S-r-g-M-P-d-N-S Pivotal to Hindustani history, the Todi raganga overflows with musical ideas found nowhere else on the planet. Some link its ambiguous geometries with “existential unsettlement”, while others hear “the playfulness of a newborn, content and smiling”. Rajan Parrikar hails it as “the most profound, finespun idea in melodic music…from ecstasy, to frolic, to pathos, […]
• Raag Todi •
• Raag Shree •
S-r-G-M-P-d-N-S According to Gwalior vocal master Omkarnath Thakur, Shree is associated with those sunset hours when “disembodied spirits…become active, and aid in the black magic of Tantriks”. Tied to ancient mythologies of Lord Shiva, the raga takes its name from ‘Sri’, a sacred Sanskrit syllable which in Vedic tradition represents the material nature of humanity’s […]
• Raag Puriya Dhanashree •
S-r-G-M-P-d-N-S Like the scale-congruent Shree, Puriya Dhanashree’s hemitonic clusters outline a major triad (SGP) with the first and last steps ‘enclosed’ by their immediate neighbours to give two sets of three adjacent swaras (NSr, MPd). Pa exerts the strongest gravity, easing the tension of the tivra Ma and providing temporary anchor for melodic lines which […]
• Raag Puriya •
S-r-G-M-D-N-S A prominent sunset raga, Puriya takes the same six swaras as Marwa and Sohini, reworking them to bring a distinct set of melodic forces. Renditions tend to focus on the low and middle octaves, seeking a fine balance between ascending and descending phrases. Some describe its mood as one of ‘sombre piety’, while others […]
• Raag Multani •
S-r-g-M-P-d-N-S Multani is an afternoon raga of angular shape and ancient heritage: the name suggests origins in the Multan region, long heralded as a holy site by Hindus, Sikhs, and Sufis alike. In Deepak Raja’s reflection, its Todi-congruent swaras fit with “oppressive afternoon heat…the virtual wilting of the body and mind under the remorseless tyranny […]
• Raag Marwa •
S-r-G-M-D-N-S Notable for omitting its own Sa for long stretches, the hexatonic Marwa conjures moods of ‘austere, spiritual renunciation’ – summoning these sentiments with low, slow lines which patiently outline the raga’s highly irregular geometry (three adjacent plus three wide-set swaras). Its descent-dominant melodies often tease at resolutions which never fully arrive. Congruent with Puriya […]
• Raag Lalit •
S-r-G-mM-d-N-S Lalit is an oddly-shaped sunrise raga. Among the most influential forms in Hindustani history, its distinctive ‘double Ma, no Pa’ structure has a malleable ambiguity, capable of conjuring flavours ranging from “sadness and anguish to the serene and devotional”. The evenly-weighted treatment of the twin ma swaras leads some to see the tivra as […]
• Raag Jogkauns •
S-gG-m-P-d-N-S Created by vocal master Jagannathbuwa Purohit Gunidas in the 1940s, Jogkauns is often summarised as ‘Jog plus Chandrakauns’ – although his original inception in fact drew more from the melodies of Malkauns than the latter raga. Gharana-blending singer Kumar Gandharva soon picked up on the new form, quickly garnering acclaim from audiences across North […]
• Raag Jog •
S-gG-m-P-n-S A lively late-evening raga, Jog translates as ‘state of union’ (derived from the Sanskrit concept of yogi). Its oddly bluesy harmony presents an enchanting almost-familiarity to uninitiated listeners, mixing major and minor flavours via a characteristic ‘Gmg zigzag’ phrase in descent (which, via the wonders of convergent evolution, suggests the structure of a 7#9 […]
• 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 Bhairav •
S-r-G-m-P-d-N-S Revered as the primary raga of Lord Shiva, Bhairav takes its name from Kala Bhairava (‘fearsome form’) – an apocalyptic manifestation of the deity fabled to have cut off one of Brahma’s five heads to silence his arrogance. Renditions reflect the gravity of this ancient lore, depicting Shiva’s tandav (‘dance of destruction’) with wide-roving […]
• 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 (Brindabani) Sarang •
S-R-m-P-nN-S The Sarang raga lineage, often linked to 16th-century mystic-musician Swami Haridas, is also associated with snake-charming rituals of the past. Brindabani Sarang, named for Uttar Pradesh’s Vrindavan region, is the principal raga of this group – and is believed to have brought an incarnation of Krishna to earth when Haridas sung it for the […]
• 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 Kedar •
S-R-mM-P-D-N-S An early night raga, Kedar is associated with heat (Tanarang: “there is much thermal energy in this melody…hence it is regarded as the ragini of Deepak“: Tansen’s legendary fire-bringing raga). Often seen as particularly subtle, complex, and hard-to-perform – partly due to its curiously wide aroha jump from Sa to Ma (depending on variant, […]
• Raag Kalingada •
S-r-G-m-P-d-N-S Kalingada shares the same seven swaras as Bhairav, but approaches them differently – preferring a straighter, less ornamented character (as per Rajan Parrikar: “Kalingada has a flippant mien…far less austere than Bhairav. The Ga and Pa are advanced to positions of influence, [and] the swara-lagav is mostly linear, without the andolit treatment prevalent in […]
• 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 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 Gujiri Todi •
S-r-g-M-d-N-S A popular Todi variant named for its association with Gujarat, India’s Westernmost state. Linked to the morning hours, it takes a similar swara set to the main Todi, distinguishing itself by omitting Pa throughout. Dagarvani beenkar Bahauddin Dagar chooses to intone the raga’s Sa with a slightly higher sruti than that of the tanpura, adjusted […]
• 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 it […]
• 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 Vardhini •
S-gG-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bahauddin Dagar & Pelva Naik (2018)— [jor, e.g. 2:51] d(ndndSn) SGG(mG), (PG)G (PG)Gmm g(S)S, G(ndG) (Gm)dnS, G, GG, GG(m), mmm… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• 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 •
