S-R-g-m-P-D-n-S Dhanashree is a multivariate raga of ancient vintage (listed in Medieval shastras as a ragini of Malkauns), which arrives in several present-day forms – usually based around the swaras of Bhimpalasi (SRgmPDnS), Khamaj (SRGmPDnNS), Bhairavi (SrgmPdnS), Bilawal (SRGmPDNS), or Patdeep (SRgmPDNS). Characteristic motions tend to retain similar ‘generic’ movement patterns, mapping them to the differing chal […]
• Raag Dhanashree •
• Raag Kabiri Bhairav •
S-r-G-m-P-dD-nN-S Anuraag Dhoundeyal, writing in Swarajya magazine, considers Kabiri Bhairav to express “the angst of mystic experiences” (the ‘Kabir’ of the title refers to the famous 14th-century poet-mystic, highly influential on Sikh scriptures as well as the Hindu Bhakti movement through his radical critiques of organised religion). The raga’s poorvang matches with Bhairav (SrGm), however […]
• Raag Din ki Puriya •
S-r-G-M-d-N-S Din ki Puriya (‘Daytime Puriya’) sets its six swaras to the general phrase patterns of the Puriya–ang, avoiding Pa throughout. The scale’s ‘palindromic hexagon’ places a tight hemitonic cluster (NSr) opposite a wider tone-trio (GMd), also providing an augmented ‘equilateral triangle’ (SGd). Melodic motions remain fairly free, given the lack of any prakriti ragas […]
• Raag Kamod •
S-R-G-mM-P-D-N-S An intricate raga which draws together elements from many others (Tanarang: “this dynamic melody is rather complex…one can see clear shadows of Malhar [SmRP], Hameer [GmDP], and Kalyan [SRS, SDP], together with glimpses of Kedar [MPDP] and Chayanat [PDPS, SRS]”). Distinguishing sequences include RRP, GmPGmRS, the taar Sa is accentuated with long P/S slides, […]
• Raag Vihang •
S-r-G-mM-P-D-N-S Vihang (Sanskrit for ‘Bird’) is a complex double-Ma form, most prevalent among Jaipur-Atrauli gharana vocalists. Manjiri Asanare-Kelkar’s detailed demo casts it as a ‘phrase-based’ raga, combining a Bihag core with melodies from Purva, Jait Kalyan, and Puriya, alongside connecting phrases such as MDMG, rS – also linking it Marwa and Puriya Kalyan. Tabla scholar Aneesh Pradhan […]
• Raag Dev Gandhar •
S-R-gG-m-P-d-n-S A Gwalior gharana speciality described by Tanarang as “an old melodic form, not much in vogue…very sweet, its unique appeal stems from the application of both gandhars, elaborated similar to Jaunpuri”. Unlike Gandhari, Dev Gandhar allows for both Ga variants in aroha as well as avroh – with Parrikar providing a simple summary for […]
• 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 myths […]
• Raag Kokilapriya •
S-r-g-m-P-D-N-S The Carnatic Kokilapriya scale (mela #11) is still barely known in the North (‘kokilapriya’: ‘the one who is dear to the koel bird‘). Its unique shape, resembling ‘Bhairavi–Yaman’, has several curious properties: with an ‘all-komal’ poorvang (Srgm) and ‘all-shuddha’ uttarang (PDNS), it is ‘palindromic’ (=symmetric from Sa) – but 5 of its swaras are ‘imperfect’ […]
• Raag Jaitashree •
S-r-G-M-P-d-N-S A sunset raga prominent in the Jaipur-Atrauli gharana, blending Shree with Jait’s komal re incarnation. Some, such as Ulhas Kashalkar, render the aroha ‘triswari’, limiting it to the three swaras of Malashree (SGP), set in Jait Kalyan-style phrases such as SG, GP, PSP – although the avroh is more clustered, often skipping taar Sa […]
• Raag Yaman Kalyan •
S-R-G-mM-P-D-N-S While the terms ‘Yaman’ and ‘Kalyan’ are often used interchangeably, the name ‘Yaman Kalyan’ refers to a distinct double-Ma variant of the parent raga, which sees shuddha ma inserted in descending phrases such as PMG, GmG. Vilayat Khan outlined his view of the raga’s characteristic twin-Ma interaction in the opening remarks to a sublime sitar–shehnai […]
