S-R-gG-m-P-D-n-S Near-identical to Gaoti, Bheem is sometimes said to be marked out by its allowance of komal ga in taar saptak – although this distinction now seems moot: there are plenty of Gaoti performances with this characteristic too. Debate persists: while Agra-Gwalior vocalist Prabhakar Karekar considers the ragas indistinguishable (having remarked that he “had been taught […]
• Raag Bheem •
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S A rare and ancient Malhar variant, said to be marked out by a DDnP DGPm 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 only in the sketchiest of terms”. Described as a mix […]
• Raag Ambika Sarang •
S-R-mM-P-D-nN-S According to Rajan Parrikar, Ambika Sarang is associated with Agra vocalist Chidanand Nagarkar, with “elements of Shuddha Sarang and Kafi blended together in a delicious cocktail” (as per his great-nephew Prasad Upasani, “The story goes that while teaching Shuddha Sarang, one student kept singing komal ni by mistake. This phrase stuck in his head, and […]
• Raag Badhans Sarang •
S-R-m-P-D-nN-S A seldom-heard Sarang variant which appears in several different guises. All main forms include the swaras SRmPDnS, and most add shuddha Ni, while some also include shuddha Ga amidst other quirks. Thankfully, rare raga explorer Moumita Mitra recently conducted a survey of known renditions (read in full below), categorising them into three streams: ‘komal […]
• 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 Malgunji •
S-R-gG-m-P-D-n-S Roughly describable as a ‘Khamaj-ang Bageshri with a Rageshri-like shuddha Ga in aroha’, Malgunji is a multicoloured form, beloved by Gwalior vocalists (as well as Maihar sitarist Nikhil Banerjee). Some artists also feature a vivadi of shuddha Ni (often as mDNS, likely indicating the influence of Gara). Tanarang, aiming to evoke a “deep atmosphere”, gives a […]
• 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 will skip Ni in ascent, traditional Dhrupad presentations will render it shuddha in aroha and komal in avroh – along with […]
• 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 catchphrase of RnSRG, Gm (also found in Dev Gandhar) into the broader Kanada framework – although some sources also cite vital influences from Adana and Bahar (e.g. mDnS). Modern renditions tend to take the komal dha, although a shuddha Dha variant […]
• Raag Devgiri Bilawal •
S-R-G-m-P-D-nN-S A fusion of Bilawal, Kalyan, and Shuddha Kalyan, which either avoids the tivra Ma throughout or relegates it to an ornamental role. Balancing an uttarang-focus with a tendency for melodic development in mandra and madhya saptak, the raga (as per Thakurdas) prioritises Ga and Dha, also using Pa as a nyas – with komal […]
• Raag Des Malhar •
S-R-G-m-P-D-nN-S A well-established fusion of the pastoral-themed Desh and the rain-bringing Malhar, spanning the full swara sets of both via characteristic movements such as RmP, PNSRmGR; mPnDP, PNS. Steadily popular with both instrumentalists (e.g. Ali Akbar Khan’s many renditions) and singers (e.g. the Bodas clan’s duets). Dinkar Kaikini’s daughter Aditi Upadhya recounts the tale behind the […]
• Raag Chandni Bihag •
S-G-mM-P-D-nN-S Chandni Bihag (‘Moonlit Bihag’) is 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 […]
• Raag Bihagda •
S-R-G-m-P-D-nN-S A Khamaj-seasoned Bihag variant with possible connections to the Carnatic Behag, which appears in several overlapping variants. Raja notes that the raga’s main ‘double-Ni’ form (indistinguishable from some types of Khokar) is associated with Jaipur-Atrauli vocalists, who apply a pakad of Gm PDnDP, GmG PmPG, and limit Bihag’s tivra Ma to swift ornamental movements – while […]
• 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 (albeit in its somewhat less common ‘komal dha-less‘ form). Pilu’s doubled gG–nN swaras, separated by a perfect 5th, are thus spun into nN–mM (i.e. the murchana’s principal effect is to […]
• 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 equitable combo). He cites two different Khat strains used by […]
• Raag Tanseni Madhuvanti •
S-R-g-M-P-D-nN-S A captivating offshoot of Madhuvanti, named ‘Tanseni’ for its use of a Miyan ki Malhar-flavoured double-Ni sangati. Associated with the Rampur sarangi tradition, most prominently Hamid & Zahid Khan – as per the liner notes to Hamid’s ektal rendition: “it also resembles Multani…it is of Kafi parentage, with accents on Sa & Ma”. Thus […]
• Raag Sohini Pancham •
S-r-G-mM-P-D-N-S A variant of Sohini, named for its insertion of shuddha ma and Pa via phrases from Pancham including MGMGrS; MPGmG; MDMmG [n.b. many other raga names involving ‘Pancham’ indicate the inclusion of the swara position rather than the raga, e.g. ‘Pancham Malkauns‘]. Refer to renditions by Madhup Mudgal and Nisha Nigalye-Parasnis (singing a Pranpriya […]
