use tivra Ma in Shuddha Sarang, it is converted to Noor Sarang…in avroh, the Dha is kept ‘free’ [e.g. ornamented D(NP)]” – also noting its proximity to Jaymini Sarang (both Ni). Dhrupad interpretations […]
• Raag Mangal Bhairav •
S-r-G-m-P-D-N-S A ‘shuddha Dha Bhairav’ offshoot, which thus allows for Durga-like uttarang movements such as mPDS. Ronu Majumdar also touches on Bhupali (e.g. SDS SDPDS: gat transcribed below), placing these passages in contrast to Bhairav’s signature GrS conclusion phrase. Subbha Rao’s Raga Nidhi Vol.3 notes that the raga’s movements are anchored in the pentatonic swara […]
• 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 Khambavati •
S-R-G-m-P-D-n-S A loose mixture involving Jhinjhoti, Khamaj, and Mand, with different renditions emphasising varied facets of these ragas. The movements of the former tend to predominate: as per Deepak Raja, “normally performed in slow or medium tempo, with low to medium melodic density…an instant identification of Khambavati, as distinct from Jhinjhoti, requires consummate musicianship. This […]
• 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 Gaudgiri Malhar •
S-R-g-m-P-n-S An engrossing raga of uncertain origin, Gaudgiri Malhar is most prominently associated with Mewati pioneer Pandit Jasraj – although Gwalior stalwart Haribhau Ghangrekar and others were performing it even before this. Also sung by Jasraj’s brother Pratap Narayan and disciple Hemang Mehta, as well as Kirana vocalist Moumita Mitra – who describes it as a […]
• 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 Saurashtra Bhairav •
S-r-G-m-P-dD-N-S A unique ‘double-Dha’ blend of the morning Bhairav with the night-time Bhinna Shadja, Saurashtra Bhairav’s movements vary across gharana boundaries. Abhirang, interpreting a pair of Ramrang compositions (Barani Na Jaye Chabi & Aba Main Kase Jaya Kahu), cites the importance of Bhinna Shadja’s mDNSNDm catchphrase – although most other movements fall in line with those of […]
• Raag Niranjani Todi •
S-r-g-mM-P-D-nN-S A seldom-heard invention of Kishori Amonkar, combining elements from Bairagi, Ahir Bhairav, and Bhinna Shadaj. Despite these lofty origins, I can’t track down a single rendition by its creator – although her disciple Raghunandan Panshikar has recorded it several times, focusing his interpretation on a Jaiwanti Todi-like uttarang, and limiting shuddha Ni to specific […]
• Raag Nat Kamod •
S-R-G-m-P-D-nN-S A Jaipur-Atrauli combination of Shuddha Nat and Kamod, which may also touch on the territory of Chayanat. Described by Deepak Raja as being “sustained by a single bandish – Nevar Baajo – [which] has virtually been synonymous with the raga for over half a century, and is perhaps the sole repository of its ‘raga-ness’ […]
• Raag Nat Bihag •
S-R-G-mM-P-D-nN-S A Bihag offshoot developed by the Agra gharana, distinguished by the integration of special phrases such as mnDP; PDNS; PDNDP alongside other flourishes from Shuddha Nat (e.g. SR, RG, Gm, mP). Tivra Ma is either avoided or limited to occasional ornamental status (M/P), with komal ni similarly restricted to use as a madhya-saptak kan in […]
• Raag Manavi •
S-R-g-P-D-n-S A shadav scale resembling ‘Kafi no ma’ (or ‘Shivranjani plus ni’), said to have been adapted from a congruent Carnatic form (Mattimavari). Most prominently performed by Patiala star Parveen Sultana: her enchanting 1982 album rendition places a swooping Pa–ga sangati centre-stage (e.g. P\gP; P(g)PgR), often traversing wide interval jumps such as gPgD; nDgPgRS (bandish: […]
• Raag Lankeshwari •