• Raag Kukubh Bilawal •
S-R-G-m-P-D-nN-S A Bilawal variant seasoned with poorvang shades of Jhinjhoti and Jaijaiwanti, which enjoys a notable presence in the Jaipur-Atrauli gharana. Shuddha Re typically takes centre stage, often ornamented from above as (G)R. Distinguishing phrases include SNS(G)R, GRGPmG, mGRGS(G)R, with most other movements falling into the framework of Alhaiya Bilawal (although the Agra interpretation tends […]
• 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 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 Hemant •
S-R-G-m-P-D-N-S Described by Deepak Raja as “amongst the most charming melodic entities to have gained currency in the last 50 years”, Hemant’s creation is often credited to Ravi Shankar, who began performing it from the 1940s onwards (some say it featured in his very first concert) – however it more likely originated with his guru […]
• Raag Poorvi •
S-r-G-mM-P-d-N-S Poorvi is a long-lived sunset raga from East India, which some describe as evoking a ‘serious mood of mystical contemplation’. Mixing narrow and wide intervals (all swaras have at least one immediate neighbour), its complex twists and turns belie the base scale’s neat, palindromic nature – with Sa and Pa sometimes being omitted or rendered […]
• Raag Adi Basant •
S-rR-G-m-P-D-N-S An ancient form of Basant (‘Springtime’), named for its connections to the ceremonies of that season. Many see Adi Basant as the latter’s main ancestor, highlighting its historic prevalence in Dhrupad and Haveli Sangeet – and some, including Maihar musicians, consider it inseparable from Shuddha Basant (‘shuddha’, as well as referring to ‘pure’ or […]
• Raag Bhatiyari Bhairav •
S-r-G-m-P-D-N-S A hybrid of two morning ragas: Bhairav and Bhatiyar. While movements of the latter take centre-stage, its typical PGrS descending phrase is replaced by the Bhairav-ang GmG\rS signature: Ramrang offers indicative patterns including Sm; mPGm; GmPDNP; DmPGmP; DNr; NDP; GmPmrS; PGmrS, occasionally seasoned with tivra Ma via MDS [n.b. ‘Bhairav-Bhatiyar’, though built from the same […]
• Raag Nand •
S-R-G-mM-P-D-N-S Associated with Lord Krishna, Nand (also known as ‘Anandi’ or ‘Anandi Kalyan‘) rose to prominence around the turn of the 20th century – initially gaining renown through a pair of bandishes by Mehboob Khan ‘Daraspiya’ (Dhundu Bare Saiyan) and Vilayat Hussain Khan ‘Pranpiya’ (Ajahun Na Aye). Aarshin Karande describes the raga as being “regarded […]
• Raag Deepak •
(S-R-G-m-P-D-nN-S) Strictly speaking, Deepak is a ‘lost raga’, chiefly known to us through its status as Tansen’s fabled fire-bringing melody – said to have sparked uncontrollable blazes when he sung it at Emperor Akbar’s 16th-century durbar (…and requiring a special rendition of Megh to extinguish it). The raga appears in numerous ragmala paintings, and has […]
• 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 Shree Kalyan •
S-r-G-M-P-D-N-S Congruent with the seven swaras of Puriya Kalyan (and 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 […]
• Raag Mand •
S-R-G-m-P-D-N-S Arising from the festive folk tunes of Rajasthan, Mand (not to be confused with Nand) is a multifaceted raga form, popular in light-classical settings. Generally based around a Bilawal swara set, some artists also add komal ga, komal dha, and tivra Ma among other mishra touches – setting them in heavily-ornamented vakra movements (e.g. […]
• Raag Annapurna •