S-G-m-P-nN-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Shahid Parvez (2020)— [gat, e.g. 6:58] GmP, NS, NSnP, P/n\P, GmG… • 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 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 Sohini •
S-r-G-M-D-N-S Sharing its six swaras with Marwa and Puriya, Sohini aims for a looser, more sprightly flavour to these more famous congruents – focusing on agile movements in madhya and taar saptaks, and uttarang-based phrases built on a strong Dha–Ga sangati. Re is banned in aroha, and Sa assumes greater strength than in Marwa, while […]
• 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 Sarang •
S-R-mM-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Debashish Bhattacharya (2013)— [refrain, e.g. 4:03] R(m)R, MMP, (NR)SN, P(M)P, m\R, (m)RNS… • 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 Shuddha Basant •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Kushal Das (2014)— [refrain, e.g. 0:10] D(SNR)S N(D), (NS)S (Gm)m D(SNR) (N)S N(D), M, m… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | 5 | […]
• Raag Shree Kalyan •
S-r-G-M-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bhuvanesh Komkali (2016)— [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 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 Purva •
S-r-G-M-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ajoy Chakraborty (2015)— [refrain, e.g. 1:42] MMdN, dN, dP, (M)PP P(MdP) MGM(G)rG rSS, NSG G(G)rGG, MP(rN) N(Nd)NdP, MMdN, dN, dP… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag […]
• Raag Puriya Kalyan •
S-r-G-M-P-D-N-S Effectively combining the poorvang of Puriya Dhanashree with the uttarang of Yaman, Puriya Kalyan covers the seven swaras of Marwa thaat. Pa is prominent in descent, but may be skipped in Kalyanic ascending passages such as MDNS – and Sa is often omitted in both upward and downward motions, with mandra saptak Ni favoured as […]
• Raag Nandkauns •
S-gG-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Amjad Ali Khan (1970)— [refrains, e.g. 0:01] SGmdPm g(m)SS, SSSn\d nnSG m; SGmn\d, mn\dd d/nn\d, mPmGmPG, SgSnS SGmdPm g(m)SS, SSSn\d nnSG m… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• 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 Mangal Bhairav •
S-r-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ronu Majumdar (2013)— [motifs, e.g. 11:11] S(D)S(D)S SDPDS; PDrrS(NS), (P)DrrS… • 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 […]
• Raag Malti Basant •
S-r-G-mM-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ulhas Kashalkar (2015)— [bandish, e.g. 1:44] S(NrN)S/M G(MGr)S, DN(S)ND, DNrS, S, S(rSNS) N(D), NrS, S(NS)m (MmMmG)G, SGM/N\DMG, (S)MGS, S(NrS)MG, S(NS) DN, D(ND)… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the […]
• 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 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 Jogiya •
S-r-m-P-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Amjad Ali Khan (2016)— [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 Jogeshwari •
S-gG-m-D-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ravi Shankar (1980)— [gat, e.g. 0:02] (S)n D m, GmG (m)g/m, nSDn g\S, Gm GmD, D(nSn)D, m… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List): Swaras: -4 | […]
• 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 Jait •
S-rR-G-P-D-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Hariprasad Chaurasia (2010)— [alap, e.g. 5:33] G, G\r, DSr PD, rS(D), S(rSD) S(r)r, m\r, (S)r (S)r, mrS, rG, S(D)D GrGr SrS, DSD PD(SDP), G, PDSrDSr G, SrG, G\rS… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, […]
• Raag Hansa Narayani •
S-r-G-M-P-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Bismillah Khan (1996)— [motifs, e.g. 1:18] (S)P MGM(PM) GrS; SP, PSS(NS)rS (Sr)GrS… • 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 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 Gauri •
S-r-G-m-P-d-N-S Described by Deepak Raja as “difficult to render in its purity”, Gauri is associated with viraha shringara (‘the piety arising from the separation of lovers’). The raga had at least two distinct forms as far back as the 16th century, and continues to manifest in several variations – spanning a main Bhairav-ang ‘shuddha ma‘ […]
• 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 Din ki Puriya •
S-r-G-M-d-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Sanjeev Abhyankar (2002)— [refrain, e.g. 0:03] SS SS(NS) d d(MGMdM), M(G)G (S)rS S; SS SS(NSd) d d(MGMdM), (dMG)M (M)G (G)rS; SS SS(NSd) d… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• 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 Dev Gandhar •
S-R-gG-m-P-d-n-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Vidyadhar Vyas (1982)— [bandish themes, e.g. 0:41] PDS, R S(RGm) GmG; G(R)mGRS, S(DS)S R(SR)P(m) G(R)S; P(SR)mg RS, R S(DS)D; PDS, R S(RGm) GmG… • Classifiers • Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see […]
• 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 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 Bhatiyari Bhairav •
S-r-G-m-P-D-N-S [summary] • Raga Megalist (365+) • Search | Glossary | Tags • Hindustani Raga Index • —Ramashreya Jha ‘Ramrang’ (2007)— [refrain, e.g. 1:56] GmPD, N(S)D D(Pm)P m(PDP), P(GP)GmGr 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 Basant •
S-r-G-M-P-d-N-S Basant (meaning ‘Springtime’) is a historic and highly influential form, with a lineage stretching back to at least the 8th century. The raga’s modern incarnation matches the swaras of Poorvi thaat, with shades of shuddha ma also permitted in some interpretations (e.g. SmmG; mdrS). Phraseological allies include Puriya (GMdNM; mdGmG) and Shree (e.g. NrS; […]
• 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 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 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 | […]