• Raag Maligoura •
S-r-G-M-P-dD-N-S A sandhiprakash raga which draws on Puriya, Gauri, Marwa, and Shree. Depending on rendition, Dha may be komal (Ali Akbar Khan), shuddha (Ramprapanna Bhattacharya), or double (Khadim Hussain Khan) – with considerable cross-gharana variance in characteristic phraseologies. Maihar sarodiya Sayak Barua states that “NDNrNP is the heart of the raga”, and, as per Manjiri […]
• Raag Chandni Kedar •
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 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 Bahaduri Todi •
S-rR-g-m-P-d-n-S Described by Parrikar as “an exceedingly beautiful raga, known for aesthetic unity in spite of its convoluted structure…the disparate constituents are tied together by special sancharis, and the intonation is mediated by meends”. He cites two distinct versions of the raga in modern circulation (neither of which appear to be linked to the Carnatic […]
• Raag Bageshri Bahar •
S-R-g-m-P-D-nN-S A blend of the late-night Bageshri and the springtime Bahar, most prominently recorded by Bhimsen Joshi (below: from his 1997 Rarely-Heard Ragas album, also featuring Hindolita & Jaijaiwanti Nat: although the actual recording session appears to have taken place in 1980). Matches the swara set of ‘Kafi double-Ni’, and is thus prakriti with several […]
• Raag Suha Todi •
S-r-g-m-P-dD-n-S A jod raga primarily associated with (and probably invented by) Ali Akbar Khan. As per the liner notes to his 1978 album rendition with Swapan Chaudhury: “Suha is a time-tested traditional raga, and so is Todi…[however] their combination, though happily feasible, is not commonly heard…[Suha’s] Kanada trend blended with a raga of the morning […]
• Raag Rageshri Kanada •
S-R-gG-m-P-D-n-S A seldom-heard Rageshri variant which incorporates Kanada-flavoured poorvang phrases into a broadly Khamaj-ang framework. 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 […]
• Raag Patdeepaki •
S-R-gG-m-P-D-nN-S A highly variable form which grafts additional swaras onto a Dhanashree-ang Patdeep foundation – allowing for shades of many proximate ragas, including (but not limited to) Bihag, Khamaj, Jhinjhoti, Bilawal, Barwa, Hameer, Desi, and Maluha. Performed in various guises by vocalists of multiple gharanas, including Bhimsen Joshi (Kirana), Sharafat Hussain Khan (Agra), Aman Ali […]
• 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 Gaud Sarang •
S-R-G-mM-P-D-N-S Aside from its afternoon designation, Gaud Sarang typically carries few hints of the Sarang family – running more like a vakra Bihag variant seasoned by a GRmGPRS pakad amongst other melodic quirks (some refer to it as ‘Din ki Bihag’: ‘Daytime Bihag’). Shuddha ma is strong, but not used as a nyas, with its enclosing […]
• 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 interpreted as […]
• 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 the […]
• 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, Khamaj, and Kedar 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 Shankara Karan •
S-R-G-M-P-D-nN-S Associated with the crisp mornings of springtime, Shankara Karan is variously said to blend elements of Shankara, Shree, Hindol, and Yaman – although its swara set (‘Yaman double Ni’) is seldom-heard in the Hindustani ragascape (also hear the ultra-rare Guru Kalyan & Kala Kalyan). Recordings are rare, with the most prominent cut being a 1995 […]
• Raag Sanjh Saravali •
S-R-G-mM-P-D-N-S Taking the general form of ‘Yaman Kalyan seasoned with Bihag’, Sanjh Saravali (‘Evening Melody’) was devised by Vilayat Khan in the late 1970s. Fellow Imdadkhani sitarist Deepak Raja, aided by input from Vilayat himself, describes the raga as “incorporating fleeting impressions of several Kalyan ragas, including Nand Kalyan and Chayanat…its melodic identity rests on […]
• Raag Pat Bihag •
S-R-G-mM-P-D-N-S A chalan bheda of Bihag, which varies according to gharana. Tivra Ma is generally restricted to ornamental use, while Jaipur-Atrauli singers may showcase a range of additional melodic quirks. In Parrikar’s summary, “most of its mannerisms are Bihag-like, the notable departure being its ‘glowing’ shuddha ma: deergha and mukta” – also see his rundown […]
• Raag Pancham se Gara •
S-R-G-mM-P-D-nN-S A rotation of Gara (literally: ‘Gara from Pa’) – i.e. if you treat the raga’s Pa as the ‘new Sa’, Gara’s scale is produced (SRGmMPDNS > SRgGmPDNS: although the raga’s creation in fact came via the reverse translation). Most closely associated with murchana master Ravi Shankar, who reworks Gara’s DnSNS uttarang catchphrase into GmPMP (see […]