S-r-g-M-P-d-N-S From my 2018 Darbar interview with bansuri maestro Rupak Kulkarni: “I lately composed Raag Annapurna: dedicated to Maa Annapurna Devi, my grand-guru [teacher of my teacher]. It is a combination of morning and evening ragas, so can be played at either of these times”. In 2022 I asked Kulkarni for more info: he described […]
• Raag Enayetkhani Kanada •
S-R-gG-m-P-d-nN-S Invented by sitarist Vilayat Khan as a tribute to his father, legendary innovator Enayet Khan (although when the raga first surfaced, circa 1981, he was calling it ‘Vilayat Khani Kanada’ instead…). As per fellow Imdadkhani sitarist-scholar Deepak Raja’s excellent analysis, the raga runs along the lines of “Darbari with the addition of two ‘alien […]
• Raag Medhavi •
S-R-G-mM-P-D-nN-S Medhavi is generally cited as an invention of Ali Akbar Khan, who seems to be the sole source of recordings – however the liner notes to his most prominent rendition make no direct mention of this, instead describing it as “a compound melody of recent origin…its features [vary] according to traditional modes”, adding that […]
• Raag Hemavati •
S-R-g-M-P-D-n-S Adopted from Carnatic mela #58, Hemavati matches the swaras of ‘Kafi tivra Ma‘, ‘Madhuvanti komal ni’, or ‘Vachaspati komal ga’. Prominently associated with Hariprasad Chaurasia, although it is unclear who may have first borrowed the scale from the South: Abdul Halim Jaffer Khan also recorded it, as has Amjad Ali Khan, with broad melodic variance […]
• Raag Latangi •
S-R-G-M-P-d-N-S A unique sampurna scale borrowed from the 63rd Carnatic mela, which takes the form of ‘Kalyan komal dha’ (or ‘Yaman’s poorvang + Bhairav’s uttarang’: SRGM+PdNS). Subbha Rao’s Raga Nidhi Vol.3, written in the early 1960s, mentions that “Latangi is not found in Hindustani music” (p.90) – and it remains unclear who first imported the […]
• Raag Lalita Gauri •
S-r-G-mM-P-dD-N-S Spanning a diverse range of ‘Lalit + Gauri‘ experiments, the name ‘Lalita Gauri’ essentially refers to the general concept of fusing these two ragas rather than a specific melodic form. The most prominent modern incarnation appears to have been created by Jaipur-Atrauli vocalist Kesarbai Kerkar (who often employed it as a concert centrepiece), although differing […]
• Raag Sindhi Bhairavi •
S-rR-g-m-P-dD-n-S While often just lumped into the general ‘Mishra Bhairavi’ category, the ‘Sindhi Bhairavi’ lineage is a distinct melodic stream, although interpretations still vary significantly by artist and gharana. Typically, shuddha Re is given greater prominence, often employed in the fashion of the Asavari-ang, and performers may also give prominent roles to shuddha Dha, tivra […]
• Raag Chayanat •
S-R-G-mM-P-D-N-S A longstanding combination of Chaya and Nat, creating (as per Tanarang) an “attractive, sweet, and emotionally swaying” mood – the latter in particular summoned via ‘simple vakra’ phrases such as DNDP; RGRS. The Pa–Re sangati is vital, and shuddha ma is stronger than tivra Ma – with the raga inviting a range of expressive […]
• Raag Meerabai Malhar •
S-R-gG-m-P-dD-nN-S A charming branch of the Malhar lineage, ragas under titles such as ‘Meera/Meerabai ki Malhar’ exist in diffuse modern forms, between them encompassing both forms of Ga, Dha, and Ni. While exact historical origins are uncertain, they take their name from Mira Bai, a famous 16th-century poet-musician revered for her fierce devotion to Lord […]
• Raag Manj Khamaj •