S-R-gG-m-P-D-n-S An enchanting blend of three night ragas: Bageshri, Rageshri, and Malgunji. Bageshri, evident via a strong ma–Sa sangati and the skipping of Pa in ascent, combines with Rageshri to present a double-Ga – with more extended melodic developments often following in the manner of Malgunji. Seemingly the exclusive preserve of vocalists, although it remains […]
• Raag Khokar •
S-G-m-P-D-nN-S A captivating raga with disparate modern strands. In its predominant Jaipur-Atrauli incarnation, Khokar is, as 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”) – however Manjiri […]
• Raag Hansa Narayani •
S-r-G-M-P-N-S Taking the shape of ‘Puriya Dhanashree minus dha’, Hansa Narayani also presents uttarang shades of Hansadhwani (PNS): another swan-related raga with Carnatic roots (‘Hansa’ suggests a swan-riding image of Saraswati, the four-armed Hindu goddess of music and learning, and ‘Narayani’ refers to an incarnation of Lakshmi, goddess of wealth and fortune: collectively covering two-thirds […]
• Raag Saraswati Sarang •
S-R-mM-P-D-nN-S Despite the prachalit status of both its parents, the Saraswati + Sarang compound is rare to the point of extinction: the only rendition I can definitively trace is that of Gopal Krishnan on the vichitra veena (‘curious string instrument’). His recording revolves around an ear-catching nD MPDS pakad, often separating the twin Ma swaras […]
• Raag Samant Sarang •
S-R-m-P-D-nN-S A Sarang raga which, while infrequently performed, has found stable root in several vocal and instrumental gharanas. As per Parrikar, “shuddha Dha taken in vakra prayogas is the definitive theme, including tonal sentences of the type RmP; RmPDnDPmR; RmR; mDP. Some employ both Ni, others have use for only the komal…There is an occasional […]
• Raag Rageshri Bahar •
S-R-gG-m-P-D-nN-S A double-Ga, double-Ni fusion of Rageshri and Bahar, with the former dominating the aural impression. Abhirang, basing his analysis on a V.R. Athavale bandish, gives characteristic movements of DnSGm; mPgm; nDNS; DnSGmRS; SDnPm – while Subbha Rao’s Raga Nidhi Vol. 4 states that “the vadi is ma, and samvadi is Sa…Re is not used […]
• Raag Pancham •
S-r-G-mM-P-D-N-S An ancient raga of great historical renown, which is nevertheless rare in the modern era. Ramrang cites it as a descendent of the long-extinct Bhukosh (also an antecedent of Bhinna Shadja), with others linking it to the prakriti Bhankar and Bhatiyar (distinguished via sequences such as GMGrS; mmmGP; MDMmG). Most interpretations approximate the swaras […]
• Raag Kesari Kalyan •
S-R-G-P-D-N-S Kesari Kalyan is formed by removing Kalyan’s most characteristic swara – tivra Ma – leaving a curious shadav scale (prakriti with Shankara). Legendary Gwalior vocalist and educator Ramashreya Jha ‘Ramrang’ appears to have created the raga: hear his own rendition, and also listen to him discuss it in the context of “two key ideas […]
• Raag Vijayanagari •
S-R-g-M-P-D-S A scale of Southern origin, seemingly imported North by Gwalior guru Balabhau Umdekar, which matches the swara set of ‘Madhuvanti minus Ni’ (although the Carnatic form is classed as a janya of Hemavati). While I can’t trace any of Umdekar’s recordings, Malini Rajurkar has performed his pair of dedicated bandish: Sajana Ghara Avo & […]
• Raag Lachari Kanada •
S-R-gG-m-P-nN-S Despite its unique swara set, Lachari Kanada is rare to the point of extinction: the only two recordings I can track down are both brief cuts by Agra stalwart Latafat Kussain Khan (one is said to have been captured at a baithak in Kolkata, the other is of unknown origin). His rendition reveals Kanada turns […]