• Raag Neelambari •
S-R-gG-m-P-D-n-S A blend of the allied Kafi and Sindhura, brought into being by revered Gwalior vocalist Omkarnath Thakur some time prior to 1936 (n.b. it bears no discernible connections to the Carnatic raga of the same name). Parrikar points to “two special pathos-imbuing prayogas: the melodic molecule DngR, and the chromatic avroh slide from shuddha […]
• 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 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 Lalit Pancham •
S-r-G-mM-P-D-N-S A title applied to various offshoots of Lalit which add some combination of Pa and shuddha Dha to the basic SrGmMdNS swara set, often removing komal dha in the process. Many such incarnations draw from Shuddha Basant (a raga which features Pa and, depending on variant, either form of Dha: Ulhas Kashalkar notes that […]
• 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 Jaijaiwanti Nat •
S-R-gG-m-P-D-nN-S A barely-explored compound of Jaijaiwanti and Shuddha Nat, which blends the basic structure of the latter raga with flourishes from the former. The only renditions I can trace are those of Bhimsen Joshi, who may be the raga’s inventor (although some sources suggest the great Jaipur-Atrauli guru Azizuddin Khan instead) – beginning in the […]
• Raag Hussaini Todi •
S-R-g-m-P-D-nN-S A rare raga which appears in at least two modern-day variants. The predominant Jaipur-Atrauli interpretation takes the swaras of ‘Kafi double-Ni’, eschewing the Todi-ang altogether: Manjiri Asanare-Kelkar’s ever-excellent melodic breakdown describes it as “Desi with a ‘Hussaini’ phrase” [a sruti-laden mPD, S(nSN)S, m, mPDnS] – adding that this phrase also turns up in the ‘other’ […]
• Raag Virat Bhairav •
S-r-G-m-P-dD-n-S A ‘double Dha Bhairav’ raga with a unique swara set, associated with Jaipur-Atrauli vocalists including Nivruttibuwa Sarnaik (who, according to gharana stablemate Gandhar Digrajkar, invented it). In addition to Bhairav’s classic G\rS swoop and general poorvang-focus, Parrikar notes “a rather busy uttarang: shuddha Dha is used sparingly, in special sancharis such as GmPDnDn and […]
• Raag Saraswati Sarang •
S-R-mM-P-D-nN-S Despite the prachalit status of both its parents, the Saraswati + Sarang compound remains relatively rare. The best longform performance is that of vichitra veena maestro Gopal Krishnan (which revolves around an ear-catching nD MPDS pakad), who – as per a direct message from his grandson Akshat Sharma – created the raga (along with Tilak […]
• Raag Saraswati Kedar •
S-R-G-mM-P-D-nN-S A double-Ma, double-Ni raga created by Gwalior vocalist and educator Vishwanath Rao Ringe ‘Tanarang’ (also see Hemshri, Sundarkauns, and Jogeshwari Pancham). Characteristic phrases from Saraswati (RRMMP; MPDnDP; nDS) are intermingled with those of Kedar (MPDNS; PDPm; mGP; SRS; mmRS), with shuddha Ga only used in occasional avroh movements. Also see prakriti ragas including Nat […]
• Raag Samant Sarang •
S-R-m-P-D-nN-S A Sarang family 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 Lachari Todi •
S-R-gG-m-P-dD-n-S As per Parrikar, “there are 3 varieties of Lachari Todi, all of them having very little to do with Todi proper: and there is major divergence among [them]”. Some renditions limit themselves to the swaras SRGmdnS, although Amjad Ali Khan takes a much more expansive approach, spanning SRgGmPdDnS with complex ornamental combinations that mix […]
• Raag Hindolita •
S-G-mM-P-D-N-S A blend of Hindol and Lalit, seemingly introduced by Kirana master Bhimsen Joshi – who recorded it a handful of times over the years, including at the 1992 Sawai Gandharva Festival with Zakir Hussain, and for his 1997 Rarely-Heard Ragas album (also featuring Jaijaiwanti Nat and Bageshri Bahar). Given the sparsity of its recorded […]
• Raag Tilak Malhar •
S-R-G-m-P-D-nN-S A presumed blend of Miyan ki Malhar and Tilak Kamod, mentioned in Geeta Banerjee’s Malhar Darshan but only recorded by a few artists. After struggling to ascertain the raga’s origins, I was pleased to receive a direct message from guitarist Akshat Sharma in early 2024, informing me that it was devised by his grandfather […]
• Raag Tilak Bhairav •
S-rR-G-m-P-dD-N-S An ultra-rare raga associated with Imdadkhani composer Dhruva Tara Joshi, spanning the full swara sets of Bhairav and Tilak Kamod. Although initially a sitarist, Joshi’s sole traceable take of the raga is a vocal-only rendition from a lecture-demo (seemingly the result of an injury forcing him away from the strings) – which concisely interweaves […]