S-R-G-mM-P-D-nN-S A ‘double-Ma, double-Ni’ offshoot of the Khamaj raganga, with origins in the Maihar lineage of Allauddin Khan (as per the liner notes to his grandson Dhyanesh’s rendition: “Originally a folk melody of Uttar Pradesh, which assumed its present shape under Allauddin Khan…rendered in a lighter vein, and full of erotic sentiments”). Famously showcased by […]
• Raag Paraj •
S-r-G-mM-P-d-N-S A playful sonic form which matches the swara set of Poorvi, with movements roughly akin to a ‘double-Ma Kalingada’ (also see their combination: Paraj Kalingada). Described by Parrikar as “an uttarang-pradhan raga with tonal activity clustered around taar Sa…elongation of Ni in SNdSN is a Paraj signpost, and dha is rendered durbal throughout”, with […]
• Raag Bihari •
S-R-G-m-P-D-N-S Connected to historic folk tunes of the Bihar region, Bihari is popular as a setting for thumri and other romantic song styles. Its core movements lie close to Tilak Kamod, also drawing on Shuddha Nat, and sometimes featuring mishra flourishes. Kishori Amonkar’s renditions are among my personal favourites (bandish: “Sleep will not come to […]
• Raag Dhavalshree •
S-r-G-M-P-dD-N-S A Shree-ang monsoon raga which presents in multivariate modern forms, with particular variance evident in the status of Dha. Kishori Amonkar’s Jaipur-Atrauli interpretation adds shuddha Dha to the basic framework of Jaitashree, whereas Mallikarjun Mansur’s take renders dha komal amidst Shree-ang motions such as rNdP, also showcasing a strong SGP sangati and chayas of […]
• Raag Lakshmi Kalyan •
S-R-G-mM-P-D-N-S An enchanting but seldom-heard raga, taking the swara set of ‘Kalyan double-Ma’ (n.b. ‘Lakshmi’ refers to the Hindu goddess of power, prosperity, and fortune). Described by slide guitarist Deepak Kshirsagar as “a combination of Shuddha Sarang and Shyam Kalyan, [although] some combine Shuddha Sarang and Kamod..or use [the swaras of] Shyam Kalyan in the […]
• Raag Jayant Malhar •
S-R-gG-m-P-D-nN-S An enchanting combination of Jaijaiwanti and Miyan ki Malhar, featuring correspondingly complex paths through the double Ga and Ni positions. Moumita Mitra’s explanation notes that some interpretations may alternate between the two parent ragas in a segmented, sequential manner, whereas others prefer to present their phrases in more intermingled fashion (e.g. RGm(G)P mGm\R; (m)R/P (m)gmR(SR)S: […]
• Raag Paraj Kalingada •
S-r-G-mM-P-d-N-S A seldom-performed jod raga matching the swaras of Poorvi, summarised by Aneesh Pradhan as “a combination of the [springtime] Paraj and Kalingada, [which is] popularly used in the thumri–dadra genres”. Paraj and Kalingada, already being closely-related forms, give rise to a subtle, samay-mixing blend – further seasoned by their respective proximities to Basant and Bhairav. […]
• Raag Madhyami •
S-R-gG-m-P-dD-n-S A complex, winding invention of sitar innovator Abdul Halim Jaffer Khan, which incorporates both forms of Ga and Dha into a Charukeshi-like framework. His most prominent rendition, released on a 1973 album with Samta Prasad on tabla, is a fascinating portrait of his ‘Jafferkhani baaj’ style – revolving, as the raga’s name suggests, around […]
• Raag Bhavmat Bhairav •
S-r-G-mM-P-D-n-S A curious fusion of concepts from two famous morning ragas – Bhairav and Lalit – devised by the gharana-blending Kumar Gandharva around the 1970s (also see his Bihad Bhairav, Rati Bhairav, Saheli Todi, Lagan Gandhar, & Madhusurja). Sadly, few recordings seem to exist – refer to Gandharva’s classic renditions for starters (e.g. Kantha Re […]
• Raag Chaya •
S-R-G-mM-P-D-nN-S Despite its long history, Chaya (also called Shuddha Chaya) is now largely overshadowed by its compounds, chiefly including Chayanat. According to sarodiya Rahul Bhattacharya, the raga is “in many aspects a more restrained version of Chayanat”, chiefly distinguished by its poorvang-dominance and weaker treatment of komal ni – although Deepak Raja notes that “even […]
• Raag Shanmukhpriya •
S-R-g-M-P-d-n-S A strange scale imported from the Carnatic mela #56, equivalent to ‘Darbari tivra Ma’ (or ‘Hemavati komal dha’). Despite its Southern popularity, it is still little-known in the North, with only a few Hindustani artists having explored it in any depth. Among these, Rampur-Sahaswan singer Hafeez Ahmed Khan provides direct insight into its workings […]
• Raag Rati Bhairav •
S-r-G-m-P-dD-nN-S An idiosyncratic ‘double-Dha’ invention of vocalist Kumar Gandharva (also the creator of Bhavmat Bhairav, Bihad Bhairav, Saheli Todi, Lagan Gandhar, & Madhusurja), which blends Bhairav with Ahir Bhairav. As per Milap Rane, “Rati Bhairav is a jod raga, [with] Ahir Bhairav overshadowing Bhairav…This raga symbolises the union of Shiva [Bhairav] and Shakti [Ahir Bhairav]. […]
• Raag Dhuliya Malhar •
S-R-g-m-P-D-nN-S An underappreciated branch of the Malhar family tree, titled in various ways (‘Dhulia/Dhuliya’, ‘Dhundu/Dhoondo’, ‘Dhundya/Dhoondiya’: said to be a reference to its creator Pandit Dhundibaba Dikshit, although further details on this prove scant). Most sources describe the addition of Sarang flavours to the basic Malhar framework, although they disagree on precise details: Ocean of […]
• Raag Maluha (Kalyan) •
S-R-G-m-P-D-N-S Maluha (‘Tearful’) is compound raga which draws on forms including Kamod and Shyam Kalyan. Tivra Ma and komal ni are mostly restricted to ornamental use (e.g. GP(MDPM)P), and the avroh may feature touches of Khem Kalyan and other proximate forms. The liner notes to a 1966 Nikhil Banerjee album describe Maluha Kalyan as “an […]
• Raag Prabhat (Bhairav) •
S-r-G-mM-P-d-N-S A morning form (Prabhat: ‘dawn’) 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 nearby Lalit Pancham). Characteristic […]
• Raag Lanka Dahan Sarang •
S-R-g-m-P-D-nN-S ‘Lanka Dahan’ refers to a famous tale from the Ramayana – as per Rajeev Taranath’s preface to a recital of the raga: “Ravana’s demonic horde set fire to Lord Hanuman’s tail; and the Monkey God sent the entire city of Lanka up in flames with it. But Rama’s consort Sita, an avatar of Lakshmi, […]
• Raag Zila Kafi •
S-R-gG-m-P-D-nN-S A springtime raga described by Satyaki Dutta as “a flow of a thousand feelings…the advent of new beginnings, painted with gleaming colours and shimmering joy”. Its Zila component (archaic spelling: ‘Jilha’) generally places significant emphasis on the double-Ga, while the rest of the raga tends to fit into the thumri-allied Mishra Kafi framework. Virtually […]
• Raag Ardhanaarishvara •
S-r-g-m-P-d-N-S During my original search for the ‘32 sampurna thaat’, I couldn’t find a single raga that precisely matched the SrgmPdNS swara-set. This surprised me, given the scale’s inherently fascinating shape – with a poorvang-uttarang bifurcation of ‘Bhairavi–Bhairav’ (Srgm+PdNS), equivalent to ‘Bhairavi shuddha ni’, ‘Bhairav komal ga’, ‘Todi shuddha ma’, or ‘Kirwani komal re’. While […]
• Raag Komal Ramkali •
S-r-g-M-P-d-n-S A strange sampurna scale, equivalent in shape to ‘Todi komal Ni’ or ‘Bhairavi tivra Ma’ (or ‘Todi’s poorvang + Bhairavi’s uttarang’: SrgM+PdnS) – indeed, the scale matches a historic form of Todi itself (Bor: “Todi Varali…first mentioned by Ahobala c.1665, with the scale SrgMPdnS”). Aside from Sa and Pa, Komal Ramkali has no shuddha […]
